CelluloidKid

*I just found out about this book and I thought I would pass it along!!!!* *Rita Hayworth A Photographic Retrospective* *_Rita Hayworth A Photographic Retrospective_* *Author: Caren Roberts-Frenzel* Fifty years after the peak of her popularity, the world is still captivated by Rita Hayworth. This book provides an insightful look at one of the century's most beloved glamour girls, chronicling her life in more than 300 photographs, many of which have never been seen or have not been published in more than 50 years. The photos run the gamut from publicity shots, film stills, rehearsal photos, candids, news photographs, and, of course, that famous WWII pin-up. The photographs span Rita Hayworth's life her rise from starlet to star, her marriages to such famous men as Orson Welles, Prince Aly Khan, and Dick Haymes, and ending with her death from Alzheimer's disease. Caren Roberts-Frenzel is the author of the fabulous new book, _Rita Hayworth: A Photographic Retrospective_. It is the first book about Rita to be published in thirteen years, and the first ever "life in pictures" type book about her. It offers a behind the scenes look at the life of the legendary actress through photographs (some famous, but most rarely seen) and text that give us a glimpse of Rita's whirlwind life in and out of the spotlight. The book illustrates Rita's entire life: from dancing days in Mexico, to her time as a real life princess, through to her difficult later years and battle with Alzheimer's Disease. This film memorabilia collector presents Hayworth's life beginning with her early years and thoroughly chronicles it until its sad ending. The book showcases nearly 300 images, revealing how Hayworth gained her fame as a pin-up portrait for soldiers and as a big screen star. Many of the photographs are rare, even showing her original Spanish-style hair and dress. 297 illus., 10 full-color.

*WOW....No Robert Mitchum films on TCM in April 2009!!!* *But here is other places Robert Mitchum can be found!!!* *All Times are Eastern ...Check Local Schedules.* *AMC (American movie) Mon, Apr 6, 4:45 AM _The Longest Day_ (1962)* *AMC (American movie) Wed, Apr 15, 6:45 AM _What a Way to Go!_ (1964)* *FMC (Fox Movie Channel) Fri, Apr 17, 12:15 PM _Man in the Middle_ (1963*)

*I have a good friend that loves Hayley Mills ..... & this is for him & "*ALL*" fans of Hayley Mills!!* *Hayley Catherine Rose Vivien Mills (born 18 April 1946) is an Academy Award and Golden Globe Award-winning English actress.* Mills was born in London, England, the younger daughter of actor Sir John Mills and playwright Mary Hayley Bell. She is also the younger sister of actress Juliet Mills and the cousin of Susie Blake, who played Bev Unwin in the long running ITV soap Coronation Street. Mills was only a year old when she made her movie debut, in the film _So Well Remembered_, starring her father, Oscar winner John Mills. Mills was 12 when she was discovered by J. Lee Thompson, who was initially looking for a boy to play the lead role in Tiger Bay. Walt Disney's wife, Lillian Disney, saw her performance and suggested that Mills be given the lead role in Pollyanna. The role of the "glad girl" who moves in with her aunt catapulted Mills to super-stardom in the United States and earned her a special Academy Award. After her contract with Disney expired in 1966, Mills starred in The Trouble with Angels, opposite Rosalind Russell. Looking to break from her clean-cut, girl-next-door image, Mills went home to England to star in The Family Way. Though meant to be a light British comedy about a couple having difficulty consummating their marriage, a brief shot of Mills' bare bottom generated a certain amount of controversy upon first release, possibly because of her previous "family movie" background. Though harmless by today's standards, The Family Way hurt Mills' film career. Mills made her stage debut in a 1966 West End revival of _Peter Pan_. In 2000, she won a Theatre World Award for her performance in Suite in Two Keys - her off-Broadway debut. In the mid-1980s, Mills returned to The Parent Trap in a trio of TV movies: The Parent Trap II, The Parent Trap III and The Parent Trap: Hawaiian Honeymoon. In later life, Mills appeared in television's Saved By the Bell, which was formerly titled Good Morning, Miss Bliss. Other television work includes The Flame Trees of Thika for the BBC in 1981 and a trio of made-for-TV movies based on The Parent Trap. She later moved on to theater work, appearing in New York in _Suite in 2 Keys_, a play by Noel Coward in which she Theatre World Award for her performance , and touring with a production of The King and I during the 1990s. *_Hayley Mills Trivia_* Daughter of playwright Mary Hayley Bell and actor John Mills. Her son is Crispian Mills, lead singer of Kula Shaker. Signed with Sony; their second single went straight to number 2 in UK charts. He is now part of The Jeevas. Of the Oscar-winning father-daughter couples, she and her father are one of two couples (the other is Jane Fonda/Henry Fonda) where the daughter won an Academy award before the father did. Is the god-daughter of Sir Laurence Olivier. She and her father John Mills were the first Oscar-winning father-daughter couple She had hit recordings on both sides of The Atlantic with "Let's Get Together"(1961), which she performed in the film "The Parent Trap", and "Johnny Jingo" (1962). Last person to be awarded a "Juvenile Award" at the Oscars. Mills was considered for the role of Lolita Haze in Stanley Kubrick's 1962 film version of _Lolita_. However, Walt Disney discouraged the casting, feeling the role was not up to Disney's wholesome standard, and the part eventually went to Sue Lyon. ; *_Movies_* _Wild at Heart_ (2007) (TV series)........ Caroline _Stricken_ (2005) ..... Hildy _2BPerfectlyHonest_ (2004) ........ Terri _Troll in Central Park, A_ (1993) (voice) .... Hilary _Back Home_ (1990) (TV) .... Peggy _Parent Trap Hawaiian Honeymoon_ (1989) (TV) .... Susan Wyatt/Sharon Evers aka: Parent Trap IV: Hawaiian Honeymoon (1989) (TV) _Parent Trap III_ (1989) (TV) .... Susan/Sharon Evers _Appointment With Death_ (1988) .... Miss Quinton "Good Morning, Miss Bliss" (1987) TV Series .... Miss Carrie Bliss aka "Saved By The Bell" (1987) _Parent Trap II_ (1986) (TV) .... Sharon Ferris/Susan Corey "Flame Trees of Thika, The" (1980) (mini) TV Series .... Tilly _Kingfisher Caper, The_ (1975) .... Tracy aka: Diamond Lust (Canada: English title) (video title) aka: The Diamond Hunters (South Africa: English title) _Bananas Boat, The_ (1974) .... Jenny aka: What Changed Charley Farthing? (1974) _Deadly Strangers_ (1974) .... Belle Adams _Cry of the Penguins_ (1971) .... Tara St. John Luke aka Mr. Forbush and the Penguins (1971) _Endless Night_ (1971) .... Ellie aka Agatha Christie's Endless Night (1971) _Take a Girl Like You_ (1970) .... Jenny Bunn _Twisted Nerve_ (1968) .... Susan Harper _Africa - Texas Style!_ (1967) .... Girl at airport aka Cowboy in Africa (1967) _Matter of Innocence, A_ (1967) .... Polly aka Pretty Polly (1967) _Daydreamer, The_ (1966) (voice) .... The Little Mermaid _Family Way, The_ (1966) .... Jenny Fitton _Gypsy Girl_ (1966) .... Brydie White aka Sky West and Crooked (1966) _Trouble With Angels, The_ (1966) .... Mary Clancy _That Darn Cat!_ (1965) .... Patti Randall _Chalk Garden, The_ (1964) .... Laurel _Moon-Spinners, The_ (1964) .... Nikky Ferris _Truth About Spring, The_ (1964) .... Spring Tyler _Summer Magic_ (1963) .... Nancy Carey _In Search of the Castaways_ (1962) .... Mary Grant _Parent Trap, The_ (1961) .... Sharon McKendrick/Susan Evers aka Petticoats and Bluejeans (1961) _Whistle Down the Wind (_1961) .... Kathy Bostock _Pollyanna_ (1960) .... Pollyanna _Tiger Bay_ (1959) .... Gillie _So Well Remembered_ (1947) .....Infant.....Uncredited

