MovieProfessor
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> {quote:title=JakeHolman wrote: }{quote}You have come on this board and used the moniker MovieProfessor.
. . . So, you have come on this board and used the moniker JakeHolman . . . Well, you don't have to present a resume that shows your qualifications. You're that salior who got himself killed, while servring his tour of duty on an imperialist gunboat. Anyway, patriotism to me is *not* creating false accusations towards fellow human beings. Especially those who betray their friends, knowing full well they are not guilty of anything malicious and out of desperation, turn them over to a ravenous, irrational mob of political demigods. The matter of Kazan to me, has nothing to do with patriotism, other than his trying to climb up a tree, save himself and throw somebody down to the lions waiting at the bottom. A real patriot to me is having the right to stand up for what you believe in and try to deal with the consequences that relate *to you* and *you alone* and nobody else.
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Come on now Fedya! That woman was a totally crazed idiot! She was so typical of an ambitious Hollywood hustler. If she were alive today, she'd end up in porn.
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> {quote:title=RazorX you wrote:}{quote}{font:Arial} Sort of sounds like a parallel universe or something. {font}
I can go along with that idea too. B-)
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Well Lori3, I'm with you all the way on Garfield. And, as you mentioned, he's virtually forgotten. However, there's some hope lingering for the future ahead. There's been talk of perhaps some sort of a biographical film about Garfield. I can't really say much about it, but there are at least five major current male stars who for the past years have been interested in playing the lead role. Naturally, Kazan will be very much part of the story. I wonder who would be interested in playing his role? The idea for the project has been held up in some form litigation. This is probably expected, since there are sensitive issues of the past that still to this day can have their repercussions. This is because a film about Garfield might have to deall with popular celebrities of his era, shown unfavorably. So, only time will tell whether or not anything finally makes it to the big screen. If not the movies, there's also some sort of plan for a staged version (possibly a musical) of his life. But again, this is as of now, still a pipedream.
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{font:Arial}There was concern that evening about how the audience might react. What isn’t shown is that those who sat really outnumbered those who stood giving their applause. Those who sat and gave no applause at all were low in number. The ABC television network, having shown a few of the disgruntled sitting in the audience, made it all appear as if the controversy was bigger than it really appeared to be. Those clips only added to the ill-feelings and anxiety felt that night. What is so historically significant about this whole affair was even though not much of the segment is seen, what is so apparent is this division among the {font}{font:Arial}Hollywood{font}{font:Arial} elite.
This turned out to be more technically severe than Brando’s refusal to accept his Academy Award for “The Godfather.” Even the night actress Vanessa Redgrave gave her now famous political uproar over her nomination had no real, long lasting effect. I don’t think {font}{font:Arial}Kazan{font}{font:Arial} really cared so much about the protest against him. It must have been like “old-times” and he could just stand there and eat it all up to the point of thinking, “Yeah, I’ve been there too and such!” He wasn’t hurt, insulted or uncomfortable in any sort of direct way, only because he had enough time to know what consequences to expect that evening. We might want to feel, the whole segment was somewhat staged for both Kazan and the audience! Concerning the audience, they were ready to take sides and then Kazan ready to say his peace, which wasn’t much of anything; because it was best for him not to shed any more controversy over the matter. {font}{font:Arial}Kazan{font}{font:Arial} would later die as he had lived throughout the second half of his life, a pariah of the motion picture business. Anyway, {font}{font:Arial}Kazan{font}{font:Arial} was and could never be like Charlie Chaplin, who also was for a time, shunned and driven out of the motion picture business he loved and help formulate. On the night Charlie came back to the Academy to receive his honorary “Oscar,” every single soul in the theater stood up and applauded. But then, for all his troubles, Charlie never stabbed anyone in the back.{font}
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{font:Arial}Jennie was definitely a ghost. Or, if you really want to get technical in a weird way, you could say she was an apparition straight out of “The Twilight Zone.” Anyway, writer Robert Nathan’s original story was in some respects “dreamlike,” as if the artist hero of the tale, stepped into a past world long gone, at times lost in a different dimension beyond his current reality. The persistence of the artist to solve the mystery of Jennie, leads him down a pathway of compassion and eventually falling in love with her. But, call it fate or a power from beyond human logic, there will be an intervention with the storm at the lighthouse that will result in the final rupture needed to free Jennie’s lost soul. The portrait will in the end signify his love, also giving him back sense towards understanding his creative process that will glow with virtuous meaning. {font}
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Viewing this clip, one can clearly see, as well as feel the tension that evening at Academy Award night, in 1998. Judge for yourself . . . (!)
