Arturo
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Posts posted by Arturo
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It has also been proposed that the original site of Aztlán was the area around what is now Lake Powell. Part of the migration legend also describes a stay at Culhuacán ("leaning hill" or "curved hill"). Proponents of the Lake Powell theory equate this Culhuacán with the ancient home of the Anasazi at Cliff Palace, Mesa Verde National Park. Researchers who believe Aztlán was located in the Lake Powell region also cite the fact that the language spoken by the Aztecs and the Ute people belong to the same Uto-Aztecan linguistic group.
VX:
The theories that Aztlan is located somewhere in the Southwest was promulgated by Chicanistas as another way of legitimizing our presence here, in the face of recurring nativist xenophobia and anti-immigrant hysteria. Scholars took up the banner, and their research has been conducted so as to bolster the conclusion they wish.
The linguistic argument has always seemed specious to me, because the Uto-Aztecan language family is a large, far-flung group of smaller language families, some more closely related than others. This U-A family is analogous to the Indo-European family of languages, which includes many of the the historic languages in Europe, and extending all the way into the Indian subcontinent. So many of these languages have been separate from each other for millenia: Latin was in existence 2,000 years ago, and its modern descendents developed from local dialects into full languages in the last 1,000-1,200 years ago. They are closely related languages; they are more distantly related, timewise,from other branches of the family, such as the Germanic branch.
Similarly, it seems difficult to believe that the Aztecs moved in a few hundred years from the Four Corners area to their historic homeland when the languages of the supposed area of origin are distantly related to Nahuatl. So much more plausible that they came from an area not nearly so distant, where MANY groups spoke Uto-Azteca tongues, including many speaking various Nahuatl dialects. A couple of hundred kilometers north of Anahuac was to fluid border area separating the high cultures of Mesoamerica with the mainly hunter-gatherer groups of Aridoamerica. From here the Aztecs could have come, just another band of the culturally similar, liguistically diverse, nomadic groups that they later called Chichimecas.
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Fred C. Dobbs wrote:
Several on-line dictionaries say that the term Aztec became popular in the late 1700s, probably to distinquish the modern Mexican people (the Spanish and Hispanics) from the old native Indian tribe.
Fred, the "modern Mexican people" for the most part do not consider themselves "Spanish and Hispanics". Unless one is a fairly recent arrival from Spain, say, as a refuge of the Spanish Civil War, most Mexicans do not think of themselves as Spanish or Hispanic.
Mexico continues to be a multi-ethnic country, where centuries after the conquest, some 55 native languages are still spoken from anywhere from a few to over a million individuals, Despite the population crash after the arrival of the Spaniards, by far the largest racial component in the Mexican population is indigenous, either pure (or nearly so), or mixed indigenous-European (Mestizo). The pure European stock is less than 10% of the population. A once significant black and mulato strain is still identifiable in only a few enclaves (Veracruz, Guerrero), it mostly having been absorbed into the mestizo majority. These terms, (indian, mestizo), are originally based on racial composition, but now are used to convey cultural identification. The Mexican national culture, a product of two dominant strains, is considered to be mestizo culture. An individual who is 100% pure indian racially, will be considered mestizo if that is his cultural identification.
BTW, the term Azteca came from Aztlan, the mythical homeland of the Aztecs. Most scholars place this somewhere to the north and/or west of Mexico City, in Michoacan, Jalisco or Nayarit. However, many nationalistic Chicanos here in the US symbolically call the Southwest as Aztlan.
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Typically, TCM's '70s selections are more *American Graffiti* than *American Gigolo*.
Hwkdkid;
AMERICAN GIGOLO is actually 1980 (ok, admittedly early 1980). But even though it was filmed in 1979, its release makes it an 80s movie (as does the narcissistic "me" content pointing to the Reagan years).
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I too feel this film is unjustly underrated. In fact, I had planned on posting something like this awhile back when TCM showed it,but didn't get around to it-just as well, your description of the films virtues is very well done and I second all that you state. Thoroughly enjoyable,and if it wafsn't for the a hardening of and crags in Flynn's face, and that sad lack of joie de vivre, one would think this was a prime Flynn swashbuckler.
