rosebette
-
Posts
1,227 -
Joined
-
Last visited
Posts posted by rosebette
-
-
19 hours ago, Princess of Tap said:
Before I became a Basil Rathbone/ Sherlock Holmes fanatic in High School, I knew about Basil Rathbone.
When we would study Edgar Allan Poe, the teachers would play recordings of Basil reciting "The Raven", as well as other Poe works.
It's truly amazing how much time he had for all those great "B" Sherlock Holmes movies when he was a much sought after actor in "A" movies.
Actually, after 1940, MGM bought his contract, but rather than giving him decent roles, began loaning him out to other studios, resulting in the loan-out to Universal to do the Sherlock Holmes series.
-
15 hours ago, jamesjazzguitar said:
Yea the scene with the umbrella and elevator and how causal the Marshall character does the deed, is great. Reminds me of a similar scene in The Dark Corner with Clifton Webb and William Bendix. (expect here it is a cane and window).
And the janitor is a great scene stealer, going on about his arthritis and his need for a warm climate. I was sorry to see him go.
-
1
-
-
6 hours ago, Sepiatone said:
OK, #1:
My sister in law said she hated "Butch Cassidy" because it had BOTH her "main throbs" in it, and she got dizzy trying to divide her attention!
#2: Oddly hearing this announcement on the news after seeing his performance as "Mr.Death" disguised as a cop on that old "Twilight Zone" episode.
He either directed or starred( and co-starred) in many of my favorite movies, and he well deserves the rest of retirement. His career left him virtually nothing to regret or be ashamed of IMHO, so I wish him well.
Sepiatone
If that's what Death looks like, Lord, take me now!
-
1
-
-
His greatest role was as the amateur sailor adrift in a storm in All is Lost (2013). I thought of Coop when watching that one -- how an actor can underplay and communicate without dialogue.
-
1
-
-
Ah well, we're all aging. He was one of my crushes when I was a teen-age moviegoer (Mmm, Hubble). He was a celebrity speaker at Lowell, Mass (sponsored by the university) about 3 years ago, and I was impressed by how articulate and intelligent he was, a man with a real understanding of film-making, great modesty, and a commitment to the environment. Anyway, as I was approaching the venue for this event, I thought to myself, "Where are all these old ladies going?" Then, I realized that I was one of them!
-
4
-
-
The High Wall - interesting film noir with Robert Taylor and Audrey Totter, atypical for both MGM and Robert Taylor. Taylor is a vet with PTSD who may have murdered his wife, who was having an affair with Herbert Marshall. This was an unusually dark character for Taylor, and I thought he was good in the part, and I'm not a fan of Taylor. I have to admit that I found him an ambiguous character, even if one does assume his innocence. The undercurrent of violence is so strong in him that I had a hard time not seeing him as a potential abuser in whatever relationship he is in. Herbert Marshall is suavely evil (no spoiler there because it's assumed from the beginning that he's the actual culprit) and has a great scene with an elevator and an umbrella.
-
7
-
1
-
-
Night Nurse (1931) has some shots of women breastfeeding in the maternity ward. In A Tree Grows in Brooklyn, I believe Joan Blondell's character makes a reference to the fact that she is breastfeeding her baby.
It's obvious that the nurses are bringing the babies to the mothers to be nursed becaue the mothers are all lying on their sides, and there are no bottles present. The scene of the mother latching on is around 1:27.
-
1
-
-
13 hours ago, TomJH said:
If you want to know how Rathbone pronounced his own name, here you go . . .
He makes beer sound so elegant!
-
3 hours ago, TikiSoo said:
rosebette says of Jewel Robbery: Kay spends the latter half of the film wearing an off-the-shoulder, low-backed dress that defies gravity.
While I love Kay Francis, I hate the way she wears her beautiful gowns. Both Francis & Bette Davis seem fond of looking like grannies with zero chest support. Having your chest hang on the ribcage (notice the elbow crease) elongates the neck, but completely shortens the waistline making them look droopy & sad.
