Arturo

This film.also has a porn version, THE STREETWALKER WITH NO NAME. You should see the Betty Garde character!

Spot on missw. You had.me chuckling here at work.as.I read this. Great film, DOUBLE INDEMNITY, excellent.writing, acting and directing. Btw, have you seen the porn takeoff of DI, DOUBLE *********? Hilarious, but slightly different, although the Phyllis Dietrichson character has the same hairstyle, glasses and ankle bracelet.......and nothing else!

I believe Paul LeMat.was.also in AMERICAN GRAFITTI. Great.fun.film,.and awesome.soundtrack.

The Stones had some of the best singles from 1965-67, as they followed the template laid down by Lennon-McCartney, and started.to write their own songs. The often menacing song lyrics, backed by their performances, were wrapped by the dense productions of Andrew Oldman (who fancied himself another Phil Spector), to create.some truly memorable moments. Some of their album tracks have these same qualities. Sometimes, though, the production missed the mark; "Have You Seen Your Mother Baby...." Had a really tinny mix that buried the raw power of the track. The Stones were the second biggest singles artists of the British Invasion, after the Beatles, at least in Britain. In the U.S. singles such as "Let's Spend the Night Together", "We Love You"., and "Street Fighting Man" were banned, leading to limited AM airplay, and poor sales. They bounced back after their psychedelic turn, with back to basics rock, and this is when they began to be referred (by some) as the Greatest Rock and Roll Band in the World. The Kinks started.off with a bang, with their simplistic, loud and exciting anthems, "You Really Got.Me" and "All Day and All of the Night", building on the basic chord structure and sound of "Louie Louie". Their third hit, however, slowed the sound down, and added.a little bit of melody, "Tired Of.Waiting for You" (they had already demonstrated these traits on the track "Stop Your Sobbing", which later provided the Pretenders their first hit when they memorably covered it in the late 70s). Soon, the idiosyncratic songwriting.abilities of Ray Davies began to emerge, offering social commentary on the changes swirling around him. At first cloaked in spare, basic instrumentation ("A Well-Respected Man", "Dedicated Follower of Fashion"), he soon matched his often biting lyrics.and wry observations in much more melodic surroundings. Unfortunately, after.the first.of these, "Sunny Afternoon", in mid1966, the Kinks fell out of the U.S. charts for several years, depriving radio listeners of some supremely beautiful, and beautifully crafted.pop singles. Their albums were.also.filled with many similar delights. By the late 60s, Ray.Davies was championing the traditional British values then under assault by the forces of change (often spurred on by their contemporaries in the music biz), and they fell out of fashion as just another "pop" act.

Peter Graves is perhaps best known for his stint in the tv series, "Mission Impossible" from the late 60s and early 70s. He was very enjoyable as the host of Biography, and wish it still.was in production. Along with the comment made about some changes are just natural aging, and also a comment about the change from silents to talkies, I think it's actually more a reflection of the styles.of the 20s as opposed to the 30s. There are few changes as drastic, and as easily demarcated, by the change of decades as that one (well for women anyway). Two other female stars whose appearances changed drastically, from the late 20s into the 30s, were Joan Crawford and Dolores Del Rio. The new styles of the 30s (of which they helped popularize) were much more becoming to them. Liz Taylor looked great.in.all.her films.of the 50s, although most were junk. A.notable.exception.was.LAST TIME I SAW PARIS. She was also good in GIANT, the film.that marked a turning point in her popularity, as wel.as being taken seriously as an actress. In the later 60s, she remained beautiful (although her weight began to fluctuate), but the films were often misfires, plus she usually had huge bouffant and beehive hairdos.

On FMC (all times eastern): Monday, 3/14: 4 am: MONKEY BUSINESS (1952).................................6 am: THE LOST WORLD (1960).......................................7:40 am: PRINCE OF FOXES (1949)......................................9:30 am: PRINCE VALIANT (1954)......................................11:15 am: THE BLACK ROSE (1950)...................................1:30 pm: ANNE OF THE INDIES (1951).............. Tuesday, 3/15: 3 am: BIGGER THAN LIFE (1956).......................................4:40 am: HALF ANGEL (1951)..............................6 am: PRINCE OF FOXES (1949)...................................8 am: PRINCE VALIANT (1954)......................................9:45 am: THE BLACK ROSE (1950)...............................11:50 am: ANNE OF THE INDIES (1951)....................................1:15 pm: THE LAST AMERICAN HERO (1973)................ Wednesday, 3/16: 4 am: VOYAGE TO THE BOTTOM OF THE SEA (1961)..............................6 am: SNIPER'S RIDGE (1961)...................................7:05 am: THE MAGNIFICENT DOPE (1942)......................................8:30 am: IT HAPPENED IN FLATBUSH (1942)...................................9:55 am: THE PRIDE OF ST. LOUIS (1952)..........................................1:10 pm: VOYAGE TO THE BOTTOM OF THE SEA (1961).................