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This is one of James Stewart's best early films. Stewart was really good at being noble and righteous without coming across as smug and self-important.
Frank Morgan gives a very touching performance here. Too bad he couldn't have turned himself into a wizard and floated away from it all in a balloon.
Misswonderly:
I agree that this is one of his best films and best early performances, maybe even better than for which he won the oscar that same year (if not nearly as good as that for which he should've won the previous year).
LOL . . . Frank Morgan had to float away from it all in a balloon precisely because he was NOT a wizard.
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WHY would anyone who watches TCM movie classics ever want to see either one of those movies aired on this channel??? We come here to watch the OLD classics...not garbage....im shocked! Never thought i would hear those movies come out of u?? There was a long discussion about this not to long back...i believe that even Kim got involved reassuring us that TCM swore to stay on the same format they always havea nd would not change to like AMC did...
So even in 2008 worries about TCM going the way of AMG were being voiced here. Hmmm...
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TCMfan23 wrote:
I'm watching the mortal storm right now on TCM. It has me thinking about how scary life was in Europe back in the 40's. Glad I wasn't around then.
TCMfan23:
of course life was scary in Europe in the (first half of the) 40s . . . it was engulfed in a horrific war. TMS takes place (mostly) in the (last half of the) 30s, as conditions in Germany under Hitler went from bad o worse to intolerable. Living in Germany at this time in the 30s, and countries they'd occupy starting in 1938, must have been very scary. Terrific movie of course, and Hollywood dealing with the Nazi threat at time when isolationism still the prevailing sentiment in the US, even as war raged overseas.
Edited by: Arturo on May 26, 2012 1:41 PM
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*"Poverty row" doesn't necessarily mean a bad or crummy movie...it simply means lower-budgeted.*
Kriegerg, very well put. It's always been implied that expensive movies are better than less expensive, but that doesn't hold up. A budget has nothing to do with how well a given film turns out.
A couple of the things that would work for "poverty row" studios, probably made DILLINGER look so realistic on its "miniscule' budget, is that a lot of it was probably done in actual locations, or standing sets were employed for their city scenes.
*Wouldbestar wrote:*
*Robert Mitchum, Kim Hunter and Gloria Stuart means they must have done something right.*
Well, Mitchum and Hunter were at the beginning of their careers, wheras Stuart was already on her way down from her days as a sought after ingenue in the mid-late 30s.
Less prestigious studios would often get talent that was past its prime, at least as far as the major studios were concerned; this is how Kay Francis ended up at Monogram. Conversly, these studios were often the testing ground for some players that could become known there, and get picked up by other studios that could afford to offer them better salaries. Mitchum actually got noticed in a Monogram release (offhand don't remember if it was WHEN STRANGERS MARRY or JOHNNY DOESN'T LIVE HERE ANYMORE), and led directly to being hired for his breakthrough role in THIRTY SECONDS OVER TOKYO. Kim Hunter never quite found a long-term berth in Hollywood, both because or her frequent stagework, and later being blacklisted.
Perhaps the supreme example of someone at one of the "lesser" studios, that became a big boxoffice name, was John Wayne. After THE BIG TRAIL bombed in 1930, he was relegated to serials and quickie westerns made for various poverty row outfits. It wasn't until he scored in STAGECOACH at the end of the decade, did he become a bankable star, which he remained until his death. Of course he was under contract at Republic when he became a star, and that studio made a hefty profit loaning him to other companies.
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*Having spent almost 24 years working for 20th Century-Fox, and being their "un-official" historian to boot, . . .*
*. . . The digital restoration of all these movies these days, well its just amazing, color so vibrant and distinct. Fox has quite a library, and its movies of the 1960's and 70's really hold up well. So many iconic titles, from the studio that really pioneered sound and widescreen.*
HOLLYWOODFAN,
Are you still at 20th? What's up with restoration efforts for the studio's MANY pre-60s classics? how can we provide imput that will be actually acted upon? Better yet, how can I work for the department that works on chossing which films to restore? Or the department that helps program FMC? I'm willing to do it for free, seriously!
