MovieProfessor

February 5, 2012

{font:Arial}The career of silent movie star Wallace Reid is one of the most celebrated, documented and yet tragic in the history of the movies. Over the years, Reid has been set aside and sometimes nearly forgotten by more traditionally known stars of the silent era. What I find amazing is that many students of film and {font}{font:Arial}Hollywood{font}{font:Arial} seem to believe the career of silent film star Roscoe “Fatty” Arbuckle more tragic than Reid’s down fall. The contrast between both these early motion picture stars is easy enough to separate, in that Arbuckle was directly very reckless with his personal life, while Reid fell prey to an act of fate he had no control over. Perhaps Arbuckle is simply more popular and known to the fans due to his vast amount of comedy films, making him something of a sympathetic figure, besides becoming an early pioneer to motion picture entertainment. Despite having had extensive experience in all fields of motion pictures, Reid was seen as nothing more than an actor.{font}

{font:Arial}At the beginning of Reid’s career, it was govern as a family operation. His success is one of the few of the silent era that was first managed by his parents; both his father and mother were show business veterans. His parents had actually hoped that Reid would have stayed in college and not pursued an entertainment career. No doubt, it was simply too much in his blood not to take up with the family business. So, Reid turned to a life of performing on stage, until he stumbled upon a small motion picture company, while he was in {font}{font:Arial}Chicago{font}{font:Arial}. He began his film career in 1910, mostly appearing in two and three-reelers that today are lost. Reid then began to even direct some of the films he appeared in. He learned the craft of filmmaking quickly. In 1913, he married actress Dorothy Davenport, who would appear in many of his films. For his part, Reid was not the star of his films, preferring to play small character roles, while directing. His success at the Vitagraph Company and then for Reliance, led to an offer coming from the power-house studio of Universal Pictures. Upon signing up with Universal, Reid asked that his father also be signed on and James Reid became his son’s primary director!{font}

{font:Arial}A strange situation occurred for Reid in 1915. He still wasn’t such a huge star, but he saw an opportunity to work with a man who had become an idol to him, the mighty D.W. Griffith. In a move that was rather out of the ordinary for someone whose film career was going well, Reid took on a small role to appear in {font}{font:Arial}Griffith{font}{font:Arial}’s historic epic “Birth of a Nation.” Reid made something of an impressive impact in the role of a heroic soldier. The performance was considered one of the standout of the film. Right away, Famous Players Film Company, later to become Paramount Pictures saw in Reid something of value or what would later be termed as real, solid “star power.” Famous Players simply made him a good offer and by 1917, he was one of the studio’s most popular lead actors. The studio gave Reid a whole new make-over and his tall, handsome looks brought him right into the league of becoming a matinee idol. This change in style and image by a major {font}{font:Arial}Hollywood{font}{font:Arial} studio towards an actor, might consider Reid as the first, real modern romantic heartthrob, predating the mighty Rudy Valentino by about four years!{font}

{font:Arial}In such a short time, as Reid became a major star, he appeared in a vast amount of various roles, from melodramas, action-adventure and romantic comedies. In those days of silent pictures, quantity rather than quality was a motto. In no time, Reid’s image was thrust anywhere there was a motion picture billboard. He was one of the first major stars to be featured as a romantic idol throughout the early era of the “fan magazine” craze. Reid even went as far as endorsing products and when he made personal appearances, scores of fans lined up to see him. He was to put it bluntly, for that short time of his career, a super star of the silent era! It’s to that early generation of film fans and wannabe stars Reid was a prototype to motion picture stardom or set a standard for others to follow. Certainly, his influence from a perspective of his imagery made him an important historical figure to motion pictures and the birth of the “studio star system.” Of course, I wouldn’t exactly place Reid in the same category as say, Douglas Fairbanks, Mary Pickford or Charlie Chaplin, but he was on all counts a big motion picture commodity.{font}

