Richard Kimble
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Posts posted by Richard Kimble
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Which browser are you using?
AOL. But it doesn't matter. When I tried it another time once before on Explorer it did the same.
Sepiatone
You need a new browser. Step into 2003.
https://support.google.com/chrome/answer/95346?co=GENIE.Platform%3DDesktop&hl=en
If you have vision issues, both FF and Chrome offer the great NoSquint extension.
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FF to 0:35
It seems like I've seen it somewhere before
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A few things here....
At RICHARD--
A cousin of mine who worked at a newspaper in New Orleans informed me that I'd get better treatment from the natives of that city if I courteously referred to it as "NAWLINS", and it's home state as "LOOZIANA". Indeed, fiddler supreme DOUG KERSHAW proves this point!
Locals would find it annoyngly patronizing for an outsider to say "N'Awlins". "New Orluhns" is acceptable for "foreigners".
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I have stumbled across a reference which claims that: The Connection (1961) was the first use in an American movie of the four-letter word for excrement. It was originally denied a license to be shown in New York. A court: "held that while 'vulgar', this usage could not be considered obscene." https://en.wikipedia.org/wiki/The_Connection_(1961_film)
I find it difficult to believe that there was not a pre-code movie which used the word but I have no idea how to research same.
Supposedly in the Laurel & Hardy short Perfect Day (1929) Edgar Kennedy bumps his foot cast into a car door and you hear him say, "Oh sh1t!"
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Percy Helton
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My question is how did anyone come up Joan Crawford. Sounds so ordinary.
I've always felt that way myself. Allegedly a contest was held to find her a new name, and "Joan Crawford" was the winning entry.
The critic-historians may suggest that it was JC's very ordinaryness that her fans treasured, and the name was in keeping with that.
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Locals in the town of Prescott Arizona will know you're not a local if you pronounce it as "PRESS-cot".
(...locals pronounce it as "PRESS-kit")
From the title song of Guys and Dolls:
Look, what's playing at the Roxy?
I'll tell you what's playing at the Roxy.
A picture about a Minnesota man so in love with a Mississippi girl,
That he sacrifices everything and moves all the way to Biloxi.
That's what's playing at the Roxy.
Which is fine -- except that "Biloxi" does not rhyme with "Roxy", at least not according to the locals. It's pronounced "Bi-LUX-ee"
And don't get me started on "New Orleenz" -- NOBODY in that that city pronounces its name that way.
This can admittedly get a bit confusing, as the name of the parish (the Louisiana version of a county) New Orleans is in is indeed pronounced "Orleenz" (no "New").
Don't blame me...
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I've always pronounced her last name to rhyme with "gauche".
But this trailer rhymes it with "gosh":
Her real last name was Fock. Let's not even go there.
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Tom Neyman, who played The Master in cult fave Manos The Hands of Fate, died Saturday Nov. 12, according to a Facebook post by his daughter Jackey Raye Neyman Jones. He was 80.
My dad, The Master from Manos The Hands of Fate passed away last night when his heart stopped. He has now transcended to become Manos.. I miss my dad. He was such a gentle, sweet, humble and loving man.-
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Nawww...beatcha to it by one whole minute here, Doc!
Arthritis + sticking keyboard + bad eyesight + tiny font in the TCM word processor on Chrome
=
Takes me a few seconds to type, then five minutes to correct typos
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Reflections in a Golden Eye would have been better without its ending. Of course, it would have been better without its beginning or middle, either.
I actually like Reflections, though I admit the last shot doesn't work. But this is less because of the action taking place than the camera shot Huston uses, which was definitely an error in judgment.
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The first punch thrown by a woman?
Westward the Women (1951) has two women in a fistfight, but surely there were other before that.
Dietrich and Una Merkel have a catfight in Destry Rides Again ('39)
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I'm the first person to mention The Bad Seed?!?
I do wish Howard Hawks would've used the original ending from the Red River novel. This original version would later be reworked by Larry McMurtry in Lonesome Dove.
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I kinda thought the show was in a small way based on a movie I saw(DAMN! I forget the name or who was in it!) in which a group of shipwrecked castaways are led by one of them who seemed to know a lot about survival in that situation, and manage to thrive solely on his wisdom and knowledge and look up to him as the leader, but by the end of the flick, when their rescue happens, it turns out they learn that he was a mere BUTLER for some rich fat cat who apparently didn't make it.