In contrast, an almost-in-the-armpit "perky" chest looks youthful & gamine:
(oops obviously I don't know how to resize Dr Macros photos!)
If you've watched a lot of Kay Francis movies, you can tell she is basically flat-chested, and I'd say in the 30s, the emphasis is on bare back, shoulders, and upper chest rather than cleavage. Also, in that era, they did not have the bras that were available in the 50s. In fact, if you watch a lot of 30s films, you can tell most women went braless. (With everything cut as low as the small of the back, how could you wear bra?) I think Kay looks stunning in gowns. Bette Davis was well-endowed, and Orry Kelly wrote quite a bit about the challenges of dressing and supporting her figure. As far as Kay looking Granny-like, well when I become a granny, I think I'll slick back my short hair and buy that black number she has on.
Audrey Hepburn is a completely different body type from either women, flat chested and extremely lean (Kay is definitely fleshier), more of our notion of a model's body. She is probably wearing a modestly supportive bra because no one went braless in the 50s.
-
1
-
-
She Had to Say Yes (1933) - Another Warners' Precode and a real shocker, as much today in the MeToo era, as when it was made. Loretta Young works for a company that uses "corporate girls," to entertain out of town businessmen; essentially a form of prostitution. Her fiance, Regis Toomey, suggests that the women from the secretarial pool, who are less "floozy" material, might be more appealing to these out-of-towners, and Loretta Young agrees to meet with one client to further her boyfriend's career. Lyle Talbot is the target, and of course, he wants more than someone to take dictation. Throughout, Young manages to preserve her virtue, but just barely. She is nearly raped at least twice, once by former boyfriend Toomey, who is jealous when he realizes that Young may have gone all the way (even though Toomey is already two-timing her). Perhaps this movie was shocking in 1933 for its frank depiction of sexual exploitation of women in the workplace, but it is just as shocking today to see it presented as accepted practice. Both the male characters are emotionally, verbally, and at times, physically abusive. While there is a great deal of humor, I was ultimately infuriated by this film, especially the ending. I won't give it away, but my own preference would have been if Barbara or Bette had shown up with a pistol and plugged both Toomey and Talbot while they fought on the porch.
-
6
-
-
Jewel Robbery (1932) - This is a delightful Warners pre-code with William Powell and Kay Francis. The quality is definitely Lubitsch-like and uncharacteristically sophisticated for Warners. Kay Francis is a very spoiled and already adulterous socialite and Powell is a charming jewel thief. Plot elements include some interesting cigarettes, which according to Powell's character, make you very relaxed, sleepy, and when you wake up, quite hungry! I don't think weed was ever offered so elegantly. Kay is already unfaithful to her current husband, and her friend Helen Vinson, makes it pretty clear that husbands are for buying nice things, but there are other places to seek one's pleasure. Needless to say, Powell is in line to be the next lover. Kay spends the latter half of the film wearing an off-the-shoulder, low-backed dress that defies gravity. I wasn't aware that something that still had sleeves could be so alluring. I followed this up with Roberta (1933), in which Fred and Ginger steal the picture, despite Irene Dunne's excellent rendition of some of Jerome Kern's most beautiful songs. I would say after watching the styles in both these style-conscious films back-to-back that in the 1930s, a woman's back was considered the most erotic part of her body. (Excuse the pun!)
-
9
-
-
54 minutes ago, TomJH said:
Gary Cooper appeared in an uncommonly large number of good to outstanding films in his career.
Among them: Lives of a Bengal Lancer, Desire, Mr Deeds Goes to Town, General Died at Dawn, Beau Geste, The Westerner, Meet John Doe, Sergeant York, Ball of Fire, Pride of the Yankees, For Whom the Bell Tolls, Unconquered, High Noon, Friendly Persuasion and The Hanging Tree, all done with some of Hollywood's best directors.
He has played the hero. He has played the "common man" with integrity. He played high drama but he could also stretch his limited range by effectively playing comedy on screen, as well (his comedies vary in quality from good to forgettable).