{font:Arial}The tragedy of Wallace Reid is one that ended up in the hands of unforeseen fate and not a “self-inflected” situation. As fate would have it in 1919, Reid was on a train, traveling from {font}{font:Arial}Hollywood{font}{font:Arial} with a film crew for some on-location filming. The train jumped off the tracks and there was a severe crash. Somehow, Reid managed to survive from what were some serious injuries, especially to his head. Upon reaching a hospital and getting treated, the intense pain he suffered from amounted to his being given extreme doses of morphine. He became totally addicted to what back then was referred to as routine medicine. All of this occurred at the peak of his popularity. The studio, thinking that Reid’s situation would eventually remedy itself, kept him working, despite signs that he couldn’t be as active as he once was before the accident. Along the way of this ordeal, many of Reid’s studio co-workers gave their emotional support, attempting to give him as much appreciation as possible. Sadly, this wouldn’t be enough. As the headaches and back pain continued to interfere with his film work, the more he sank into a dependency of the medications that eventually would govern his life. Adding to this dilemma was a need to hit the bottle and Reid, who had never really drank so much, couldn’t eat or sleep without a bit of alcohol in his system. {font}

{font:Arial}Those last two years, before he had to be checked into a sanitarium were rough on everyone associated to his career, especially studio contract players signed to work with him. One in particular, Gloria Swanson said that during her time working with him, Reid always politely asked if he could drive her home. Gloria always refused and later told others that getting into an automobile with Reid would be like putting a gun to her head! Yet, for all his physical problems and the deterioration of his health, he remained to everyone who knew him, a really wonderful person. The illness that had ruined his life began to display itself overall as his face aged about 30 years and he lost a considerable amount of weight. It was only after he finally collapsed and had a horrible mental breakdown, it was all over. The studio aided in having Reid committed to the sanitarium, perhaps hoping he might recover, but this was all wistful thinking. He never was able to leave. The damage to his body and mind were too far gone and Reid died in 1923, at the age of 32. It was a tremendous shock to Reid’s fans to later learn what he had died from. His devoted wife, actress Dorothy Davenport, fearing that her husband’s death would result in another scandal as it was with Roscoe Arbuckle, went on a campaign to clear any misgivings of Reid’s tragic death. She appeared in a film entitled, “Human Wreckage,” offering an indictment towards the use of narcotics. Dorothy would go on to continue her career in motion pictures, producing, directing and as a screenwriter. But, she is also fondly remembered as the daughter of beloved character actor, the fabulous Harry Davenport.{font}

{font:Arial}Part of the Wallace Reid tragedy that some fans believe is more a scandal, centers on the studio, in this case Paramount, allowing Reid to work under the stress and vulnerable conditions of his health. Certainly, the situation is more a reflection of the times and a bit of ignorance and perhaps arrogance to what possibly could have been the best alterative for Reid. Naturally, his life under the conditions that resulted was in the balance and had no probable chance to a recovery, based on the attitudes and moral thinking of that era. While some fans will say he was exploited, there is some reason to feel that somewhere along the way to this affliction, Reid himself could have stopped soon enough and perhaps be able to quell the pain or get some sort of medical help to ease his torment. In this regard, he should have had some sense to stop working, but we can never really know for sure what consequences led to not wanting to stop, leading to his slow and dreadful death. Reid might be the symbolic forerunner to the {font}{font:Arial}Hollywood{font}{font:Arial} tragedies to come in the following decade of the 1930’s and so forth. We can logically surmise, even by today’s standards, nothing has really changed. Those who today dwell at the fringes or into the encirclement of fame will continue to have problems and the fans will face the menacing aspect of another, possible young death. {font}

Edited by: MovieProfessor on Feb 5, 2012 3:47 PM

February 4, 2012

> {quote:title=kriegerg69 you responded:

> }{quote}This reply was way too long...I gave up trying to read it all or even understand the point of such a LONG reply.

I must admit: I went a bit overboard on this one, because *I knew the man* and his life is a reminder of just how crazy and dangerous show business can be, if you don't take the time to watch your step. The posting could have been cut down, but I spun away at reminiscing. The saddest thing about Troy was actually not so complicated . . . He just never took enough time to really take charge of his career and fell victim to all the excesses of fame that don't have any value. He lost out on steering both his life and career towards a tolerant direction.

