clore
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Posts posted by clore
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> {quote:title=Sepiatone wrote:}{quote}
> In the scene you mention clore, Grable claims the music on the radio IS Harry James, stating that she knows Harry James when she HEARS him, but the song ends and the announcer says it was somebody else(I couldn't hear who he said it was).
Ahh, was that how it went down? I haven't seen the film in about 30 years. I could recall the line "I know Harry James when I hear him" but misremembered as to whether she was arguing for or against it being HJ on the radio.
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> {quote:title=Sepiatone wrote:}{quote}
> In the scene you mention clore, Grable claims the music on the radio IS Harry James, stating that she knows Harry James when she HEARS him, but the song ends and the announcer says it was somebody else(I couldn't hear who he said it was).
Ahh, was that how it went down? I haven't seen the film in about 30 years. I could recall the line "I know Harry James when I hear him" but misremembered as to whether she was arguing for or against it being HJ on the radio.
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> {quote:title=Sepiatone wrote:}{quote}
> In the scene you mention clore, Grable claims the music on the radio IS Harry James, stating that she knows Harry James when she HEARS him, but the song ends and the announcer says it was somebody else(I couldn't hear who he said it was).
Ahh, was that how it went down? I haven't seen the film in about 30 years. I could recall the line "I know Harry James when I hear him" but misremembered as to whether she was arguing for or against it being HJ on the radio.
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> {quote:title=Sepiatone wrote:}{quote}
> In the scene you mention clore, Grable claims the music on the radio IS Harry James, stating that she knows Harry James when she HEARS him, but the song ends and the announcer says it was somebody else(I couldn't hear who he said it was).
Ahh, was that how it went down? I haven't seen the film in at least 30 years. I could recall the line "I know Harry James when I hear him" but misremembered as to whether she was arguing for or against it being HJ on the radio.
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Chances are it would have been TV Movies in the early 70s, LOVE BOAT appearances in the late 70s and a recurring role on DALLAS or DYNASTY in the 80s.
As far as theatrical movies go, maybe she would have had roles in the likes of MURDER ON THE ORIENT EXPRESS or THE TOWERING INFERNO, sparred with Elizabeth Taylor in THE MIRROR CRACK'D, have been the aging floozy in FAREWELL, MY LOVELY, but that's about it.
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I didn't get to see it last night, but I seem to recall a Harry James reference in the film also. I think it's a bit where he's playing on the radio and Grable's character doesn't recognize him.
One of my all-time favorite such occurances is in WHAT'S UP DOC where Barbara Streisand tells Ryan O'Neal that "Love means never having to say you're sorry" and he responds "That's the dumbest thing I ever heard."
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I don't believe many would say that the first "Thin Man" was the "best".
Well, allow me to present myself as one who does believe that the first was the best. The second one is the one I find the least enjoyable, way too much footage is given to Asta, who was becoming the "Cheetah" of this series.
It wasn't long before they added a "Boy" to the mix which increased the family-friendly nature of it all, but for my own taste, it just meant more padding.
I do have a fondness for *Shadow of the Thin Man* but that's because I love any movie that has thoroughbred racing in it.
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Margaret O'Brien's slippers change color during the "Under the Bamboo Tree" scene in MEET ME IN ST. LOUIS.
Bogart stands in the rain, reading a note in CASABLANCA, but as he steps on the train, his coat is completely dry.
Sean Connery's collar opens and closes and opens again in a scene in THE UNTOUCHABLES.
Glenn Close's dress changes in the middle of a cross-examination in JAGGED EDGE.
The windshield that is shot out in the toll plaza scene of THE GODFATHER manages to fix itself by the time that the family arrives.
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> {quote:title=Arturo wrote:}{quote}
> Where Kay got a raw deal was in the late 30s, after WB publicly announced that their high priced star would finish off her contract in B pics. If that wasn't bad enough, seems that the writers had orders to give her tongue twisting sentences of dialogue featuring as many Rs as possible.
Yes, but Kay held her head high and let it be known that she would honor her contract even if they assigned her to scrubbing the floors.
She ended up leaving a good piece of her estate to "Seeing Eye" for the training of guide dogs for the blind. That makes her OK in my book.
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> {quote:title=misswonderly wrote:}{quote}
> Wait...I thought that particular subject matter was limited to George Brent.