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> {quote:title=Lori3 . . .}{quote}
One very obvious point to Kazan is certain and that is he was instrumental in Gafield's downfall. They both had started out together at the Group Theater. They became close friends. By the time Kazan was a noted film director, having given up on an acting career, Kazan would finally asked Garfield to take on a fine role in his Academy Award winning film, "Gentleman's Agreement." Garfield who was a big star, appeared in the film as a favor to Kazan, taking on a small, supporting role. The two had come a very long way from the days of hanging around Times Square and making the usual rounds from one stage play to the next. Yet, there always seemed to be a sort of friction between the two. Probably brought on by a sense of envy, if not, a form of professional jealousy on the part of Kazan. It was Garfield who had that natural flare and dare towards creating something intriguing about his acting. On the other hand, Kazan simply wasn't so attractive and lacked Garfield's sense of presence, bringing on shades of low esteem and a realization as to which one of them had the necessary magic. Becoming a director/producer was about the only outlet available for Kazan and in the process, he sort of abandoned his close ties with Garfield, turning instead to his new proteges, Montgomery Clift and Marlon Brando.
As Kazan reached the heights of directorial glory on Broadway and motion pictures, Garfield began his career decline, due in large part to assumptions of radical, political affiliations. When the heat was on Garfield from the House Un-American Activities Committee, he turned to whom he thought would give him support, only to suddenly realize, he was left to fend for himself, into the frigid turmoil of Cold War politics. Like so many at the time, Kazan feared for his career and while he first refused to cooperate with the government committee, he jumped ship, by agreeing to conspire against those who had once been good friends. When Kazan gave his testimony in March of 1952, Garfield died two months later. When he received the news of Garfield's death, there was little in the way of anything said by Kazan that was a reminder of their once deeply held friendship, only to refer towards Garfield's career accomplishments. It's not so much to say that Kazan could have saved Garfield, but he decided to distance himself from someone he knew to be clean of anything so subversive. Truth was that Kazan had actually been more radical than Garfield, only to see Kazan be able to raise above the fray and Garfield fall prey to becoming sacrificed. Kazan's tempestusous past and relationship to the blacklisting in Hollywood was the main reason why in 1998, the film community was divided upon his receiving an honorary Oscar. Some would say, he had too much blood on his hands.
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> {quote:title=filmlover you replied:}{quote}
> You should go back and check the facts on this. Each Blu-ray season of Twilight Zone was 5 discs each, except for the second season, which had only 4. I know because I have them.
You are correct! I too have the entire collection. However, I still stand by my feelings that Warner's could have compressed the Looney Tunes to the point of combining more shorts on one single Blu-ray! It can be done.
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> {quote:title=princessananka you wrote:
> }{quote}One thing it isn't guilty of and that's being BORING!
Well, I have to agree with you on that issue, other than the movie is also hysterically an uproarious experience! The main thing about this movie is the fracas surrounding its history that you touched off on and clearly adds to the legend that has evolved surrounding both Bette and the movie as a whole. Bette sometimes use a phrase, when talking about various films of her career that went, "Well, a lot of good acting saved that one!" I doubt she really felt that way about "Beyond The Forest."
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> {quote:title=filmlover . . .
> }{quote}High definition takes up more space than regular DVD.
{font:Arial}You are technically incorrect . . . While Blu-ray and standard DVD are different by way of the storage method; the size in terms of GB makes Blu-ray having three times the space of a standard DVD! At an average, a standard DVD is about 7 to 8 GB, while the Blu-ray goes from 25 to 50 GB! Therefore, using a decent compression scheme, which some companies utilize, a lot more information can be stored on a Blu-ray. A good example of what I’m talking about is the special edition box set of “Blade Runner,” having on one of the five discs, three versions of the film! Another example of what I’m talking about is the new Blu-ray release of “The Twilight Zone” series. On standard DVD, each televised season was packed into one box set, consisting of 5 discs, resulting in 5 combined box sets. Consumers had a choice to purchase either a single season or the totally combined 5 season box set. The new Blu-ray version has one entire season on just one disc! Warner’s could have combined more information on the Blu-ray for the Looney Tunes release, if they felt there was a need to do so. However, I believe it’s more of a marketing ploy and easier to rehash what video masters already exists. If, you do the math and understand how the new video release is being handled, by way of copying the previous release, it will actually end up costing more than then original, first series on standard DVD. As far as pricing goes, well maybe the prices were at first expensive when the standard DVD version first appeared. But, because the standard DVD editions are out of print, they would now be cheaper than any new Blu-ray release! This is especially the case of costing more, if Warner's decides to release a single, entire box set of each of the Blu-ray releases! What the fans are simply hoping for (including myself!) is that more possible cartoons shorts be added, since Blu-ray can in fact handle more space than a standard DVD. {font}
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THANKS Kriegerg69!