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h5. FRIDAY MAY 25:
h5. 4:45 am EST, 1:45 AM PST
DRESSED TO KILL
Detective Michael Shane (Nolan) stumbles across a bizarre string of murders tied to a theater production with all of the victims found dressed in costume.
*Cast:* Sheila Ryan, Lloyd Nolan, Mary beth Hughes, William Demarest, Ben Carter
*Director:* Eugene Forde
h5. 1941
h5.
* h5. 6:00 am EST, 3 AM PST:
* h5. JUST OFF BROADWAY \ \ Michael Shayne, a private detective serving jury duty on a murder trial, suddenly becomes embroiled in the case when a witness is killed in the middle of the courtroom. \ \ \ *Cast:* Lloyd Nolan, Marjorie Weaver, Phil Silvers, Janis Carter \ \ \ *Director:* Herbert I. Leeds
* h5. 1942
* h5. 7:10 am EST, 4:10 PST
* h5. FOXES OF HARROW, THE \ \ Elegant cad and gambler Fox (Rex Harrison) woos and marries a southern belle (Maureen O'Hara) and tries to parlay a new position in New Orleans society. \ \ \ *Cast:* Rex Harrison, Richard Haydn, Victor Mclaglen, Vanessa Brown, Patricia Medina, Gene Lockhart, William Schallert \ \ \ *Director:* John M. Stahl
* 1947
h5. SATURDAY, MAY 26:
h5. 6:00 am EST, 3 AM PST:
A FAREWELL TO ARMS
A passionate but star-crossed romance develops between an American soldier and a Red Cross nurse during WWI. Based on the novel by Ernest Hemingway.
*Cast:* Jennifer Jones, Rock Hudson, Vittorio De sica, Oscar Homolka, Kurt Kaznar, Mercedes Mccambridge, Elaine Stritch, Ernest Hemingway, Ben Hecht
*Director:* Charles Vidor
h5. 1957
* h5. 8:35 am EST, 5:35 AM PST
* h5. HEMINGWAY'S ADVENTURES OF A YOUNG MAN \ \ A fictionalized portrait of Ernest Hemingway's youth, based on his semi-autobiographical short stories. \ \ \ *Cast:* Richard Beymer, Diane Baker, Corinne Calvet, Fred Clark, Dan Dailey, Arthur Kennedy, Ricardo Montalban, Paul Newman, Susan Strasberg, Whit Bissell, Jessica Tandy, Eli Wallach, Simon Oakland, Sharon Tate, Ernest Hemingway, Franz Waxman \ \ \ *Director:* Martin Ritt
* 1962
h5. MEMORIAL DAY WEEKEND THEMED MOVIES START ON
h5. SUNDAY, MAY 27:
h5. 4:40 am EST, 1:40 AM PST
h5. TONIGHT WE RAID CALAIS
British Intellengence dispatches Commando Geoffrey Carter on a one-man raid to destroy a munitions plant that manufactures bombs in Nazi-occupied France.
*Cast:* Annabella, John Sutton, Lee j. Cobb
*Director:* John Brahm
h5. 1943
* h5. 6:00 am EST, 3 AM PST
* h5. TO THE SHORES OF TRIPOLI \ \ This patriotic film follows a cocky man (John Payne) who learns a lesson in discipline from a tough sergeant (Randolph Scott) and a lesson in love from an army nurse (Maureen O'Hara). \ \ \ *Cast:* Randolph Scott, William Tracy, John Payne, Nancy Kelly \ \ \ *Director:* H. Bruce Humberstone
* h5. 1942
* h5. 7:30 am EST, 4:30 AM PST
* h5. LONGEST DAY, THE \ \ The Allied Invasion of Europe on June 6, 1944, is retold with an all-star cast. \ \ \ *Cast:* Robert Wagner, Robert Ryan, John Wayne, Henry Fonda, Rod Steiger, Richard Burton, Stuart Whitman, Robert Mitchum, Sean Connery, Eddie Albert, Richard Beymer, Paul Anka, Jeffrey Hunter, Roddy Mcdowall, Curt Jurgens, Mel Ferrer, Alexander Knox, Peter Lawford, Tommy Sands, Fabian, Gert Frobe, Sal Mineo, Red Buttons, Steve Forrest \ \ \ *Director:* Andrew Marton
* 1962
MONDAY, MAY 28:
h5. 6:00 am EST, 3 AM PST:
IN THE MEANTIME, DARLING
A woman (Jeanne Crain) accustomed to being pampered by her wealthy father (Eugene Pallette) finds it difficult to adjust to life as the wife of an army lieutnant (Frank Latimore).
