clore

It is weird - Cagney and Day were both formerly associated with Warners so it's an easy mistake to make. Now it gets even more confusing when a DVD set of "Warner Western Classics" comes out and it's a package of titles that were produced by MGM.

Should TCM message board posters consider modifying their stagnant film requests?

I liked it better in the old days when we had real invisible men and real apes climbing the Empire State Building.

Maybe Corey should have replaced Dean Martin as Jerry Lewis' straight man. I'm surprised that Hal Wallis didn't put those two together. But while Dean was a guy who played the role of an alcoholic, poor Corey had a real life problem that led to the liver ailment that killed him at age 54.

Dargo, someone, somewhere made a really funny comment about Wendell Corey and Lizbeth Scott acting together in a movie and they only had one facial expression between the two of them... That was me. Not that I'm looking for credit but I do want to add that there were two times that I can recall where Corey's deadpan face worked. One was in THE BIG KNIFE where he was surrounded by the over-the-top performances of Jack Palance and Rod Steiger, so his demeanor was a welcome change from all of the ham on display in the butcher's window. The other was THE KILLER IS LOOSE where he's a deranged killer whose blank mask covers a cold and calculating mind at work. There's one particular blast of violence involving a milk bottle that one doesn't expect as Corey's character seems too mild to be a threat.

How about Don Murray?

I didn't notice the bug during that film, but I did notice that during THE HOODLUM PRIEST, the movie became THE CARTOON NETWORK for a few minutes. That's the second time this week that this has happened.

No host wrap up at the end of the film, though. I was watching the end in real time to be sure my recording got it all and they didn't tape an end wrap around with the guest host. From what I saw, Illeanna Douglas didn't get any outros either.

I had a friend in those days whose grandmother would frequently burst into the theme song from "Surfside 6." I thought that of the four WB private eye shows, that one had the worst song. I have some episodes on 77 SUNSET STRIP on tape from when American Life was running them. One is a remake of STRANGERS ON A TRAIN and another is a redo of DIAL M FOR MURDER. Both of these feature Richard Long as the villain, later he would be one of the private eyes for one season. Meanwhile, on BOURBON STREET BEAT, Long got to play the hero of an episode that was WHITE HEAT all over again, right down to "top of the world Ma." I haven't watched that cable channel since they dumped all the WB private eye and western shows a few years ago. If WB ever puts that series out on DVD, I'd buy it immediately.

And so, I take it you might also remember this "classic" bit of Pop "music" that hit the charts in '59 and which played off the popularity of that TV show then, eh?! That show was a big hit in my house. I had the LP with music from the show which I now own on a CD. No Frankie Ortega Trio cuts on it - that was the group that was always playing next door at Dino's.

SEVEN ANGRY MEN?.....Did 5 angry men get lost, somewhere along the line? http://www.imdb.com/title/tt0048602/

I saw it once on Channel 13, not long after I saw the Corman film in 1960. I remember very little of it, although the old hag and the final chase scene involving Roderick being chased by his sister still linger a bit. I don't remember Shock-O-Rama, but I was barely nine years old in 1960. I do recall seeing things like CRY OF THE CITY, THIEVES HIGHWAY and HOUSE OF STRANGERS on WNTA. I thought that Richard Conte was a major star because those films played often.

Jack Klugman did four episodes of The Twilight Zone and James Best was in three as was Gladys Cooper.

They've owned this stuff since 1948 MCA bought the Paramount pre-48s in 1958.

The bonus marchers show up in WASHINGTON MERRY-GO-ROUND, a film which according to my log, I last saw on TCM on 9/11/08. Columbia produced it in 1932 and it's a fair bet that Frank Capra took a look at it before making MR. SMITH GOES TO WASHINGTON.

Most likely Frankenstein Created Woman.

THE WHOLE TOWN'S TALKING

Anyone seen the 1934 Paramount movie DOUBLE DOOR? That story's ending still causes arguments over the actions of the lead character in the final scenes among friends of mine who have seen it! No I haven't, but even the opening credits sound interesting. I was just reading a user comment on the IMDb and it is definitely a film that would be right up my alley. POSSIBLE SPOILERS BELOW: It's been a long time since I've seen it, but doesn't HOUSE ON HAUNTED HILL end with the audience being asked if Vincent Price is guilty or not? A lot of forums on the web still have people writing as to whether SHANE is still alive at the end of the film or not. John Carpenter's THE THING is another one to leave a question unanswered. Edited by: clore on Sep 7, 2011 8:59 AM

I haven't seen the film in years and just caught the trailer on TCM. The title card at the end of the trailer did comfirm my recollection of the film being in Technicolor, but for a couple of minutes, I was wondering if my imagination was that powerful. Maybe I got a Krell brain boost and thought I saw it in color.

I 'think' I saw the Gracie Allen Murder Case, but perhaps it's wishful thinking. Was it on AMC a billion years ago? I saw it on a local station in NYC about two billion years ago, even before the dawn of the VCR era. I'd love to see it again but being that it's a pre-48 Paramount title, I suspect that someone at Universal is going to have to be bribed before we get the chance.

Yep. And no matter what Morris says are the words, I always end up singing to myself - "But I can't help falling in love with you." Oh yes, I have the very same problem when watching that film. I have a similar problem with "Love Me Tender" and the film COME AND GET IT.

Maybe that was the editorial "us". Probably so, but I'm just covering myself. It's similar to when someone came here and posted that "we loyal TCM viewers don't want to see..." and went on to make a comment that would be considered quite prejudiced. As one who is a loyal TCM viewer, I didn't want to be included in that group. Now I can certainly understand the point being made about films as "historical and cultural documents" but would prefer not to be included as having only just realized that with the most recent race in film series. I'm about to turn 60 and have been watching films for 54 of those years. As evidenced by the posts made while that series was being aired or even by the posts here on just one particular film, different people reached different impressions. For that reason, I shy away from presuming that I know what others (such as the modern audience) can relate to in a film and can only offer my own perspective.

I'm still uncertain about the ending. Part of me says to just accept the dialogue as it went, that Paul Douglas just wanted to spare Jeanne Crain for the night and in front of her friends. He may have been testing Linda Darnell at the same time, but then again, he was always on the square with her - how is that for a "dated" expression? The other side of me asks what anyone could see in Jeffrey Lynn, so what's the loss for Crain or the gain for the unseen Addie? I'll have to watch it again but something tells me that the intention was for me as a viewer to question it, like wondering if James Cagney really turned chicken at the end of ANGELS WITH DIRTY FACES.

My son was well indoctrinated into classics early on. We've watched most of the Universal horror classics, as well as RKO's simian trio and even quite a few silent films. This one is my younger son, born when I was 36. He has an older brother who is 37 and that son has been exposing his own children to classics for a few years now. It runs in the family I guess. It was my mother telling my sister and I in 1957 that we would probably enjoy the Million Dollar Movie that night - it was KING KONG and that hooked the both of us onto watching films rather than series. I haven't watched any series TV in about a decade except for an occasional episode of THE SIMPSONS. My son doesn't use his TV for anything but video games and movies.

They eventually have to be viewed as historical and cultural documents in order to sustain relevance and take on new dimension. That's what the Arab Images in film series has taught us. Please don't include me in that "us." That's not quite what I learned from the series and i'd prefer to make up my own mind.