February 4, 2012

{font:Arial}The career and life of actor Troy Donahue is one of those tragic {font}{font:Arial}Hollywood{font}{font:Arial} stories that over the years has been seldom mentioned. {font}{font:Arial}Troy{font}{font:Arial} was essentially a product of legendary agent Henry Wilson. It would be Wilson who catapulted {font}{font:Arial}Troy{font}{font:Arial} to a quick and flashy success, just as he had done for his other celebrated clients, most notably Rock Hudson and Tab Hunter. {font}{font:Arial}Wilson{font}{font:Arial} was what we use to term as a “pretty boy agent,” since most of the clients he represented were considered matinee idols or teenage heartthrobs. Later on, another term closely associated to {font}{font:Arial}Wilson{font}{font:Arial} would be “the beefcake peddler.” Donahue came into the picture, only after Tab Hunter’s career hit a decline and rumors began to spread of the actor’s sexual activities that {font}{font:Arial}Wilson{font}{font:Arial} decided on calling it quits with Tab. Certainly, Hunter wasn’t happy with the way his career had been handled and he did welcome the split from {font}{font:Arial}Wilson{font}{font:Arial}.{font}

{font:Arial}How {font}{font:Arial}Troy{font}{font:Arial} got to {font}{font:Arial}Hollywood{font}{font:Arial} in 1957 has been the subject of some debate and speculation. At first, he managed to get into low-budget films, usually unaccredited roles. Upon checking out a screening of some B-movie, {font}{font:Arial}Wilson{font}{font:Arial} was suddenly impressed with this new actor he saw. This young upstart from New York City named Merle Johnson Jr. had come out to the west coast, having quit college and didn’t have much experience upon arriving in Hollywood. Obviously, {font}{font:Arial}Wilson{font}{font:Arial}’s new client didn’t exactly have what might be considered a flashy real name. So it was changed to Troy Donahue. {font}{font:Arial}Wilson{font}{font:Arial} then pulled all the usual strings in his arsenal of professional tricks. He convinced one of his good friends, producer Ross Hunter of Universal Pictures to consider his new client as possibly the next James Dean or even a new, younger version of Rock Hudson. Wilson had given the young, tall, aspiring wannabe out of town actor, a typical, big movie make-over in style and looks to fit the current popular trends of young fans.{font}

{font:Arial}A big break for {font}{font:Arial}Troy{font}{font:Arial} came in 1959, when he received a small, but noticeable role in the largely budgeted melodrama, “Imitation of Life.” While {font}{font:Arial}Troy{font}{font:Arial} only had one scene in the film, it was a rather strong, onerous role of a racially prejudice college student. Although the role wasn’t to {font}{font:Arial}Troy{font}{font:Arial}’s liking, it was part of an important film for Universal Pictures and something of a stepping stone for his fledging career. What would happen next was in some ways rather amazing, since {font}{font:Arial}Troy{font}{font:Arial} had yet to achieve a huge impact, while under {font}{font:Arial}Wilson{font}{font:Arial}’s tutelage. It was decided to have {font}{font:Arial}Troy{font}{font:Arial} make a new more important move and audition for a role in another big melodrama over at Warner Brothers. After a short series of some good publicity, {font}{font:Arial}Wilson{font}{font:Arial} was able to convince the studio front office to consider {font}{font:Arial}Troy{font}{font:Arial}, this time for the young male lead role, for one of the most highly anticipated productions of the year. This of course turned out to be the potboiler or big major soap opera, “A Summer Place.” {font}{font:Arial}Troy{font}{font:Arial} was up against a pretty good cast, all of them season veterans, while he was in all respects still a newcomer; especially to the big leagues of motion pictures. Along the way of the production, {font}{font:Arial}Wilson{font}{font:Arial} then managed to have {font}{font:Arial}Troy{font}{font:Arial} “jump ship” from Universal, over to Warner Brothers and {font}{font:Arial}Troy{font}{font:Arial} was on his way up that ladder of motion picture glory that most can only dream of ascending.{font}