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> {quote:title=Filmlover and lzcutter . . .}{quote}
Allow me to make it all clear . . . The DVD Golden Collection is and will probably remain for some time, the largest and most informative video release of the Warner Brothers cartoon shorts. The Blu-ray version is in some respects a rehash of what has already been released. This HD version of the series was expected. Only time will tell, if this new Blu-ray series will out rank the regular DVD version by way of the number of shorts. Besides, I was surprised that volume one of the Platinum Collection on Blu-ray, which has larger space, only has 50 shorts, the same as the regular DVD version! I would have expected double that number on a Blu-ray! Anyway, it's a sure bet that the HD version of these cartoons will cost a whole lot more! So, if anyone isn't so prone as to want 1080P and settle for 480P, they'd be saving themselves a lot of time and effort, if not, money.
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It was in 1991, Turner and MGM/UA Video, released a 5 volume box set entitled, "The Golden Age of Looney Tunes" on Laser Disc. This video series was never released on VHS! Each box contained 5 discs, ten sides. The total amount of cartoon shorts were 338. This was for its time, the largest and most ambitious video series produced. The 5 volume box set was sold on a limited basis, meaning that it wouldn't be repeated or reissued, once the series was over. After Laser Disc was phased out of the market and DVD took over, there was this waiting game among fans who wanted see the original Laser Disc series transfered to digital. Well, in 2006, that's just what Warner Brothers Home Video did. However, there were changes made, in that the title was now "Looney Tunes - Golden Collection," and there were more cartoon shorts added. The number of DVD boxes are at 6, with four DVD discs to each box. This now brings the new total of shorts to 356! Unlike the Laser Disc release, the entire collection of cartoons for the DVD were even fully restored! *They look beautiful!*
Sadly, the series on DVD is now, I repeat, *now out of print*. If you want it, there are still a reasonable amount of copies floating around, but these will probably disappear soon enough. Once the current supply has been brought up, it will be almost impossible for any store or distributor to order any new copies. The existing supply is now priced at anywhere from $130.00 to just under $200.00. I didn't waste anytime and quickly brought my copy. I even have the original Laser Disc set! Anyway, I think this is the most convenient and exhilarating way of having most of the best Looney Tunes and Merry Melodies of classic animation. In the last six years, I had an annual Looney Tunes party at my house. Friends and neighbors gather around and bring their grandchildren. But, it's really the old folks (like me!) who get a real big knick out of watching cartoons that still have a way of thrilling us and bringing back wonderful memories. . ."Da-da-da. . .That's All Folks!"
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{font:Arial}Here’s a tidbit that isn’t generally known about the film . . . It was decided not to have the film end, as it was written by Jones in his novel. Instead of the hooker getting killed, originally it was the writer who dies at the end of the story. Shirley has always said that in a hard way of thinking, having the hooker killed off added a sense of moral fiber. Everyone, including director Minnelli felt by changing the original ending, there would be an ethical and compassionate mood towards an understanding that the writer and this wayward girl just weren’t right for each other. Therefore, the storyline ends with the girl giving to her lover a noble, self-sacrifice towards protecting not so much him, but the love and benevolence he has given unto her. At this point in the story, she can’t go back to her life of **** around. Upon her pimp tracking her down and demanding she return to him, her love for the writer has totally push her beyond a limit she can no longer control and she believes this is her one and only chance to find some decency to her life. . .She wants to strongly believe, she can make the relationship work.
I think screenwriters John Patrick and Arthur Sheekman were right in changing the ending, because the girl could have never really satisfied the writer’s intellect. His pathway is already laid down for him and it’s all about the creative process for him to tell the tragic story or write it. And, in doing so, he will realize there were boundaries for everyone involved they didn’t understand or want to accept. Life is full of so many plain and simple restrictions for all of us to deal with. It’s a crap shoot and we can never know what numbers are going to show up at the throw of the dice. There’s no loading the dice of life! It can never be done. We just have to throw the dice and hope! In the case of “Some Came Running,” it was “snake-eyes” for just about everybody in the story, while everyone kept yearning to get that magical number in their favor. {font}
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{font:Arial}It’s definitely a drama and always has been considered so. The whole idea to create a film version from what was originally another novel by James Jones, turned out to be MGM’s answer to the big block-buster hit a year earlier of “{font}{font:Arial}Peyton Place{font}{font:Arial}.” The casting of Frank Sinatra was important to the whole creative process, due in large part to already having made his own huge impact in the 1953 film version of what is James Jones greatest and most revered book, “From Here To Eternity.” It’s as if there is something of a repeat to a past aura being presented in the making of "Some Came Running," all due to Frank’s previous connection to Jones. Frank was pretty much in control of this whole project. He was by 1958, one of the top ten movie stars world wide. Director Vincente Minnelli had one very legendary rift with Frank during filming. The problem occurred when Minnelli asked one of the assistant directors’s to tell Frank, there were pages of the script that needed to be filmed that day and possibly finished. Frank was too content drinking his booze and chatting with Dean and Shirley, sitting in the afternoon shade, outside of his trailer. Upon receiving the request, Frank then asked the assistant to show him what pages of the script were the ones to be shot. The assistant gladly showed Frank the portion of shooting material in the script he had in his hand. Frank then quickly snatched the script from the assistant and tore out that section of the script that he was shown, ripping up all the pages. Frank replied, “So there, now we don’t have to worry about shooting this part of the script.”{font}
