Arturo
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Posts posted by Arturo
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Coming up:
HBO Signature showing THE TALL MEN again, Friday 4/13 6:05 AM EST, 3:05 AM PST. See description in previous post.
EncoreWestern Saturday 4/14 6;35 AM EST, 3:35 AM PST:
JUDGE PRIEST (1934): Will Rogers' homespun humor in Old Kentucky. Also with Anita Louise and Tom Brown.
FMC Saturday:
4:30 AM EST, 1:30 AM PST:
GEORGE WHITE'S 1935 SCANDALS (1935): Backstage musical starring Alice Faye and James Dunn.
6 AM EST, 3 AM PST:
THE DESERT FOX (1951: James Mason in his first protrayal as Marshall Rommel. Wih Jessica Tandy and Cedric Hardwicke.
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Forgot t post about another one tomorrow morning on FMC:
11 AM EST, 8 AM PST:
THE HUNTERS (1958): Robert Mitchum and Robert Wagner as jetpilots in North Korea. Also with May Britt.
Friday on FMC:
5:00 AM EST, 2:00 AM PST:
IT HAPPENED IN FLATBUSH (1942): Nifty little film with Carole Landis as the owner of the Brooklyn Dodgers, and Lloyd Nolan as their manger.
Friday on MoreMax:
5:30 AM EST, 2;30 AM PST:
THE MARK OF ZORRO (1940): Classic swashbuckler with Tyrone Power having everyon believe he's a fop, while fighting injustice and Basil Rathbone, abd wooing Linda Darnell in Mexican california. Great fun.
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I'LL GET BY with William Lundigan, will be on FMC this Thursday, 4/12 at 6 AM EST, 3 AM PST.
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Thanks Musicalnovelty. Coming up:
FMC on Thursday 4/12
4:30 AM EST, 1:30 AM PST:
JITTERBUGS (1943): probably the best of the Laurel & Hardy vehicles in the early 40s at Fox. Also featuring an up-and-coming Vivian Blaine as a singer aboard a Mississippi River paddlewheel.
6 AM EST, 3 AM PST:
I'LL GET BY (1950): June Haver, Gloria DeHaven, Wm. Lundigan and Dennis Day in a tuneful update of the studio's big hit from 10 years earlier, TIN PAN ALLEY.
7:30 AM EST, 4;30 AM PST:
SIEGE AT RED RIVER (1954): Van Johnson, Joanna Dru and Richard Boone in a Civil-War era western.
9 AM EST, 6 AM PST:
HEAVEN KNOWS MR. ALLISON (1957): Shipwrecked Robert Mitchum and Deborah Kerr are tempted by romance, despite her vows as a nun.
On HBO Signature, Thursday also:
4:25 AM EST, 1:25 AM PST:
THE TALL MEN (1955): Epic western with Clark Gable and Robert Ryan vying for Jane Russell, also with Cameron Mitchell. MAY BE SHOWN IN PAN & SCAN.
6;30 AM EST, 3;30 AM PST:
BLOOD AND SAND (1941): Tyrone Power, Linda Darnell and Rita Hayworth in this tale of top bullfighter and the women in his life. With Laird Cregar, Anthony Quinn and Lynn Bari. Rit skyrocketed to stardom as the 40's Love Goddess with this film. Beautifully filmed in technicolor.
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Of course they are. How could I have screwed that up?! My intent here is to post any upcoming Fox films from 1960 and earlier NOT being shown on TCM, as I become aware of them. Luckily, more and more of these films ARE turning up on Turner, at least in the last couple of years or so . . . but I won't need to post on those.
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Upcoming Tuesday 4/10 on TCM:
4:35 AM EST, 1:35 AM PST:
SIERRA BARON (1958) Brian Keith, Rick Jason, Rita Gam. A tale of Old California, and invading American land-grabbers.
6 AM EST, 3 AM PST:
CONEY ISLAND (1943): One of Betty Grable's biggest wartime hits, and for which her iconic pin-up still was taken. With George Montgomry and Cesar Romero fighting over her.
11:30 Am EST, 8:30 AM PST:
WE'RE NOT MARRIED (1952): all-star omnibus following 5 couples after they find out they're not married. Marilyn Monroe, at the brink of stardom, plays a beauty queen. Also Ginger Rogers, Fred Allen, Paul Douglas, Eve Arden, Mitzi Gaynor, Victor Moore, Zsa Zsa gabor, etc.
PS- There are a couple of 1960s mives, but as a matter of policy, I will usually have 1960 as the cut-off.