Coop's minimalist acting style can be extraordinarily effective in some roles (the Capra films, Sergeant York, Pride of the Yankees). And sometimes he has floundered (I agree with the criticisms expressed by Lawrence and Tiki about his wooden portrayal in Billy Mitchell).
Towards the end of his career Cooper was trying to stretch by playing some darker characters on screen. The results were mixed, though it works well, I feel, in his last western, The Hanging Tree. But take a look, too, at the sensitivity of his performance as a middle aged man having an affair with a younger woman in Ten North Frederick, a 1958 soap opera.
One thing that can't be taken away, though, are the facts about this incredibly successful film actor. A 37 year film career, still the star of "A" productions at the end of his life, a five time Oscar nominee, winning twice, and ranked among the top ten box office stars 18 times in his career. Few other actors/actresses have a record that can match that.
Sergeant York, probably my favourite Cooper film and performance
I'm a Coop fan myself, and my favorite performances include Sergeant York, as well as Mr. Deeds Goes to Town, Meet John Doe, Friendly Persuasion, and High Noon. I'm reading a fine book about High Noon, of the same title, by Glenn Frankel, which tells the story of the making of that film in the environment of HUAC and the blacklist. There are a couple of good chapters on Coop. Although he was politically conservative and an anti-Communist he ultimately supported blacklisted writer Carl Foreman. I got the impression from the book that despite his flaws (Coop had a serious affair with Patricia Neal that was hurtful to her and to his own marriage), Coop was indeed a man of honor. Coop was also a contradictory figure; despite his folksy image, he was one of the best-dressed men in Hollywood.
-
1
-
-
1 hour ago, EricJ said:
On the last Filmstruck Pick4, this was my personal pick for Funniest (or at least Favorite) Classic Movie Comedy ever made.
You sit there thinking, how LONG can they keep the "Pellet with the Poison" gag going, and they keep raising the comic stakes for almost ten unbroken minutes. And that would be if the movie didn't already have the "Knight ceremony" or the hypnotic-suggestion sword duel.
It spoils you for watching other Danny Kaye movies, since his Samuel Goldwyn musicals were a bit over or underdone, and Sylvia Fine was the only one who really understood his act when they started producing projects together. As a result, I can't think of a second movie where we get as much pure, uncut Danny, without a lot of corny studio frills put in to surround him. (Which is why I put "The Inspector General" a very, very, very distant second on Kaye's list, and "Hans Christian Andersen" doesn't even crack to the top five.)
My favorite Danny Kaye movie, with so many quotable lines, a great duel scene, who can ask for anything more? I'd say this is my favorite parody of swashbuckling movies, kind of a precursor of "Men in Tights," but with class.
-
2
-
-
I've had a big time crush on Basil Rathbone since I was about 12. While Sherlock Holmes is supposed to be asexual (and in some later adaptations, there is even an implication that the relationship with Watson is not entirely "straight"), that's not the vibe he gives off. In one film, The Woman in Green, he describes the female suspect as having "lustrous eyes," and the way he pronounces that word gives you the impression that there's a man of the world hidden behind the exterior of this allegedly celibate bachelor. Oh, and there's definite chemistry with Ida Lupino in The Adventures of Sherlock Holmes.
Fred Astaire was written up by RKO and MGM as having no sex appeal (i.e., Ginger gives him sex, he gives her class), and I have to admit he's not much to look at, but his dancing, charm, and way with a song always melt me. There's no better rendition of Cole Porter's "All of You" -- "I love the look of you, the lure of you, I'd love to take a tour of you." I feel that he got sexier has he got older -- there's a worldliness and experience about him. Plus his flair for color and cut in wardrobe really shows in the technicolor movies. In the 1950s, he did some small jazz ensemble recordings with Oscar Peterson of some of the songs he was best known for; I have a CD of that session, very spontaneous, heartfelt, and intimate, as if he's in the room with you. That light, almost conversational singing voice that caresses every lyric made him a favorite of America's greatest composers -- Porter, Berlin, Gershwin, and Kern. I think that the reason that God made him a bit homely was to keep humans humble -- otherwise, he'd be perfection.