{font:Arial}This film marked the first time Frank and Dean worked together on screen. They had already known each other, years earlier from the days they both appeared at {font}{font:Arial}Atlantic City{font}{font:Arial}’s famous hot spot, “The 500 Club.” Dean was working with Jerry at the time and it’s always been believed that Dean was on that first encounter, intimidated by Frank’s tremendous success and perhaps it was on that occasion began Dean’s alienation towards his teaming with Jerry. “Some Came Running” was as important for Dean as it might have been for Frank. Dean was after all, playing a character he probably once was in his youth!! He had been born and raised in that part of the country and as a teenager, hung around gambling joints, seedy hotels and nightclubs. He had been famous in his own {font}{font:Arial}Ohio{font}{font:Arial} hometown for running a floating crap game! Dean was without question the most connected member of the cast to the aura of the storyline. His credibility to the role he played resulted in a marvelous performance, most of which he improvised and added his own bits of dialog. As for Shirley, well she practically stole the film right from under both Frank and Dean and the rest of the cast! What was bothersome about the role Shirley played was that even if one hadn’t read the book, everybody could figure out the character was a hooker. Nothing about the character’s so assumed background was clearly exposed! Naturally, there were fears from the censorship board and it was felt to best let the audiences figure it out for themselves.{font}
{font:Arial}Now, whether this film is good or not, depends upon a selective process. In other words, because the film does lack a solid continuity to the storyline, all we are left with are the performances and certain technical touches director Minnelli gave the film. As a whole, the movie is a bit too chopped up, as if its attempting to add as much from the novel as possible, but we are in the end not left with much, other than the strains of the main characters. Minnelli had originally wanted to shoot the film as a three hour dramatic epic. It’s with this idea that the film is trying to emulate the success of “{font}{font:Arial}Peyton Place{font}{font:Arial}” that was for all intended purposes, a massive road-show presentation. This would not occur with “Some Came Running” and Minnelli had to cut the film down and eliminate certain scenes that he believed were crucial. The deleted material was for those who saw it, rather interesting and adding more flare. One of the deleted scenes was a compassionate rendezvous in a bedroom between Frank and Shirley. Minnelli wanted that scene in, because it displayed the pathetic nature of the hooker, pleading in a pitiful way to Frank’s character to allow her to love him and perhaps he might come around to loving her.{font}
{font:Arial}I do feel that the highpoint of the film, the now famous last scene at the carnival, with all the colored lights and rides was impressively filmed by Minnelli. Just the idea that he filmed the whole ordeal at a real honest to God carnival was something quite remarkable for its time. Most of the film was shot on location and this I believe does give the film some technical quality and should be admired at certain points. One of my favorite scenes is the beginning of the picture, with Frank on the bus and then getting off to return to his home town, right in the middle of {font}{font:Arial}Main Street{font}{font:Arial}. One can clearly tell the scene is for real and not at a {font}{font:Arial}Hollywood{font}{font:Arial} back-lot. TCM has a wonderful short documentary about the making of the film, with interviews of the real town’s people who participated in various scenes as extras. While I can’t really rank “Some Came Running” as a bona fide classic, it is a nicely made motion picture that delivers more on the performances than the overall storyline. Certainly, this film marked the beginning of Shirley’s raise to international super stardom. There is also the point that Frank and Dean became really close after this film, they became something like brothers. So, if you’re a die-hard movie fan and sentimental about the behind-the-scenes antics of what goes on to make a motion picture, this has to be your sort of movie. It’s a film that is admired and cherished by the devotion of the fan base the stars have acquired. And, this isn’t really part of or connected to the whole “Rat Pack” era, because Frank and Dean hadn’t yet begun to gather up the gang and head to {font}{font:Arial}Las Vegas{font}{font:Arial}. There still was about one more year to come for all hell to break loose at the Sands Hotel in Vegas and a lot of history would be made there; both for show business and on a hidden political point of view.{font}
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Ahhh Yes! The Ridgewood! That was another big one. Probably as big as The Midway, if not, bigger? And, the little wondeful Oasis was for me an even nicer theater then The Trylon, only because the seating was more comfortable. You're right about going to any of these theaters now, turned into a multiplex, they are nothing more than a mess and the small screens aren't worth the extra expense! B-)
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> {quote:title=willbefree25 you wrote:}{quote}
>
> How about the studio when he was under contract? Did he get the press Bogey and Cagney and Grant did? Was he more intense? More serious? Was he too intense, too serious? Was there something deeper at work? Did he die too young?