The Admirable Crichton, filmed in 1934 as We're Not Dressing w/ Bing Crosby and Carole Lombard, and as TAC w/ Kenneth More in 1958. IIRC this is the story Schwartz claimed inspired GI.
There is also another desert island film that bears an intriguing resemblance to a number of GI episodes: Mysterious Island (1961). With its steampunk tech and giant animals, it's very possible at least one of the GI writers saw it and took inspiration. Bob Denver himself in one interview admitted this was possible, though he never made an absolute claim for certain.
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On the set of Hud Paul Newman takes a turn behind the camera, getting a shot of Patricia Neal. James Wong Howe and Martin Ritt look on from behind him.
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How I escaped a Mexican madam with Steve McQueen
On Good Friday, work on The Magnificent Seven shut down in Mexico. Brad Dexter, one of the Seven and a buddy of Frank Sinatra's, suggested Steve and I join him in a visit to what he called 'one of the finest brothels in North America'.Having spent nearly a decade wandering LA's Sunset Strip, I'd met many ladies of the evening. I considered many of them friends, and had made it a rule not to do business with them. But I decided to tag along.Brad directed our taxi driver to a lavish high-walled hacienda in a quiet district of Mexico City, where the blonde madam welcomed us like visiting dignitaries at an embassy cocktail party.Rounds of margaritas appeared, along with beautifully coiffed and gowned ladies. Brad left with a pair of dark-haired beauties as still more margaritas arrived.With the light slowly dimming in the room and in my head, the madam announced it was time to make a selection.There were seven girls in the room. In stumbling Spanish, Steve told the madam that all seven should stay 'because we are the Magnificent Seven'.It seemed to me that we were just two very drunk Americans, and I wasn't feeling very magnificent, but I did not object to Steve's gluttonous suggestion.I was flush with both pesos and dollars, having been too sick with an upset stomach in Cuernavaca to spend my daily allowance. So Steve and I adjourned to a room with many large pillows and the seven women.If you've never experienced sex for seven, you're undoubtedly interested in the salacious details. I can only say that, due to the tequila, we did more laughing than anything else.Near midnight, I recalled that filming was scheduled for the next day. I said to Steve: 'Let's pay our bill and get out of here.'I was yet to hear about Steve's famous habit of not carrying money. He replied: 'Hey, man, could you loan me some dinero?'The bill came to something like $700 - pretty big money in the Sixties. I had about 400 on me, along with several hundred pesos, and I offered the whole wad to the madam.'I'm paying for three and a half senoritas, including tip,' I said, hoping for a laugh.The madam didn't smile. Instead, she snapped her fingers and a huge hombre entered the room. Fixing a hostile glare on me and Steve, he reached out, grabbed my money, and asked: 'How you plan to pay the rest?'I smiled at Steve. He smiled at the hombre. The hombre ... he no smile back.Suddenly a light seemed to dawn in Steve's alcoholic haze. Pulling out his wallet, he produced a Diners Club booklet containing coupons for use at restaurants. 'How about these?' he asked, pathetically. The hombre moved towards us. Several more mean-looking Mexicans materialised.On cue, Steve and I spun around and pushed through some swing doors. Steve dashed towards the right, while I ran left down a long hall ending in French doors, and vaulted over a balcony.I landed on moist grass, sprang up and ran to the high wall surrounding the villa grounds, where I scrambled up a trellis and flung myself on to the edge of the wall.Eyeing the 12ft drop to the street below, I saw two bulky Mexicans standing there as if on guard. I dropped to the ground, expecting to be apprehended if not beaten to a pulp.I stood up and smiled wanly at the two men. They merely smiled, remarked, 'Buenos noches,' and strolled away.The next morning, Steve arrived on the set 45 minutes late and badly hungover.He'd talked his way out of the brothel by promising to pay the balance in full and to tip generously. His years on the street had served him well.-
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Jud Kinberg, the father of X-Men movie architect Simon Kinberg who produced such stellar films as the Vincent van Gogh biopic Lust for Life, starring Kirk Douglas, and William Holden's Executive Suite, has died. He was 91. Kinberg, who also wrote the screenplay for the Hammer Films cult horror classic Vampire Circus (1972), died Nov. 2 of natural causes at his home in New York City, his son told The Hollywood Reporter.
Kinberg served as an apprentice under the influential producer-actor John Houseman, and they went on to produce films at MGM including Julius Caesar (1953), starring Marlon Brando; Executive Suite (1954), directed by Robert Wise; Her Twelve Men (1954), featuring Greer Garson and Robert Ryan; Vincente Minnelli's The Cobweb (1955), toplined by Richard Widmark and Lauren Bacall; Moonfleet (1955), helmed by Fritz Lang; and Lust for Life (1956), which received four Oscar nominations.