{font:Arial}All of this seemed to prove that {font}{font:Arial}Wilson{font}{font:Arial}’s hunch on {font}{font:Arial}Troy{font}{font:Arial} had paid off big, especially when “A Summer Place” turned out to be one of the biggest box office hits of the year. Suddenly, {font}{font:Arial}Troy{font}{font:Arial} found himself the center of attention, all but eclipsing his entire fellow cast members, except the movie’s theme song that became an instant top 10 hit on the music charts! Most fans will always remember the teaming of Sandra Dee and {font}{font:Arial}Troy{font}{font:Arial} as the sort of doomed romantic teen lovers of the film. Although the movie wasn’t received so willingly by the critics, the general public, mostly the young fans, embraced the film and it became a romantic symbol to that generation of the early 1960 decade. In just one film, as had probably happened with James Dean, {font}{font:Arial}Troy{font}{font:Arial} was a new young star of motion pictures. Next, came another drama, “The Crowded Sky” and {font}{font:Arial}Troy{font}{font:Arial} was obviously cast in typical {font}{font:Arial}Hollywood{font}{font:Arial} form as the young, handsome heartthrob of the story. This film wasn’t such a hit, but gave {font}{font:Arial}Troy{font}{font:Arial} necessary exposure. The studio publicity machine was now in full gear, giving {font}{font:Arial}Troy{font}{font:Arial} lots of coverage, even if it meant the quality of the film wasn’t critically accepted. Then, it happened!{font}

{font:Arial}Just as Warner Brothers hit it big with a new profitable star, {font}{font:Arial}Troy{font}{font:Arial} would find himself in a contradictory position. A chaotic situation at the studio had been brewing for several years with a few of their television contract players making demands and walking out on their established contracts. One of the studio’s most popular performers, Edd Byrnes of the television series “77 Sunset Strip” had become fed up with his contract, having lost out on film roles he wanted. Byrnes had also crossed over to the music industry, cutting records and trying to compete with the best pop performers of the era, while maintaining his acting career. He also wanted a higher salary and began making demands for a bigger role on the television program. This prompted Warner Brothers to go along with their usual routine and they placed {font}{font:Arial}Troy{font}{font:Arial} (for the interim) as their number one performer between television and movie production; certainly the studio must have felt safe with {font}{font:Arial}Troy{font}{font:Arial}. Yet, the idea of just having been in a big hit movie, only to end up in a weekly television series wasn’t something most performers in Hollywood would be so excited about. The same could be said of James Garner, who also walked out on his contract with Warner Brothers, not wanting to get stuck on his weekly television series of “Maverick” and move on towards motion pictures on a regular basis. {font}{font:Arial}Troy{font}{font:Arial} was sort of caught between a rock and a hard place. Unlike some of the others creating disputes at the studio, he simply went along with what was offered and became part of the weekly television program, “Surf Side 6.” This studio system between television and motion pictures was basically a means of keeping a performer’s career as consistent as possible, despite the lack of choices and freedom a performer may have preferred. {font}

{font:Arial}The detective television series of “Surf Side 6” was for {font}{font:Arial}Troy{font}{font:Arial} a good learning experience to give him constant awareness to getting some skillful craft to his acting and what might be necessary to keep him viable. While the first season of the TV show was considered a success for Warner’s, while working on the program, Troy was about to embark on what was probably the biggest of all opportunity to his motion picture career up to that time. Director Delmer Daves, who had actually been instrumental in casting {font}{font:Arial}Troy{font}{font:Arial} for “A Summer Place,” had an even greater role for {font}{font:Arial}Troy{font}{font:Arial}. Warner’s decided to bank on the already huge popularity of {font}{font:Arial}Troy{font}{font:Arial}, by allowing him to have that rare chance to be the star of his next motion picture. This meant top-billing, something that other younger performers at Warner’s, didn’t get so easily. No doubt, Henry Wilson’s influence had something to do with {font}{font:Arial}Troy{font}{font:Arial} being able to partially break away from his weekly TV series and get a major lead role. This next film, “Parrish” would be quite a feat for {font}{font:Arial}Troy{font}{font:Arial} to deal with, since he would be opposite the likes of Claudette Colbert, Karl Malden and Dean Jagger. Warner’s also offered two of their other popular television stars for the movie, Connie Stevens and lovely Diane McBain, who incidentally was one of {font}{font:Arial}Troy{font}{font:Arial}’s co-stars on “Surf Side 6.”{font}

