Capuchin

It hardly qualifies as a 'classic' since it was made in the 1970s, but I always though the pairing of Charles Bronson and Lee Remick in *Telefon* was a bit unusual. I don't see any chemistry between them, but there was definitely a meeting of minds.

They've shown some Sherlock Holmes, now they're doing Philo Vance, and soon they'll be airing the Lone Wolf series -- it just doesn't get any better than this!

I was happy to see your post -- I was afraid you'd decided to take a hiatus of unspecified length, and your posts are one of the few reasons I check this forum. Unfortunately, this week looks a little thin for me -- I either already have most of them on DVD or there's a reason I'd don't. I have to catch *8 1/2* because my copy isn't prime. It's not a movie I watch often, but when I'm in a certain mood, it's the only thing that hits the spot. Tuesday's monster movies are all good, but they're old staples. *I Married a Witch* is a favorite. *Julia Misbehaves* is, in my opinion, a great comedy which gets far too little respect. *Quartet* is one of the few new movies which sounds intriguing. I'm wondering if *Party Girl* is the movie I think it is. I'm hoping *The Kennel Murder Case* is a new restoration.

> {quote:title=LonesomePolecat wrote:}{quote} > > (P.S. I think we're on #20, but I'm unsure-- could someone verify that?) It should, indeed, be #20. Looking forward to it, although SansFin and I might have to do a joint one.

I'm afraid I don't see any inconsistencies, just human nature. The original description of the letters of transit is an enthusiastic exaggeration. That's typical for something that's much greater/higher/rarer than normal. How many times have you heard someone say a lottery jackpot is so large you could buy anything you want? But what if you wanted the Lincoln Memorial? Also, that "they can't be questioned" puts them into a class that is rare but not unknown. I didn't deal with any kind of ultrasecret stuff in the service, but a couple of times I had a pass which authorized me to enter any building on a particular base whenever I wanted. No sentry could do more than look to see if the right things were in the right places to authenticate it. I couldn't be detained while they checked with someone else. I'm fairly sure they had something similar during WWII, especially for couriers who needed to travel without any delays. As such, they would probably have been good enough to get through the checkpoints at the airport. They wouldn't stop the Gestapo from arresting whoever carried them -- as Rick later commented, people couldn't always stand on their legal rights -- but that's where the original description's enthusiasm comes into play. For the uniforms -- the Gestapo had a penchant for wearing whatever uniform they felt fit the situation. If the Major wanted something that would show his power and prestige without the distrust and dread which a Gestapo uniform inspired, it's logical he'd pick the uniform of the premiere service of the regular forces. For "blundering into Berlin in 1918" -- it's typical for people, especially ones known to play fast and loose with details, to get dates/incidents wrong. That quotes plays to his character, not to any fault in accuracy.

These are the only movies from the 1990s that I like well enough to have added them to my collection. Nikita Rosencrantz and Guildenstern are Dead (fantastic, much overlooked movie) Only Yesterday The Nightmare Before Christmas Whispers of the Heart The Craft Ridicule Men in Black Life Tastes Good The Mummy The Thomas Crown Affair (have to have a copy of this one to compare to the original)

If I have a complaint about SUTS, it's that they show too many great movies back to back. Usually, there are, at most, three or four movies I want to record each week. I can set the DVR to catch them and then move them at my leisure to DVDs for later viewing. There's never any real time constraints or a push to get it done. At the moment, I now have 21 movies on the DVR, all from the last two days. And these are only the movies I don't already have! Granted, some of them are for SansFin, but virtually all of them are ones I also want to see again and/or add to my collection. I'm going to have to apply myself vigorously to transfer them to DVD if I'm to wheedle out enough space on the hard drive for the movies coming up the rest of the week. This has been just too much of a good thing!

If I had to guess, it'd be that her appearances in X-rated 8mm movies killed any hope of her being on the big screen. Being a pin-up and/or posing nude balanced out -- some people wouldn't go to a movie which had someone who posed naked, but an equal (or greater) number would go because she was in it. Her being in sadomasochistic films would have been an open invitation for critics to make jokes by comparing her role in a big-budget Hollywood A movie with her performance in one of those cheap porn flicks. That's the kind of publicity no studio wanted.

She could be unhappy. It seems the premise is that witches live within a marrow band of emotions. They could have 'hot blood' (lust) and get angry, but they couldn't experience either great joy (love) or deep sadness. Also, all the witches seem self-centered, aloof, and almost pathological. When she fell in love, all that fell away.

