Arturo

*Much has been made of her RRRRs pronounciation, but I find it hardly noticeable. I dont think its that bad.....* LOL...it's less than hardly noticeable...she apparently could not hit that sound if her life depended on it.

*I don't think Jack Carson was "underrated" at all-in fact I think he was highly rated by fans and collegues alike! His talent for elevating even the most mundane material made him a hit for leads and in demand for supporting roles.* While I never wrote that he was underrated, I do feel that he is the type of character support that fans today may be inclined to take for granted. When I said underrated, I should have clarified and stated "by modern audiences". I know in his day he was given his due, except maybe for more movies of a level commensurate with his proven talents.

Thank you for that awesome, heartfelt tribute to one of the greats from the classic Hollywood period. Carson is one of the many celluloid friends I enjoy visiting with on TCM. And as with the Hope-Crosby teaming for more than the ROAD movies, the Carson-Morgan team were in many movies together, all enjoyable by their presence. A truly underrated talent who hs made me cry more than once watching him on the screen.

Thank you for that awesome, heartfelt tribute to one of the greats from the classic Hollywood period. Carson is one of the many celluloid friends I enjoy visiting with on TCM. And as with the Hope-Crosby teaming for more than the ROAD movies, the Carson-Morgan team were in many movies together, all enjoyable by their presence. A truly underrated talent who hs made me cry more than once watching him on the screen.

Which POSSESSED?

In no particular order, but I love these voices: Mary Astor Myrna Loy janet Gaynor Constance Bennett Ann Sothern Loretta Young Kay Francis Jean Arthur Carole Lombard Irene Dunne Claudette Colbert Frances Farmer Barbara Stanwyck Linda Darnell Gene Tierney Lana Turner Rita Hayworth Lauren Bacall Helen Walker Ava Gardner Ronald Colman Warner Baxter Clark Gable Errol Flynn Don Ameche Tyrone Power John Payne Dana Andrews Laird Cregar Stewart Granger Clifton Webb Vincent Price Mark Stevens

I didn't forget it, but Hibi mentioned it below, so I saw no need for me to do so.

*Well, Bette was in that rut for awhile, but managed to get out of it. Even Olivia de Havilland dipped her feet in it for a film or two (replacing Crawford in Charlotte and doing her own bit in Lady In A Cage which had Ann Sothern looking slovenly)......By the end of the 60s the fad had run its course for the most part...........* Others include Tallulah Bankhead in DIE DIE MY DARLING (although she really had never made the grade as a movie star), Geraldine Page in WHAT EVER HAPPENED TO AUNT ALICE, and Shelley Winters into the 70s with WHAT'S THE MATTER WITH HELEN (also with Debbie Reynolds), and WHO SLEW AUNTIE ROO.

I wonder if she was in Hollywood doing a promotional tour (as the poster of her in the first shot leads me to believe). It looks like she's wearing the same outfit with both Darnell and Stanwyck (different accessories though).

*Perhaps a Dick Powell day, TCM, sans his sappy musicals?* If Powell is gonna be honored for more than two-three movies, i.e. SUTS, then a rounded picture of his career should be attempted, so all fans can at least not feel cheated.

*LA BANDITA (1963):* [|http://www.youtube.com/watch?v=XG7KeaBYIks] *For a true classic Mexican film, TCM should have shown something like EMORADA (1946). This film was so classic and so good, it was re-made as THE TORCH (1950), for American audiences, with Paulette Goddard:* *A comparison between EMORADA (1946), with Maria Felix, and the same scenes in the American re-make, THE TORCH (1950), with Paulette Goddard.* Fred: It's LA BANDIDA and ENAMORADA.

