clore
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Posts posted by clore
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How could I forget DONDI? I saw it nearly 50 years ago and the awfulness still haunts me.
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That awful Mexican SANTA CLAUS movie for one.
Among big studio pics with a decent cast, THE EXTRAORDINARY SEAMAN sure was a loser, maybe even worse than SKIDOO.
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Something similar happens in *THE MAD MAGICIAN* , when Vincent Price takes the body of one of his victims, wraps it all up like a dummy...and tosses it into a campus bonfire.
And John Brahm directed both films.
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> {quote:title=Arturo wrote:}{quote}
> Here's a pairing that surprised me: Bob Hope and Linda Darnell. I found this on e-bay; it apparently was in 1957, as there was also on e-bay a contract specifiying the terms of Linda's participation in a Hope television show.
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Was this the photo in question?
EDITED TO ADD - I was reading from the bottom going up, I see that you've been answered already.
Edited by: clore on Jul 14, 2012 6:04 PM
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Huh, why is John Garfield holding Lucille Ball's hand, or why is Lucille Ball holding John Garfield's hand?
You'll notice that you have Red Skelton, red-haired Lucy and accused Red John Garfield. I tell ya, those reds really stick together.
Not to make light of the situation, but some of those transcripts could be used AIRPLANE! style as a comedy. The funniest was in one of Lionel Stander's appearances where he's trying to warn the Committee of a threat to the Constitution, all the while alluding to the Committee itself. It went right over their respective heads.
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I imagine it's just the public voting on titles and as the IMDb often qualifies films under several different categories, those titles show up because one of the categories they are labeled as is film noir.
But hey, I have a book titled "The Devil Thumbs a Ride" in which the author (Barry Gifford) actually has REBEL WITHOUT A CAUSE listed as a noir. Gifford may be the author of such things as LOST HIGHWAY and WILD AT HEART, but for me, that's not enough to qualify him as the arbiter on film noir.
I no longer even debate the subject, it's become almost meaningless to me and I just enjoy a film without trying to shoehorn it into a category that's so disputed in the first place.
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Presently unless you really know the movie there is absolutely NO WAY to know if a particular movie is a true film noir or just a regular "crime" movie.
That's probably why they don't use the term. You can't get people to agree on what's noir and what isn't. Nowadays, it seems that any old black-and-white film that doesn't star Bob Hope or Abbott and Costello can be shoved in a package called "Lost Noir Classics" and it will sell.
Look at the IMDb Top 50 Noir titles - see if you can't dismiss half of them at least. REBECCA, NOTORIOUS, WITNESS FOR THE PROSECUTION - this is what is voted as noir and in the top 15?
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A 1963 film from Spain titled EL VERDUGO, aka THE EXECUTIONER aka NOT ON YOUR LIFE. It's a comedy about a public executioner who is having trouble marrying off his daughter. A chance meeting with an apprentice undertaker, whose profession causes him some romantic problems, soon changes things.
I saw it once in a dubbed version on late night TV in 1968 or so. It's not on DVD and I'd love to see it once again on TCM Imports.
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All that I knew of Duvall at the time was TO KILL A MOCKINGBIRD and a couple of episodes of THE FUGITIVE. So, there wasn't much baggage there and it was hard to tell it was him in the disguises.
But that did have me asking at the time "if she's blind, why the need for disguises?"
By the way, the end of the film really has a head-scratching scene. Hepburn is on the other side of the room, and Zimbalist calls for her to be the championship blind lady and find her way around the mess to greet him at the entrance. It wasn't presented that way on stage and it's terribly inconsiderate of his character to expect her to do this after the ordeal.
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I saw WAIT UNTIL DARK on stage in October 1966. It had Lee Remick and Robert Duvall, plus Mitchell Ryan in the Richard Crenna role. Directed by Arthur Penn. That was quite impressive for someone not quite 15 at the time.
Duvall was preferable, when I see Alan Arkin in here, I think of Jerry Lewis. That final "shock" moment was also a lot more effective in a theater where they had turned down the house lights also. There are probably claw marks on the chair arms.
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Tell me about it, trying to stay in some kind of shape is tough. I just finished my every-other-day weightlifting - nothing heavy, just dumbbells, which some say suit me.
It's the plague of dampness upon old knee injuries that reminds me most of the passing years. I'm accurate to within 36 hours and they've been telling me since this morning that it's going to rain.
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Look who is on your TCM screen as we exchange posts - it's Efrem!
You got it, that's the episode of 77 SUNSET STRIP that I was referring to - you're my age, huh? I'll be 61 in October.
I'd agree about Smith resembling Jeff Hunter, although my sister thinks he and the young Larry Hagman look alike. Smith was ahead of his time, long before Michael Landon and Alan Alda, Smith was writing scripts for 77 SUNSET STRIP and the one I cited earlier - "Once Upon a Caper" as well as his "The Silent Caper" (no dialogue at all) are two of the best episodes from a show that had close to 200 of them.
I can remember when the gossip columnists said that the marriage of Smith and Ann-Margret wouldn't last.
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To get a different perspective of the man, you would have to see an episode of 77 SUNSET STRIP titled "Once upon a Caper."
Somewhat influenced by RASHOMON, the story has the newest member of the team, Richard Long, inquire as to the origins of the partnership. As he asks fellow cast members, each one - Zimbalist, Roger Smith and Edd Byrnes, spins a yarn that places himself as the key factor in solving a big case.
The one that Roger Smith tells has Zimbalist as a real Casper Milquetoast type, and he's surprisingly good in it. That one, and "Reserved For Mr. Bailey" in which Zimbalist is the only on-screen character, just might broaden your opinion of the guy.