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During Garfield's time at the studio, he wasn't exactly so prone as to play the old publicity game. He hated photo shoots and time spent with reporters, asking him all sorts of silly questions. Naturally, he was always concerned about how his past childhood might be misunderstood. What made his situation difficult was his having been incarcerated at a juvenile center and then placed in a special rehabilitation program. This was how he arrived at the Group Theater Center for the performing arts. The school was participating in a government sponsored program for troubled youth. One of his mentors and teachers at the Group Theater, John Lewis was a friend of mine. Later on, Lewis was one of the co-founders of the Actor's Studio. John always said that Garfield was the finest pupil ever to emerge out of the school. He later also directed Garfied in various plays, before heading out to Hollywood. In later years, it was painful for John to discuss his relationship with Garfield, due to the matter of many alumni of the Group Theater and the Actor's Studio turning their backs on Garfield, once he ran into his political problems. John agreed with those who felt Garfield died a broken man, if not, from a broken heart.
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The Midway Theater that was right around the corner on Queens Boulevard was one of the best and largest around! I was very disappointed to see it turned into a multiplex, as it was with The Forest Hills Theater. And then, the little Trylon Theater several blocks going west on the Boulevard? Those were wonderful days years back, when you didn't really have to go all the way into Manhattan to see a movie in a good theater. B-)
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> {quote:title=misswonderly . . .}{quote}
About the only time "Beyond The Forest" ever received any sort of artistic recognition was in the 1966, Academy Award winning "Who's Afraid of Virginia Woolf." Liz Talyor and Richard Burton sure gave the movie some insightful bravura of humor. :^0
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{font:Arial}The saga of John Garfield is truly one of the most tragic and disgusting situations that should have never happened! Unfortunately, {font}{font:Arial}Garfield{font}{font:Arial}’s life and career would be cut short, by an association to political radical groups and ideology. Just because his political sympathies were considered unacceptable and subversive, he suffered the strains of becoming a sort of motion picture outcast. This I believe leveled itself against a total misunderstanding that {font}{font:Arial}Garfield{font}{font:Arial} had too many communist leanings. While his wife was revealed to have been a communist party member, actively involved around {font}{font:Arial}Hollywood{font}{font:Arial}, this situation exploded after the Second World War ended and the Cold War began. Right away, just after {font}{font:Arial}Garfield{font}{font:Arial} finished up with his contract at Warner Brothers and began to freelance, he was under constant suspicion.{font}
{font:Arial}As the House Un-American Activities Committee rolled out their investigation towards {font}{font:Arial}Garfield{font}{font:Arial}, a sense of security and respect was lost on his part, especially when his colleagues and various friends began to abandon him. Those last three years of his life, had him within a whirlpool of discontent. Still, he managed to keep on working, but only sparingly. There were no good offers coming his way from the studios and roles he certainly could have tackled were given to others. His agent and those few friends he had left, worried that his career might stop at any given moment. His last film, “He Ran All the Way,” can in some form be a testament to the strife he faced. The film clearly displays a sense of weariness, an apprehension and misgiving, as {font}{font:Arial}Garfield{font}{font:Arial} so brilliantly portrayed a small-time hoodlum, on the run from the law and hiding out in an apartment. This film was in many ways, symbolic and close to {font}{font:Arial}Garfield{font}{font:Arial}’s heart, probably a reminder to the time he lived growing up in one of the toughest neighborhoods of {font}{font:Arial}New York City{font}{font:Arial}. If anything can be said about {font}{font:Arial}Garfield{font}{font:Arial}, he understood the plight of humanity, in that his life ended up as a constant agonizing parable.{font}
{font:Arial}Early in his career, when he became a successful and popular contract player at Warner Brothers, he enjoyed the results of his fame, living well while still attending and staying close to various social causes and strife he felt needed addressing. He became one of the most outspoken individuals or motion picture stars of his generation. When he wasn’t working on a film, {font}{font:Arial}Garfield{font}{font:Arial} might be seen at any given political or social rally and he was often asked to speak on half of the various causes he supported. All of this made him rather respected, until there was this shift in American’s political thinking that all of sudden felt threaten and fearful that the “red menace” would dominate the country’s traditional ideals. Here was a man, who might have ended up a real criminal, but chose instead to find an outlet to save his life and when he did, he never once was ashamed to forsake his past. It was vital for him to accept who he once was and simply take it from there and not be phony to some of the film roles he cherished and understood; as well as in his private life, realize he had a lot more to learn. He once said, “There have been times I wasn’t such a phony in a movie.” This remarked came at about the time he had filmed “Out of the Fog” in 1941. I think he was haunted by that role he played of another big-city neighborhood hoodlum. And, as usual he was simply magnificent in the film!!{font}
