Arturo

*I think it should've aired on TCM primetime, and I would present it as part of a double-feature with Preminger's WHIRLPOOL, made at Fox around the same time. They both have the same haunting atmosphere and noir deliciousness.* Both HOUSE ON TELEGRAPH HILL and WHIRLPOOL are part of the Fox Film Noir series of DVD releases, sadly discontinued a couple of years back (that is, they are not putting out any more new releases-I see new copies of the various movies of the series in retail outlets). Edited by: Arturo on Feb 28, 2012 2:14 PM

*For those that are interested, check out the Criterion restored version of THIEVES HIGHWAY, the other film Cortese made at Fox as part of her multi-picture contract.* THIEVES' HIGHWAY is a gritty truck-driver drama from the same writer as THEY DRIVE BY NIGHT. The sexual chemistry between Cortese's Ric©a and Richard Conte's character is palpably hot. Who knew a film about apple harvesting could be so taut. Edited by: Arturo on Feb 27, 2012 8:39 PM

*Loretta Young at her saintliest! I will try to watch it. Havent seen it in years.........* FYI, this is the only time Loretta played a nun on the big screen, contrary to popular belief. It has been on rather frequently in the last year or so on FMC, and hopefully will continue to be fatured in their early morning block.

*JUDY CANOVA* GOING HIGHBROW (1935) with Guy Kibbee & ZaSu Pitts ARTISTS AND MODELS (1937) with Jack Benny & Ida Lupino THRILL OF A LIFETIME (1937) with the Yacht Club Boys & Eleanore Whitney SCATTERBRAIN (1940) with Alan Mowbray SIS HOPKINS (1941) with Bob Crosby & Susan Hayward PUDDIN' HEAD (1941) with Francis Lederer & Slim Summerville SLEEPYTIME GAL (1942) with Tom Brown JOAN OF OZARK (1942) with Joe E. Brown & Eddie Foy Jr. TRUE TO THE ARMY (1942) with Allan Jones & Ann Miller CHATTERBOX (1943) with Joe E. Brown & Rosemary Lane SLEEPY LAGOON (1943) with Dennis Day LOUISIANA HAYRIDE (1944) with Ross Hunter & Lloyd Bridges HIT THE HAY (1945) with Ross Hunter SINGIN' IN THE CORN (1946) with Allen Jenkins & Guinn Big Boy Williams HONEYCHILE (1951) with Eddie Foy Jr. OKLAHOMA ANNIE (1952) with John Russell & Grant Withers THE WAC FROM WALLA WALLA (1952) with Stephen Dunne & Irene Ryan UNTAMED HEIRESS (1954) with Don Barry CAROLINA CANNONBALL (1955) with Andy Clyde & Ross Elliott LAY THAT RIFLE DOWN (1955) with Robert Lowery *TopBilled,* *I'm really surprised you would WANT to see these Judy Canova vehicles. You seemed to dislike intensely MURDER HE SAYS when TCM broadcast it, with what you felt was it's unsophisticated lowbrow humor; yet MHS has a postiively Lubitschian touch compared to this corn (not that I wouldn't enjoy them).*