*Per Wikipedia: William Nigel Ernle Bruce - 4 February 1895 - 8 October 1953* *BUT THEN "Find a Grave' lists .... Birth: Feb. 14, 1895 ....!????!???! (Click link below!)* http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=5429 At: MovieActors.com they list ...... Nigel Bruce was born on February 14, 1895 in Ensenada, Mexico. Nigel Bruce passed away on October 8, 1953

*Happy Birthday 95th birthday.Sir Alec Guinness 2 April 1914 ? 5 August 2000!* *Thu, Apr 2, 1:15 PM _Tunes of Glory_ (1960)* *Thu, Apr 2, 3:15 PM _H.M.S. Defiant_ (1962)* *Thu, Apr 2, 5:15 PM _Cromwell_ (1970)* *Sat, Apr 4, 9:00 AM _Little Dorrit: Part 1 Nobody's Fault_* *Sat, Apr 11, 9:00 AM _Little Dorrit: Part Two Little Dorrit's Story_* *Sat, Apr 11, 5:00 PM _The Bridge on the River Kwai_ (1957)* *Alec Guinness, genuine class* by Stephen Whitty/The Star-Ledger Wednesday April 01, 2009 *Turner Classic Movies, always good about remembering these things, is running a mini festival on Wednesday, April 02, 2009.* *Get up early or set your digital recorder for a day of classics beginning with the immortal "Bridge on the River Kwai" at 6:30 a.m. and featuring such terrific films as "The Horse's Mouth" and "Damn the Defiant!"* Or drop by your library - and look for the actor's three charming volumes of memoirs, beginning with "Blessings in Disguise." Either way, you'll be remembering - or, if you're very lucky, being introduced - to one of the most brilliant, and modest, actors of our time. Although there were honors ahead in his life - he won the Oscar for "Kwai," and eventually became "Sir Alec" - Guinness' life began rather shabbily in London in 1914, when he was born to an unmarried mother. He never knew for sure who his father was (although a man named Andrew Geddes quietly paid for his schooling); his childhood was one of past-due bills and impatient landlords. Although Guinness eventually got a job in an ad agency, he was drawn to the stage and spent some of his very hard-earned money on acting lessons, a pound apiece, from Martita Hunt. After watching him for awhile, the formidable veteran returned his money, telling him it was a waste of his time and hers. (Later, she would relent - and, still later, play Miss Havisham in his own "Great Expectations.") Guinness kept at it, however, getting the part of Osric in John Gielgud's 1936 production of "Hamlet." The staging was a critical smash, and Guinness was soon busy in a variety of classical roles, appearing opposite Laurence Olivier onstage in "Henry V" and starring in "Romeo and Juliet." Then came the war, and Guinness went to sea where, he said later, he "gave his best performance... trying to be an officer and a gentleman." His film career began afterward when David Lean - remembering Guinness' own stage adaptation of "Great Expectations" - cast him in the same role, Herbert Pocket, in his film of the book. The movie, a huge hit, was a new beginning for Guinness - although he would return to the stage when he could, he was now primarily a film actor. A favorite Lean actor too, although the two men were as alike as chalk and cheese, and clashed constantly. Yet they would make a number of films together over three decades - "Oliver Twist," "Kwai," "Laurence of Arabia," "Dr. Zhivago," "A Passage to India." Much as he disliked the filmmaker's bullying, Guinness had to admit he coaxed great performances out of him. Much as he raged against the actor's stubbornness, Lean considered him an essential good-luck charm (particularly when one project Guinness turned down, "Ryan's Daughter," became Lean's biggest flop). Their production of "Oliver Twist" ran into trouble abroad, with Fagin - always a problematic character at best - seeming grossly anti-Semitic, particularly a scant three years after the Holocaust. (Only after having most of Guinness' closeups cut, was the film shown in America.) Yet the movie shows the actor's amazing ability to dive completely into a role, without fear or vanity. It was a quality that would serve him well over the next decade as - working chiefly at Britain's Ealing Studios - he turned out some of the finest, funniest comedies ever made. In "The Man in the White Suit," he's a slightly dotty inventor (and a fine physical comedian - as a young man, Guinness had adored Stan Laurel). In "The Ladykillers," he's a scraggly mastermind of crime (and a dead ringer for the wonderful actor Alastair Sim). And in "King Hearts and Coronets" he's simply everyone - playing an entire family, from senile reverend to radical suffragist. and in the role he found a drag, in "Star Wars"People may laugh at Mike Myers