{font:Arial}When his career was in trouble and he moved back to {font}{font:Arial}New York{font}{font:Arial} in 1952, he made what was his last public appearance, on the highly rated Sunday night, “Ed Sullivan” television show. It was only back in {font}{font:Arial}New York{font}{font:Arial} and the old Broadway crowd that {font}{font:Arial}Garfield{font}{font:Arial} found some solace to his chaotic life. {font}{font:Arial}Garfield{font}{font:Arial}’s agent suggested it would be best to consider getting back to the “live stage” and even consider dramatic television production. It was probably best to wait for the furor over his political background to possibly die down. He had also decided on separating from his wife and a divorce was impending. At this point, he was at the cross roads of his career, if not, his life. He had already been diagnosed with a severe heart condition and yet he wouldn’t slow down or be so careful with his activities.{font}
{font:Arial}During this time back in {font}{font:Arial}New York{font}{font:Arial}, {font}{font:Arial}Garfield{font}{font:Arial} then met a beautiful actress by the name of Iris Whitney. It was after a day of playing tennis and then going to Whitney’s apartment, he began to show signs of anxiety. Whitney suggested that he go into the bed room and lie down. The next morning she found him dead. His heart had finally given up. When his death was announced, there were questions erupting over the circumstances of where and how he died. The coroner’s report of death was clear and precise. His body was found fully clothed, when the ambulance arrived and the autopsy didn’t reveal anything so strange. Sadly, this wouldn’t be enough for the tabloid magazines and suddenly this tall-tale that for a time became something of a myth evolved. All of a sudden, numerous rumors said “he died in the saddle.” This of course never happened, but to this day, many older fans from that era, (not me!) still have a tendency to feel he died from a night of sexual over exertion. This idea comes about, due to stories of Garfield's womanizing.{font}
{font:Arial}The most shattering thing of all was after his death. The government lifted their investigation and found nothing so subversive about him. He was simply cleared. His funeral was one of the largest for any celebrity {font}{font:Arial}New York{font}{font:Arial} had ever seen, bringing in thousands of fans to pay their respects to him. I’ll always remember what Shelly Winters said of {font}{font:Arial}Garfield{font}{font:Arial}, “Before anybody of substance and style came to know what method acting was all about, he led the way for the rest of us.” One can only imagine what there might have been ahead of him, had it not been for the turmoil and political agitation that swallowed his creative process and finally his life. They just don’t come around like him very often. I find it rather wonderful and illuminating to hear actress and activist Whoopi Goldberg say {font}{font:Arial}Garfield{font}{font:Arial} was her inspiration to becoming a performer. During the early, tough and rough part of her life, she always felt a kinship to {font}{font:Arial}Garfield{font}{font:Arial}, watching him on television. Whoopi has posters and photos of him at her home as a reminder that she, like {font}{font:Arial}Garfield{font}{font:Arial}, came up and out from the dingy streets of life to finally achieve something of value. {font}
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{font:Arial}Just about every movie fan has his or her favorite movie serial. In selecting what might be considered the best of the era, can at times become a matter of popularity, based around a particular character or the studio. In the case of the studio, the highest ranking among the fans goes (hands down!) to Republic Pictures. The reasons are easily enough to contemplate or come to the simple conclusion that Republic gave their serials the best production values, when basically compared to other studios and this obviously includes the major studios. Now, don’t get me wrong, if I were to pick another studio other than Republic, I’d have to say that Universal and {font}{font:Arial}Columbia{font}{font:Arial} did their fair share of competing, especially along these lines concerning a few special effects and selected characters. In this department of effects and created characters, Republic had a slight edge, along with the sort of subject matter the studio managed to cover and represent. Of all the {font}{font:Arial}serials{font}{font:Arial} {font}{font:Arial}Republic{font}{font:Arial} produced, most fans and historians seem to agree that the 1941, “The Adventures of Captain Marvel” was the finest ever devised. Masterfully directed by serial veteran filmmakers William Witney and John English, this “Captain Marvel” serial technically and artistically up lifted the whole genre to be taken seriously and appreciated by the film industry as a whole. There is also a cleverly means of mixing fantasy with a bit of Sci-Fi that expanded upon what the original comic book series had created. The now famous phrase “Shazam!” as shouted out by the young character “Billy Batson” to transform himself into “Captain Marvel” has become part of pop culture.{font}