Actually, George Brent made a crack about Kay Francis' aws - no pun intended. In LIVING ON VELVET, noticing that she has trouble pronouncing "April," he tells her to repeat the following phrase:
"Around the rugged rocks the ragged rascals ran"
You can imagine how the response sounded. Kay had to be a good sport to put up with a scene such at that. Or else she went around the set laughing at Brent's big wound wear wend.
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Tony Martin dies at 98; singer-actor in Hollywood musicals
Known for such musicals as 'Ziegfeld Girl' and 'Casbah,' he continued to perform into his 90s. He was also known for a cabaret act with his wife, Cyd Charisse.
By Valerie J. Nelson and Claudia Luther, Los Angeles Times
July 30, 2012, 11:38 a.m.
Tony Martin, the last of the big-name singer-actors from the golden age of Hollywood musicals, has died. He was 98.
Martin, who toured for years with his wife, dancer-actress Cyd Charisse, died of natural causes Friday at his home in Los Angeles, his longtime business manager, Stan Schneider, told The Times
He appeared in more than 30 films, most memorably as a thief at odds with Peter Lorre's inspector in 1948's stylish "Casbah," one of the many movie musicals that helped turn Martin into a star.
PHOTOS: Notable deaths of 2012
Twice, songs sung on screen by Martin received Academy Award nominations: "For Every Man There's a Woman" from "Casbah" and "It's a Blue World" from the 1940 film "Music in My Heart."
He endured as a crooner of romantic ballads, continuing to belt them out onstage well into his 90s.
With his powerful voice and beguiling style, Martin was enormously popular from the late 1930s through the 1950s as a singer who helped make standards out of such tunes as "Stranger in Paradise," "La Vie en Rose," "Fools Rush In," "I'll See You in My Dreams" and many others.
INTERACTIVE: Tony Martin on the Hollywood Walk of Fame
Although dozens of singers recorded Cole Porter's "Begin the Beguine," Martin was so identified with it that former Times jazz critic Leonard Feather once described the song as Martin's "virtual mirror image."
"Martin reminds you of that era when hearts were worn on sleeves," Feather wrote in a 1970 Times review of a local nightclub performance. "He lets all the emotions hang out, rising to a triplet-backed crescendo on 'For Once in My Life' and singing 'I Am in Love' as if addressing it to Rita Hayworth in a tight close-up," a reference to the glamorous stars with whom he shared the silver screen — and regularly escorted around town.
His tenor voice won him roles in such 1936 movie musicals as "Pigskin Parade" with Judy Garland and Betty Grable and the riverboat saga "Banjo on My Knee" with Barbara Stanwyck. He also co-starred in 1941's extravagantly choreographed "Ziegfeld Girl," serenading Garland, Hedy Lamarr and Lana Turner with "You Stepped Out of a Dream."
PHOTOS: Notable deaths of 2012
By the early 1960s, movie musicals and his singing career had crested, and he began touring with Charisse in a cabaret act. He pulled from a treasury of songs that included "I Get Ideas" and "It's Magic," and his wife danced.
"To him, walking out on to a nightclub floor is as simple and natural as going to the kitchen for a glass of water," Charisse said in "The Two of Us," the joint autobiography she wrote with Martin in 1976.
The couple marked 60 years of marriage in 2008, the year she died at 86. A bereft Martin, then 94, dealt with his grief by continuing to perform live, he later said.
INTERACTIVE: Walk of Fame virtual tour
Although he was no longer a belter, the rich timbre of his voice was "surprisingly unchanged from what it was in the 1940s and '50s," according to a 2009 New York Times review during a five-night engagement at a New York City nightclub.
Cued by his pianist, the 95-year-old Martin sang "perfectly recollected versions" of songs associated with such contemporaries as Bing Crosby ("I Surrender, Dear") and "There's No Tomorrow," which Martin said was given to him by Perry Como, according to the review.
Martin viewed his performing style as heartfelt, telling The Times in 1960: "I think I sound like a fella who's always making a plea through his music. Sort of a plea of sincerity."
He was born Alvin Morris on Dec. 25, 1913, in San Francisco, according to birth records. His parents, Edward and Hattie Morris, were Jewish immigrants from Poland who divorced when he was young, and he considered his stepfather, tailor Myer Myers, his father.
Growing up in Oakland, he took up the saxophone after his grandmother gave him one when he was 10. The instrument — and later his singing — was "my passport away from poverty," he later said.
In high school, he formed his first band and after graduating spent about two years at St. Mary's College in Moraga, Calif., but left to pursue music.
