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VP19

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Everything posted by VP19

  1. Colleen looked into the future via the device, and was disappointed to discover that everyone mistook her for Louise Brooks.
  2. > {quote:title=AndrewSchoneberg wrote:}{quote}I'll second the suggestion to show this film. With Laughton and Lombard, how can it not be at least very interesting, perhaps more. This story is the basis for the stage musical, "Most Happy Fella", by Frank Loesser. There apparently are some rights issues with the Sidney Howard estate that have prevented "They Knew What They Wanted" from a U.S. DVD release (and, presumably, TCM gaining the rights to the film), although in the '80s RKO issued it on videocassette and it aired on a Philadelphia UHF station. From time to time, DVDs of the film f
  3. A happy holiday season to everyone as I continue recuperating from surgery for a torn tendon on my right knee. Come Christmas, I'll be celebrating with boneless turkey breast, gravy and rice.
  4. Carole Lombard called "The Gay Bride" the worst film she ever made, although I think that movie is nowhere as bad as "Fools For Scandal."
  5. Seeing this makes one wish they had made more movies together, as Bob brought out an inner toughness in Marilyn lacking in many of her other films; they had splendid chemistry. Moreover, the setting was wonderful, and almost made you forgive the obvious rear projection of the more dangerous rafting scenes. Your thoughts?
  6. How about "The Mad Miss Manton," in which Barbara Stanwyck teams with Henry Fonda for the first time? Imagine Irene Bullock of "My Man Godfrey" fame and some fellow debutantes involved in a murder mystery, and you have this movie, silly but fun. Stanwyck goes screwball and makes it work.
  7. > {quote:title=Sepiatone wrote:}{quote} > In Detroit, one of the biggest hangouts for us hippies was the Grande Ballroom. Back in the late '20's to the late '50's, it was one of those "dime-a-dance" spots like you see in *Marty* . By 1967, it was converted to the kind of place Bill Graham's FILLMORE was in Frisco. Spent a lot of time there. Saw all kinds of bands...pre-fame JAMES GANG were regulars, as well as MC5. Saw THE WHO, JOPLIN, JOHN MAYALL, CREAM, ELECTRIC FLAG, B.B. KING, LOUIS JORDAN, JOHNNY WINTER, SAVOY BROWN, JIMMY ROGERS, OTIS SPANN, SIPPIE WALLACE, and even pre-pla
  8. > {quote:title=TopBilled wrote:}{quote} > > So, anybody have any thoughts on my comparison between Christmas in Connecticut and *Remember the Night*? No? > I think REMEMBER THE NIGHT benefits from more electric chemistry. Stanwyck and MacMurray would make four films: > > REMEMBER THE NIGHT > DOUBLE INDEMNITY > THE MOONLIGHTER > THERE'S ALWAYS TOMORROW > > > > > > *Each distinctively different than the others (romantic comedy, film noir, western, drama).* >
  9. Realizing young people don't consider Elvis Costello that one-time "angry young man" from the late 1970s (have been listening to "This Year's Model" and "Armed Forces" this afternoon, and those Attractions albums still sound great), but Diana Krall's rather mellow husband. (And I dig Krall as much as Costello.) But nearly a month ago, I learned I was old when, going to catch a bus for some food shopping, I slipped on some frosty grass and tore a quadricep near my right knee. I underwent surgery the next morning, was in rehab for more than 2 1/2 weeks (with no TCM or Internet access -- pure
  10. Jack Benny wouldn't be anyone's idea of a matinee idol, though unlike his comedic persona he was a bright, generous soul who was easy to work with (and for). He apparently had a number of affairs throughout his life, including one with Canadian singer Gisele MacKenzie.
  11. > Sexless actresses with good physical qualities but absoutely no warmth or pizazz: Claudette Colbert, Greta Garbo, Marlene Dietrich, Mary Astor, Ruth Chatterton. I'd take a 50 year old (Kate) Hepburn or Stanwyck over any of those women in their primes. Claudette and Marlene...sexless? Are you nuts (and I say that in a nice way)? They certainly exuded warmth, though it was invariably on their terms; without it, neither would have been a top-tier star. And given how Dietrich bedded (or tried to bed) every adult male and female star in Hollywood, it was apparent that most of the film comm
  12. Among my favorite Lubitsch films, and one of the best with which to illustrate "the Lubitsch touch" to a film neophyte...especially when Claudette Colbert and Miriam Hopkins team up for the outrageous "Jazz Up Your Lingerie."
  13. Jonathan Winters is remembered for all sorts of great things, but upstate New Yorkers fondly recall him as the voice of Schultz and Dooley, the lovable talking beer mugs, for the long-running Utica Club beer ad campaign. The spots are available over the Internet and hold up today.
