clore

I thought it was the sequel to UNMAN, WITTERING AND ZIGO. Now there's a movie that's a candidate for TCM Underground.

Nothing much to say except that I saw Mabel Albertson this afternoon on a *Burns and Allen* rerun on Antenna TV. I only recently discovered that my NYC Time-Warner system has added that channel and while I don't normally watch any sponsored programming, I've made an exception for George and Gracie. It was the episode titled "Mortons Exchange Houses With the Gibsons From New York" and it's not on the IMDb at present for having Mabel. But I'll fix that.

I guess that we can presume that he's not coming back. Zero, zilch, nada chance of that happening.

They sound a bit "classier" coming from Scott as there is still a mix of some Virginia in there. But it would surely confuse the heck out of Professor Higgins.

I'm a big Scott fan, and also born in Brooklyn and I can say that he pronounces "work" and "heard" (or "herd") with what does sound like a bit of my old neighborhood in it.

I've already seen the remake with the two Redgrave sisters - I can't imagine a third version.

I have a 16mm print of the 100 minute version. I'll have to run it again to compare, but I don't think there are any major sequences deleted for the 89 minute print. This info from the film's IMDb page may help: The original theatrical release (@ 102 minutes) includes the following three segments which were removed from the VHS and DVD releases (both of which are approximately 86 minutes): * Following the fade on Ma Greeny's reaction shot as Maish is beaten in the boxing ring, there is a seven minute sequence in the hotel bar and adjacent alley: Maish asks Mountain if he has any money stashed away (to pay off Ma Greeny); Mountain recognizes and stops to help a bleeding, drunk fighter in the alley and gets into a fight with his scumbag promoter of illegal matches, which is broken up by Army and Maish, who rejects scumbag's idea of getting Mountain a wrestling career with Pirelli. Scene ends with Maish's clichés about the Three Musketeers and "Til death do us part" that reinforce the illusion that "Nobody jumps anybody in this group!" * A 1 minute 43 second transitional sequence after Mountain is rejected for the movie usher job shows him rejected as he tries to get a job on a moving van crew and as a sparring partner for a boxer who's training to fight Clay. Again he starts a fight after the boxer says, "I already got a punching bag!" * A 6 minute 27 second sequence after Maish's reaction shot in the stairway following his confrontation with Grace Miller. Pirelli is coaching Mountain in the gym to "make it look real!" Again Mountain starts punching his wrestling partner after his seriously injured eye is intentionally reinjured. Ma Greeny's goon squad warns Maish that he has till tomorrow to come up with the cash. And Ma Greeny tells Maish that "we're cutting out the middleman" and that Pirelli will pay her directly for Mountain's wrestling contract. Maish says, "I wish you weren't a woman," and Ma replies, "Maishy darling, that's the nicest thing anyone ever said to me!" * The VHS release adds an additional scene (@ 1 minute 11 seconds) which was cut from both the theatrical and DVD releases. [since the DVD restores the original sequence at this point, and significantly changes the emotional focus of the ending, the DVD is preferable to the VHS release.] As Mountain ascends (both literally and figuratively) to the wrestling ring, the deleted scene has Maish warning the newbie who wants to sign a boxing contract replacing Mountain to "Go home!" instead of starting a career in which there are only eight champions and everybody else is a loser. The VHS also cuts medium shot in which the referree says, "Come on, Mountain, let's get this show on the road!" and, more significantly, the closeup in which Mountain makes the crucial decision to embrace his humiliation and starts his warwhoop dance around the ring.

Thank you for the compliment Dargo. You may be right that in a sense they just threw more dollars than necessary at it and had to justify it somehow. I felt similarly about DAYS OF WINE AND ROSES which does not work as well for me as a movie than it did as a TV show. On the other hand, I can't separate the two versions of MARTY. I liked Steiger in the TV version, but not to the degree that he overwhelms Borgnine's work. Just different interpretations and maybe because I'm so used to Steiger being the kind of ham that should be hanging in the window of Marty's shop, I appreciate his subtlety all the more. Nancy Marchand though was more effective than Betsy Blair, closer to the type of NYC woman that would be in such a situation. My viewings of the two versions of PATTERNS were too far apart for me to pit one against the other. I did think that Richard Kiley came closer to being the young exec type - Van Heflin was already playing patriarchs at the time he landed the movie role. No matter, it's Everett Sloane and Ed Begley that really drive both versions.