*I admire JJ because, like Audrey Hepburn 10 years later- she was (more or less) a complete unknown who beat some big established names to win an Oscar.* I wouldn't say she didn't deserve to win, but a consideration must be made for the power and money of David Selznick PLUS the might and employee votes of 20th-Century Fox in JJ winning that Oscar. *Whereas this has happened other times- Judy Holliday, Shirley Booth and Vivien Leigh come to mind- each of those women did not go on to have major film careers, Holliday and Leigh making only a handful of post-Oscar movies- albeit good ones- and Booth evaporating completely from the scene.* I beg to differ here. Judy Holliday was Columbia's top-ranking female star throughout the 50s (alongside Rita Hayworth from when she returned to films after divorcing the prince-1952- until her next marital problems in the the mid-50s; in the last half of the 50s there was Kim Novak. Holliday had specially tailored vehicles assembled for her due to her continued popularity. She also returned to the stage, and her last movie was a hit version of the musical she had done on Broadway-BELLS ARE RINGING. In the early 60s, her illness lept her from filming, until succumbing to an early death. The point is, after BORN YESTERDAY, she DID go on to have a major film career. Vivien Leigh had immediate hits after GWTW: WATERLOO BRIDGE and THAT HAMILTON WOMAN (or its alternate title). She also did stage productions with her husband Laurence Olivier. It is true that she filmed intermittently later in the 40s, 50s and into the 60s, but between stage work and bouts of illness (mental and otherwise), she kept her career going for over 25 years, mostly important roles in important films, until her death. A quarter of a century of that definitely adds up to a major film career in my book. Shirley Booth, unlike the others, wasn't and KNEW she wasn't glamorous Hollywood material, and chose to focus on Broadway. As a character actress, she knew that leading parts would be in short supply on the big screen. She did do some important film work in the 50s, but that wasn't where her heart was. Then in the 60s, she was the star of a popular sitcom for several seasons, HAZEL, and became a household name. So not being from the usual Hollywood mold limited her, she knew it, and backed off from what probably would never have amounted to a major film career. The main differences between JJ and these three others, was that they had thriving stage careeers in tandem with movies. They ran the gamut from Holliday, who did movies on a regular basis for about 10 years, to Leigh who had larger gaps off the screen, mainly due to stagework, but never lacked for a strong movie role whenever she deigned to do one, to Booth, who wisely focused her talents largely on Broadway. The other main difference was that JJ had Selznick pushing her to be what he saw her to be, the biggest most glamorous movie star EVER.

*Many guys went on about how gorgeous Ava Gardner was. I, however, never thought her to be that attractive. Especially in profile, where her lack of chin was apparent. June Allyson was another who wasn't easy on the eye, but had a face that was at least likeable, and she had chops up the butt. If only she didn't talk!* Ava Gardner IMO is one of Hollywood's all-time great beauties. Even more, I think she is more than the sum of her parts; she has an intangible "something" that is sexy as all get out. And when she starts to speak, it just adds more dimension to her overall sexy quality. So you may quibble about her chin(lessness) or some other perceived imperfection, but I CAN"T see it! Because to me she is much more than easy on the eyes. Now poor June Allyson, on the other hand . . . Edited by: Arturo on Feb 17, 2012 6:54 PM

*Arturo, Kiss Of Death was one of the films FMC showed over and over. The Ghost And Mrs. Muir was another. If TCM doesn't run them, I won't be seeing them again, since I won't watch any movie on a channel with commercial interruption.* *+*I could at least count on FMC for a rerun and rerun and rerun of the really good Victor Mature movie (whatever its name was) and The Ghost and Mrs. Muir, san *Would this be THE EGYPTIAN, a mid-50s cinemascope biblical spectacle? They also costar in Sternberg's bizarre, fascinating THE SHANGHAI GESTURE from 1941 (at around the time Gene was getting typecast as an exotic); however, since this was a UA release, it wouldn't have played on FMC. I don't doubt you saw those films on FMC. However, your original post (of which a quoted a portion) made it seem like you were referring to two Tierney films you'd see on Fox: THE GHOST AND MRS. MUIR, and another which costarred with Victor Mature. Since I can recall Tierney making two films with Mature, only one of which was for Fox, I posted the above. You then stated that you think it was the noir KISS OF DEATH, to which jamesjazzguitar and myself responded that Gene was not in that movie. I NEVER stated that KISS OF DEATH was not shown on FMC; it was THE SHANGHAI GESTURE that wouldn't have been shown on FMC. *

Along with Thelma Ritter, I would rate among the top scene stealers: Eve Arden Laird Cregar Florence Bates

*I've tried to figure out who stole the most scenes in WHATEVER HAPPENED TO BABY JANE...maybe it was a tie.* Nobody stole the scenes...but they sure chewed the scenery.

Nope. Gene was not in KISS OF DEATH, it was Colleen Gray. She WAS in several noirs at Fox, but none with Mature.