Frankie Valli and Barry Gibb had forced falsettos, they sound strained and unnatural, shrill even. Al Green was a consistent presence in the r'n'b charts, both singles and albums, from.the beginning of the 1970s, throughtout that decade, and into the 80s and 90s. He was also in the Pop Top 40 for a good part of the 70s, including nearly ten top ten hits, and hit albums. He only fell out of the pop charts when he abandoned secular music for gospel, equally soulful and graced with his beautiful falsetto. He has many sublime moments in his many songs; he was one of the all-time great soul artists.

One David Hemmings-directed film I would love to see again, despite its uniformly poor notices, is JUST A GIGOLO. Wish TCM would show it; along with the recently deceased David Bowie, the film has Marlene Dietrich and Kim Novak.

The best falsettos, imho, are from some.of the great soul singers of the 60s and 70s: Smokey Robinson, Eddie Kendrick, Marvin Gaye, Al Green.

BORED YESTERDAY The film adaptation of a Broadway smash. The long-suffering girlfriend of a business tycoon accompanied him to Washington DC. While there, the tycoon attempts to win over senators to allow him an exemption to privacy laws, so he can collect confidential data from the public, under the ruse of inviting them to participate in an Inner Circle. Meanwhile, the girlfriend has nothing to do, being bored all day. Despite the big shot's own uncouth manners, he hires a private tutor to "learn her" while he is dealing with his business. Said tutor decided to instruct his initially unreceptive pupil in the ways of the internet. Soon she becomes a regular on a classic film channel website. She quickly does what many other newbies there do, start new threads with every idea that pops into her head. She constantly posts on her own and others' threads. It doesn't take long for many of the long time members to become disenchanted with the many threads by this and other newbies, recycling and rehashing many ideas done before. They stay away more and more, leaving the boards to the dominance of the newbies, as well.as one long-standing member, who finally sees her dreams of dominating the messageboards as being possible. The cycle begins to feed on itself, as more old-timers are bored and stay away, more newbies post more, etc. etc.etc....and visa-voisa.

There's an early 60s sex comedy, which I haven't see in decades. WIVES AND LOVERS, also has Janet Leigh and Shelley Winter. Although it's a Paramount film, I believe, it would be great if TCM could get and air this film. It may be somewhat dated with its take of love in the suburbs, but should still be fun.

Herman's Hermits and the Monkees were copying the Beatles' commercial.sound, and each had similar success and fan mania, for awhile. However, their songs were mostly supplied for them, as they didn't (weren't allowed to?) write and record their own material. Particularly in this respect, they were a throwback to pre-Beatles music business, where a pop group was expected to sing and release the latest compositions from Brill Building composers. The Beatles' insistence on writing and having their songs released as singles from the beginning totally changed.all that, at.least for groups that hoped to be taken seriously. As the 60s progressed, The Beatles kept up with innovations in music, recording techniques, etc. Often they were the innovators. Groups like the Hermits and the Monkees were not in the same league (to the everlasting frustration of Monkees Peter Tork and Mike Nesmith). The Beatles were in another league entirelyo

The original Fifth Beatle was Stu Sutcliffe, who WAS the fifth memeber of the band when it had five members. He left in 1961 or early 1962, to remain in Hamburg with his girlfriend. He died shortly thereafter. I don't remember exactly these days, but either Pete Best or a session drummer actually ended up playing on the first Beatles single released by Parlaphone, "Love Me Do". The take that was issued did not have Ringo, although I think the one that was used on the album a few months later did feature Ringo. Ringo was usually given one song to sing per album, and it would be very few songs, and in later years, that he actually wrote. One was "Octopus' Garden", a sort-of rewrite of Lennon-McCartney's "Yellow Submarine", which Ringo sang. Despite his limited musical talents, Ringo was very popular during Beatlemania, especially in the U.S. He was a big part of their success in films and with their cartoon series.I

On FMC (all times eastern): Thursday, 3/10: 3:30 am: CAN-CAN (1960)....................................6 am: CALL ME MADAM (1953).........................................8 am: THE MUDLARK (1950)........................................9:45 am: THE IMMORTAL SERGEANT (1943)................................................11:20 am: DECISION BEFORE DAWN (1951).........................................1:30 pm: THE TERRORISTS (1975)...................... Friday, 3/11: 3 am: THE TERRORISTS (1975)..............................................4:30 am: THE REVOLT OF MAMIE STOVER (1956)..........................................6 am: THE IMMORTAL SERGEANT (1943)...........................................7:40 am: DECISION BEFORE DAWN (1951).......................................9:45 am: THE REVOLT OF MAMIE STOVER (1956)...........................................11:15 am: ISLAND IN THE SUN (1957)..........................................1:15 pm: BIGGER THAN LIFE (1956).......................... Saturday, 3/12: 4 am: THE QUILLER MEMORANDUM (1966)...........................................6 am: DRESSED TO KILL (1941)............................................7:20 am: JUST OFF BROADWAY (1942).............................................8:30 am: A BLUEPRINT FOR MURDER (1953).............................................9:50 am: FIVE FINGERS (1952)..................................................11:45 am: TWELVE HOURS TO KILL (1960)....................... Sunday, 3/13: 3:53 am: JUST OFF BROADWAY (1942)..............................................6 am: A BLUEPRINT FOR MURDER (1953).............................................7:25: A FAREWELL TO ARMS (1957)...........................................10 am: THE MUDLARK (1950).....................................11:40 am: MONKEY BUSINESS (1952).........................................1:20 pm: THE LOST WORLD (1960).................