{font:Arial}As far as I can remember, {font}{font:Arial}Troy{font}{font:Arial} was well liked by both his fellow performers and studio crew members. During those early days of his career, he always came prepared, almost with an attitude that he had to prove his worth or his ability to stand up to whatever film role he was given. There was in those early days a wonderful discipline to his work and this I think added to his popularity at the studio, if not, with the general movie going public. I think he always felt he wasn’t such a polished actor or had any high regard to be considered a serious dramatic actor. His whole ordeal dealt with what he was handed and while it wasn’t what might be considered “high end” materials, he gave it his best effort. As long as {font}{font:Arial}Troy{font}{font:Arial} could stay rooted into the current trends of popular culture, this issue didn’t seem to matter much, since his fan based of younger audiences could be stretched from one end of the motion picture spectrum to that of television. In a technical way of thinking, {font}{font:Arial}Troy{font}{font:Arial}’s boyish looks and personality on screen would in time hamper his over all position as a major star of motion pictures and television. So {font}{font:Arial}Troy{font}{font:Arial} stood, more or less, between these two worlds of television and movies, giving him a specialization, unlike no other young male actor working at Warner Brothers. Image wise, there just wasn’t any breaking away from that “boy next door” appearance and personality that had kept him for at least 5 straight years on top of the Warner Brothers roster of stars. Naturally, as he matured and began to age, there could be no turning back or a continuation of this boyishness that had made him world famous. {font}{font:Arial}Troy{font}{font:Arial} just didn’t have what would be considered a smooth transition from one venue of entertainment to the next concerning his image.{font}

{font:Arial}Troy{font}{font:Arial}’s second starring role, had him once again for a third time, under the direction of Delmer Daves for another romantic potboiler, “Susan Slade.” The strange thing about this motion picture was that it turned out to be more of a showcase for Connie Stevens, even though {font}{font:Arial}Troy{font}{font:Arial} received top billing. Troy is not nearly seen as much as is Connie, playing the role of a young girl, finding out she is pregnant and in need of emotional support. This movie had a fine cast, but failed to be as impressive and successful as was “Parrish” that same year of 1961. I can remember the big publicity build-up for the film, leading right up to a Sunday night “live” television appearance on the popular Ed Sullivan Show to promote the movie. Meanwhile, both {font}{font:Arial}Troy{font}{font:Arial} and Connie were ranking in respectable ratings on their own television programs. Connie was at this time, a regular on the series “Hawaii Eye,” and like {font}{font:Arial}Troy{font}{font:Arial}, she was attempting to further her career into motion pictures. By that time, Director Delmer Daves had become a sort of mentor to both their careers, allowing Troy and Connie a means of appearing more serious, if not, marketable as a romantic pair. In a practical sense of thinking, the whole marketing of “Susan Slade” was banking more on {font}{font:Arial}Troy{font}{font:Arial}’s popularity than anything else.{font}

{font:Arial}The biggest year of all came in 1962. This was the year that {font}{font:Arial}Troy{font}{font:Arial} really arrived at the pinnacle of his career. Ironically, this year also marked {font}{font:Arial}Troy{font}{font:Arial}’s television program of “Surf Side 6” leaving the airwaves. But, once again Delmer Daves put together another big motion picture of a romantic saga entitled “Rome Adventure.” This time up, {font}{font:Arial}Troy{font}{font:Arial} and his cast, consisting of a few of the usual Warner Brothers television contract players, were on location shooting most of the film in {font}{font:Arial}Italy{font}{font:Arial}. Just as the project got under way, the studio publicity machine began to hint of a possible romance occurring on the set between {font}{font:Arial}Troy{font}{font:Arial} and his co-star Suzanne Pleshette. It wasn’t until about midway through the filming, all hell broke loose and suddenly {font}{font:Arial}Troy{font}{font:Arial} and Suzanne were the darlings of the tabloids. Their on and off screen romance during the making of “Rome Adventure” gave Liz Taylor and Richard Burton a good deal of competition. Liz and Richard were also in {font}{font:Arial}Italy{font}{font:Arial}, about to finish up filming the epic “Cleopatra.” The studio, together with director Daves, welcomed the advance and free publicity generated to help promote the film. This turned out to be something of a good omen for a box office response, all due to this real romance coming off the making of a major romantic motion picture! Right after filming for “Rome Adventure” ended, {font}{font:Arial}Troy{font}{font:Arial} and Suzanne were married.{font}