doing his accents and multiple roles today. But they're really watching Myers copying Peter Sellers copying Alec Guinness - a copy of a copy of a true original. When Lean came back to him to do "Bridge on the River Kwai," Guinness said no. He didn't like the director, frankly; he also worried that the film, with its depiction of a slightly mad officer, would be seen as an insult to the British Army. Disappointed, Lean considered other actors, including Charles Laughton (who was absurdly out of shape for the part) and Olivier (who never would have managed the role's necessary humor). But he kept coming back to Guinness, and finally - persuaded by friend Jack Hawkins, who plays the commando leader in the movie - Guinness said yes. The movie was an enormous hit, won Guinness his only Oscar, and cemented his international fame. Guinness never lacked for film work afterward, although not every choice was a wise one, and his confidence in his own mimicry was sometimes misplaced (his slightly unbelievable Arab in "Laurence of Arabia" is nothing next to his ridiculous Japanese businessman in "A Majority of One"). But he found fine work in the moral spy stories of Graham Greene and John Le Carre, and returned to Dickens late in life for a brilliant version of "Little Dorrit." In between, of course, there was a little thing called "Star Wars." From the moment Guinness set foot on the set, the project confused, vexed, rewarded, bored and absolutely astounded him. He hated the "bloody awful" dialogue (but, sure the film would be a hit, negotiated a percentage of the profits); he appreciated the financial rewards it brought him, but was dismayed by the cult (when an autograph hound told him he'd seen the movie a hundred times, a horrified Guinness made him promise to stop). Perhaps he'd had a nasty premonition. Guinness always had an interest in spirituality and metaphysics, religion and the occult; he read Tarot cards for awhile and, meeting James Dean, blurted out that the young man would be dead in a week if he insisted on driving his new Porsche. (The actor died seven days later.) A devout convert to Catholicism, Guinness was proud to appear in a number of films with religious themes, including "The Prisoner," "Brother Sun, Sister Moon" and "Father Brown." But then "an actor," Guinness once observed, "is at his best a kind of unfrocked priest who, for an hour or two, can call on heaven and hell to mesmerize a group of innocents." And a kind of alchemist, as well, as for years Guinness took the base elements of greasepaint and wigs and screenplays and turned them into breathing people. The mad colonel in "Kwai." The bowler-hatted dreamer in "The Lavender Hill Mob." The careful agent in "Tinker, Tailor, Soldier, Spy." Guinness died in 2000, at age 86, leaving behind his wife of 62 years (who followed him, a scant few months later) and a son. And, of course, his other creations - a gallery of people, all living eternally on the screen.

*Lana Turner - TCM April 2009 - All Times Are Eastern Check Local Schedules.* Fri, Apr 3, 12:00 AM - _The Three Musketeers_ (1948) *_STARS_:* Gene Kelly, Van Heflin, June Allyson, Frank Morgan, Gig Young, Vincent Price & Lana Turner!! *Directed by:* George Sidney *Academy Award nomination for Best Cinematography.*

*Rita Hayworth on TCM - April 2009 - All Times Eastern Check - Local Schedules.!* *Sun, Apr 12, 2009 8:15 AM _Salome_ (1953)* *_Stars_:* Rita Hayworth as Salome, as well as Stewart Granger, Charles Laughton and Judith Anderson, with Cedric Hardwicke, Alan Badel and Basil Sydney. *_Directed by_:* William Dieterle *_Dance of the seven veils_* According to her biographers Hayworth's erotic dance routine was "the most demanding of her entire career", necessitating "endless takes and retakes".[

*Joan Crawford - April 2009 - All Times Eastern Check Local Schedule!* Wed, Apr 8, 6:30 AM _Spring Fever_ (1927) *_Spring Fever_. MGM silent film, 1927.* *Wed, Apr 15, 6:00 AM _Lady of the Night_ (1925)* - Though uncredited, and usually not seen except for her back, this is Joan's film debut. Joan only plays the ?back? of Shearer in scenes in which both women appear on camera at the same time, a fact which apparently and understandably rankled her. There are a few instances in which a split screen was used and Shearer does play alongside herself in those scenes, but otherwise, back shots later in the film are of Crawford and in one scene in which the two women share a cab, Crawford?s face in profile is clearly seen for some moments. Though uncredited, and usually not seen except for her back, this is Joan's film debut.