I'd go into hock if ever that show were to come out on DVD. They were running episodes on The American Life Channel up until about 2007, and they are in pretty good shape, although the channel was editing them to add more commercial time.
Regardless, the guy has been blessed - he's almost 94 and was working as a voice-over actor until only a few years ago, playing Alfred the Butler on the animated BATMAN series. I know what you mean though about the FBI series. I saw most of the first season shows and I think they managed to spread two or three plot lines over 32 episodes. It was a crime show, but the biggest crime was that it was so redundant.
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It's a color shot of Zimbalist on the set of 77 SUNSET STRIP, sitting and smoking his pipe.
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I'd say that Zimbalist was an actor, but hardly a "star." That's not a knock, I stayed up to watch HOUSE OF STRANGERS on WNTA in 1960 because he was in it and 77 SUNSET STRIP was my favorite show. But then and now, I can't say that it was a "strong" supporting role.
It took him another eight years after STRANGERS (not until 1957) to land another movie role, which coincided with the start of his TV career and when was he ever given top billing in a theatrical feature?
Thus, he made *one* movie "long before his television career was underway." That's not my definition of a movie star.
Yet I do have an autographed photo of him from 1961.
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Everytime I would see him interviewed I always waited for him to mention that he slept with "whatever actress the documentary was about"
Exactly! I saw him recently in an airing of the RITA HAYWORTH bio on TCM and as soon as he came on camera, I knew where he was going to take his story. I couldn't care one bit about what he did behind closed doors, but have a sense of honor, man. But as he outlived almost everyone, just missing his 100th birthday by a few weeks, it seems that on film and in print, his last decade was spent giving interviews and detailing his carnal activities.
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I immediately recognized Robert Colbert, who was doing a lot of work for WB then, as the murderer but didn’t see anybody else who resembled him in the film.
Well, the man on trial, Rhodes Reason, was of similar height and coloring. What would have been great would be if Rex Reason played the killer, one can barely tell those two guys apart but they weren't twins.
I remember that back in those days, Robert Colbert seemed to be on 77 SUNSET STRIP and HAWAIIAN EYE fairly often as a suspect. There was a fair amount of press when he was signed on to play Brent Maverick, with his resemblance to James Garner noted in a few NYC papers, but he made but two episodes and the show was canned. If he's known for anything these days, it's THE TIME TUNNEL.
I agree about Efrem Zimbalist, there was something inherently decent about him and he had a nice run of over a decade on WB-produced shows. He even got to play Audrey Hepburn's husband in WAIT UNTIL DARK, so in that regard, he had a better career than most of those WB TV stars, except for James Garner.
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> {quote:title=kriegerg69 wrote:}{quote}*The Corpse Grinders* (1-3) - Bodies are ground up into cat food.
"It takes all types of critters, to make Farmer Vincent's fritters."
MOTEL HELL, where being a corpse is probably preferable to what happens prior to that.
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How about FARGO where a certain deceased party is being fed to the wood chipper?
Or HANGOVER SQUARE where a particular corpse is fed to a Guy Fawkes Day bonfire?
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Bogart and Clifton Webb, who actually went back years to Btroadway in the 1920s:
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I've been curious to see it again - I saw it way back in 1961. It's the kind of thing that was relatively ignored in 1961, being a WB film with the cast consisting mostly of actors from their TV shows of the period.
Were it Henry Fonda in the Efrem Zimbalist part and Richard Widmark in the Jack Kelly role, maybe it would have been revived more often. There's quite a few of these WB films with similar TV casts, such as WALL OF NOISE, PORTRAIT OF A MOBSTER and GOLD OF THE SEVEN SAINTS that I saw as a kid that have rarely aired since the 70s.
Universal is another studio hiding so many of its potboilers from the 50s and 60s and so many stars went from the Big U to WB. Jack Kelly, Ray Danton, Richard Long, Grant Williams, Troy Donahue, Rex Reason and William Reynolds come to mind immediately. I guess it was worth it for Warners, picking up trained and exposed talent, probably at distress prices.
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> {quote:title=ugaarte wrote:}{quote}There is yet, another Movie, starring Robert Preston and Mary Tyler Moore.
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> But I can't, for the life of me, Remember the name of this movie . . .
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> does anyone know what movie I'm talking about ?
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Finnegan Begin Again, an HBO TV movie.
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I saw PUBLIC ENEMY on the big screen in 1959 at my local third-run theater when I was eight years old. That film had a more shocking finish to me than any horror film I had seen at that point, and I had already seen Universal's two biggies for 1931.
It was on a double-bill with LITTLE CAESAR and the only other Cagney film I had ever seen before that was YANKEE DOODLE DANDY. Thus, my first two gangster films just happened to be two of the most legendary.
THE BODY SNATCHER has some experiments going on with corpses, but it was all in the name of research. The same goes for the various other "Burke and Hare" based films such as FLESH AND THE FIENDS and THE DOCTOR AND THE DEVILS as well as CORRIDORS OF BLOOD.
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I was just looking that one up. I knew it was Richard Todd, but I couldn't remember which Amicus film had that segment. I haven't seen any of them except for TORTURE GARDEN since the original release.
I still recall the segment of TALES FROM THE CRYPT with Nigel Patrick as the nasty asylum head who is treated to a maze lined with razor blades. Nothing graphic really, but a most chilling segment.
Movie Parents who clearly aren't old enough to be parents.
in General Discussions
Posted
This is where perimenopausal women play mothers to babies or infants and very young children. Sure it still physically possible for women to have children in their late 40s, but are audiences really going to believe it?
Like Lucy giving birth in YOURS, MINE AND OURS?