rosebette

Actually, there were three pregnancies -- 3 kids 2 years or less apart. My life was kind of a blur for about 5 years.

I was pregnant in the 80s and early 90s, when the giant sweaters and sweatshirts (often with padded shoulders) and leggings were "in," and I live in a Northern climate, where everyone dresses in bulky clothes until April. I was always in the early stages in fall and winter and gave birth in spring. Most people didn't know I was pregnant because of these garments, and then in the spring, I'd emerge wearing my pre-pregnancy clothes and pushing a stroller, and neighbors would all wonder where the baby came from. I guess that's kind of like those older movies where the woman has tiny waistline and makes her announcement, and then in the next scene, the blossoms are on the trees, and miraculously, she's pushing a carriage.

In The Adventures of Robin Hood, Robin (Errol Flynn) asks Friar Tuck (Eugene Pallette) to surround Sir Guy and his men -- personally. Also, when Robin introduces him to Will Scarlett, he says, "Don't worry, he's one of us," to which Will replies, "One of us? He looks like three of us!"

I can't believe the bras that must have created those figures! An engineer must have created them.

I came home exhausted from work and an evening meeting and Singin' in the Rain was on. Although I've seen this movie many times, I so needed those 2 hours of pure joy. I still had chores to do around the house, but the thing about that movie is that there's never a dull moment, so many wonderful numbers, but even the comedy in between is terrific. I always crack up when Millard Mitchell pulls up Leena Lamont's sound wire.

His rendition of "The End of a Perfect Day" in Remember the Night always makes me tear up.

High Anxiety and Blazing Saddles feature my two favorite performances of Kahn's. The Marlene Dietrich impersonation always breaks me up. Such a gifted and funny lady.

I own a CD by Charles Gerhardt and the National Philharmonic orchestra that features large excerpts from the score: https://www.amazon.com/Captain-Blood-Classic-Scores-Errol/dp/B000003EMC There is also a large excerpt from the score to The Adventures of Robin Hood. It's one of my favorite CDs, something I'm sure to play if I'm on a long drive or need some extra energy for a task. My vote, Errol Flynn as Don Juan. It's really the last view of Errol as I want to remember him, and the film is beautifully produced. I was most annoyed when I realized that I spent a spring break day correcting papers when I could have been happily viewing Errol in technicolor on my new wide screen TV.

Just a correction -- the film with Clark Gable and Constance Bennett is After Office Hours, not After Hours.

Yes, a bad pre-code is over in less than 90 minutes, whereas if I watch a bad new movie on On Demand, I've just lost two and a half hours of my life that I'll never get back. At least in a pre-code, I can always admire whatever Kay Francis or Connie Bennett is wearing.

I watched this a few months back because I had never seen it, and I was not especially impressed. Last night, I just watched After Hours on TCM On Demand, which is an MGM comedy with Clark Gable and Constance Bennett, with Stuart Erwine and Billie Burke providing support. Gable's a reporter and Bennett's a socialite in OK story with kind of a mystery, but lots of fast-paced dialogue. While After Hours is not considered a "Top drawer" MGM product, the writing and playing by the leads was far less forced that Four's a Crowd. There was plenty of sexual chemistry between Gable and Bennett, and after It Happened One Night, Gable playing an aggressive reporter was just a walk in the park. In Four's a Crowd, I find some of the performances cloying, particularly Knowles and DeHavilland (much as I like her in almost everything). The chemistry between Flynn and Russell was not convincing to me, either. However, After Hours just flew right along, and I felt as if I was watching the pros show how it's done. I was kind of surprised that Leonard Maltin gave it a meager two stars. Regarding Four's a Crowd, it's obvious that sophisticated screwball comedy was not Warner's forte. It's a much different genre than wise-cracking chorus girls or Torchy Blaine programmers.

You're welcome! I often cruise this thread for recommendations. Pre-codes are at the top of my list, but when there are several On Demand with the same stars (especially someone like Constance Bennett who made so many), I often don't know which one to choose.

I watched The Easier Way on your recommendation and really enjoyed it. I was very sympathetic to Connie's character. Those early scenes in her family's squalid apartment were enough to convince me that going back to that life would be a hard sell. Plus, when she finally renounces the "easy life," her mooching alcoholic father is still asking for dough. I was moved and saddened by the forced rejection by her sister, which was mandated by her husband, played by Gable, who even in this role, was a hunky eyeful. I followed this one up with After Hours, an MGM comedy in which the now star Gable is a reporter, opposite Bennett's socialite. This one moves swift as lightning, with some snappy dialogue and great chemistry between the leads.