Beauty aside, I think the comparison has to do with their respective diamond and jewelry collections; both stars were well known for theirs. Taylor was in the midst of getting many "baubles" from then-husband Richard Burton; this was highly-publicized in the press at that time.

Hi He can hook up a marketing deal with TCM; along with his wine, there can be a TCM Steak Club, etc. Steak Tartare to be eaten while watching THE CONQUERORS. Of course, to do it properly, the steak must be nuked.

What, no Eleanor Parker, Ann Miller or Shirley Temple films?

Imho, George Martin is infinitely more deserving than Billy Preston of that title. Preston was around a bit at the end; Martin helped to translate the Beatles vision, from the beginning if their recording contract, through the end of their existence.

Not sure if it's been mentioned.......Julia Roberts as Erin Brockovich. Alice Faye in LILLIAN RUSSELL Betty Grable and June Haver in THE DOLLY SISTERS Jean Simmons as Elizabeth I in YOUNG BESS Vanessa Redgrave as Isadora Duncan. Natalie Wood and Rosalind Russell as Gypsy Rose Lee.and mother. Carroll Baker and Carol Lynley as Jean Harlow.

How about some rarities for a Van Johnson tribute, like BOTTOM OF THE BOTTLE or TEN PACES TO BAKER STREET. Both good dramas from the second half of the 50s, where he is given a chance to stretch a little. Not sure if they've ever played on TCM, being Fox releases.

She looks much better in a turban than she did in the silly nun headgear, however aeordynamic it apparently was.

This title always reminds me of a song done by The Supremes, named the same, which they recorded in the first half of 1964. As was often the case with Motown, the song was shelved, and not released until a 25th Anniversary anthology in the mid 1980s. It would have made.a decent album track, if not quite strong enough to have been an A side single release. The song, by Holland-Dozier-Holland, sounds transitional from their hit-making formula of 1963, typified by their hit with Martha and the Vandellas, "Heat Wave", and their new sound, as per their first No. One hit with the Supremes, "Where Did Our Love Go". The H-D-H version of the wall of sound has been replaced by less overall clutter, although still having the vaguely Charleston sound of the 63 productions, but the prominent stomping beat of the newer hits.

On FMC (all times eastern): Sunday, 3/6: 3 am: APRIL LOVE (1957)........................................4:45 am: DAYTIME WIFE (1939)........................................6 am: HEAVEN WITH A BARBED WIRE FENCE (1939)......................................7:05 am: HOW GREEN WAS MY VALLEY (1941)..........................................9:05 am: THE GIRL IN THW RED VELVET SWING (1955)...........................................10:55 am: BIGGER THAN LIFE (1956)............................................12:35 pm: FROM THE TERRACE (1960)...................... Monday, 3/7: 3:30 am: FROM THE TERRACE (1960).........................................6 am: MOTHER DIDN'T TELL ME (1950)..........................................7:30 am: IF I'M LUCKY (1946)...........................................8:50: SUN VALLEY SERENADE (1941)........................................10:20: SPRINGTIME IN THE ROCKIES (1942)...........................................11:551: SOMETHING FOR THE BOYS (1944).........................................1:25 pm: BLOODHOUNDS OF BROADWAY (1952)...................... Tuesday, 3/8: 4 am: ISLAND IN THE SUN (1957)..........................................6 am: IF I'M LUCKY (1946)...........................................7:25 am: SUN VALLEY SERENADE (1941)........................................8:55 am: SPRINGTIME IN THE ROCKIES (1942)..........................................10:30 am: SOMETHING FOR THE BOYS (1944).........................................12 pm: THE BEAUTIFUL BLONDE FROM BASHFUL BEND (1949)............................................1:20 pm: CALL ME MISTER (1951)........................... Wednesday, 3/9: 4 am: CINDERELLA LIBERTY (1973).........................................6 am: NOB HILL (1945)..........................................7:40 am: THE BEAUTIFUL BLONDE FROM BASHFUL BEND (1949)..........................................9 am: CALL ME MISTER (1951)....................................10:45 am: CALL ME MADAM (1953).............................................12:45 pm: CAN-CAN (1960)............................ 3:30

Sorry about the late notice,.but NO WAY OUT will.be on TCM later today, at.2 pm eastern time.

This never made it on the screen, but sorta fits here. A story involving Columbia mogul Harry Cohn had him berating the writers of a proposed script for an epic taking place in the middle ages. He took exceptione to phrases like "Yes Sire", and said something like, "What is all this crap about 'Yes sir-ee!' Nobody talked like that back then!" He obviously thought he was preventing anachronisms in the dialogue.