Arturo

Ann Blyth had a respectable career. Her rise mightve been higher faster had she not had a sled accident after starting to film her followup to MILDRED PIERCE, again borrowed by WB, DANGER SIGNAL. She was recuperating for over a year. So the bump to her career from MP had somewhat dissipated when ah returned to film in 1947. She went right into leads and starring roles; she was always the top billed female, except for once, under Claudette Colbert, in THUNDER IN THE HILL in 1951. That was one of her last under her Universal contract, which ended at the end of 1952. She then signed with MGM, hoping to become a musical star at the studio that had Kathryn Grayson and Jane Powell. She did a few, mostly remakes, but the era of the musicals was over by the mid 50s. Around this time, MGM dropped many of their contract stars, and Ann, seeing the writing on the wall, canceled her contract. She got a few more offers, but after THE HELEN MORGAN STORY, they must not have been all that good. Many other star Es found few noteworthy offers around this time, and moved on to TV, stage or retired. Ann did the first two, and as she was busy having a family, was not too concerned about not doing movies, as she had always felt that her career was secondary to her personal life. I'd aT that she had at least there iconic roles: MP, ANOTHER PART OF THE FOREST, and HELEN MORGAN, but since the last two have rarely been shown, she is not as well remembered, or regarded apparently, as she should be imho.

For some reason, I was unable to continue or edit the last post, so here is a quick wrap up.....Linda Darnell did some unusual roles in her television work, unusual in the sense of her image. Several were family dramas involving children; somehow, this type of part was alien to her filmography. She just sought out parts with acting challenges, as well as against type, with varying success, throughout her career. Edited by: Arturo on Aug 21, 2013 12:35 PM

One of the ongoing goals Linda Darnell had throughout her career, and one of the ongoing sources of frustration over same, was her striving. To improve her acting with challenging roles. She was pegged from the beginning of her career in 1939 as a great beauty, one who could be a decorative leading lady for any genre at her studio, 20the Century Fox. Early on, however she endeavored to seek out roles that would help her improve as an actress. She desperately wanted to do SWAMP WATER (1941), and was even announced for it at one point. But studio head Darryl Zanuck must've had a change of heart, and gave the role to Anne Baxter. Likewise, she may have gone after offbeat roles in MOONTIDE (1942), and LIFE BEGINS AT 8:30 (1943). And Zanuck mightve dangled at least one of these over her head as an enticement to get Linda, having just turned 18, onto the casting couch. The fact that outside actress IDA Lupino was borrowed for both speaks volumes as to whether Linda went that route. Later in her career, Darnell again wanted go be cast in such films as PINKY, with strong acting roles, but to a mostly deaf ear from Zanuck. She continued hoping for acting challenges, and was frustrated by her usually being considered for roles where all that was required was her beauty and glamor. She went on suspension more than once for refusing this type of role, although she was forced to relent on her refusal to play one of these, in THE GUY WHO CAME BACK, since she was going through an expensive divorce at the time, in early 1951. Related to Linda wishing stronger acting.opportunities, was her desire to escape typecasting. In 1944, she successfully fought to be loaned out to play a femme fatale in SUMMER STORM, since studio bosses felt her girl next door image would be ruined by this change of type. It was, and Linda played "bad women" of varying degrees for most of the rest of her career. In fact, by the 50s, she would be fighting this typecasting, which was one of the reasons she rejected TGWCB initially. Just prior to that one, she had qualms about doing THE THIRTEENTH LETTER (1951),but more for working for her nemesis Otto Preminger; she relished in playing a cripples girl as opposed to the more obvious beautiful villainess; she might even have had a chance on choosing it. Later, as a freelancer, she went for the role of the frigid spinster in THIS IS MY LOVE (1954), instead of the more conventional sexy beauty. The payoff here was arguably her best acting in a movie. In the last half of the fifties, as she concentrated on television dramas, she did several unusual roles, including playing an opera singer Edited by: Arturo on Aug 21, 2013 12:38 PM

Ann Blyth was a very good choice as a SUTS selectee, IMHO. It doesn't always need to be about the biggest stars (some of which are featured on TCM all year, every year), as sometimes character actors or supporting players get selected. As mentioned, while MILDRED PIERCE and a few others were shown for the umpteenth time (not that there's anything wrong with that), we also got to see Ann in some rarely-seen (if ever) movies on TCM, i.e. SLANDER and THE HELEN MORGAN STORY. That to me is the ideal recipe for programming a star's day, with a focus on both the well-known and the less well-known. PS - The fact that Ann turned 85 that day makes it extra-special, for us and for her.