*TikiSoo -- Either I'm a real retro gal or this just isn't an aspect of the past.* As sort of a Zen/balance thing, there are days I don't get dressed (because I usually work at home, I can get by wearing only what I sleep in).

Thanks for the link! It looks like it's going to be a great month. I'm particularly happy to see *Jour De Fete* schedule -- it's the only Tati movie I like.

Considering how many movies he was in, William Gargan seems underrepresented. It can't be a studio thing because he seemed to work almost everywhere. The only ones on TCM I remember seeing him in are those where he's almost a bit player.

*Sounds as if you've done some research on breasts.* A man has to have some hobbies . . .

*What you describe here sounds mostly like a product of the popularity of wearing bras, which continue to affect the anatomy when they are off... But, average (natural) breast size in women, has also risen.* The change in undergarments, from corsets to bandeau bras to cupped bras, during those eras certainly was a factor, but a definite tell for me is the position of the breast. It might be that their height was changing decade to decade even back then, which would affect torso length and arm length (I go by the length from center of breast to elbow), but it seems to me the average breast is now at least 1 1/2 ribs higher on the chest than it was a century ago. It's also possible that the evolution of photography also played a part. In the 1880s, pictures were still somewhat expensive and the market was relatively small. That probably meant they primarily chose those models who fit the common concept of ideal womanhood. As photography became cheaper and the market expanded significantly around the turn of the century, more run-of-the-mill models were employed.

This next week is certainly going to be busy! SansFin left strict orders for me to record these movies for her -- Monday -- *Trent's Last Case* and *Mr. Arkadin* Tuesday -- *Friends Of Mr. Sweeney* and *I Am An American* Wednesday -- *Around The World In 80 Days* (I don't know why this isn't already in my collection -- it's an old favorite of mine even though it does seem heavily padded), *The Yellow Rolls-Royce,* and *The Car that became a Star* Thursday -- None Friday -- *The Secret Fury* and *It's A Wonderful World* Saturday -- *The Murder Man* Sunday -- *The Secret Six* It's odd that the day she marked the most movies to watch is the one you skipped. Everything from *Two for the Seesaw* to *The Yellow Rolls Royce,* skipping only *Some Came Running* (I have that one, but neither of us care for it).

I don't want to be seen as committing heresy, but I'll tentatively, and with great reservation, put forward the idea that the original Star Wars is a modern swashbuckler. It was certainly recalling the classic swordfight scene.

People have definitely changed over time. In 1930, 5' 5.75" was the height of the average male in an industrialized country. That rose to 5' 10.9" by 1980. Although I'm clearly not an expert, I assume that difference in height did not happen in isolation -- other changes in musculature and skeletal growth had to happen at the same time. Also -- In the late 1970s and 1980s, I had the computers to handle advanced CAD programs. I also used them to do digital restoration and digital enhancement of old photographs after I found I could charge more per hour for scanning/retouching . . . um . . . let's call them risque photos than I could for converting hand drawn blueprints to CAD files. (And I enjoyed the irony of being paid to look at porn.) I can state with some confidence that for photos taken between 1880 and 1930, and with three or more women pictured, I can date it to within ten years by the shape/firmness and height of the breasts. (The length of the legs is also a clue, but it's mainly the breasts.) The look in male faces (the long oval) may be that high foreheads were more popular in the 1930s. Today, women seem to want men's hair to brush their eyebrows.

What SansFin liked about the schedules, as far as the themes, movies, and SoTMs, goes for me, too. As usual, it's very hard to choose just one. They're all great, and you're all to be congratulated for your wit, insights, and hard work. I used a slightly different standard in selecting just one, but the result is happily the same. I vote for: *countessdelave*