  14. > {quote:title=Arturo wrote:}{quote}The confusion between a B move and a programmer is one of my pet peeves here, and feel compelled to point it out, as some of you have noticed. A programmer is most definitely an A film, in budget (if on the lower end of the range for A films) and talent employed. Since the term has fallen out of use, It is probably best to consider a programmer as a non prestige item from the A Unit. > > During the Studio era, the major studios usually had separate A and B units, sometimes even located in separate studios. Each had some staff that was conf
  15. > {quote:title=Hibi wrote:}{quote}They were produced by the B unit at WB though....... Reducing Kay to "B" status probably was yet another Warners tactic of humiliating her to the point where she would choose to end her high-salaried contract with the studio and leave. But as was the case with other methods Warners tried to run down Francis, she wouldn't bite the bait.
  16. > {quote:title=willbefree25 wrote:}{quote}Were the series pictures like The Falcon and The Saint and The Lone Wolf 'B' pictures or "programmers"? They were generally second features, and thus more closely fit the "B" definition; that would also hold true for Blondie, Maisie and the like. About the only series of the time that would get top-tier status were the Nick & Nora films, which had first-class budgets, not to mention A-list leads William Powell and Myrna Loy.
  17. Studios announced a number of films for each year, and in the early 1930s, where most theaters changed their lineup every few days, "programmers" were the less prestige projects of the lineup, usually designed to keep production going and to give personnel some work. The double feature concept didn't really take hold until after the Production Code was strictly enforced in mid-1934, though it was more a product of studio economics at the time rather than censorship.
  18. This came to mind the other night, when I was watching Robert Osborne's introduction of the Constance Bennett 1941 film "Law Of The Tropics," and he referred to it as a "B picture." Now, Bob could very well be right -- I'd have to check theater schedules from the time this opened to determine what it was -- but I seriously doubt a star such as Bennett, even with her diminished stature as of 1941, would have been put in a "B picture." Those tended to have low budgets and lesser-named casts (e.g., Lynn Bari, nicknamed "Queen B"). More likely, "Law Of The Tropics" was a "programmer," an A-level p
  19. > {quote:title=willbefree25 wrote:}{quote}Heck no, VP19. I for one love dishing the dirt on actors, and when they're firebrands like Connie or Carole Lombard (who apparently played the system better than Connie, who imo was equally as lovely and talented), all the better. > > By-the-book actors bore me to tears, especially the women who did what they were told by the men who thought they could tell them what to do. > > I would be so happy if these feminist actresses were around today, they would be validated and they would be paid much, much more for their craft. Only,
  20. I hope the links I left pertaining to Connie don't misconstrue my admiration for her both as an actress and as a beauty; she's a fascinating character. But she could rub people the wrong way, and it didn't bother her one whit. The three Bennett sisters (Barbara, the middle one, never had much of a film career; she married popular tenor Morton Downey, and their union produced controversial '80s talk-show host Morton Downey Jr.) didn't have it easy, despite their wealth and being daughters of Richard Bennett, one of the great stage actors of his time. (He portrayed the millionaire in "If I H
  21. > {quote:title=willbefree25 wrote:}{quote}Poor Joan Bennett, having to live up to a sister like that. > > Constance was luminous. The films themselves were only okay, but Connie had impeccable timing. Watching her and her dresses was a joy. > > > I wonder why she never made it bigger. > Connie was her own worst enemy of sorts, getting into all sorts of things. She'd sue people at the drop of a hat, was considered flighty, and many actors tried to steer clear of her (William Powell probably would not have starred in "My Man Godfrey" had Universal insisted on
  22. > {quote:title=FredCDobbs wrote:}{quote} Anorexia, 1930.
  23. > {quote:title=finance wrote:}{quote}So will Mitt Romney. I understand that Constance Bennett is his favorite actress. Connie was a die-hard Republican, but she died in 1965. Her Marion Kerby ghost might not recognize today's GOP, ever since it cast its die with southern Dixiecrats. Oh, and election results are why we have personal computers. Use those to track the races while watching the lovely Ms. Bennett on your TV.
  24. > {quote:title=markbeckuaf wrote:}{quote}VP19, wow, I never knew that backstory about Patricia Ellis. What a shame! I really dug her too! Not Patricia Ellis -- Diane Ellis. I don't believe they were related.
  25. One more thing on Ms. Bennett: It's never been officially proven, but it's believed that when she signed with Pathe in the fall of 1929, she insisted no blondes who resembled her remain on the studio roster, so it suddenly dismissed two of its players -- Diane Ellis and Carol Lombard (at Pathe, Lombard had no "e" in her first name; she went back to her original screen name, which she had taken in 1925, in the fall of 1930). It turned out to be a break of sorts for Lombard, who wound up at Paramount, a much bigger studio (though it often didn't know how to use her). As for Ellis, one of her
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