If I remember correctly,.LIBEL dealt with the public denouncing of Alec Guinness` character as being an imposter, not being Lord So n so, but someone who took his place in a pow camp, by killing the actual Lord. Guinness is being blackmailed, so has to accuse the blackmailer of Libel. Edited by: Arturo on Aug 18, 2013 2:32 PM

Slayton, DINNER AT EIGHT has always been billed as an all star picture, from day one, as the comedic companion piece to the groundbreaking GRAND HOTEL. It just doesn't have the cachet that GH does being the first one. It is still considered an all star endeavor,.as Osbornes comments last night exemplified.In fact, when released, DAE had publicity as to the fact that it had more stars than did GH.

I normally enjoy SUTS, even though they feature too many artists that are already features all year, every year...AND at least this year, few in any surprises in their films selected...ok I get that this is a marketing ploy to the occasional viewer, who if they tune, in to watch Bogie or Better or whoever, are gonna wanna see all the classic titles....it gives me a break from wanting to record, since I have most...and makes it doubly special for days featuring Mary Boland, Deneuve, etc. (I feel for u Canadians)...and of course that was Spanish in TRISTANA, but not cause Bunuel is Spanish, but because it takes place in Spain...although I felt that Deneuve was dubbed...the Castilian was that perfect...btw....what did happen to REPULSION, which I recorded bu't haven't seen yet.

Since Linda Darnell was not chosen as SOTM for this October, nor given a bday tribute on Oct. 16 (although one of her movies with Tyrone Power will be shown as part of an evening of his films..).well here's hoping that when TCM does schedule some of her films, they include her starring turn in the Screen Directors Playhouse, "White Corridors", which TCM showed a awhile back. They seem to include repeats of episodes featiring some of the SUTS artists this month, so hopefully they will do the same with Linda`s.

Sorry to throw rhe thread off from it's current offtopicness, and bring it back to McQueen. He is the king of cool. I vaguely remember a cartoon from my earliest childhood called Cool McCool. Dont remember much about it, but as I looked back, always wondered if they based it on McQueen`s persona.

Twinkee, PEYTON PLACE is pre1960, coming out in 1957....and the know it all that I am imoioom (in my own overinflated opinion of myself..)...lol... I was too late to point out to TikiS that it was Betty Grable in I WAKE UP SCREAMING. But I,wholeheartedly agree with her point. Even I, who have the Fox Movie channel, fall into the trap that if it hasn't been shown on TCM,somethings amiss...that it gets anointed somehow by being on TCM, never mind its myriad repeats on Fox. Maybe it has to do with the feedback and discussion on these boards, which confirms that it has made an impact. but that still leaves out all those not shown, where many careers are little known, or partially known, due to few to none of their films on TCM, for whatever reasons. So a career spent mostly at Fox: Betty Grable (during her star phase), Carmen Miranda, Don Ameche, Clifton Webb; or Paramount: Clara Bow, Nancy Carroll, even Paulette Goddard, will have many of their more significant movies not shown, and therefore unknown to many TCM viewers.

I too am excited, but in a bind as to what to record, since I'll be at work. And as much as I love THE BIG STEAL, I am glad it isn't shown, since something else is. TBS is on regularly on TCM, Unlike the majority of what has been scheduled for Novarros day.

Before TCM first aired MURDER HE SAYS couple or so years back , this seems to have been one of the most requested movies for airing, and for DVD release. I was reminded of this yesterday when I did a search for a thread done about the time of this first showing, but couldnt find it. but there were comments coming up going back to the millenium asking about the status of MHS. Great fun, and cant wait to watch it again, and relive my childhood, when it would regularly play on the Family Film Festival. here on KTLA. Edited by: Arturo on Aug 7, 2013 3:33 PM

as part of Joan Fontaine`s SUTS day, TCM will show THIS ABOVE ALL itomorrow night. It features Tyrone Powers best dramatic performance of his early career imho, playing a British soldier gone awol, feeling no desire to fight for an empire to preserve its stratified class system. Joan Fontaine is the shy miss who shows him the errors of his ways. PS~ I believe this 20th Century Fox film is a TCM premiere.

Gable and.......Harlow.....Crawford......Turner.......Gardner....even Shearer.....