For several years, he played and sang with bands in the San Francisco area, including the Tom Gerun Orchestra. When legendary MGM studio chiefLouis B. Mayerheard them on the radio, he brought Martin to Hollywood in 1934 for a screen test.
It took him a couple of years to break through, and he eventually adopted the stage name of Tony Martin.
After signing with 20th Century Fox in 1936, Martin was cast in the Shirley Temple musical "Poor Little Rich Girl" and the musical comedy "Sing, Baby, Sing," which featured Alice Faye, one of the biggest stars of the era.
The debonair Martin had dated such screen goddesses as Hayworth, Lana Turner and Yvonne DeCarlo but married Faye in 1937.
"To many people around town, I was Mr. Alice Faye," he later complained.
When he hit the road to play in nightclubs, the marriage fell apart in 1941, the year he appeared with the Marx Brothers in "The Big Store," singing what became a signature tune — "The Tenement Symphony."
World War II interrupted his career, and his military service was fraught with controversy, including rumors that he had bribed his way into an officer's commission in the Navy. Discharged from the Navy, he joined the Army as a buck private and performed with an Army Air Forces orchestra directed by Glenn Miller. He left the Army as a technical sergeant in 1945.
"The war and all my service-connected problems did me one good turn," Martin wrote in his autobiography. "I went into the Navy a real cocky kid. When I came out, I was pretty humble. I had been chopped down to size."
The ruckus threatened his career and made it harder for him to find work after the war.
But in 1946, he recorded "To Each His Own," which became a top 10 hit. That same year, he appeared in the Jerome Kern biographical film "Till the Clouds Roll By." He continued to regularly sing and act in movies through the 1950s.
Martin's string of hit songs that began in the 1930s with "Now It Can Be Told" and "South of the Border" continued in the 1950s with such titles as "Tonight We Love" and "Circus."
During the same time, he was active on the radio, appearing on Walter Winchell's "Lucky Strike Hour" and with George Burns and Gracie Allen.
Segueing to television, he hosted "The Tony Martin Show" from 1954 to 1956 on NBC and was nominated for an Emmy as best male singer in 1955.
Through their mutual agent he met Charisse, who went toe-to-toe in films with Gene Kelly and Fred Astaire.
"She stepped out of a dream," Martin later said.
They were married in 1948 and had one son, Tony Martin Jr., who died in 2011 at 60.
Martin's survivors include Nico Charisse, his wife's son by her first marriage, and two grandchildren.
As he entered his late 90s, Martin attributed his stamina to daily calisthenics, giving up smoking in his 60s, eating two meals a day and walking.
Being onstage made him feel young again, he said.
As he marked only his 50th year in show business, in 1981, he paused during a week of shows in a New York club to ask: "What am I going to do? Sit in Beverly Hills and watch the clouds go by?"
Nelson is a Times staff writer, and Luther is a former Times staff writer.
http://www.latimes.com/news/obituaries/la-me-tony-martin-20120731,0,2504313,full.story
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Was there any other actor/actress of the Hollywood studio system days who had such a startling career rebirth as Dick Powell?
Yes, and someone with very similar origins. John Payne had a very similar start, even overlapping with Powell at Warners. Payne went over to Fox after that but obviously no one there saw his darker side as it was mostly lighter stuff to which he was assigned.
But effective with LARCENY at Universal, Payne proved that he had the stuff and soon amassed a string of noir and western credits. Too bad Fox didn't realize this and cast him in THE BRASHER DOUBLOON. With Payne, Conte, Mature or even Mark Stevens, why they went with George Montgomery is a mystery worthy of Marlowe himself.
Supposedly when the preview audience saw James Stewart's name at the start of WINCHESTER '73, there was laughter in some sections of the theater. Fox was so uncertain that they held up the release of BROKEN ARROW which was filmed before but issued after WINCHESTER '73.
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Father and son? The just departed R. G. Armstrong:
Frequent Eastwood co-star Bill McKinney:
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I once caught BLOOD MONEY on FMC, back-to-back with CALL HER SAVAGE.
The former was an amazing pre-Code gangster film and filled with all of the necessary ingredients to make it into my top ten. But while I was able to record the Clara Bow film on a subsequent airing, I never spotted BLOOD MONEY on the schedule again.
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AddisonDeWitless wrote:
ps- Again, I know this is tacky, but has everyone involved in From Here to Eternity died by now?