Great challenge, countessdelave! And a great group of schedules to pick from! What I like most about each -- Fedya -- Bizarro is the perfect word for your themes! A lot of fun. *Ambush Bay* and *Five Weeks in a Balloon* definitely need to be shown on TCM. Filmlover -- Great Michael Caine tribute. I like every movie in your Rio evening. *One Million Years B.C.* as fashion that made a star is fun, and so true! C. Bogle -- Really too much to comment on -- it's all great! The Eisenstein imports are a great choice. James Mason as SOTM is great. Bookwork Cinema is all great. The mini-tribute to Vera Clouzot would be nice to see. The Frances Bavier movies are great, but you're right -- her roles were a bit thin. Love the gay deceivers, although I doubt they were really fooling anyone! Capuchin -- A bit extreme! Still, I'd like to see these remakes/revisions side by side, especially Baldpate, Hunchback, Zenda, and Cleo as well as Raffles, Svengali, Zorro, and Hamlet. Kingrat -- Your Claude Chabrol tribute is perfect. Love the actors directing and directors acting themes! Paulette Goddard is a great choice for SOTM. Let's hope TCM is paying attention. Lonesome Polecat -- *Goodbye, Charlie* deserves to be on TCM. Dean Martin as SOTM is long overdue. Love the anniversaries, and you picked great films for them. Your Saturday of young deaths is definitely a must-see day! They are all great schedules, and you're all to be congratulated! My one vote, however, goes to *SansFin.* I know some of you will think it's nepotism, since our relationship is now public, but her choices just resonated with me a bit more than anyone else's did. *Beauty And The Beast, The Red Balloon, The Virgin Queen, Heaven Can Wait, The Bishop's Wife,* and *Our Miss Brooks* in the same week is something I can only wish for. Laraine Day would be a great SOTM! Saturday's holiday movies are all great. What can I say about the Vole day? It's as bizzare as I've ever seen, and there's a lot of guilty pleasures in there for me as well as some valid classics. And a special thanks goes to countessdelave for running a great challenge!

LonesomePolecat -- Love the schedule! Any theme that puts Kurosawa and Blake Edwards together is great. Your Donen and Hitchcock movies, where each dipped into the other's forte, following one another is inspired. Dean Martin as STOM is great -- it's easy to forget how many great movies he was in. Most of your premieres are movies I'd love to see on TCM. Great job! hlywdkjk -- This is just the easiest way for me to work. If I tried to rely on memory or do it by brute force, I'd never get a schedule done. I had to write sorting macros for a rw project, so using them for my schedule was sort of a test run. They gave me a list of all movies with the same title or which I'd marked in the database as a remake, then sorted them into groups by actors and directors. From there it was just a matter of manually transferring the titles and run-times to CAD (a step I'd dearly like to automate but it just isn't practical) and moving them around until they fit. It might seem like a lot of technical work, but I'm sure that if you keep track of how long it takes to do a schedule manually (paper and pencil), you'll see how much faster it is with a computer. Also, I had to be in bed for a couple of days, and keeping track of various pieces of paper just wasn't doable. SansFin -- I love the way you worked in so many great and too-rarely seen movies. Highlights for me were Josette Day, Alice Day, *Murder on a Honeymoon,* your "Movies Make the Day" (of course, the *Before Midnight, Midnight,* and *After Midnight* portion only works in one time zone), and "A Red Letter Day" -- every movie that day is great! Working movie series into "Radio Days" was good. I hadn't realized there were so many "the computer takes over" movies. I think your Saturday schedule is going to attract a lot of attention. Two fantastic schedules so far! Where are the rest?

countessdelave -- Thanks! According to my computer log, it took 21 hours, 26 minutes, 17.4444 seconds to do all the selection, arranging, etc. Of course, that's on top of untold hours writing macros for which I have other uses but were needed for sorting out the appropriate titles. LonesomePolecat -- Thanks, too! Actually, I used about a third of the movies which either share a name with or are marked as remakes in my database. I'm kind of torn as to whether it's pathetic -- some stories are best remade every generation because social changes can cast a new spotlight on certain subtle aspects. What galls me to no end is that I know there were other remakes of some great movies, but I can't find references to them anywhere. Also, there are many movies I wanted to use, but they and their remakes add up to times I simply couldn't fit in. As hard as it is to put movies ranging from 60 to 120 minutes into a day's schedule, it's worlds' more difficult for blocks of 135 to 315. Side Note: I wish all the other entrants good luck, and I'll be reading all the schedules. Unfortunately, I've promised something will be finished before the end of the year (and taken an advance for it), and I was far behind even before this little vacation. I seriously doubt I'll find even a few spare moments to comment on each one. Considering the (lack of) widespread enthusiasm for my schedule, I'm sure many of you will be glad to hear that SansFin is due to meet me in about an hour, and we'll be coming home together. She might sleep for a week, but after that she'll be all yours again. She said she has a schedule coming together, and all she needs is 11 more ideas for day and evening themes.