Well don't forget that in 1998, _The Taking of Pelham One Two Three_ was remade as a television movie with the same title, with Edward James Olmos in the Matthau role and Vincent D'Onofrio replacing Shaw as the senior hijacker. Although not particularly well received by critics or viewers, this version was reportedly more faithful to the book, though it updated the setting with new technologies. It was also devoid of the quirky cynical humor that made the original so memorable.

*William A. Wellman: a director remembered -- at last* by Stephen Whitty/The Star-Ledger Saturday March 28, 2009 *Great things lead to fame, but the lesser people who catalogue the famous work in miniature. When it comes to listing top directors, for example, critics look to careers they can sum up easily, with favorite genres, identifiable styles, particular obsessions.* Which is why no one today speaks of the legacy of William A. Wellman. Mention another director's name, and an approved portrait springs to mind. Hitchcock is thrillers, powerful editing, guilt and voyeurism. Ford is Westerns, impressive compositions, duty and legend. But Wellman's own virtuosity works against him. His own modesty, too. He was never a name-above-the-title guy, or claimed that most of his movies were anything but a workmanlike job. If you didn't remember him for any of them, he wouldn't have cared at all. But it's hard to forget his movies, and looking over a list, it's impossible not to find some favorites. The gritty "The Public Enemy"? That was one of his. The screwball "Nothing Sacred" too. He made the first "A Star is Born," a story of Hollywood tragedy, and the classic "The Ox-Bow Incident," a grim tale of American injustice. Oh, and "Wings," the first movie to ever win the best-picture Oscar. And "Story of G.I. Joe," a wise and weary study of ordinary men under fire. And plenty of popular hits, too -- "The Call of the Wild," "Beau Geste," "Battleground" and "The High and the Mighty." *A new collection from Turner Classic Movies and Warner Home Video goes a way toward redressing the slight.* *The latest edition of the popular "Forbidden Hollywood" series, it brings together a half dozen of the director's early '30s movies, and includes two excellent documentaries on the man's career. But even it can't fully capture what an astounding life he had.* Wellman was born on Leap Day in 1896, the child of a Massachusetts stockbroker and an advocate for "wayward boys" -- a good thing, too, as no one was more wayward than her own son. Joy rides and a stink-bomb attack on his principal eventually got him expelled from school. Then World War I intervened. The United States wasn't involved yet, but that didn't stop Wellman -- already an enthusiastic aviator -- from joining France's Lafayette Flying Corps. He flew biplanes that "only had four instruments, none of which worked, and no parachutes. It was wonderful!" Eventually he was shot down, and broke his back; he returned to the U.S. as a flight instructor. He drifted into the movies in the early '20s, first as an actor; silent star Louise Brooks later described him as an "intricate" man. It was one of the nicest things anyone ever said about a fellow who, once he began directing, became known for barracks-room talk, bordello anecdotes and a combustible temperament. He was never the boss' favorite. He was, however, the logical choice for "Wings," an extravagant $2 million salute to the fabled flying aces of World War I. Those who think Wellman had no style should begin here; the earthbound scenes use fluid tracking shots and judicious close-ups, while the aerial battles are full of unfaked action and gritty realism. The picture won the Academy Award, and made supporting actor Gary Cooper a star. Wellman, who had an unfailing eye for talent, created another icon when, shooting "The Public Enemy," he decided to cast young James Cagney in the lead. Unlike other directors, Wellman also saw the diverse advantages sound provided; the famous grapefruit salute arrived in silence, while the grim climax played out to a scratchy, offscreen Victorola. Yet although these two hits would seem to suggest the minting of a new "man's man" director like Howard Hawks, Wellman couldn't be pigeonholed. As "Forbidden Hollywood" shows, he was quite comfortable directing movies about strong, independent women. Just take another look at Barbara Stanwyck in "The Purchase Price," or Ruth Chatterton in "Frisco Jenny," both collected here. He also had a powerful social conscience. Wellman may have been a rich kid and an officer, but he sided with the underdog; the set's "Heroes for Sale" details the descent of a war veteran, while "Wild Boys of the Road" shows the abuse of homeless children. Both films feature brutal police riots, evoking the Army's ugly dispersal of unemployed WWI veterans -- the Bonus Marchers -- the year before. So Wellman was an "issues" director, then? Not really. Because his next two hits were "A Star is Born" -- the classic about an actress' rise, and her husband's decline -- and "Nothing Sacred," the rambunctious screwball comedy with Carole Lombard. The latter was as fast and cynical as any farce of the era; the former expertly married a light-hearted beginning to a tragic climax, and showed Wellman's mastery of Technicolor. His style was developing other flourishes, too, particularly a quirky eye for composition. In one of the documentaries in the set, a film historian points out the director's habit of framing shots behind barriers, so that details were often lost to view. Wellman didn't present an audience with the facts; he made them a challenge to discover. Two of his greatest films from the next decade show the search for the truth was more than just a stylistic trick. In "The Ox-Bow Incident," three men are picked up by an Old West posse with no interest in fairness; in "Story of G.I. Joe," war correspondent Ernie Pyle only gets the real dope from the Army's bedraggled foot soldiers. A spare film shot on studio sets, "The Ox-Bow Incident" didn't come just from Wellman's dislike of mythmaking (he would later loathe directing "Buffalo Bill"); it showed a continuing hatred of injustice. The film may have been set in the past, but as recently as 1930, two blacks had been lynched in Indiana; Wellman knew prejudices still smoldered in his own country, and now burned across Europe. Wellman worked hard on "Ox-Bow," giving it small and surprising touches -- the dog that wanders across the screen at a sort of coda, the old black preacher singing over the bodies, Jane Darwell as a bloodthirsty townswoman. The frightened studio immediately put it on the shelf; when it was released, audiences stayed away. If "The Ox-Bow Incident" was about how low ordinary Americans could sink, "Story of G.I. Joe" showed how high they could rise. Although it is built around the real-life character of Pyle -- who would be killed, soon, by a Japanese soldier's bullet -- it uses him only as a lens, to focus on the dogfaces who do most of the dying in any war. Wellman's sense of style is evident again -- he playfully uses the loud, offscreen sounds of battle to make the dirty words of one soldier's speech inaudible, and safe from censors. His eye for talent is here, too, as Robert Mitchum gets his first great role as the beloved captain (a clear prototype for Tom Hanks in "Saving Private Ryan"). Wellman had been in films for a quarter of a century and both films showed him working at the height of his powers. Yet it was not a pinnacle he would stay atop for long. Blunt and sometimes bullying, "Wild Bill" Wellman could be a terror on the set; he loathed doing more than two takes, thought actors were a bunch of egotists and hated "the money men." The young performers he nurtured -- James Whitmore and Clint Eastwood were two more -- adored him. But they were not the people who gossiped about him. At least the stories were good. Wellman may -- or may not -- have been the director who, when Loretta Young tried to fine him a quarter for swearing, gave her a five-dollar-bill in advance and then told her to go make love to herself (in decidedly less polite terms). But he definitely told John Wayne he walked like a "lousy fairy," got in a fistfight with mogul Darryl F. Zanuck and warned studio head Jack Warner that if he ever saw him again he would put him in the hospital. He was a different man at home and his fourth, final wife -- Dorothy Coonan, the girl hobo in "Wild Boys of the Road" -- always adored him, as did their seven children. But they were a distinct and close-knit Hollywood minority. The '50s brought a string of disappointing and sometimes reactionary films, but the butchering of his pet project, "Lafayette Escadrille," in 1958 (the studio insisted on a happy ending) was the final insult. Wellman wiped his hands clean and walked, undoubtedly swearing all the way, retiring to his house, his fruit trees and his grandchildren. He lived another two decades. He never made another picture. But he didn't have to. He'd already made 10 or 12 great ones. And if his interests were too diverse, his style too elastic to make him the favorite of the people who build the make-believe pantheons and install the agreed-upon greats, I think I can guess what Wellman would have thought of that. I think I can imagine what he could have said. And I know I can't print it here. If you're interested "Forbidden Hollywood Collection Volume Three: William Wellman at Warner Bros." comprises six features, plus two feature-length documentaries and assorted shorts, trailers, cartoons and special features, on four discs. The suggested retail is $49.92; for discounts, and more information, visit wbshop.com.