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Joseph Sargent, who later became a director was an extra on the film and he's still alive.
Plus, as far as I know, TCM has yet to have tributes for
Robert J. Wilke
George Reeves
Harry Bellaver
Philip Ober (aka wife-beater day, ask Vivian Vance, she'd say he was typecast)
Mickey Shaughnessy
Claude Akins
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A usually reliable site has released the word that R. G. Armstrong died in his sleep last night, age 95. No further details yet.
A favorite of Sam Peckinpah, Armstrong also worked with Howard Hawks, Wim Wenders, Bob Rafelson, Phil Kaufman, Sergio Leone and Warren Beatty (as Pruneface in *Dick Tracy*).
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You should visit Ty's web site - whew, this guy is whacked out. Talk about BERSERK!
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> {quote:title=helenbaby wrote:}{quote}This was posted on IMDB's message board too. How could you get through all the verbosity to understand what the hell the guy was saying? I was snoozing after the 1st paragraph. Apparently this guy thrives on controversy (although I'd never heard of him, others had.)
It's the same person, just using a different name here. The OP never links to the article itself, always to the same blog address that will then provide a link to the article in question. Also, rarely does the person join in any subsequent discussion, so as far as I'm concerned, the intent is just to raise the number of hits at her blog site.
Most of the time, the "news" is days old anyway.
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I saw TROG theatrically - once was enough. Still, I prefer it to BERSERK but that's faint praise.
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> {quote:title=TopBilled wrote:}{quote}
> TCM did not schedule BERSERK, one she made in 1967 for Columbia. It aired around Halloween last year, but it isn't scheduled this October. It is in Technicolor...all the others from this decade are in black-and-white. TROG, also in b&w, was not made till the next decade.
TROG is in color, please that's one of its few assets.
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Well, I already used "Wow" and "Double Wow" to describe the "The Projected Image" series in October so I need to find a new exclamation. Maybe I'll just borrow an appropriate one.
Since it's Fleischer you're talking about, may I suggest:
"Well blow me down!"
Edited by: clore on Jul 28, 2012 9:43 AM
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The problem is that cats are never the heroes of their films. More often than not, they are just a problem for the wonderful, heroic, beautiful, lovable, terrific, brilliant dog.
Check out SHADOW OF THE CAT when the titular feline is a problem for those greedy family members who murdered its owner.
THE THREE LIVES OF THOMASINA has a dog or two in the story, but they aren't the cat's problem. Runs out of steam at the end, but overall it holds up, I just watched the DVD a few weeks ago.
RHUBARB is the mascot of a baseball team and when he scares away the mascot dog of another team, his own team is inspired enough to start winning some games. My mother loved this movie so much that she named one of our many cats after it.
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> {quote:title=PrinceSaliano wrote:}{quote}DIE SCHLANGENGRUBE UND DAS PENDEL (1967) ... a German horror film starring Christopher Lee and Lex Barker, shown on American television as THE TORTURE CHAMBER OF DR. SADISM.
Probably not the best venue, but there is an 80-minute cut of it on YouTube:
http://www.youtube.com/watch?v=i5GMAiCk9Ts
Not having seen it since a WOR airing in the 70s, I watched it a couple of months ago - fairly clean copy.
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It WAS on DVD in Spain:
Look around better and you might be able to find a copy out there.
Thanks for the tip, I'll check it out.
Last night I watched my DVD of Bava's KNIVES OF THE AVENGER. Seeing the star of that film, Cameron Mitchell, reminded me that I've not seen FACE OF FIRE since it aired on WOR-TV in 1966. James Whitmore co-starred as the unfortunate handyman who becomes disfigured in a fire and then shunned by townsfolk. It's an adaptation of Stephen Crane's "The Monster" but it's not exactly a horror film. This disturbing slice of Americana was actually shot in Sweden, an early effort of Albert Band.
It should be in the Allied Artists catalog and hopefully a candidate for future airing or a Warner Archive title.
"Millionaire" and other personal referrences.
in General Discussions
Posted
> {quote:title=Sepiatone wrote:}{quote}
> In the scene you mention clore, Grable claims the music on the radio IS Harry James, stating that she knows Harry James when she HEARS him, but the song ends and the announcer says it was somebody else(I couldn't hear who he said it was).
Ahh, was that how it went down? I haven't seen the film in about 30 years. I could recall the line "I know Harry James when I hear him" but misremembered as to whether she was arguing for or against it being HJ on the radio.