Wow! Thanks, all, for the information. I knew there were a lot of geniuses in this forum, I just didn't realize that TCM recognized it. Although I've never been in your ballpark, I guess I'll have to take my schedules more seriously from now on. Unfortunately, I've just realized I've created a bit of a monster by starting this thread. I sent SansFin home to her mother, just to get her out of my hair, and when she gets back and starts reading the boards again, she's going to see what a select group she's been inducted into. She has elevated being smug into an art form, and this gives her yet another reason to practice it. Woe is me! One comment -- "stealing" is generally considered a good-natured word in highly creative circles when applied to ideas (as opposed to outright plagarism). I remember reading that G. B. Shaw saying he stole the idea for Pygmalion from Shelly's Frankenstein (pursuit of knowledge leading to the creation of a monster who couldn't be controlled). Thanks all!

Capuchin's Programming Notes: TCM Goes Green -- Reduce, Reuse, Remake, Recycle I sometimes like to watch movies made different ways, whether for a new generation, or to take advantage of changing technology (sound, color, etc.), or whatever. I've just discovered that there was a recent thread about remakes, so it might look like I'm ripping off the idea, but I mentioned that it's something I'd like to see TCM do regularly in a post in 2008 (forums.tcm.com/jive/tcm/thread.jspa?messageID=8114442? (not done as a clickable url so it won't make this thread hard to open)). For this schedule, I've just upped it a notch. (smiley) I actually prefer the 1931 (pre-code) version of *The Maltese Falcon* to Bogie's. This is a chance for everyone to compare them side-by-side. My Star of the Month is Frank McHugh. He was on my short list anyway, and when I found he was in both the original and the remake of two movies, it kind of clinched the deal. *Cleopatra* really shows how the same material, in different hands, in succeeding years, becomes totally different. Reducing Testosterone Levels was just a bit of fun. Friday's Frankenstein movies lapsing into *Pygmalion* may seem odd, but I see them as the same theme -- creating a monster and then not being able to control it. For me, there's no greater fashion accessory for a fiend than a cape he can draw up to cover all but his eyes so he seems even more sinister, or to raise all the way to hide behind as he turns to flee. *Jekyll and Hyde... Together Again* is one of those movies you have to see to believe, and even then you're not sure. *Chehre Pe Chehra* is the Bollywood version of Jekyll and Hyde. Premieres: La Esmeralda Alas and Alack A Tale Of Two Cities Titanic Ladies of Leisure Premiere Outside Normal Studios: Chehre Pe Chehra My festival wishlist may appear to be about racism, but I actually chose these two because, out of the long list of movies I'd like to see on the big screen again, these had the best presenters available. Robin Swicord is an Oscar-winning screenwriter, and I'm sure she has a rich knowledge of her father-in-law's films. And who wouldn't love to see Sidney Poitier and hear him talk about his work?