This was actually a Columbia picture, which Cornel did under his shared contract (with Fox) there. It might've been his last under that contract, if i'm remembering correctly. Hibi, yes some unbelievable spots, but that's noir for you. Bunker Hill was used because of its picturesque seediness, against the backdrop of the downtown skyline (what there was of it pre-1960). Unfortunately, the whol thing came down in the 60s as part of the post-war urban renewal wave.

I totally agree Susan Hayward deserves to be SOTM. She was one of the biggest stars of the 50s. Part of the problem may be that she attained her first recognition, and the enmity of the female stars, as a second lead player at Paramount in the first half of the 40s. At the end of the decade, she came under contract to 20th Century Fox, where she remained for most of the 50s. TCM has access to only a few of the films of Paramount or Fox. But they are able to negotiate with Fox at least, and she made enough films elsewhere that TCM should be able to get enough of her movies to cover a month. PS....she was nominated for an Oscar 5 times, which is what u meant to say I think.

I'm a bigger fan of Bloom than I am of Burton, but I enjoy them in these two films. Prior to Liz, Bloom was the one extramarital affair that had Dick almost leave his wife. Knowing thia history, Liz was wary when they filmed TSWCIFTC.

I finally saw SHOCKPROOF, which was the only Sirk movie from those shown thr other night which I don't have. I really enjoyed it, for the cast, thw story, but especially for the views of long vanished LA landmarks, including the old Bunker Hill neighborhood. I have vague recollections of some of the buildings, from my earliest days here.

Tab Hunter..........Chevy Chase........

PAJAMA GAME is my favorite DD musical, LOVE ME OR LEAVE ME I consider a drama with music,...anyway several years ago, I found a new VHS of it at the 99 cents store for that price. I purchased it, as it hadbeen years since I'dseen it on TV.

Mark, you beat me to the punch in starting a thread on Mary Boland`s day this Sunday. After 72 hours of mostly great, but oft repeated movies with Bogart, Day and Guinness, with nary a rarity, we now get some really rare movies featuring Ms. Boland. Just to mention two screwball comedies, DANGER LOVE AT WORK (1937) and HE MARRIED HIS WIFE (1940), which she did at 20th Century Fox in the late 30s (the latter came out in January 1940). DLAW was Otto Preminger s second American movie he directed, atfter a programmer with Lawrence Tibbett. It was originally set to star Zanucks French import, Simone Simon, but As Preminger pointed out, screwball requires fast speech, and as Ms. Simons English was then barely adequate, she was removed and Ann Sothern borrowed. Anyway the resultant film is fun, with one of those kooky screwball families. It was successful enough for Zanuck to next entrust the director to a big budget film, KIDNAPPED, but there were problwms, Zanuck sacked Otto, and he was banished from the lot, not to be restored to the moguls good graces until after the success of LAURA several years later. HMHW is an enjoyable late screwball, with a good cast, except for Nancy Kelly. She seems to be trying too hard to channel Irene Dunne, except her tongue is too ltierally planted in her check; her comedy technique was too too heavy handed and unsubtle. She was soon sent to the Fox B Unit, and her short stint as Loretta Youngs replacement apparently having not worked. Had Loretta not left thw studio some tmonths earlier, she would surely have been offered this film. Both films I look forward to seeing, as neither has been on FMC recently.

On Monday, August 5, Fox Movie Channel will again be showing the following classic western, featuring Linda Darnell as the fiery half-breed Chihuahua: 8:30 am EST, 5:30 AM PST: MY DARLING CLEMENTINE A western classic about Wyatt Earp (Fonda) and Doc Holliday (Mature) and their clash with the Clanton family at the O.K. Corral. *Cast:* Henry Fonda, Victor Mature, Tim Holt, Alan Mowbray, Linda Darnell, Walter Brennan *Director:* John Ford 1946

I recently found quite a few of the titles from the Fox Cinema Archives for sale Used at Ameoba Music in Hollywood. Seems there is no indication that they are DVD-Rs, but they are priced as rarities, around $22.99 each.

Audrey Meadows had a strong supporting role as the second female lead in Tyrone Power's 1948 comedy, LUCK OF THE IRISH. She seems to have as much, if not more, screen time as Anne Baxter, the nominal leading lady. But I guess her movie career never hit it big before she moved to television.

The thread on this topic that came out when she died pretty much predicted it would take TCM awhile, since her films were done for Universal and the station doesn't have access to most. Compare this to how quickly we got a 24-hour tribute to Esther Williams, within two weeks or so.