*I could at least count on FMC for a rerun and rerun and rerun of the really good Victor Mature movie (whatever its name was) and The Ghost and Mrs. Muir, sans commercials.* Would this be THE EGYPTIAN, a mid-50s cinemascope biblical spectacle? They also costar in Sternberg's bizarre, fascinating THE SHANGHAI GESTURE from 1941 (at around the time Gene was getting typecast as an exotic); however, since this was a UA release, it wouldn't have played on FMC.

*Recently watch DVD of Sundown 1941 and Tierney is startlingly beautiful!* Gene was one of Hollywood's most stunningly beautiful women EVER (and that's saying something!)! SUNDOWN I believe, is on the schedule in the next couple of days on TCM. *And for pure escapism, I love "The Mating Season." She did not appear in a comedy very often. Perhaps that's why I'm so fond of this.* She didn't do many comedies, true, but I too enjoy her in those she made: besides the classics HEAVEN CAN WAIT (1943) and THE GHOST AND MRS. MUIR (1947), she did a late screwball with Henry Fonda, Spring Byington and Laird Cregar, RINGS ON HER FINGERS (1942); plus a remake of a screwball with Tyrone Power: THAT WONDERFUL URGE (1948). Another remake, ON THE RIVIERA (1951) was a comedy with music.

I too would like to get a copy of this, if only for my own collection. This has Linda Darnell in one of her early roles of her new sexy image. She did it on loan to UA from Fox, and I believe it was made for Bing Crosby's production company. Other than that, I wouldn't know about where to find one (I stopped buying copies of movies from e-bay for the poor quality. You may be able to watch it (if that's all you need) from Netfix, but I don't have this service.

WOW! Linda Darnell looks stunningly beautiful in that ad (so what's new!?). I wonder if this still was for the publicity for UNFAITHFULLY YOURS; the low-cut white gown could be the one she is trying on when hubbie Rex Harrison calls to tell her he set his dressing room on fire (although I don't know if she has gone yet to the hairdresser for that look-even though she'll have it like that that evening when Rex fantasizes about killing her, I think that at the scene at the restaurant that afternoon, it's still down).

*She surely did far more drama than comedy.* Actually, once she got praise for her comedy playing, she did more of these than she did dramas. *Speaking of the plot line of "Awful Truth".... so was Cary Grant in Florida or not? And if not, what was he doing? My wife thinks that he was in Florida, it was raining, so he wanted to get a tan so people wouldn't think he wasn't in Florida. I think he was fooling around, since he says, "what wives don't know won't hurt them"....* Of course he wasn't in Florida. Remember, the fruit basket he supposedly brought back from there had an orange stamped "California". EVen he knew he was caught.

*So the break at the cabin didn't bother you? No more Bellamy, no more Duvalle, no more Auntie, no more fiancee, all suddenly and conveniently dispatched without another word?* *Who was watching poor Mr. Smith (was that Asta?) whom they were so fond of?* *And what DID Grant and his friends do for a living? Man, those were some fancy digs.* Many late 30s comedies seemed to end in a rustic setting, for whatever reason. It's implied that at the fiancée's family home, Dunne has wrecked Grant's chances there. Same with Bellamy and Duvalle inside/outside of Aunt Patty's apartment, when she give's Bellamy his diploma. Aunt Patty CAN"T be present at her cabin, otherwise the sexual tension will not play out. Obviously, these are the idle rich that Depression era audiences fantasized about; everything about them and their surroundings was shorthand for same-no more explanation needed. Mr. Smith was with Aunt Patty at her home in the city, which is where Dunne lived. The non-working rich are still with us-Ask Mitt Romney sometime.

*August SUTS honorees: it probably is Joe E. Brown, since SOME LIKE IT HOT would air in the evening, and we would see all his earlier films throughout the day.* Well, Marilyn, Tony and Jack are just as, if not more, probable. Even George Raft can be the SUTS honoree. *Freddie Bartholomew seems just as possible as Lionel Barrymore.* Let's not forget Spencer Tracy. Some stars have been honored any number of times in August. *And I think Tyrone Power is right, because we have had Gene Tierney. The other candidate would be Clifton Webb, but with virtually all his film resume at Fox, I think that would be a bit unlikely. At least Power did the occasional freelance assignment and they do not need to rely completely on Fox if honoring him. We would get the films he did at the very end for Columbia and it would certainly be a treat if Universal's MISSISSIPPI GAMBLER showed up.* Power might be the "Fox surprise" or however the other poster put it. He has been a SUTS honoree a few years ago if I remember correctly. AND this was an all-star movie. I can easily see a VERY deserving Anne Baxter (who won an Oscar for her Sophie), or John Payne; both filmed extensively once they left 20th (and Anne did a number of loanouts while under contract). Hopefully it's one of these and not Herbert Marshall, who regularly gets more exposure than these other stars on TCM.