*Cast:* Jeanne Crain, Eugene Pallette, Mary Nash, Frank Latimore, Stanley Prager
*Director:* Otto Preminger
h5. 1944
* h5. 7:15 am EST, 4:15 A PST:
* h5. MAN HUNT \ \ A sportsman (Walter Pidgeon) is hunted by the Gestapo after he accidentally stumbles across Hitler's secret residence. \ \ \ *Cast:* Walter Pidgeon, Joan Bennett, Roddy Mcdowall, John Carradine, George Sanders \ \ \ *Director:* Fritz Lang
* h5. 1941
* h5. 9:00 am EST, 6 AM PST
* h5. DESERT FOX, THE \ \ After his North African defeat, controversial officer Erwin Rommel (James Mason) returns to Germany and becomes involved with a traitorous plot. \ \ \ *Cast:* James Mason, Everett Sloane, Cedric Hardwicke, Jessica Tandy, Luther Adler \ \ \ *Director:* Henry Hathaway
* h5. 1951
* h5. 10:30 am EST, 7:30 AM PST:
* h5. HEAVEN KNOWS, MR. ALLISON \ \ John Huston's story of a Marine sergeant (Robert Mitchum) and a Roman Catholic nun (Deborah Kerr) who are marooned together on a South Pacific Island during WWII and who defend themselves against Japanese troops. \ \ \ *Cast:* Deborah Kerr, Robert Mitchum \ \ \ *Director:* John Huston
* h5. 1957
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OMG . . . I can't believe I made such an elemental mistake. I just fixed it through editing. Guess I was so put off by the way my post looked when it posted, that I didn't bother to review it. Thanks.
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"*El Paso" wants to be a really big western but it is not quite there. Costarring a pretty healthy supporting cast of the lovely Gail Russell, Sterling Hayden, H B Warner, Gabby Hayes and an extremely nasty Dick Foran. Beautifully shot in color Payne fits a western pretty well in what looks like his first go of one.*
**Actually, Payne had done a Western back in 1937, one of his first films when he was still going by his full name of John Howard Payne . . . FAIR WARNING.
It is a shame that Payne was not used for Westerns or Noirs while under contract at Fox. I guess they prefered to keep in in the musicals that had brought him fame.
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*I mean like more sci/fi, adventure and +I mean like more sci/fi, adventure and Hitchcock. No suspence drama with a woman in the lead role is any good.
+*Let's see now:MARNIE . . . Tippi HedrenTHE BIRDS . . . Tippi HedrenVERTIGO . . . James Stewart AND Kim NovakREAR WINDOW . . . James Stewart AND Grace KellyI CONFESS . . . Montgomery Clift AND Anne BaxterUNDER CAPRICORN . . . Ingrid BergmanNOTORIOUS . . . Ingrid BergmanSPELLBOUND . . . Ingrid BergmanSUSPICION . . . Joan FontaineREBECCA . . . joan FontaineJust a few of Hitchcock's better known classics. What was that about wanting men's movies like . . .. *" Hitchcock. No suspence drama with a woman in the lead role is any good."*
Edited by: Arturo on May 22, 2012 8:29 PM -
They seemed headed in the right direction until they backed the wrong pictures, *Doctor Doolittle *and *Hello Dolly!* and ended up selling off their backlot.
Actually, Fox had sold off the backlot by the early 60s at the latest. This is usually attributed to the studio's huge white elephant in CLEOPATRA'S cost overruns. Anyway, by the mid-60s Century City was rising on the former Fox backlot.
