cmvgor

Hooooweee! MrArcher, there are probably some people around here (not me) who may know how to track down that info, and I'll leave it to them. But I have another suggestion also. Try posting that question on the nearby Forum "Information Please!". Specifically, the thread ***ASK MONGO*** may be helpful. The person who presides at that thread is resourceful, but many others log on when they have useful information. Yours is essentially a statistics question, and there may be someone around who can go to sources and come up with the answer. Drop some bait in both pools, and you may get a useful bite. Good luck.

Yo, Miles; Bingo and dead right. A lot of star power (Spacek, Laurie, Steenburgen, Furlong, Durning, McDowell, etc), and a look about the film that did not say big budget. And IMO, one of the best- ever adaptions from an origional work (a Truman Capote novella in this case) to the screen. Walter Matthau's son Charles directed. Thread's yours.

Of the boy's aunts, one sister diminates, and the other feels defensive and threatened.

Emissaries summoned from London visit the club owner to reason with him. One of them carries the tools of his trade in a briefcase. They are two wooden blocks shaped so that one can rest his elbow on one block and his wrist on the other. The third item is a short steel rod used to break the forearm neatly. The club owner is forewarned. He turns the tables, breaking the visitor's arm instead. He then hands the keys to their car to the aide who had discovered the purpose of their visit. They are escorted to the station, and they return to London by train.

Kinfolks said, "Jed, move away from there!'

A British star known to Americans as both a singer and an actor runs a nightclub that will not sell out under pressure to the thuggish "developers". He is always instructing his employees and aides, "Remember to get the receipt." This line comes several times, and it has a payoff at the end.

Southern USA setting. Small town. An orphaned boy being reared by elderly female relitatives.

Dan; Will consider it. My usual reason for going the one-chance route is that I don't _have_ any follow- up questions. But it's worth consideration. In fact, I'll try that with this example. _U.K Setting_. But key roles for American stars. And built around an American involvement. A seaport city is cultivating American investment for business. An "America Week" is in progress. American investors are gathering and some shady American types are trying to piggyback on the money that is going to roll in.

Last questioned settled, thread open... A recent discussion on another thread about the "teaming" of actors in films that were not series or sequels brought this mid-90s production to mind. It features two stars who worked together a number of times -- but in support roles. And they work separately, having no significent scenes with each other. Also, there are a goodly number of support roles played by A-List character actors, and a couple more names that often get star billing. Great ensemble acting. PG-13 rating. Adaped from a novella by an honored American writer by an Oscar winning scripter. The film?

But then one day he was shootin' at some food...

Elder, John -- John Wayne in *The Sons Of Katie Elder*

Recycled from another thread, but usable on this one. BRIT -- I'll use a trunk line to phone my solicitor. AMER -- I'll call my lawyer long distance.

I really thought somebody would recognize this one. *Mr. Saturday Night* stars Billy Crystal (also writer and first-time director) as a comic who was big on TV in mid-century, but now is working small rooms at nursing homes. David Paymer gives an Oscar-nominated performance as "Buddy Young, Jr.'s" brother and agent. (For the career if not the personality, cf Jackie Gleason, Sid Caeser, Danny Kaye.) The incident described when I posed the question is endgame, and is typical of Buddy's career and life, Offered a chance to work with Walter Matthau, he blows it by demanding a chance to take Matthau's role. So, back to the nursing homes. It is not a comedy, but a drama. And a worthy one. Thread's open

Blaisdell, Clay -- Henry Fonda in *Warlock*

Deep in December how sweet to remember The fires of September that made us mellow...

Try to remember, and if you remember Then follow (follow) follow (follow) follow...

I too have good memories of that play. I saw it (the first time) in a college production, and someone I cared for was Asistant Director, and had supervised the singing rehersals. Try to remember the kind of September When no one wept except the willow...

Looks like the last piece has used up all interest; let's try another: Try to remember the kind of September When life was slow and oh so mellow...

BRIT -- Torch AMER -- Flashlight.

Another question like my last one. *Name the movie from this description and no follow-up:* Walter Matthau does not appear in this film, but he _is_ an off-screen presence. An aging actor, with a comeback opportunity, is asked to take a role in a film with Matthau. The actor reads the script, and then balks. He demands a chance to read for the role slated for W.M., because he is so _right_ for the role. And the plot unrolls from there. What movie? (issued 1992)

yo, pastman, +We seem to have a gender/identity issue going here. I'm doing the lyrics for Kris Kristofferson; you're doing the lyrics for Janis Joplin.+ Any way, to wrap up: I'd trade all my tomorrows for just one yesterday, Holding Bobbie's body close to mine. (one more chorus for someone)

BRIT -- dustbin AMER -- trash can

Standin' right beside me, Lord, through everything I done, And every night she kept me from the cold...

Ullman, Stuart -- Barry Nelson in *The Shining* (1980)

So...that would include the bagpipes in *Tunes Of Glory*, right?