{font:Arial}Next (on my list) would be the 1948, highly successful “Superman.” This was the very first “live- action” appearance of the “man of steel” on film. Produced by Columbia Pictures, it has an interesting mixture of animation and live-action special effects. Several situations surrounding this serial have become something of a movie legend. First, in the role of “{font}{font:Arial}Louis Lane{font}{font:Arial}” was lovely Noel Neil, who in a few years would repeat her role as the woman newspaper reporter for the later to come, beloved television series. Second, and this was rather strange, actor Kirk Alyn, who played the “man of steel” never received billing on film for the serial. His name only appeared on theater posters and advertisements! Third, and this is where it really gets creepy, one of the co-directors, Thomas Carr, would go on to direct episodes of the television series! It would be Carr, using his experience from directing the serial that set down the pattern for the television series and perhaps how the “man of steel” would be always generally perceived. Forth, many elements or scenes from the serial were incorporated into the 1978 major motion picture. I also feel, actor Kirk Alyn, bares a striking resemblance to Christopher Reeve! The original serial was such a hit at the box office, {font}{font:Arial}Columbia{font}{font:Arial} brought everybody back for a sequel in 1950, “Atom Man vs. Superman,” introducing for the first time, the villainous “Lex Luthor.” The budget for both serials wasn’t exactly as good as what Republic could have done, but acceptable enough to be entertaining and at times exciting. By the 1950’s, only Republic and {font}{font:Arial}Columbia{font}{font:Arial} were the last studios producing serials, until everything gave way to television.{font}
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But wait! "Omega Man" is also a remake of the first, original 1964 version, starring Vincent Price. The title was changed as "The Last Man On Earth." Base on the Richard Matheson story "I Am Legend." So, one might want to ask, which of the three filmed versions best represents the original story?
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{font:Arial}Lane Chandler came to {font}{font:Arial}Hollywood{font}{font:Arial}, from his home state of {font}{font:Arial}Montana{font}{font:Arial}. Before the time of his arrival to {font}{font:Arial}California{font}{font:Arial}, he bummed around the west, doing all sorts of odd jobs. He drove a delivery truck, worked as a ranch hand and was for a time a popular tour guide at {font}{font:Arial}Yellowstone{font}{font:Arial} {font}{font:Arial}National Park{font}{font:Arial}. Once he made it to {font}{font:Arial}Los Angeles{font}{font:Arial}, he worked as a garage mechanic. It was while at the service station, he met various people working in the movie business, especially stunt men. This prompted him to consider a more interesting line of work and off he went into the wild wander of {font}{font:Arial}Hollywood{font}{font:Arial}. Naturally, the western movie side of the business was where he was going to fit in and quickly he made a mark for himself in a series of westerns films, both major and low-budget, playing bit parts. The first thing that was noticeable about {font}{font:Arial}Chandler{font}{font:Arial} was his nice height that gave him an impressionable imagery. About the time he signed on with Paramount Pictures in the late 1920’s, he met fellow Montanan Gary Cooper, who like {font}{font:Arial}Chandler{font}{font:Arial} was just getting his career started. However, it would be {font}{font:Arial}Chandler{font}{font:Arial} who score big first, getting a break to appear in some high profile projects as first a supporting player. Surprisingly, {font}{font:Arial}Paramount{font}{font:Arial} placed {font}{font:Arial}Chandler{font}{font:Arial} in a variety of subject matter, not just regulating him to the western genre. This is how he was able to movie up the casting ladder at {font}{font:Arial}Paramount{font}{font:Arial}. Meanwhile, his buddy Gary Cooper was still sort of being held back, waiting for a spot in some good and highly polished motion picture.{font}
{font:Arial}Just as {font}{font:Arial}Chandler{font}{font:Arial} was on his way to becoming a possible major star, “talking pictures” were on they way in. By that time, {font}{font:Arial}Chandler{font}{font:Arial} had appeared in about six major films and he looked forward to a stab at sound. This was now the era of panic among the studios, because sound was a whole different game and would require a bit of control and a capricious quality to stand out. In this category, Gary Cooper was efficient, well over others who ended up losing out on a career to move ahead. In the case of {font}{font:Arial}Chandler{font}{font:Arial}, his voice was fine, but apparently, the studio was looking for something more imposing and voices with deeper overtones. There was also a bureaucracy at the studio that had favorites and would only feel comfortable with those individuals believed to have an overwhelming amount of star power for this new era of sound. {font}{font:Arial}Chandler{font}{font:Arial} had a nice boyish look, but not the imposing quality of Cooper. In the long run, {font}{font:Arial}Chandler{font}{font:Arial} found himself out of the framework of this new policy that would in affect change the whole course of motion pictures. It was then decided to have him move over to the low-end of studio production and perhaps with time and experience, he might get back into the major leagues. In all actuality, his major film career was short lived as he was up against Cooper and others at {font}{font:Arial}Paramount{font}{font:Arial}. So, he entered the field of what he knew best, his western roots and he was back to riding a horse and shooting a six gun. The studio also offered him lead roles in various serials.{font}