_NEW YORK CITY FILM SCREENING_: *The Film Forum will be featuring "The Films of Jules Dassin," including his 1942 film with Joan Crawford (and John Wayne), _Reunion in France_ (1942). It screens Monday, March 30, 2009 at 3:30 and 7!*

*Friday, March 27th, 2009 @ 5:00pm (PT) - Arizona Time- _Capricorn One_ (1978)!!!* Check Local Schedule! *_Stars_:* Elliott Gould, James Brolin, Brenda Vaccaro, Sam Waterston, O. J. Simpson, Hal Holbrook, *Karen Black*, Telly Savalas, David Huddleston, David Doyle & James Karen. *_Directed by_:* Peter Hyams Although thematically _Capricorn One_ is a typical 1970s government-conspiracy thriller with similarities to Hyams's subsequent film _Outland_, the story was inspired by allegations that the Apollo Moon landings were a hoax.

*Ohio 24-Hour Science Fiction Marathon* Thursday, March 26, 2009 Columbus Alive By Todd LaPlace *This weekend, Caan, Kahn and post-apocalyptic mutants come together at the Drexel to the delight of the sci-fi community. Along with a few old favorites, the 26th-annual _Ohio 24-Hour Science Fiction Marathon_ will screen _five area premieres_, the most in the marathon's history.* Among the new films are two scheduled for wide release in April. _Mutant Chronicles_, which stars Ron Perlman, Thomas Jane and Devon Aoki, is loosely based on a role-playing game about a post-apocalyptic society overrun by mutants. Alien Trespass is a retro invasion film starring Eric McCormack and Robert Patrick. Drexel owner Jeff Frank said he expects it to be a hit with marathoners. "Since the film is a tribute to the great sci-fi films of the 1950s, it's a perfect marathon movie," he said. The event will also debut for locals Japanese mutant hunter movie _Tokyo Gore Police_; a documentary on the world's biggest sci-fi fan, Famous Monster: Forrest J. Ackerman; and Spanish time-travel film Timecrimes, which is already set for a David Cronenberg remake in 2011. Classic films to be featured at the marathon include _Logan's Run_, the James Caan classic _Rollerball_ and _Star Trek 2: The Wrath of Kahn_. But for the uninitiated, Frank explained that the marathon is more than just feature films. "It's classic sci-fi previews you've never seen before, it's the most unusual short films you've ever seen, it's the challenge of staying awake for 24 hours and not missing anything," he said. "It's almost like leaving the planet." *Ohio 24-Hour Science Fiction Marathon* *Noon-noon, March 28-29, 2009* *Web: scifimarathon.com*