Capuchin's Schedule for week of May 22 to 28, 2011 TCM Goes Green! Reduce, Reuse, Remake, Recycle Sunday -- 22 Reusing Titles 6:00am *One Good Turn* (1930) Ruth Etting, dir: Roy Mack, WB, 17 6:20am *One Good Turn* (1931) Stan Laurel, dir: James W. Horne, MGM, 20 Remaking DelRuth 6:45am *Across the Pacific* (1926) Monte Blue, dir: Roy Del Ruth, WB, 78 8:15am *Across The Pacific* (1942) Humphrey Bogart, dir: John Huston, WB, 97 10:00am *The Maltese Falcon* (1931) Bebe Daniels, dir: Roy Del Ruth, WB, 79 11:30am *The Maltese Falcon* (1941) Humphrey Bogart, dir: John Huston, WB, 101 1:15pm *Satan Met A Lady* (1936) Bette Davis, dir: William Dieterle, WB, 74 2:30pm *The Maltese Bippy* (1969) Dan Rowan, dir: Norman Panama, MGM, 92 4:15pm *The Desert Song* (1929) John Boles, dir: Roy Del Ruth, WB, 123 6:30pm *The Desert Song* (1943) Dennis Morgan, dir: Robert Florey, WB, 90 Evening Recycling Stories I 8:00pm *Seven Keys to Baldpate* (1929) Richard Dix, dir: Reginald Barker, RKO, 72 9:15pm *Seven Keys to Baldpate* (1935) Gene Raymond, dir: William Hamilton, RKO, 80 10:45pm *Seven Keys to Baldpate* (1947) Phillip Terry, dir: Lew Landers, RKO, 64 Silent Sunday Night 12:00 *The Hunchback Of Notre Dame* (1923) Lon Chaney, dir: Wallace Worsley, Universal, 98, p/s 1:40am *La Esmeralda* (1905) Denise Becker, dir: Alice Guy, Gaumont, 10, P Imports 2:00am *Notre-Dame de Paris* (1956) Gina Lollobrigida, dir: Jean Delannoy, Panitalia, 104, E 3:45am *The Hunchback Of Notre Dame* (1939) Charles Laughton, dir: William Dieterle, RKO, 117 5:45am *Alas and Alack* (1915) Cleo Madison, dir: Joseph De Grasse, Universal, 13, P Monday -- 23 Remaking James Whale 6:00am *Waterloo Bridge* (1931) Mae Clarke, dir: James Whale, Universal, 81, p/s 7:30am *Waterloo Bridge* (1940) Vivien Leigh, dir: Mervyn LeRoy, MGM, 109 9:30am *Gaby* (1956) Leslie Caron, dir: Curtis Bernhardt, MGM, 97 11:15am *Show Boat* (1929) Laura LaPlante, dir: Harry Pollard, Universal, 118, p/s 1:15pm *Show Boat* (1936) Irene Dunne, dir: James Whale, Universal, 114, p/s 3:15pm *Show Boat* (1951) Ava Gardner, dir: George Sidney, MGM, 108 5:15pm *The Old Dark House* (1932) Boris Karloff, dir: James Whale, Universal, 70, p/s 6:30pm *The Old Dark House* (1963) Tom Poston, dir: WilliamCastle, Columbia, 86, p/s Evening Reusing Frank McHugh -- SOTM and Birthday Tribute (Frank McHugh in Original and Remake) 6:00pm *The Crowd Roars* (1932) James Cagney, dir: Howard Hawks, WB, 70 9:15pm *Indianapolis Speedway* (1939) Pat O'Brien, dir: Lloyd Bacon, WB, 82 10:45pm *One Way Passage* (1932) Kay Francis, dir: Tay Garnett, WB, 68 12:00 *Til We Meet Again* (1939) Merle Oberon, dir: Edmund Goulding, WB, 100 Recycling Stories II 1:45am *Going Wild* (1930) Joe E. Brown, Frank McHugh, dir: William A. Seiter, WB, 66 3:00am *The Aviator* (1929) Edward Everett Horton, dir: Roy Del Ruth, WB, 75 4:30am *L'Aviator* (1931) Douglas Fairbanks Jr., dir: John Daumery, WB, 70 5:45am *A Tale of Two Kitties* (1942) Mel Blanc, dir: Robert Clampett, WB, 7 5:52am *A Tale of Two Mice* (1945) Mel Blanc, dir: Frank Tashlin, WB, 7 Tuesday -- 24 Recycling Roles with Ronald Colman 6:00am *The Prisoner Of Zenda* (1922) Ramon Novarro, dir: Rex Ingram, Metro, 113, p/s 8:00am *The Prisoner Of Zenda* (1937) Ronald Colman, dir: John Cromwell, Selznick, 101, p/s 9:45am *The Prisoner Of Zenda* (1952) Stewart Granger, dir: Richard Thorpe, MGM, 100 11:30am *A Tale Of Two Cities* (1935) Ronald Colman, dir: Jack Conway, MGM, 126 1:45pm *A Tale Of Two Cities* (1958) Dirk Bogarde, dir: Ralph Thomas, JAR, 