Richard Kimble

Well if you're going to nitpick... The Fugitive is like grand opera or kabuki theatre -- you must accept its conventions in order to enjoy it: -- Wherever he goes, Kimble will have no problem finding a job or a place to stay. -- Even though he is a convicted murderer, the people Kimble meets will believe and trust him. The women will generally fall in love with him. -- And of course he will always make a last-second escape just before the final commercial.

The word g-a-g is censored in my Albert Shanker post in the Woody Allen thread

And was labeled as such by James Monaco in his book American Film Now, published only 5 years after Sleeper's release. It sort of equivalent (for Americans) to all those Monty Python references to English politicians and TV stars (they must've really hated one Reginald Maudling; he gets mentioned at least half a dozen times on the TV show, sometimes in totally non-sequitur situations). IMHO the Shanker **** is far from the best moment in Sleeper, which holds up pretty well aside from the topical jokes and Diane Keaton's usual annoying presence.

We've fought rustlers, fought Indians, fought Dix...

Sorry but I can't find an option for that

Some sites give you the option of censoring "banned" words or allowing them to be shown uncensored. Will we be given that option?

C*rly L*mb*** and D*n H*ts*n

Garbo seems a bit tense here

>He also toured (with Carol Burnett) in "I Do! I Do!" I vaguely remembered he was connected to IDID somehow, but couldn't recall if he'd done it onstage. Did they do a TV version? > I also disagree with his needing a guest speaker. He had a fine voice. Yes, there was nothing wrong with the tonal quality of his voice. Even as early as his Indian chief in Winchester '73 he sounds like a radio announcer in the Ronald Reagan-Hugh Marlowe-Reed Hadley tradition (indeed you can make a case his voice was actually better than Reagan's or Marlowe's). The problem with these guys wasn't their voices, but getting them to show a little emotion. Robert Middleton is one example from the smooth announcer school who learned to emote at least a little.

>Thewy would have needed not only a ghost singer for Hudson, but a ghost speaker IIRC he actually toured in Camelot in the late '70s/early '80s

> Miss Parsons stated that Miss Hepburn wasn't so believable as a cockney; but that she was wonderful in the latter half of the film. In The Story Of Cinema David Shipman wrote that every Eliza from Wendy Hiller on is always more convincing after the transformation

>His first choice for Henry Higgins was Cary Grant. Perhaps if a "name" such as Cary Grant was in the film he might have considered Julie Andrews According to a bio of Rex Harrison, that is pretty much what happened. Grant was approached, with the idea that Andrews would then be considered for Eliza (thus saving the large salary Hepburn would demand). But Grant gave his famous refusal. Still Jack Warner was determined to cast a proven box office draw as Higgins. He then approached... Are you ready...? *Rock Hudson* to play Higgins. Supposedly Hudson's closest advisers urged him to accept the role, but he ultimately declined. At this point Hepburn was cast as Eliza, giving Warner the superstar he insisted on -- but Jack Warner wasn't finished. He strongly considered casting Peter O'Toole as Higgins. O'Toole was fresh off his LOA triumph, as classically trained as Harrison (if not more so), and perhaps most importantly for Warner, was 25 years younger than Rex H. Ultimately O'Toole was not cast (explanations as to why differ -- perhaps it was the stories spread by producer Sam Spiegel claiming he was difficult on the LOA set), and Rex ended up as the screen Higgins.

>Walt Disney cast her in Mary Poppins after seeing her on Broadway in Camelot Even though she is totally unlike the Mary Poppins of the books

>I am a progressive, so I always like improvement. I am a conservative, and I also like improvement -- when it is improvement. Otherwise, when change is not necessary, it is necessary not to change. But change is needed: 1. We need a preview function 2. Stop the automatic logging out 3. Make quoting and other functions easier. What is the point of being divided into "Hot Topics" and "General Discussions"? Why not just one general board?

>the first thing that came to my mind is "re-logging in." currently, my log in status expires after 20-30 minutes and i have to log in (or "refresh") all over again unless i am in the process of posting something on a message board. I hate this and hope they get rid of it

In case their are any aspiring documentary filmmakers out there in search of a subject... While Muscle Shoals, The Funk Brothers, and The Wrecking Crew have had films made about them, I don't know of one about Nashville's A Team. Though there was a hit song about them, The Lovin' Spoonful's "Nashville Cats". Grady Martin played the epochal distorted guitar on "The Train Kept-a-Rollin'" by Johnny Burnette and The Rock & Roll Trio (1956) Other Nashville Cats included Bob Moore (bass), Buddy Harman (drums), Hank Garland, Chet Atkins, Harold Bradley (guitar), Hargus ?Pig? Robbins (keyboards), Floyd Kramer (piano), Pete Drake (steel guitar), and Charlie McCoy (harmonica): A website on The A Team maintained by bassist Bob Moore. http://www.nashvillesound.net/index.htm

>As a criminal in BLACK HAND. Some might call this miscasting, but the studio bosses probably thought they were giving him a chance to stretch his acting muscles, while coming up with a new way to market his talents. And they probably didn't have musical property ready for him, so instead of paying him to sit on his butt for a month, they put him in a B&W crime film -- much cheaper to produce than a Technicolor musical. Kelly claimed that after his Broadway success in Pal Joey he was signed by David Selznick as a *dramatic* actor. Selznick didn't do a whole buncha musicals, so there may be some truth to this -- or perhaps DS was thinking about going Goldwyn and making a musical every year or two. Of course that didn't happen, and Kelly proved even less suited to Selznick than Hitchcock was. After several months of inactivity Selznick lent him to MGM for For Me And My Gal, soon afterward selling them Kelly's contract outright.

>The unforgettable and truly funny scene where Alvy and Annie are getting to know each other, they're hanging out on Woody's balcony and sipping white wine (this is the '70s). *Allen the director* does something so clever and original, he gives us each character's inner thoughts about what's going on with voice-overs. That's writing, not directing

>Any "wanted man" like Richard Kimble may also be a little envious of someone who is notwanted I agree, Spike Lee is not wanted

>i should've specified that "the front" was a Martin Ritt _*joint*_ Please keep that crap on the Spike Lee board

>What's your favorite Universal Monster? Lou Costello?

A few years ago Allen was quoted as saying that he did not consider himself a great director. I can't find the quote on Google and don't feel like spending hours wading through pages of Woody vs. Mia looking for it. As for OJ, he was unquestionably one of the 5 greatest running backs ever to play football. Is Woody Allen one of the 5 greatest directors?