*_13 Ghosts_ (1960) - Sat. Mar. 28 2009 @ 12:45 AM - Check Local Schedule Times.* *_Gimmick_* As with most of his productions, Castle used a gimmick to promote the movie. In this film, the ghosts could only be seen with the special glasses left by Dr. Zorba. In the theatres, the ghosts were depicted using shades of red and blue such that they were difficult to see without the special glasses handed out at the film's showings. Later DVD versions have varied in their preservation of this effect, with the latest DVD release including versions with and without the ghost outlines and a set of the special glasses.

*Included in their initial offering are 13 Joan Crawford titles:* *Chained, Dance Fools Dance, Forsaking All Others, Goodbye My Fancy, Ice Follies of 1939, Laughing Sinners, Love on the Run, Mannequin, Possessed, Shining Hour, Spring Fever, This Woman Is Dangerous, and When Ladies Meet*. *The DVDs will include no extras, but word on the blogs is that the picture and sound quality are good.!!*

*DVD NEWS:* *Time-Warner announced March 23, 2009 that they are creating a Warners Archive Collection, initially making 150 films available for purchase on DVD for $19.95, on a burn-on-demand basis. (The DVDs will include no extras, but word on the blogs is that the picture and sound quality are good.)* *Included in their initial offering are _13 Joan Crawford_ titles:* *Chained, Dance Fools Dance, Forsaking All Others, Goodbye My Fancy, Ice Follies of 1939, Laughing Sinners, Love on the Run, Mannequin, Possessed, Shining Hour, Spring Fever, This Woman Is Dangerous, and When Ladies Meet.*

*Johnny Guitar - 1954 - Will Be Shown again on: Tue, Mar 31, 2009 11:30 AM - Eastern Time - Check Local Time Schedules!!* Johnny Guitar is a film experience unlike any other you are likely to encounter. On the surface it is a role-reversal Western --- beneath that surface are many layers. To say the picture is ahead of its time is scratching the tip of an iceberg. The direction is fine considering the fact that Nicholas Ray followed up this film with Rebel Without a Cause (1955) which presented another misunderstood character against the grain. The writing is incredible, especially for its time (conservative early 1950s) --- so many long monologues by almost every main character. Johnny Guitar is one film that I believe turned out to be better than was originally expected. *_Memorable Lines_* I've never seen a woman who was more a man; she thinks like one, acts like one and sometimes makes me feel like I'm not. Sam describing his employer Vienna. You want The Kid and you're so ashamed of it, you want him dead. You want me dead, too, then maybe you can sleep nights. Vienna to Emma. Look at her standing there staring down at us like she's a somebody. Emma to Vienna. *I love what Francois Truffaut wrote about _Johnny Guitar_:* She [Joan] has become unreal, a phantom of herself. Whiteness has invaded her eyes, muscles have taken over her face, a will of iron behind a face of steel. She is a phenomenon. She is becoming more manly as she grows older. Her clipped, tense acting, pushed almost to paroxysm by Ray, is in itself a strange and fascinating spectacle *_TRIVIA_:* Joan Crawford bought the rights to _Johnny Guitar_ before the book was published in May 1953. Author Roy Chanslor dedicated the book to her. ? Joan wanted either Claire Trevor or Barbara Stanwyck for the Emma-role, but the budget for the picture wouldn't allow it. ? The outdoor scenes were shot in Sedona, Arizona, and at the Republic ranch in the San Fernando Valley. (DF) ? Director Nicholas Ray and Joan first met on the set of Sudden Fear, where Ray would visit his then-wife Gloria Grahame, a co-star in the movie. (After their divorce in '52, Grahame would go on to date, and marry, Ray's son.) ? Ray and Joan had an affair while filming Johnny. He later said of that time, "Joan was drinking a lot and she liked to fight," but that she was also "very attractive, with a basic decency." (DF) ? Ward Bond (McIvers) was much like his character in real life -- he fully co-operated with the House Un-American Activities Committee witch hunts. (He also appeared, uncredited, in _The Gorgeous Hussy_ (1936)) ? Johnny Guitar appeared as a half-hour pilot for TV in 1959. The IMDb describes it as being about "a footloose, guitar-strumming cowboy who helps folks with their problems." There was no "Vienna" character in the show.