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The title sounds similar to that of the source material which became 1950's TWO FLAGS WEST, the movel "Trumpet to the Morn".
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I remember reading somewhere that years after making YMWAH, that Bacall stated that when she made this movie, she had no idea that the character was supposed to be a lesbian. I guess they were more innocent times.
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i just remembered Ma & Pa Kettle (and family of 9 i think) were in a movie with Fred McMurry and i think June Alyson. fred bought a farm and was raising chickens for thier eggs. i can't remember the name of the movie or even the approx. date of it. i do think it was before they had thier own series. i could be wrong. i hope i'm not.
Mikegee, this movie, THE EGG AND I, starred Claudette Colbert with Fred, and was so successful, olbert made he Top Ten draws for that year, afte being out of them since about 10 years previously
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I'lLL GET BY has been on FMC in the last few months, MOTHER DIDN'T TELL ME, I'D CLIMB THE HIGHEST MOUNTAIN and DOWN AMONG THE SHELTERING PALMS in the last couple of years or so.
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Don't know if it's William Lundigan's B-day this coming Monday 4/09, but FMC is showing LOVE NEST and PINKY back to back, starting at 4:34 AM, EST, 1;34 AM PST.
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Coming soon:
HBO Signature Sunday 4/8, 6 AM EST, 3 AM PST
CAN-CAN (1960): Frank Sinatra, Shirley Maclaine and Maurice Chevalier in the big screen adaptation of the Broadway hit.
And on FMC Monday 4/9:
4:34 EST, 1:34 PST
LOVE NEST (1952): June Haver is not too happy when Wm. Lundigan's war buddy Bobby, to be renting a room in their brownstone, turns out to be Marilyn Monroe. With Frank Fay and Jack Paar.
6 AM EST, 3 AM PST:
PINKY (1949): Jeanne Crain was nominated for an Oscar for her portrayal of a light skinned black nurse who, having passed for white up north, has to deal with the Jim Crow rural south. Ethel Waters plays her grandmother, Ethel Barrymore, her patient. Also with Wm. Lundigan and Evelyn Varden. Great performances.
7:59 EST, 4:59 PST:
MR. 880 (1950): Burt Lancaster tries to track down petty counterfeiter as he romances Dorothy McGuire. Also with Edmund Gwenn.
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*Kind of like some of WB's 30's melodramas but with a bit more bite. Interesting that they didnt make the victim in the beginning a black man. Maybe that was just a bit too much for the 50s. Of course finding a local prosecutor like Ronnie in the south willing or interested in taking on the Klan was a hard sell too........*
It was part of the wave of films at the end of the 40s-beginning of the 50s that were racially related. Think PINKY, LOST BOUNDARIES, INTRUDER IN THE DUST, NO WAY OUT. Only seems that WB chickened out and did't go all the way with the identity of the victim, but they weren't alone in that type of hedging; think PINKY, GENTLEMENS' AGREEMENT.
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*I was chuckling during parts wondering how Joan Crawford would've handled the role (she turned it down telling Jack Warner, no one would believe Doris Day was her sister! LOL)*
Ginger Rogers did a great job. However, she wasn't all that believable as a model; when Cochran told her how pretty she was, she seemed anything but to me. Much better and more believable if Lauren Bacall had done it; shge too turned it down. Crawford would've been way too old IMHO. Yes, it was not a typical role for Steve but I thought he did a good job in a milti-faceted role.
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*I agree that Lupino's got a bigger and better overall repertory than Hayward, but when Hayward got a meaty role ( I Want to Live! or I Can Get It For You Wholesale ), she always delivered. And while she's no Hayworth or Loretta Young when it comes to beauty, she's still most definitely easy on the eyes.*
Well, I tend to think that Susan has a bigger and better overall repertory, once she left her usual scene-stealing other-woman second-lead roles at Paramount, and became a star in the mid-40s. In the 50s, she had some of the best women's roles PERIOD. OfF the top of my head:
THE HAIRY APE
CANYON PASSAGE
THEY WON'T BELIEVE ME
SMASH UP
THE LOST MOMENT
TULSA
TAP ROOTS
HOUSE OF STRANGERS
MY FOOLISH HEART
RAWHIDE
I'D CLIMB THE HIGHEST MOUNTAIN
I CAN GET GET IT FOR YOU WHOLESALE
DAVID AND BATHSHEBA
WITH A SONG IN MY HEART
THE LUSTY MEN
THE SNOWS OF KILIMAJARO
THE PRESIDENT'S LADY
WHITE WITCH DOCTOR
DEMETRIUS AND THE GLADIATORS
GARDEN OF EVIL
UNTAMED
SOLDIER OF FORTUNE
I'LL CRY TOMORROW
THE CONQUERORS
TOP-SECRET AFFAIR
I WANT TO LIVE
I'll stop there. Anyway, quantiitatively, she had more than Lupino (of course qualitiatively that's more subjective) She had the top pick of the dramatic roles at Fox in the 50s, and had vehicles tailored specifically for her talents. She was also voted into the Top Ten Boxoffice stars three times in the 50s, and wasn't far out of them at other times.