Kinberg also produced the taut British psychological thriller The Collector (1965), directed by William Wyler (who turned down The Sound of Music to work on this film), and the Michael Caine-starring The Magus (1968). Both movies were based on novels by Englishman John Fowles, who was the best man at Kinberg's 1971 wedding.
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Photo Blog #12: Reel Mysteries:
http://blogs.loc.gov/now-see-hear/2016/11/photo-blog-12-reel-mysteries/
This time in the Library’s ongoing series of “mystery stills,” we return to what are probably film stills from some very obscure films. We welcome your assistance in telling us the titles or any of the performers pictured.
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Jack Warner with his contract players on the WB lot, 1961
How many can you identify from the following close shots?
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http://www.vanityfair.com/news/2008/10/oil_excerpt200810
Construction began, and proceeded fitfully through 1947 and 1948. The Shamrock was as big as McCarthy had hoped, a gray granite colossus 18 stories high and almost as wide. Building it, however, was the easy part. McCarthy dreamed of making the Shamrock’s Saint Patrick’s Day opening a national event, with coverage in Time and Life and newspapers around the world. He envisioned a Hollywood-style gala, complete with spotlights and movie stars. Unfortunately, Houston had no movie stars. So McCarthy hatched the idea of holding a simultaneous movie premiere and hotel opening. To do that, however, it would be necessary to make an actual movie.
From Black Gold to Silver Screen
And so, in March 1948, one year before the opening, McCarthy flew to Los Angeles and announced the formation of Glenn McCarthy Productions, telling reporters he was embarking on a series of major film projects. His announcement, coming just as Life introduced America to H. L. Hunt and the strange new world of Texas millionaires, created a stir in film circles. “A spectacular entrance,” one columnist termed it. “It looked as though McCarthy would turn Hollywood topsy-turvy with his ambitious production plans.” McCarthy then embarked on a manic tour of Hollywood parties and nightspots, befriending a slew of stars, from Errol Flynn to John Wayne. Making a movie, he discovered, wasn’t nearly as difficult as finding oil. McCarthy hired a director and a cameraman, and had talent agents hire actors. He had a script ready to film, The Green Promise, the story of a young girl’s struggle to save her family’s farm. To McCarthy’s delight, the child star Natalie Wood agreed to play the lead. Walter Brennan signed to play her father.
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January 1949, with the hotel’s opening only three months away, construction on the Shamrock was almost finished; it had cost $21 million. The Green Promise was complete, and would premiere at a Houston theater the night after the hotel’s opening; city fathers had agreed to stage a torchlit evening parade in its honor.
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That morning the stars began to arrive. McCarthy had chartered an entire 14-car Santa Fe train—“the Shamrock Special”—to bring them from Hollywood. A crowd of 5,000 dominated by bobby-soxers ringed the train station and lined nearby rooftops for its arrival. Girls squealed when Dorothy Lamour emerged and kissed McCarthy on the cheek. Cheers erupted as other stars followed: Robert Ryan, Andy Devine, Alan Hale, Ward Bond, Kirk Douglas, Stan Laurel, Buddy Rogers, Ruth Warrick, Robert Stack. Four dozen more arrived on an American Airlines charter that afternoon.
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FWIW the producer of this film, Texas oilman Glenn McCarthy, was the inspiration for the character of Jett Rink in Giant.
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As Mike Meyers once said: you put the em-PHA-sis on the wrong syl-LA-ble.
That long predates Mike Meyers
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I've brought this up before. Actor KEIR DULLEA too, gets his name pronounced a few different ways. Everyone seems to agree the first name is said "KEER", to rhyme with beer. But the LAST name I've heard said as---"DOO-yay",,"Doo-YAY" , DOOL-yay" and "dool-AY".
I recently saw an episode of Quinn Martin's TV series Twelve O'Clock High in which KD guest starred. The announcer pronounced his name as "Ke-EER Doo-LAY-uh" -- five syllables.
Which completely destroys Noel Coward's line:
"Keir Dullea
Gone tomorrow"
Anyone recognize this house?
in General Discussions
Posted
The house it reminded me of was Glenn Ford's pad in The Money Trap. Couldn't find a clip with the house online, but finally tracked down a pic:
Whatcha think?