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*Professor Shellabarger was quite angry with Fox for filming only half of his best seller. But the film ran for two hours and twenty minutes and for the life of me I don't see how they could have filmed the entire big novel. I have read the book and while Don Pedro's life in Spain after his Aztec adventures was interesting ,it was nothing compared to the exploits he had in Mexico.Shellabarger was accurate and authentic in every detail of his writings......*
Seems to have been a common practice back then, for studios to film only a portion of a large novel. The most famous is probably WUTHERING HEIGHTS, where only approximately half of the book was filmed. 20th Century Fox seemed to do this quite often, and off the top of my head I can think of several examples:
HOW GREEN WAS MY VALLEY (1941) Due to rising production costs, and the ominous storm clouds of WW2, the studio was forced to cut back the original conception (in fact, the New York office-the moneymen-had cancelled it altogether for a time). Not only was Technicolor scrapped, but the four hour epic Zanuck envisioned was reduced by half . . . it now concentrated on Huw's viewpoint as a child only, and Tyrone Power's part of Huw as an adult was eliminated.
KEYS TO THE KINGDOM (1944) Again wartime restrictions was the culprit, and this time the priest's character as a boy and young man was whittled next to nothing. A part for Gene Tierney did not make the grade with this revision.
THE FOXES OF HARROW (1947): Expansive historical novel was cut back by quite a bit, and the proposed filming in Technicolor was scrapped to save money.
LYDIA BAILEY (1952): Another sweeping historical novel which only used a portion of the story. The ending seems strangely anticlimactic, as if more should follow-kinda like if GWTW had ended at the intermission. Additionally, location filming was cut back to a minimum.
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I must respectfully disagree. Everything I've read has mentioned that Betty neveranted to make this movie . . . I believe she even went on suspension to avoid it. She WAS at a crossroads in mid 1952, if not quite yet on the skids (she slipped from No. 3 to No. 21 from 1951 to the next year in th Exhibitor's Poll). She was actually no longer as seriously involved in her career; she'd much rather be at the races. Opportunities came without her taking advantage of them. In 1951, she almost got Cary Grant as costar for MEET ME AFTER THE SHOW, her last big musical hit at the studio. She wanted a change of pace, and so turned down THE GIRL NEXT DOOR (1952). She wanted to do more sophisticated comedy, but then turned down a couple that were offered to her, MY WIFE'S BEST FRIEND (1952) and, later, THE LIEUTENANT WORE SKIRTS (1956)-both film projects started out under different titles which I can't recall at the moment. She had hoped the studio would buy a big Broadway success (they tried to get ANNIE GET HER GUN and BORN YESTERDAY), and in fact, bought such a property for her, GENTLEMEN PREFER BLONDES. But she was already causing Zanuck enough heartache, that he decided to give it to someone else . . . although he first considered Mitzi Gaynor before taking a chance and giving it to Marilyn (remember, at this point MM was not quite yet a proven commodity . . . DON'T BOTHER TO KNOCK was disappointing commercially, despite the HUGE publicity Marilyn was by then getting. . . her breakthrough hit, NIAGARA, came in early 1953). An ideal role for Betty at this time might have been MONKEY BUSINESS or better yet, DREAMBOAT (in the roles played by Ginger Rogers-later Ginger would inherit another part Grable rejected in TEENAGE REBEL (1956)-another chance at more serious drama). But Betty would probably had rejected them, since the characters were no longer ingenues (as she would later reject the part done by Ethel Merman in THERE'S NO BUSINESS LIKE SHOW BUSINESS (1954)-even though the role was similar to her 1947 hit, MOTHER WORE TIGHTS (she explained this by saying something like 'we were playing at grownups, it was fun then-but not now that we are there agewise').
It's not like Betty had never starred in a drama; she had: I WAKE UP SCREAMING (1941), and an early noir to boot. But it came early in her stardom, before her image had fully gelled, or congealed (she even had a musical number recorded, and cut-"Hot Spot"-the original title of this movie). But she didn't feel confortable doing drama; she rejected the role of Sophie in THE RAZOR'S EDGE (1946), stating that her fans would expect her to rise out of the ocean with seaweed in her hair and burst into song). And it's not like the studio or Betty didn't try to vary or expand her image once it had set in with the public; they had:
THE SHOCKING MISS PILGRIM (1946) had Betty covering up her million dollar legs -an important component of the Grable fomula-as a late 19th century working girl. It wasn't the usual huge grosser her movies then were. More importantly, thousands of disgruntled fans wrote to complain about the lack of legs.