*JOAN CRAWFORD - MARCH 2009 - TIMES ARE EASTERN - CHECK LOCAL SCHEDULE!!* *Tue, Mar 31, 11:30 AM _Johnny Guitar_ (1954)* *Wed, Apr 8, 6:30 AM _Spring Fever_ (1927)* *_Spring Fever_. MGM silent film, 1927,* Another of William Haines' sports-oriented vehicles, Spring Fever casts the star as lowly shipping clerk Jack Kelly. Falling in love with heiress Allie Monte (a young Joan Crawford), Jack bluffs his way into Allie's country club, posing as a champion golfer. By the time he realizes that Allie loves him for himself, Jack is inextricably committed to representing the club at a $10,000 golf tournament. Based on a play by Vincent Lawrence, Spring Fever proved beneficial not only to the ascending stardom of Bill Haines, but also to the burgeoning career of Joan Crawford. The film was remade and slightly musicalized in 1930 as _Love in the Rough_. *Says Joan in CWJC: ...a waste of everyone's time and money. God, golf is dull on film.*

Anyone else watch Today We Live.!? In the one and only film Gary Cooper and Joan Crawford made together, unless you count their joint cameo in It's A Great Feeling, it's one very old fashioned wartime soap opera set in the United Kingdom during World War I and then in France. The script is a strange affair.

*Bad boys of cinema Ken Russell, Barry Sandler will screen cult classic 'Crimes of Passion'* *The screening will be at 9 p.m. Saturday at the Regal Winter Park* Roger Moore | Sentinel movie critic Orlando Sentinel March 27, 2009 One was an established screenwriter, newly famous for writing the ground-breaking Hollywood gay romance, Making Love. The other was the "bad boy" of the British cinema, a filmmaker famed for out-there hits such as Tommy and Women in Love. Barry Sandler, 62, now teaches screenwriting at the University of Central Florida. Ken Russell teaches at a couple of British universities and still makes films -- short ones, with such titles as Brave Tart vs. the Loch Ness Monster, "about a Scottish prostitute who battles the beast, you know." Twenty-five years ago they teamed up to make one of those most infamous sexual thrillers in Hollywood history, a "notorious.|.|. overwrought" cult film ( Roger Ebert), a classic Ken Russell "vulgarity" (David Thomson). "It was ahead of its time, but then, I've always been a little ahead of my time," Russell chuckles. "It's still a polarizing film, not a film that's easy to take," admits Sandler, now 62. "It was unique as a critique of American life, sexual life," Russell says. Saturday night at 9, Russell and Sandler will show 1984's Crimes of Passion, starring Kathleen Turner as a prostitute and Tony Perkins as a deranged, deviant street preacher. They'll take questions about their most controversial work at the Regal Winter Park 20, one of the "Forbidden Films" of the 18th annual Florida Film Festival. They will show the director's cut of a movie that even its detractors note was shredded in order to receive an R rating. "We had a terrible time with the ratings board," remembers Sandler. "Ken would make little cuts, and Richard Heffner at the ratings board would send it back. Still an X. Finally, after doing this six times, Heffner told me, 'Look, why don't you get your company to release this as an X?' He wanted to restore the X rating for legitimate, non-porn, mature films. 'Don't emasculate the film,' he said. 'The whole tenor of the movie is X-rated. You're going to butcher your own movie.'|" Sandler says the director's cut of the film includes its most controversial images -- "the nightstick scene" -- a key sequence in explaining the journey of Turner's character. Russell notes that this cut is a little longer, and "the ending is a different." But this is the version that gave Crimes cult status. Russell was used to ratings battles -- "I'm still having trouble with The Devils" [1971], he grouses. "Who knows if Crimes of Passion would have the same ratings battle if it were released today? I don't know where this need to be ahead of the curve in matters sexual or whatever comes from. I just responded to Barry Sandler's script immediately." Russell, who famously riled the easily-riled Oscar-winning screenwriter Paddy Chayefsky while making Altered States, famously got along with Sandler, suggesting that they change the Perkins character from a movie-obsessed psychiatrist to a repressed street preacher. Sandler, who had been a fan of Russell's since his student years at UCLA, was thrilled to have a chance to work with one of the cinema's great stylists. But that doesn't mean they didn't have their disagreements. One involved a brainstorm of Perkins (Psycho). "He came in one day and said, 'What if my character had this monkey on his shoulder throughout the movie?'|" Sandler recalls. "Absurd. I told him so. 'Too over the top,' I told him. Nobody will look at you, they'll just see the monkey.' "But Tony said, 'Mind if I ask Ken about it?' 'Sure, but even he will never go for that.' "Next day, he shows up, with Ken and a monkey and a monkey trainer, and I just blew up," Sandler says, laughing. "They were willing to go that far with the joke." Russell chuckles at that recollection. "I barely remember yesterday, much less 25 years ago. But a monkey? You know, that's not a bad idea!" He laughs. He may be an elder statesman of the British cinema. But the thing that makes him beloved enough to appear on Britain's version of Big Brother, with the whole country in on the laugh, is his lifelong "bad-boy" reputation. Don't expect "mellow" or "grandfatherly" from Ken Russell." "Oh, I'm still pretty bad!"

*'Psycho' score fails to sell at London auction* March 25, 2009 *LONDON (AP) -- A British auction house says it was unable to sell the score to Alfred Hitchcock's bloodcurdling movie "Psycho."* Bonhams says the 20-page work was withdrawn from a sale Tuesday after failing to make its minimum price. Minimums are typically set at or just below the auctioneer's low estimate ? in this case, 30,000 pounds ($44,000). The music was composed by Bernard Herrmann to accompany Hitchcock's 1960 thriller. The manuscript carries the notes to the slashing, shrieking violin sounds that play when a knife-wielding killer bursts in on actress Janet Leigh as she showers in the Bates Motel. The auctioneer had hoped to sell the piece for up to 40,000 pounds ($56,000). Bonhams said Wednesday the score would be returned to Herrmann's third wife, Norma. *----------------------++++++++++++++---------------------------* *Psycho Score Fails To Sell At Auction* 26 March 2009 The score to horror classic Psycho has failed to sell at auction in London. Bonhams bosses were hoping the sheet music, which accompanied Alfred Hitchcock's 1960 thriller, would fetch $56,000 (?40,000) when it went up for auction on Tuesday. But Bernard Herrmann's 20-page score was withdrawn from a sale after failing to make its minimum price.