117, P 3:45pm *The White Sister* (1923) Ronald Colman, dir: Henry King, Inspiration, 135, p/s 6:00pm *The White Sister* (1933) Helen Hayes, dir: Victor Fleming, MGM, 110 Evening Reducing Morals 8:00pm *Cleopatra* (1912) Helen Gardner, dir: Charles Gaskill, HGPP, 88, p/s 9:30om *Cleopatra* (1928) Dorothy Revier, dir: Roy William Neill, MGM, 20 10:00pm *Cleopatra* (1934) Claudette Colbert, dir: Cecil B. DeMille, Paramount, 100, p/s 11:45pm *Cleopatra* (1963) Elizabeth Taylor, dir: Joseph L. Mankiewicz, Fox, 243, p/s 4:00am *Behave Yourself* (1951) Farley Granger, dir: George Beck, RKO, 81 5:30am *Behave Yourself* (1962) Dennis Price, dir: Michael Winner, UA, 29, P/d Wednesday -- 25 Watery Conservation 6:00am *Mutiny on the Bounty* (1935) Clark Gable, dir: Frank Lloyd, MGM, 133 8:15am *Mutiny on the Bounty* (1962) Marlon Brando, dir: Lewis Milestone, MGM, 186 11:30pm *A Night to Remember* (1958) Kenneth More, dir: Roy Ward Baker, JAR, 123, p/s 1:45pm *The Unsinkable Molly Brown* (1964) Debbie Reynolds, dir: Charles Walters, MGM, 128 4:30pm *Moby Dick* (1930) John Barrymore, dir: Lloyd Bacon, WB, 77 5:30pm *Moby Dick* (1956) Gregory Peck, dir: John Huston, Moulin, 116, p/s 7:30pm *Now Showing* (2011) Evening Recycling Stories III 8:00pm *Madame X* (1929) Ruth Chatterton, dir: Lionel Barrymore, MGM, 95 9:45pm *Madame X* (1937) Gladys George, dir: Sam Wood, MGM, 72 11:00pm *Madame X* (1966) Lana Turner, dir: David Lowell Rich, Eltee, 100, p/s 12:45am *The Front Page* (1931) Adolph Menjou, dir: Lewis Milestone, Caddo, 100, p/d 2:30am *The Front Page* (1975) Jack Lemmon, dir: Billy Wilder, Universal , 105, p/s 4:15am *His Girl Friday* (1940) Cary Grant, dir: Howard Hawks, Columbia, 92, p/d Thursday -- 26 Reducing Testosterone Levels 6:00am *When Ladies Meet* (1933) Ann Harding, dir: Harry Beaumont, MGM, 85 7:30am *When Ladies Meet* (1941) Joan Crawford, dir: Robert Z. Leonard, MGM, 105 9:15am *Kind Lady* (1935) Basil Rathbone, dir: George B. Seitz, MGM, 76 10:45am *Kind Lady* (1951) Maurice Evans, dir: John Sturges, MGM, 78 12:15pm *A Lost Lady* (1924) Irene Rich, dir: Harry Beaumont, WB, 70 1:30pm *A Lost Lady* (1934) Barbara Stanwyck, dir: Alfred E. Green, WB, 61 2:45pm *Ladies of Leisure* (1926) Elaine Hammerstein, dir: Tom Buckingham, Columbia, 57, P 3:45pm *Ladies of Leisure* (1930) Barbara Stanwyck, dir: Frank Capra, Columbia, 99, p/s 5:30pm *Men Are Such Fools* (1932) Leo Carrillo, dir: William Nigh, RKO, 64 6:45pm *Men Are Such Fools* (1938) Humphrey Bogart, dir: Busby Berkeley, WB, 69 Evening Recycling Stories IV 8:00pm *The Shop Around The Corner* (1940) Margaret Sullavan, dir: Lubitsch, MGM, 99 9:45pm *In The Good Old Summertime* (1949) Judy Garland, dir: R. Z. Leonard, MGM, 103 11:30pm *High Society* (1956) Bing Crosby, dir: Charles Walters, MGM, 112 1:30am *The Philadelphia Story* (1940) Cary Grant, dir: George Cukor, MGM, 112 3:30am *Always a Bride* (1940) Rosemary Lane, dir: Noel Smith, WB, 58 4:30am *Always A Bride* (1954) Peggy Cummins, dir: Ralph Smart, Clarion Films, 82, p/s Friday -- 27 Reusing Monsters 6:00am *Frankenstein* (1931) Colin Clive, dir: James Whale, Universal, 70, p/s 7:15am *Bride of Frankenstein* (1935) Boris Karloff, dir: James Whale, Universal, 75, p/s 8:30am *The Revenge of Frankenstein* (1958) Peter Cushing, dir: Terence Fisher, Columbia, 89, p/s 10:00am *Abbott And Costello Meet Frankenstein* (1948) Bud Abbott, dir: Charles Barton, Universal, 83, p/s 11:30am *Lady Frankenstein* (1971) Joseph Cotten, dir: Mel Welles, CIP, 99, p/d 1:15pm *Young