{font:Arial}Many of {font}{font:Arial}Chandler{font}{font:Arial}’s early silent films are lost and several early western “talkies” he did at the beginning of the 1930 decade have vanished. His career during the early part of the decade seemed solid enough, until others entered the field, such as the likes of John Wayne, who unlike Chandler, acquired a following of fans and became a B-Movie western star. By the time {font}{font:Arial}Paramount{font}{font:Arial} dropped {font}{font:Arial}Chandler{font}{font:Arial} off their roster of main players, he was forced to move into the realm of independent, low-end production, never really being able to achieve a high-end status to work in B-Movies. This isn’t to say that {font}{font:Arial}Chandler{font}{font:Arial} was a “has been” or “washed up,” he was now just a working actor for hire. Luckily, his hard working reputation was able to stay connected to his once home base of {font}{font:Arial}Paramount{font}{font:Arial}, when director Cecil B. DeMille, would cast {font}{font:Arial}Chandler{font}{font:Arial} in several of his films, giving him bit roles. From that time on, {font}{font:Arial}Chandler{font}{font:Arial} drifted between his B-Movie status and an occasional major film. Most of his work in major films would be for unaccredited roles. The 1930 decade would have to be considered his most prolific period for motion pictures. At this stage in his life, his career in the movies, for whatever it was worth was all he wanted to do, despite having lost out on a chance to hit it really big.{font}
{font:Arial}It wouldn’t be until the advent of television production, {font}{font:Arial}Chandler{font}{font:Arial} was able to get back some deserved respect or at least be more appreciated. Even though he was never a trained actor to say the least, he did learn his craft and this I think says a lot to how in those days past, an individual could achieve skill by simply having a lot of on the job experience. When viewing an early “talkie” of his, one can clearly see a sort of stiffness to his acting. Perhaps this may have been the main reason why he couldn’t be so easily considered a major player. By the late 1940’s all of these restrictions for {font}{font:Arial}Chandler{font}{font:Arial} changed, displaying a good amount of fortitude that hadn’t been there earlier for him. In 1949, {font}{font:Arial}Chandler{font}{font:Arial} was cut a good break by his good friend Clayton Moore, the legendary star of “The Lone Ranger” television series. The program had just gotten underway, when {font}{font:Arial}Chandler{font}{font:Arial} joined in to make various appearances during the first and second season. By this time, without any doubt, {font}{font:Arial}Chandler{font}{font:Arial} was a natural at his craft, fitting in so smoothly to this new form of quick entertainment. If anything could be said about television, it was in some ways a throwback to the days of B-Movie production and those adored action packed serials. In no time, {font}{font:Arial}Chandler{font}{font:Arial} was in demand, but he was also making plenty of rounds at the major studios, working steadily as a bit player and an occasional supporting one. Yet, it would be his work in television that afforded him the best opportunities and exposure. This would be the time in his career that he could take on just about any sort of role for television. It’s hard to believe just how much time and effort {font}{font:Arial}Chandler{font}{font:Arial} was putting into this career! Today, some fans of {font}{font:Arial}Chandler{font}{font:Arial} debate on just what area he achieved the most, be it motion pictures or his work in television?{font}
{font:Arial}Oddly, as {font}{font:Arial}Chandler{font}{font:Arial} became such a recognizable figure on television, he would never appear as a regular long enough on a steady weekly series to co-star in. Of all the TV series he appeared in, at least four were his personal favorites. It was on these four programs, he did have something of a reoccurring role. They are: “Have Gun – Will Travel,” “{font}{font:Arial}Cheyenne{font}{font:Arial},” “Maverick” and the one he probably cherished the most, “Gunsmoke.” It shouldn’t be such a surprise, that these programs were westerns and it’s only fitting or a sort of tribute to a man, who became one of the most revered and respected individuals among those many others he worked with. Over the long haul {font}{font:Arial}Chandler{font}{font:Arial} worked in television, he rightfully became a major source of experience and support to the numerous western TV shows he appeared in. Often, when working on a program, the writers, producers, directors and especially the actors consulted with him! This I think says it all and gives {font}{font:Arial}Chandler{font}{font:Arial} a tremendous amount of professional clout. I know for a fact there were many major stars he worked with that were in some form or fashion in awe of him, only because he was there, at the very beginning of when this profession was born and for that he was and remains within this historical context, a beacon of motivation to what it takes to make it all worthwhile in this business of entertainment. {font}
Mankiewicz and Blacklist
in General Discussions
Posted
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> Jake in the Heartland
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It’s ok Jake, there's no hard feelings, I respect your opinion and you certainly have a right to voice it.
MP.{font}