cmvgor

Correct, Anne. That passage was a sort of "vamp" moment during the cast-of-thousands, multi-set production number "Let's Hear It For The Rainbow Tour." AnneHay's thread.

♫Let's hear it ♪ for the Rainbow Tour...♫

Holy Batbingo! Sixes' thread.

The events recorded above get the action to about 1/3 of the movie's run. Other events, before America's entry into the war, focus on the hero. Per Hollywood, he was a street kid in California who was taken in and cared for by a Japanese-American family. Per History, he moved out of his family's home at age 13, and moved in with the Japanese-descended family. // He learned their language, and absorbed a lot of their culture. // After Pearl Harbor, his adaptive family were put in a separation camp, along with many other Japanese-Americans, on the theory that it would be easy for Japanese spies to hide among them. // Per Hollywood, the hero was reluctant and resentful when a Draft notice arrived for him. Per History, the lad went to Alaska and worked in a cannery until his 17th birthday, and then enlisted on that date. _Then_ the training and the wild liberty in Hawaii.

Tyler -- C. Thomas Howell (billed as Tom Howell) in *E.T. the Extra-Terrestrial* (1982)

Thanks, Lavender. New poser: A criminal caper is nearing completion. A flamboyant perpetrator, expecting success, gloats, "Tell the Fat Lady she's on in five!"

The woman in this conversation is far from home, and is representing her nation's government. As indicated by the context, she sometimes faces hostility.

Marine recruits go through their training, graduate, and board up for transport to the Pacific Theater of War. On a stopover In Hawaii, some friends go on a liberty, hook up with some girls, wind up in their apartment. One of the girls turns out to be a stripper; the Marines and the audience get a show.

Oh, well, *Marjorie Morningstar* then. *??*

WAG here: *The Wayword Bus* ??

Thanks, phroso. I stumbled onto Waugh's work in my early 20s, and I think I've read everything he ever published. It seems his work doesn't film well for American audiences, but this "freewheeling" approach makes *The Loved One* one of the most nearly successful efforts. And you can always get my attention with Robert Morley (the uncle). Next up: Early 60s film, B&W, WWII setting, fact based. A story worth telling, worth spreading, but, in this version, Hollywood trumps history somewhat.

> > "Did you hear that? They called me a ****! They actually called me a ****!" > > "But, _____ _____, it's an easy mistake. They still call me an Admiral, yet I gave up the Sea long ago." > > *???* Extra clue: The passage quoted here is set to music. Mid-90s. Color.

Repperton, Buddy -- William Ostrander in *Christine* (1983)

*Oklahoma Crude*

Thanks, Annie. Some more snappy dialogue here: "Did you hear that? They called me a ****! They actually called me a ****!" "But, _____ _____, it's an easy mistake. They still call me an Admiral, yet I gave up the Sea long ago." *???*

*A Letter To Three Wives* And I think the speakers were Connie Gilcrist and Thelma Ritter. *???*

Orson -- voiced by Ralph James in *Mork & Mindy* (1970s TV)

*The Loved One* ??

McKlintock, Katherine Gilhooley -- Maureen O'Hara in *McKlintock!*

*Nothing In Common* ??

James The Less -- Michael Anderson, Jr. in *The Greatest Story Ever Told* (1965)

*Kings Row*

Farnham, Eddie -- Gus Schilling in *Touch Of Evil* (1958)

> {quote:title=scsu1975 wrote:}{quote} > *101* > > *101* one more time. "Blimey! Another chase scene is all those writers can come up with? Right, then; come aboard."

*The Sad Sack* ??