Frankenstein* (1974) Gene Wilder, dir: Mel Brooks, Gruskoff, 106, p/s 3:15pm *Pygmalion* (1938) Wendy Hiller, dir: Leslie Howard, MGM, 96 5:00pm *My Fair Lady* (1964) Rex Harrison, dir: George Cukor, WB, 172, p/s Evening Recycling Fashions (Classic "Cape over the Face" Scenes) 8:00pm *Horror of Dracula* (1958) Peter Cushing, dir: Terence Fisher, JAR, 82, p/s 9:30pm *The Return of the Vampire* (1944) Bela Lugosi, dir: Lew Landers, Columbia, 69, p/s 10:45pm *Dr. Jekyll And Mr. Hyde* (1932) Fredric March, dir: Rouben Mamoulian, MGM, 96 12:30am *Dr. Jekyll and Mr. Hyde* (1920) John Barrymore, dir: John S. Robertson, Famous Players-Lasky Corporation, 80, p/s Underground 2:00am *Jekyll and Hyde... Together Again* (1982) Bess Armstrong, dir: Jerry Belson, Paramount, 87, E 3:30am *Chehre Pe Chehra* (1981) Sanjeev Kumar, dir: Raj Tilak, Tilak, 140, P Saturday -- 28 Reducing Ink by Having Only One Name 6:00am *Raffles* (1930) Ronald Colman, dir: George Fitzmaurice, SG, 72, p/s 7:15am *Raffles* (1939) David Niven, dir: Sam Wood, SG, 72, p/s 8:30am *Svengali* (1931) John Barrymore, dir: Archie Mayo, WB, 81 10:00am *Svengali* (1954) Hildegard Knef, dir: Noel Langley, MGM, 82 11:30am *The Mark of Zorro* (1920) Douglas Fairbanks, dir: Fred Niblo, Douglas Fairbanks Pictures, 107, p/s 1:30am *The Mark of Zorro* (1940) Tyrone Power, dir: Rouben Mamoulian, Fox, 94, p/s 3:15am *Hamlet* (1948) Laurence Olivier, dir: Laurence Olivier, Two Cities Films, 154, p/s 6:00am *Hamlet* (1969) Nicol Williamson, dir: Tony Richardson, Columbia, 118, p/s Evening Essentials Recycling Storylines V 6:00pm *Ben-Hur: A Tale of the Christ* (1925) Ramon Novarro, dir: Fred Niblo, MGM, 143 10:30pm *Ben-Hur* (1959) Charlton Heston, dir: William Wyler, MGM, 222 Reusing a Script 2:15am *The Barretts of Wimpole Street* (1934) Norma Shearer, dir: Sidney Franklin, MGM, 109 4:15am *The Barretts Of Wimpole Street* (1957) Jennifer Jones, dir: Sidney Franklin, MGM, 105 Premieres: La Esmeralda Alas and Alack A Tale Of Two Cities Titanic Ladies of Leisure Premiere Outside Normal Studios: Chehre Pe Chehra Festival Wishlist: *Pinky* (1949) Starring: Jeanne Crain, Ethel Barrymore, and Ethel Waters. Directed by Elia Kazan. Twentieth Century Fox Film Corporation. 102 minutes. Introduced by Robin Swicord -- Daughter-in-law of Elia Kazan and Oscar-winning screenwriter, known for *The Curious Case of Benjamin Button,* *Memoirs of a Geisha,* and *Matilda.* Venue: Mann's Chinese 6, House 1 *Lilies of the Field* (1963) Starring: Sidney Poitier, Lilia Skala, and Lisa Mann. Directed by Ralph Nelson. Produced by Rainbow Productions, distributed by United Artists. 94 minutes. Introduced by Sidney Poitier. Venue: Grauman's Chinese Theatre.

Just to chime in (and bump the thread) -- SansFin and I are both planning to enter. It looks like a great challenge. In fact, it's so great it's giving me a headache (being a man, fashion isn't exactly my forte). I freely admit I've been sort of cheating. For a while now, I've been working on an idea for an overall theme for the week, and have been writing macros for my database. I just ran them, and I think they've identified most of the movies I'll use (except those for that pesky fashion theme -- I definitely need an epiphany for that). SansFin is excited about the theme (I sent her the post about it). She's not able to post right now -- she was getting in my hair so I sent her home to her mother. Her internet access there is virtually nonexistent. Rest assured she'll be back in time to enter. Great challenge, countessdelave!