*Turner Classic Movies tip for Mar. 24, 2009: Chuck Jones Cartoon Festival* Along with his mentors ?Tex? Avery and Bob Clampett, animator Chuck Jones was one of the comic geniuses responsible for what is generically known as ?the Warners Brothers cartoons.? This series of animated shorts are easily the most beloved among film buffs, mainly for their combination of surrealist humor, razor sharp satire, irreverent cynism and lack of sentimentality, which is one reason that adults can enjoy them just as much as children. Tuesday night, Turner Classic Movies unveils a new half-hour documentary about Jones entitled Chuck Jones: Memories of Childhood. Even better, to accompany the film, TCM has compiled a collection of some of Jones? best work. Elmer?s Candid Camera (1940) introduced the character of Elmer Fudd (voiced by Arthur Q. Bryan) as well as a smart-**** rabbit that would soon evolve into Warners? most celebrated cartoon character Bugs Bunny. (For this early appearance, vocal artist extraordinaire Mel Blanc used a standard ?goofus? voice for the rabbit rather than the more familiar nasal, Brooklyn-accented voice associated with Bugs.) Bugs and Elmer also turn up in What?s Opera, Doc? (1957), in which they skewer Wagner?s immortal arias with Bugs as Brunhilde and Elmer as Siegfried. Other classics featured are Duck Amuck (1953), which features Daffy Duck being tormented by an unseen animator, and Haredevil Hare (1948), starring Bugs and introducing Marvin the Martian and his dog K-9. Jones? feature-length adaptation of The Phantom Tollbooth (1969) is also included. The highlight of the evening is One Froggy Evening (1955), arguably Jones? masterpiece, a 7-minute morality fable in which a demolition worker accidentally runs across a frog that can sing and dance (?Hello my honey/Hello my baby/Hello my ragtime doll?) complete with top hat and cane. The guy hopes to make a fortune in show business with his discovery, but there?s just one catch: the frog (dubbed by singer Bill Roberts) will only perform when there?s nobody other than his owner around. In the presence of anyone else, it?s just an ordinary frog. *Chuck Jones Cartoon Festival, Tuesday, March 24, 8 p.m. & 12:30 a.m. (EST)* Thanks, Doug Krentzlin DC Classic Media and Performing Arts Examiner March 23, 2009

So, anyone watch: _Today We Live_ (1933) ...directed by Howard Hawks, with Richard Rosson. Joan Crawford, Gary Cooper, Robert Young!!!??? A very unique and beautiful film with much to recommend it, however strange it may be. At the height of World War I, American Richard Bogard (Gary Cooper) rents the country home of Englishwoman Diana Boyce-Smith (Joan Crawford) just as her father has been killed in fighting. Diana has long been in love with Claude (Robert Young), an old friend who proposes to her, but she finds herself increasingly attracted to the charming Bogard, especially after Claude leaves with Diana's brother

So, anyone watch: _Today We Live_ (1933) ...directed by Howard Hawks, with Richard Rosson. Joan Crawford, Gary Cooper, Robert Young!!!??? A very unique and beautiful film with much to recommend it, however strange it may be. At the height of World War I, American Richard Bogard (Gary Cooper) rents the country home of Englishwoman Diana Boyce-Smith (Joan Crawford) just as her father has been killed in fighting. Diana has long been in love with Claude (Robert Young), an old friend who proposes to her, but she finds herself increasingly attracted to the charming Bogard, especially after Claude leaves with Diana's brother http://image.allmusic.com/00/avg/cov200/drv200/v248/v24875pjsjq.jpg

*Happy Birthday Miss. Joan Crawford - March 23, 1905 - May 10, 1977!!* Crawford's hand and footprints are immortalized in the forecourt of Grauman's Chinese Theater on Hollywood Boulevard in Hollywood. She also has a star on the Hollywood Walk of Fame at 1750 Vine Street. In 1999, Playboy listed Crawford as one of the "100 Sexiest Women of the 20th century," ranking her #84. She was voted the 47th Greatest Movie Star of all time by Entertainment Weekly. One of the original MGM Contract Stars from the studio's early period.. Was asked to take over Carole Lombard 's role in _They All Kissed the Bride_ (1942) after she died in a air crash during a war bond tour. She then donated all of her salary to the Red Cross who found Lombard's body, and promptly fired her agent for taking his usual 10%. Joan Arden was chosen as the young star's screen name after a write-in contest was held in the pages of "Movie Weekly" magazine, but a bit player came forward and said she was already using it. Mrs. Marie M. Tisdale, a crippled woman living in Albany, New York, won $500 for submitting the runner-up name "Joan Crawford". She was actually Fred Astaire`s first on-screen dance partner. They appeared in _Dancing Lady_ (1933). WAMPAS Baby of 1926. Her little tap dancing in _The Hollywood Revue of 1929_ (1929) was the first audible tap dance on the screen. After her friend Steven Spielberg hit it big, Joan sent him periodic notes of congratulations. The last one came two weeks before her death.