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On the upper right hand corner of this page, there is a white space where you can type in the name of a movie, actor, etc. Type her name in, then clic the search box below it, and she should come up, If any of her moves are scheduled on TCM in the next two-three months, it'll say what and when just below her name.
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*Any chance that her listed year of birth is badly incorrect?*
1925 sounds about right. She was known to be about 16 - 17 when she starred with Bogart, Cagney, et.al. In fact in 1942, when she was still underage, WB thought better of starring her with Errol Flynn in THE CONSTANT NYMPH, since Flynn was then being accused of statutory rape.
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*Seems to me that Joan Leslie was stuck at an early age in young, sweet, innocent, girl next door type casting. Which she did very well. But she couldn't remain that way forever.*
A prime example of of this type of image change revitalizing a career is Linda Darnell. She had been doing similar sweet young things (although usually playing adults) since 1939, when she was all of 15, but found that after about three years she was stagnating. Roles in important pictures that were promised to her were reassigned to others, and the roles she did get were in unimportant pictures. Not coincidentally, this happened around the time she turned 18, and reportedly turned down a pass from the boss. After a couple of years of this, It took a deliberate change of image, to play sexy femme fatales, to get her career in gear again.
Edited by: Arturo on Apr 4, 2012 2:46 PM
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*CASANOVA BROWN? Joan Leslie is not in that. Could you mean CINDERELLA JONES?*
Sorry my bad. I sure do. These junior moments come unexpectedly, but in all truthfulness, the two titles have always seemed similar to me, so it was easy for my mind to do this.
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jamesjazzguitar wrote:
Can you explain what you mean by 'sued for better roles'? I don't think one can file a lawsuit for that. Olivia DeHavilland filed a sued against WB but that was because WB extended their contract based on the time she was on suspension.
Well Joan sued to be released from her contract to Warners. She was upset because her most recent assignments were porgrammers; the more prestigious RHAPSODY IN BLUE and CASANOVA BROWN had been filmed in 1943-44. She also was upset that the studio refused to loan her to do a film at UA (THE CHASE I think). She used what I think of as the "Mary Wells Clause", basically that since she had signed the WB contract as a minor of 15 or 16, it was null and void once she reached adulthood. The court found for her, and Warners retaliated by the aforementioned demotion from star-billing to feature billing in TWO GUYS FROM MILWAUKEE.
Too bad Warner Brothers thought she had peaked by the mid 40s; maybe a change of image might have given her career a boost; imagine her as Veda in MILDRED PIERCE? I can. She was good later as the other woman, andrival to Jane Russell, in THE REVLOT OF MAMIE STOVER.
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Yes it was great to get Garbo on Silent Sunday Night, and a twofer at that!
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Robert Osborne's remarks at the start of MOVE OVER DARLING need clarification. While He stated that this movie is the one that had been started in 1962, as SOMETHING' GOT TO GIVE, starring Marilyn Monroe, and from which 20th fired MM, he didn't add that the studio re-hired her to finish the movie just days before her tragic death. I state this only because there is the widespread belief that Marilyn's career troubles were part of the despondency that supposely led to her suicide, when in actuality, she and Fox had patched things up.
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btw, is tomorrow Gregory Peck's B-Day? Not only does TCM have several in the morning, but FMC is showing THE MAN IN THE GREY FLANNEL SUIT.
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PlusTHE FUGITIVE KIND, SAYONARA, and JULIUS CAESAR.
ever watched a more obnoxious promo....
in Hot Topics
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ABSOLUTELY the most obnoxious promo ever, and brings back unpleasant memories. While the movie is funny in general, Dudley Moore's character, and that laugh, is so unpleasant and annoying, I would never sit through it again. I never understood the movie's reception with the public, nor with the Academy. Even more so, I don't get Moore's popularity. I will not watch anything Moore is in, from the ltes 70s and on, and his general obnoxiousness has even colored my opinion of his 60s work (why I can't bring myself to record BEDAZZLED, no matter how often FMC played it). And he ruined for me the remake of UNFAITHFULLY YOURS, along with my general distaste for remakes in principle.