-
2
-
-
4 hours ago, TomJH said:
I believe the two started to patch things up between them on a train promotion for the premiere of Santa Fe Trail. Photos can be seen of the two laughing together on that train. This lead to Flynn being pleasantly surprised when Olivia agreed to be his leading lady (for a final time) in Boots.
Matzen has some great candids from this trip. Even if the two never had a serious romantic relationship, it's clear they enjoyed each other's presence.
-
4 minutes ago, TomJH said:
Brenda Marshall's cold performance, and her lack of chemistry with Flynn, is a key weakness in the otherwise fine Sea Hawk, one of the classic swashbucklers. It's too bad Olivia apparently objected to appearing in this film, especially since she would then co-star with Errol in Santa Fe Trail immediately afterward.
I believe that Brenda Marshall may have been a model before her film career, which might explain her limited acting range in her first attempts.
According to Robert Matzen, Olivia hated making Santa Fe Trail, and she and Errol argued throughout the making of it. Somehow, they made their peace in They Died with Their Boots On, for which viewers can be very grateful!
-
2 hours ago, Sepiatone said:
Olivia may have been the better actress, but Brenda might have been better on the "casting couch". I wasn't there, so I'm guessing....
Sepiatone
I wouldn't malign Brenda Marshall in that way. It seems as if Warners' was grooming her to be a star, as she appeared with Flynn in another film, Footsteps in the Fog, and with Cagney in Captains in the Clouds. She also had a good part in The Constant Nymph. However, from her bio, it seems as if she seemed uncomfortable with the Hollywood star system (she preferred to be called by her given name, Ardis). She was also married to William Holden for 30 years, although the union was not a happy one, probably given to Holden's predilection to alcohol and extramarital affairs.
-
1
-
-
10 hours ago, Bethluvsfilms said:
Flora Robson made a great Queen Elizabeth, but I still adore Bette Davis' take on the role. But I think my personal favorite interpretation of the legendary Queen Tudor has to be Glenda Jackson in MARY, QUEEN OF SCOTS.
Too bad we can't have a séance and ask the real Elizabeth Tudor who she felt best portrayed her onscreen!
If Essex looked like Errol Flynn, maybe she wouldn't have been the Virgin Queen!
-
1
-
-
13 hours ago, Fedya said:
I would have said ennui, not nausea.
No, I find him actually vomit-inducing, as well as the whole saccharine plotline about his vocation to the priesthood.
-
1
-
-
11 hours ago, TomJH said:
This is the face of an unknown actor whom some have said is a young John Garfield in this film. I think that a closer examination here tells you that while there is a resemblance it is not Garfield.
My favourite line of dialogue in the film:
"Outside Countess. As long as they have sidewalks, you've got a job!"
Anyone spot a young John Wayne is this film?
One of my favorite lines of all time. How to call someone a ***** without actually using the word! Wasn't John Wayne already making cheapie Westerns for Monogram or some other Grade C Studio by this time? Anyway, I didn't spot him.
-
I also watched Footlight Parade, which I had seen many times before. The great thing is that I just had cataract surgery earlier today, and I could read the Roman numeral date under the title (as well James Cagney's eyeliner and mascara) without my glasses! That movie is such kitschy fun. Who could believe that a traveling prologue group could put on "By the Waterfall"? I love "Shanghai Lil," even though it's not politically correct. Cagney is just the best, but it's a terrific number overall, from the visits to the opium den, the tap dance on the bar, the marching sailors, and the ridiculous animation booklet (which nobody on stage would be able to see). BTW, John Garfield shows up briefly during that number in a barfight.
-
3
-
-
Three on a Match (1932) -- Another argument for movies under three hours. In 63 minutes, this one takes us through 3 girls' lives. Ann Dvorak is a standout as the bored socialite who goes to ruin. Joan Blondell, as usual, is a charmer, and a young Bette Davis is being groomed for cheesecake, as she's the one who gets the obligatory lingerie scene and bathing suit shots. She was actually pretty cute! Warren William is in one of the few roles in which he doesn't play a scoundrel, but he has great chemistry with Joan and the little boy. Some surprises here -- Humphrey Bogart and Edward Arnold in early roles.