Here's a combination I never expected, and wassurprised to see: Linda Darnell and Edith Piaf http://www.fanpix.net/picture-gallery/linda-darnell-picture-17293632.htm

*Was there any other actor/actress of the Hollywood studio system days who had such a startling career rebirth as Dick Powell?* Hollywood history is full of actors/actresses with startling career rebirths....or changes of image. This has been discussed here before, and while I understand that you are focused on one individual, you did ask (rhetorically?) . . . Loretta Young, beautiful and sexy in early 1930s pre-code films, evolving into a very different personage, a lady. Myrna Loy, also sexy playing exotics, turning into the pefect wife. Norma Shearer, another actress who went fromearly 30s sexy, to a high-born lady, as befits Mrs. Thalberg. Conversely, many girls went th other route, from good girl to mantrap; Joan Bennett, in the 30s a bland blonde leading lady, at least compared to hr 40s raven-tressed noirish output. Linda Darnell, spent approxmately 5 years playing sweet young things, then changed her image to that of a temptress, and played this successfuly for the remainder of her career.

Terrence1 wrote: I've always found her unconvincing in "Don't Bother to Knock." Just my opinion, but I've felt that she was in over her head with that one. I do realize that this was early in her [career|http://forums.tcm.com/thread.jspa?threadID=165752&tstart=0#|Powered by Text-Enhance], but believe that she was not right for the part Terrence, well apparently her studio felt the same way. the mixed critical and boxoffice reception to DBTK (at a time when her publicity was through the roof) had them shunting her to a supporting role in a comedy, Hawks' zany MONKEY BUSINESS. Luckily for her, they soon entrusted her with another lead in a much better picture than DBTK, NIAGARA. This was followed by her musical comedy and plain comedy roles which madeher a superstar. Of course she fought for better roles, more dramatic roles, than those offered by playing the dumb blonde in one comedy after another. But everyone laughed at her for trying to move beyond the stereotype they typed her with...so she walked out of her contract, turning down a number of films, and studied method acting in New York in order to improve her abilities.

20th, please release THE BRASHER DOUBLOON!

Eugenia wrote in answer to: Wait! I do have one. I never liked Marilyn Monroe, thinking her entire act was one cheap trick, until I saw NIAGARA and DON'T BOTHER TO KNOCK. I was never a Monroe fan for the exact reason you stated above, and then another poster recommended that I see Niagara and DBTK. My opinion did go up, and I respect her for branching out into other areas besides comedy, but I do still prefer the work of other actresses. Eugenia: Actually, both DON'T BOTHER TO KNOCK and NIAGARA were done before she did her iconc turns in comedy. She had done mostly comedy before these, but always as a featured or supporting player. DBTK was her first starring role, and NIAGARA her first blockbuster hit. Another good early dramatic peformance of hers IMHO was made on loan out to RKO in 1952, CLASH BY NIGHT. After becoming a superstar, she had two excellent dramatic appearances, in BUS STOP and THE MISFITS.

My favorite peformances of hers, or at least most memorable (I remember them clearly), are three: 3. AN AMERICAN FAMILY - She plays one of the older siblings in a family in East LA, recalling with Edward James Olmos their grandfather being buried in the yard, to the horror of a white date of one of the younger siblings. 2. Playing Yolanda Zald?var, friend and murderer on SELENA. A very good turn by Lupe; you Hated her. 1. The coworker in a sweat shop to the female protangonist (whose name I don't recall) in EL NORTE, who instructs the new immigrant that she won't accept a job without scoping the escape routes (in case La Migra shows up); that the new girl should go to Sears for a make-over; and my favorite scene, where she tells a Beverly Hills matron that she will be able to handle the instructions on how to operate a high-end washing machine. Priceless!

Wonder if its too late for TCM to program November and December for Fox and Paramount, to celebrate their respective anniversaries. That would be great. And one of the stars of each studio could be SOTM.