THAT LADY IN ERMINE (1948) a Ruritarian musical fantasy, hopefully to have had the deft touch of Lubitsch, who died while filming, and completed by the decidedly heavier touch of Preminger. Poor reviews and receipts.
THE BEAUTIFUL BLONDE FROM BASHFUL BEND (1949) Preston Sturges was brought in to hopefully give Betty a new comedy classic, but the farce again fared poorly with critics and public alike.
Admittedly, these were not HUGE steps from her usual musical comedy moves, but they didn't sit well with her public. So Betty had reason to worry about such a departure in the form of what became PICKUP ON SOUTH STREET. She knew she'd never win an Oscar, nor did she strive to move in that direction. So, having lost out on her dream role in GENTLEMEN PREFER BLONDES, she settled for another musical, a remake of THE FARMER TAKES A WIFE (1953). It did vary the formula a bit, but Zanuck was still upset with her, and threw it out on a double-bill; its gross was thus hard to determine, but rest assured it didn't start stampedes to the theater to see it. After this, she acquitted herself well, and held her ground with Marilyn and Lauren Bacall in HOW TO MARRY A MILLIONAIRE (1953). But after reading he writing on the wall, with the most prominent grafitti saying MM, she left 20th for good. At Columbia, she did a musical remake of TOO MANY HUSBANDS, know titled THREE FOR THE SHOW (1955). She then unwisely returned to Fox, and played a co-ed, in the puerile HOW TO BE VERY VERY POPULAR (Marilyn turned down being her costar, and replacement Sheree North stole the notices). She missed out playing Adelaide in GUYS AND DOLLS, when she stood up Goldwyn for her sick dog. After that she confined herself performing onstage or in TV variety shows.
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Thanks Lazyking. Hopefully Fox Movie Channel never gives up its original mission to show films from its large classic film library. Even though the drifgt towards more and more recent movies in the FMC segment is alarming to me, there are still some signs of hope; early tomorrow a segment of Fox Legacy will show, the mini-documentary about Tyrone Power, followed by one of his best swashbucklers, THE BLACK SWAN.
Ideally, this channel will be a single cell entity that divides into two: FMC and FMx (or whatever the later limited commercial segment is called). Don't think so though.
BTW forgot to mention another classic Fox film in the wee hours tomorrow morning on Cinemmax . . .
CAROUSEL 1956, tuneful adaptation of the Broadway success (itself based on an early 30s Fox film, LILIOM), featuring Gordon MacRae and Shirley Jones.
5:40 am
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*My quibble is the omission of the genocide of thousands that took place during the course of Cortez' trip to Tenochtitlan.*
Well, that for me would not be a quibble, but a horrific reaction to perhaps the greatest demographic catastrophe in historic times, if not ever. Cortés and the other Spaniards unwittingly unleashed diseases unknown to the Western Hemisphere, and they spread like wildfire, well in advance (sometimes by over a century) of the actual presence of the conquistadores, missionaries, etc. While they did slaughter many thousands in their conquest of México (and perhaps only the masacre at Cholula would have been appropriate in the timeframe of the film), untold millions would die in the coming decades after the arrival of the white man, and not just from war or disease. It has been estimated that at least 25-30 million people lived in Central México at the time of contact, and a century later, maybe 1.5 million. That's a 95% decrease! And it happened elsewhere. Europeans arriving in the Mexican Northwest/American Southwest found an area bereft of the majority of its inhabitants, and cultures that were impoverished or on the verge of collapse.
Anyway, this wasn't genocide (or even rock n roll, David B.) for the most part, since it wasn't planned to systematically wipe out the natives (leave that for the British and Americans later); although certain exceedingly ruthless conquistadores laid waste to large stretches of territory. Quite a tragic and ignomious part of world history.