-
6
-
-
20 hours ago, LawrenceA said:
There's No Business Like Show Business (1954) - CinemaScope musical from 20th Century Fox and director Walter Lang. The movie follows the lives and loves of the Donahues, a family of vaudeville performers: father Terrance (Dan Dailey), mother Molly (Ethel Merman), elder son Tim (Donald O'Connor), daughter Katy (Mitzi Gaynor), and younger son Steve (Johnnie Ray). They persevere through changing tastes, the stock market crash, and the start of WW2. Tim falls for co-star Vicky (Marilyn Monroe), while Katy finds romance with writer Charles (Hugh O'Brian), and Steve pursues a different calling. Also featuring Richard Eastham, Frank McHugh, Rhys Williams, Lee Patrick, Eve Miller, Robin Raymond, John Doucette, Gavin Gordon, Lyle Talbot, Henry Slate, and George Chakiris.
The threadbare story merely serves to connect a series of elaborate musical numbers designed to make the best of the new widescreen CinemaScope format. Director Lang and choreographer Robert Alton turn in some excellent work, and Donald O'Connor reportedly called this his favorite of his films (over Singin' in the Rain?!?). I watched this for Monroe, who doesn't impress much here. She supposedly didn't want to appear in this, but did so in order to win the lead in The Seven Year Itch. This was one of Fox's most expensive productions to date, and despite selling a lot of tickets, it ended up being a money-loser. It earned Oscar nominations for (inexplicably) Best Story (Lamar Trotti), Best Score (Alfred & Lionel Newman), and Best Color Costumes (Charles Le Maire, Miles White, Travilla). (6/10)
Source: Fox DVD.
This movie got a nomination for best story? It's a compilation of show-biz cliches, and the latter portion where the O'Connor character turns to drink is really soggy. Johnny Ray inspires nausea throughout. I wonder whether musicals with bright, witty scripts like The Bandwagon, Singin in the Rain, or It's Always Fair Weather ever got a nomination. However, if Satan makes a deal with me so I can have Mitzi Gaynor's body, I'll take it.
-
1
-
3
-
-
8 hours ago, TikiSoo said:
For you younger kids out there: Leigh's unnatural double barrel cone was the look in the late 50's early 60's. I remember my babysitter (later my sister-in-law) & her sister both sewing darts in the cups of their bras to achieve this! Of course the pendulum swung the other way in the next decade of "burn your bra" au naturale look.
And while I too think Cliff Robertson is an astounding actor, I hated CHARLEY too. We had to read it in school and even as a teen I found the story trite. Same theme but without exploitation was later AWAKENINGS '90.... a true story!
I didn't know they made those undergarments in the Middle Ages. You might see above Tomjh's post of Olivia deHavilland as Maid Marian. That Orry-Kelly gown is a nice blend of 1930s bias cut and medieval costume, fitted to a woman's natural silhouette. I never could watch Prince Valiant either because Robert Wagner is so awful in it.
-
1
-
Errol Flynn....still the best.
in General Discussions
Posted
I had the treat of watching Captain Blood last week on my 50" TV. I had just had cataract surgery and could view it without glasses, what an eyeful. Who else can stand on the prow of that ship and shout that corny dialogue so convincingly? Hell, I'm ready to jump on board and push that wheel that raises the anchor myself. I don't mind the wig in Captain Blood because when I first saw it on syndicated TV as young teen, many of the cute stars had long hair like that, so the wig just adds to the attraction When I watch him as Captain Blood or Robin Hood, I forget about the scandals (and just about whatever else is bothering me). I've seen Too Much, Too Soon, but could only bear to watch that once; it's a raw and painful performance, with some lovely moments (the speech from Henry V). However, once he dies in that one, the film loses interest for me. I'm not a Dorothy Malone fan. I spent my evening watching Written on the Wind wanting to slap her.