I couldn't sit through this one. The technicolor made me feel like I was watching a floor show at an old Miami hotel.

This one is lots of fun. Kind of Lubitschy, and Boles and Swanson are both great as egotistic theater types. Boles is light and funny; I've always seen him in solemn and stiff roles. You can see that musical theater is his forte. Plus Douglass Montgomery in leiderhosen is a sight to behold.

This is one of my favorite little Westerns that handles some of the same themes as The Searchers. McRae and Stanwyck have nice chemistry.

I feel the same way about Sin Takes a Holiday. Connie should have stuck with Basil, rather than the serial womanizer she married.

I just saw this film. This poster is as close as Boles is ever allowed to get to Roz througout the film.

I'd say the film is clearly feminist, but not necessarily lesbian in outlook. Harriet's character is the result of a world in which marriage is one of the only acceptable ways to achieve material success. Her speech early on about her own mother who married for love, but ended up deserted and poor, is very important. Harriet doesn't want to become another victim. Moreover, when you look at the case of Thomas Mitchell's wife, she is clearly unhappy and having affairs. Could she also have "married well" to achieve material security, but then ultimately was unsatisfied and turned to other emotional outlets?

I am, too. So tired of looking at the schedule and the On Demand list, and there are only movies I've seen at least 10 times. I enjoyed John Boles night, especially Craig's Wife, a movie that I always wanted to see. I haven't seen the Crawford version, so I can't compare, but Roz was excellent, as was the supporting cast, especially Jane Darwell, Billie Burke, and Thomas Mitchell. I disagree with other posters over the murder-suicide plot. I think that Walter's compassion and concern for his friend fleshes out his character; also, there's a bit of foreshadowing there -- this is how an unhappy marriage could end. I'm not sure about the lesbian undertone in Harriet's character; I think she loves status and possessions more than anything and marriage is the only way to that. If anything, she's asexual. She'd be just as upset by an attractive woman started putting her feet on the furniture and smoking indoors.

Or the tall and gorgeous Cary Grant and Alexis Smith in the Cole Porter bio Night and Day. Obviously, Porter approved the casting. I have to admit I find this one watchable for the musical numbers and cast, though, and I also enjoy Warners' Rhapsody in Blue, despite its inaccuracies. Delovely with Kevin Kline is a more accurate biopic of Porter, but many of the musical numbers are appalling, especially Sheryl Crow's Begin the Beguine, which isn't even recognizable as the original melody. The only songs I can tolerate in that movie are those sung by Diana Krall and Natalie Cole, as well as Kline himself (he sort of talk-sings them, but his version of "So in Love" can almost move me to tears). Also Delovely has some factual inaccuracies, such as the male lead who is singing Night and Day is clearly gay and attractive to Porter, yet in the actual Broadway show and film of The Gay Divorcee, a straight, rather geeky-looking, and very married Fred Astaire was the lead. Apparently Porter's wife was also several years older than he was, which isn't indicated in either film.

Sometimes a biopic can be factually "wrong," but still a fine film. Both Amadeus and Sergeant York are examples of this. In fact, one of the most entertaining biopics for me is They Died with Their Boots On, an almost entirely fictionalized account of Custer. Sometimes if a film is well-done and entertaining on its own it can be treated on its own merits. On the other hand, ill-done bios can be real stinkers or even comical, for instance, Mickey Rooney collapsing in the rain in front of the shoe store that sells lifts in Words and Music. Except for the musical numbers, I can't sit through that one.

I love the music of Chopin, but this movie is awful, and also not an accurate depiction of George Sand, who is portrayed as a bit of a possessive b***. It was pretty well-known that she cared for him during his illness with TB, and at times was motherly (she was several years older than he was). I much prefer Impromptu, which is much more fun.

In Great Britain, that's not such a shameful thing. Apparently, British actors don't have the same snobbishness about moving between TV, film, and the theater. Look at Maggie Smith, Derek Jacobi, Ian McClellean, and others. However, with NetFlix, HBO, etc., that is now changing in the U.S., too. Some of the meatier parts are in series, which is why some say movies as an industry might be dying.

Holy moses. This looks bigger than the attendance at Trump's inauguration.