*But I am not sure that a look at the history of Fox would be as interesting. At least not grouped around directors. (There's John Ford and then not much else.)* I disagree. There was Henry King, Raoul Walsh, Otto Preminger, Henry Hathaway, among many other notable directors that worked there. .....Or Elia Kazan, Joseph Mankiewicz, Walter Lang, John Brahm, John Stahl, William Wellman, even Renoir, Fritz Lang, Lubitsch and Preston Sturges made movies at Fox

*Which Eleanor P. are you referring to -- Powell or Parker?* My bad. Obvoiusly we were discussing Powell, and that's who I meant. I am a big fan of Parker, and if TCM were to repeat her as SOTM, I would not be unhappy.

*All I can say is that if Eleanor Powell rates a SOTM, then so do at least several dozen other actors and actresses who left a far bigger film legacy.* I'm not saying that there aren't others that I would prefer seeing getting SOTM before Eleanor Parker; there are literally dozens at least. As i first stated, I'm not a fan. But that doesn't mean she shouldn't be so honored, because I see no reason why she shouldn't. *To fill up a SOTM of Eleanor Powell movies, you'd have to show literally just about every single movie she ever made an appearance in. I'm sorry, but that's just stretching it way beyond the limits for an actress with a repertory that thin.* Nothing wrong with that IMO. Seems that showing all her movies, when she had substantial roles in all, is better than having to pad it out with movies where the honoree only had a bit or minor part; or when TV performances are needed to fill out the month. *Maybe one way around this would be to expand SUTS to two months, which would give more room for beloved performers with slim repertories to shine in the spotlight for more than a few hours.* I have suggested this in the past....make it a real summer under the stars....three months instead of just one. It would allow many more stars being spotlighted...and it won't be so maddening when those that are continually spotlighted are spotlighted again. Edited by: Arturo on Jul 26, 2012 4:32 PM

*So by adding these names to the list started with DeMille and Sturges, there could be a very varied schedule of film history in a centennial look at Paramount Studios.* As you so ably demonstrated, Sturges and DeMille were far from being the whole show at Paramount. *This year is also the centenary anniversary of Fox Studios. But I am not sure that a look at the history of Fox would be as interesting. At least not grouped around directors. (There's John Ford and then not much else.) Perhaps a look could be grouped around stars such as Janet Gaynor, Will Rogers, Alice Faye, Betty Grable, Tyrone Power, Gene Tierney, etc.* Yes yes yes! But let's not forget Charles Farrell, Warner Baxter, Loretta Young, Don Ameche, Henry Fonda, Linda Darnell, John Payne, Anne Baxter, Jeanne Crain, Jean Peters, Victor Mature, Richard Conte, Cornel Wilde, June Haver, Richard Widmark, Marilyn Monroe...among others. *But I am not sure that a look at the history of Fox would be as interesting. At least not grouped around directors. (There's John Ford and then not much else.)* I disagree. There was Henry King, Raoul Walsh, Otto Preminger, Henry Hathaway, among many other notable directors that worked there.

*What would really be a treat for us TCM viewers would be a star who had a contract at Paramount in the 30's and 40's. Like Dorothy Lamour , Alan Ladd ,Fred Mac Murray, W.C.Fields, Susan Hayward, Bing Crosby , Ray MIlland, Gary Cooper , Bob Hope , Eddie Bracken, Betty Hutton, Marlene Dietrich. Instead of TCM saving them to have us purchase their films from a future vault collection release,schedule their films for viewing on TCM. That's my peeve with TCM.* I agree but let's not overlook: Gloria Swanson Pola Negri Nancy Carroll Clara Bow Claudette Colbert Tallulah Bankhead Madeleine Carroll Paulette Goddard Veronica Lake ...among others Louise Brooks

COME TO THE STABLE is just now starting for those who wish to see one of Celeste's (and Loretta's) Oscar nominated performances. Interesting that both won in 1947 for their respective categories of Best Supporting and Best Actress, which was what they were each nominated for CTTS.

The 1951 remake is called I'LL NEVER FORGET YOU, btw. Costarring with Power is Ann Blyth, taking over for a pregnant (again) Jeanne Crain; this role was originally offered to Alice Faye, in one of Zanuck's periodic attempts to make nice with her, and get her to come back to making movies.