Given that it's late October, I'd rather see HORROR HOTEL.

Late October? Is that much of the schedule available already?

I've also seen the earlier version of it and much prefer that one. The racial element of the feature film feels like the added element that it is and there was really no need to have Quinn appear so gruesome. His Quasimodo was more handsome. Maybe they thought that they really had a lot to try to top, but in my opinion, they didn't succeed.

I believe that IMPACT is public domain now so good luck on getting that one in any kind of "restored" condition. Again, as with the Allied Artists releases, a lot of these were done by indie outfits that didn't bother to renew copyrights or else the rights have reverted to them and thus it may not be UA's property any longer.

Wow - the last time this was on, I watched it so I didn't notice. Now as I'm in another roonm and can only hear it, I must say that it has one of the most redundant music scores that I've heard in any feature film. i hear Kevin McCarthy as I type this, it must be one of his several scenes where his shirt is open to his waist. If Rod Taylor did that, you wouldn't notice Kevin McCarthy.

If I remember correctly, Jack Dodson had a small role in The Getaway. That wasn't nice what Archie Bunker's daughter did to him.

I'd like to see a remake of Seven Days in May with Jon Voight or maybe even Robert Wagner as General Scott *but this time...we win and take over!* :^0 :^0 :^0 That's some scary stuff, and I don't mean the casting of Voight or Wagner. By the way, SEVEN DAYS IN MAY was remade by Showtime in the early 90s. The title is more appropriate for what you have in mind since it was called THE ENEMY WITHIN.

Here's what you get when you put Jack Lord's hair on Neville Brand: Rob Blagojevich Here's Neville Brand Here's Jack Lord:

I remember him as Earl Holliman's brother on WIDE COUNTRY, one of two rodeo-based TV shows that aired in the 1962-63 season. The other was STONEY BURKE with Jack Lord.

You're welcome. The most prestigious part that Andrew Prine ever had was probably as the brother to Helen Keller in THE MIRACLE WORKER. Twenty years later he showed up in the mini-series "V" and I swear, he had not aged a day.

Dorothy Arzner directed DANCE, GIRL DANCE and CHRISTOPHER STRONG for RKO and CRAIG'S WIFE for Columbia. So much for "zero, zilch, nada."

Lee Kinsolving might be better known if his biggest role as the tragic Sammy Golden in THE DARK AT THE TOP OF THE STAIRS were in view. That's one title that I mentioned a few times to the old "Suggest a Movie" borad. I'll always remember Andrew Prine as he once played Richard Kimble's brother on a first-season episode of THE FUGITIVE. As Prine has aged, he's beginning to look like Robert Culp: Andrew Prine Robert Culp:

Dorothy Arzner Ida Lupino

Then they must have changed the schedule, after I copied and pasted the entry below, which was from the monthly schedule. Maybe the schedule from which you took that was one of those that had it backwards on what was letterboxed and what wasn't. If you recall, for a few months after the March "upgrade" the schedules were all mixed on that issue.

The July schedule that I have on my PC shows GUNMAN'S WALK as letterboxed.

I didn't watch LAWRENCE OF ARABIA as there are just so many times that I can see that one in a year and this year we reached that figure in March. I watched two of the features last night, but ROAD TO MOROCCO has been on a few times relatively recently so I didn't need to see that one again. Oh - and MR SMITH GOES TO WASHINGTON is a particular favorite of mine, but I'm worn out on that one also. Actually, I need nights where I'm driven to my DVDs or even to perhaps attacking that stack of dishes in the sink.

Oh, I didn't mean what I seem to have implied and if you inferred it that way then we've both been obtuse. I just love squeezing "inferred" and "implied" into the same sentence. Seriously, I'm less disappointed about missing some shorts that I can find on YouTube than I am about the whole business of not getting what was expected. Whenever I bring up an on-air snafu, it's not to be insulting, it's just that there do (as even tcmprogrmmr noted) seem to be more of late and my history with viewing TCM is so contrary to that. If I bring it up, I do intend to be offering constructive criticism.