GODFATHER 2 (1974) - GODFATHER 3 (1990).

Markus, great, informative posts. However, my hyper-corrective bone started twitching and my hair-splitting scissors started sharpening as I read a couple of comments which activated my pet peeve radar: *Still, for the next three years after Oz, with the exception of the 1940 "B" film Little Nellie Kelly* LITTLE NELLIE KELLY was most definitely NOT a "B" film; it was an "A production. It may have not been the most prestigious movie, or have the biggest budget at MGM that year, but it was not produced by the studio's "B" unit. It also did not play "B' dates. If it's unpretentiousness makes you hesitate to categorize it as an "A", then you can use a common term for these movies: "Programmers". Again, these are A films, if on the lower end of that category's budget range. *Not until 1942's For Me and My Gal, seven years after she arrived at Metro and six after she made her feature film debut, does Judy receive the solo above-the-title billing of a true superstar attraction and not until 1944's Meet Me in St. Louis does she have top-billing in an "A" list Metro production.* Sorry to keep beating that dead horse, but FM&MG is also an "A" film (or as you have it *an "A" list Metro production). *It was a top ranked product from the studio to showcase Judy's talents for her fans. Edited by: Arturo on Feb 8, 2012 7:40 PM

*I cite the Redford film and the Merchant Ivory titles as classics because again, they connote a level of fine craftsmanship that I think makes them truly classic.* Recently, TCM aired Coppola's THE RAIN PEOPLE. Granted, it is no GODFATHER...but I think Shirley Knight's work in it is excellent, and *I would call it a classic, if a bit unpolished and amateurish in spots*. There seems to be a contradiction here, as to what you feel is classic: "a level of fine craftmanship" and "a bit unpolished and amateurish". Classic movies can be new or old, during the studio era and after. Of course everyone's definition of what is classic and what isn't will vary from person to person, so it's a no-win argument. What I most admire about the studio era films is that, at least for A productions, is that every department was working at the top of their game, with a level of fine craftmanship by all concerned. Whether a given movie is raised to the level of 'classic' has to do with other, often intangible odds or circumstances. Certainly, many (most?) movies today have competent craftspeople and artisans covering the bases, but since each production is an entity unto itself, that quality control exercised during the studio era is not there. I do feel that the studio era had a higher ratio of 'classic' movies to non-classic than in the period since. Although production values and level of craftmanship have much to do with my moviegoing enjoyment, they have next to nothing to do with whether I view a given film as classic or not.

Thank you for stating the obvious. However, the more recent movies you mentioned are not necessarily new . . . they range from 20 years to over 30 years in age. I DO think they are "new', but many even here won't.

If I'm not mistaken, TCM showed this about a month or two ago.

*Ah, but THAT'S just the point here, Arturo. Even the director Hitchcock had misgivings about his creation, and thus one might say his own opinion was less than "beloved" for it.* Well MY point is that, so Hitch felt the ending unsatisfactory due to compromise, doesn't mean I think that it should be remade. If it's not perfect 100% of the time, I'll happily settle for the 95%. It works well enough, and I like almost everything about it. Why would I wish to see a new version, even with an ending true to the novel?! Not at all, seeing as I don't care for remakes of classics.

*Why do you believe any remake would have an unhappy ending?* I wasn't trying to be literal, but clever, with my "unhappy ending", i.e. my view that a remake of any beloved classic is an unhappy occurrence.

*He might have had the world's deepest voice.* Silly me. As a kid, I thought he did "The So-ou-uu-ll Train" falsetto.