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MovieProfessor wrote:
**The real biggest of all controversy for the film occurred when none other than Betty Grable decided she would like to play the role of the pickpocket. At this point, the situation became somewhat bizarre, because Betty insisted upon having a song and dance routine placed into the script! Of course, Fuller wasn’t about to have anything to do with*
Actually, from what I read, in biographies of Betty Grable and elswhere, they seem consistent in that she DIDN'T want to do this film, then called "Blaze of Glory"(or something like that). She felt Zanuck was foisting on her what she called a "skid" movie, which is a project felt to be beneath the star, either to break them or their spirit, to have them get back in line, or maybe to hasten their decline and/or departure. She was adamant that she would not film something she couldn't take her young daughters to see. Mostly, she was worried that the part called for some heavy dramatics, and she felt that she would not be able to handle them. Always sensible about herself and her appeal, she knew her fans would not want to see her in this type of film, and she wasn't willing to try and stretch her acting mettle at this point in her career. Anyway, this would have been an intriguing casting, but Betty wouldn't have it, and ironically, thereby hastened her departure from Fox.
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MoreMax
Tuesday, May 22:
4:25 am EST (?), 1:25 AM PST:
CRY OF THE CITY 1948
Terrific Film Noir with cop Victor Mature trying to track down mysterious girlfriend of hospitalized gangster Richard Conte. Shelley Winters in early role, Debra Paget in film debut. Strong performances. Includes great characters played by Betty Garde and Hope Emerson.
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Dang, And I just bought a miniature mirrored disco ball last Black Friday for my then upcoming Disoco party.
btw, it was Robin, not Barry, Gibb.
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Paaul Le Mat was in the sequel MORE AMERICAN GRAFFITTI. Plus I enjoyed him in ALOHA BOBBY AND ROSE and CITIZEN'S BAND, along with MELVIN AND HOWARD. So while nothing as compelling as AG, all were well received and Inthink he got a Golden Globe nomination for M&H. Not too shabby, and while obviously not a mega-star, he isn't quite a one hit wonder methinks.
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Jean Harlow in SARATOGA
James Dean in GIANT
Marilyn Monroe AND Clark Gable in THE MISFITS
Grace Kelly in HIGH SOCIETY
Clara Bow in HOOPLA
Judy Holliday in BELLS ARE RINGING
Spencer Tracy in GUESS WHO'S COMING TO DINNER
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Misswonderly wrote:
TikiSoo, oddly enough, since I am a Pretenders fan, I was unfamiliar with that song until someone posted it in one of the music threads ( quite a while ago.) The music is good, but the words are heart-breaking, so true- the singer is so bewildered and sad that her beloved town has been so altered. Thank you for posting the lyrics.
Misswonderly, I believe this song "My City Was Gone", was on their third album, LEARNING TO CRAWL.
Tikisoo wrote:
A O, WAY TO GO, OHIO.
Tiki, I always thought that the lyric said, HEY HO, WHERE'D YOU GO OHIO.
Along with The Kinks' classic VILLAGE GREEN . . . album, bemoaning the modern age and hoping for a return to a pastoral Britain, flamboyant Mexican pop genius Juan Gabriel wrote an album (well it was the cd age) some time in th mid to late 90s, where he also railed against the changes wrought in modern Mexico, from the global influence on the culture, to the loss of traditions and traditional homes and streetscapes in the pueblos. He was quite strident at times, reflecting the passion he felt for the cumulative effects of these changes. Quite a departure from his usual romantic pop songs or rancheras (although the music was traditional Mexican/Latin forms).
Edited by: Arturo on May 21, 2012 12:30 AM
Holiday-bound TCM schedule
in General Discussions
Posted
Topbilled wote:
I am at home today watching some MA & PA KETTLE films. It occurs to me that we would never find them on TCM eight days a year
Topper, again I find it amazing that you would watch the Ma & Pa Kettle films, like Judy Canova. This is because a year or so ago you were so critical of MURDER HE SAYS, (also featuring Marjorie Main) calling it lowbrow, and intimating that you only like sopshisticated comedy and film fare in general.