{font:Arial}By 1963, {font}{font:Arial}Troy{font}{font:Arial} began recording pop tunes on a regular basis to elevate his heartthrob status. Part of the reason was due to his having starred in a college student summer romp movie entitled “Palm Springs Weekend.” {font}{font:Arial}Troy{font}{font:Arial} sang the movie’s theme song and once again he was surrounded by the usual Warner Brothers roster of television stars. Well, it wasn’t any secret around {font}{font:Arial}Hollywood{font}{font:Arial} that {font}{font:Arial}Troy{font}{font:Arial} was no singer. In typical form, the studio had his singing voice helped along the way with all sorts of electronic devices; especially that good old echo chamber! He poured on as much an effort to try and make it all work. The popularity he had achieved tilted the direction of the studio to sway him on reaching out towards this endeavor of having still an additional career. In this process, his singing was more of a struggle to convince himself there was logic to what he was creating. But, to be blunt, he was terrible! Those days in the recording studio were the hardest of all for {font}{font:Arial}Troy{font}{font:Arial}, knowing clearly to himself that he was out of his league. He had little choice but to accept the consequences and face the ordeal of keeping his career at the studio as substantial as possible. Yet, for all the obvious misgivings to his singing, the records and albums did well at the retail counter! This in turn, added more fuel to his popular status among the younger fans. Warner Brothers couldn’t have been more pleased with the way everything they had invested in was turning out. {font}{font:Arial}Troy{font}{font:Arial}’s appeal and popularity was so strong, at this time, he was also now involved in another television series, having moved cover to appear in “Hawaiian Eye.” The TV show was in its last season and was something of a re-teaming of {font}{font:Arial}Troy{font}{font:Arial} with Connie Stevens, resulting in their becoming life long friends, {font}

{font:Arial}Time and circumstance, can have a quick way of changing the course of one’s life and career in show business. Thus it was for {font}{font:Arial}Troy{font}{font:Arial}, despite whatever world wind of success he was having his down fall from the heights of motion picture glory began its decline. Just when it seemed his success and popularity were solidly affective to the very notion of what was expected to being a movie star, a turn of events both in his private and professional life chipped away at all he had accomplished. First off, the marriage to Pleshette became suspect to something of a PR ploy, when the couple didn’t seem to be so cheerfully united amid questions of conflicts between both their careers. Suddenly and much to most everyone’s surprise, it was Pleshette whose career began to take a turn for the better or least be seen as artistically acceptable; she appeared in a few really good and top notch films, such as Alfred Hitchcock’s block buster “The Birds” and the fine drama “Fate Is the Hunter.” Yet, Warner’s had hoped to bank big on their golden couple and the studio offered them another starring role in an action/adventure yarn entitled “A Distant Trumpet.” This was a big budgeted western released for 1964. Directed by studio veteran, Raoul Walsh, Warner Brothers pulled out all the stops, spending a good amount of capital to have Walsh shoot on location. During filming, arguments erupted between the couple, causing concern for both the film and for the public image of just having been married. All of this juggling between careers for {font}{font:Arial}Troy{font}{font:Arial} and Suzanne meant they wouldn’t be spending a lot of time together to support their union. On top of all that was transpiring, the idea of having the couple re-teamed turned out to be a major bust. The film was both a critical and box office disappointment. The magic that had sustained {font}{font:Arial}Troy{font}{font:Arial} was about to start dwindling itself away. And, this first marriage for {font}{font:Arial}Troy{font}{font:Arial} ended after nine months.{font}

{font:Arial}Unlike some popular celebrity figures of the 1960’s, {font}{font:Arial}Troy{font}{font:Arial} failed to diversify to the point of understanding changes in style and public tastes. By the mid 1960’s, he pretty much became a sort of hold-over from the time of his early success as a matinee idol. What nobody foresaw on the cultural horizon was the tremendous emergence of “The Beatles,” The Civil Rights Movement and The Vietnam War changing the direction of pop culture. All of a sudden, {font}{font:Arial}Troy{font}{font:Arial} found himself out of the framework of his popularity; replaced by a new brazenly originated atmosphere of young people about to be in defiance of society and various traditions. The whole “Boy Next Door” routine that had played well for {font}{font:Arial}Troy{font}{font:Arial} had to give way to some harsh reality. {font}{font:Arial}Troy{font}{font:Arial} was now seen as being too stiff, conventional and out of touch with this developing rebellious environment that became more sexually presumptuous and political. Time and events meant, {font}{font:Arial}Troy{font}{font:Arial} no longer best represented the youth market, as well as his shift to an adult performer, didn’t generate any continued interest. He was now trapped by this dainty imagery, not being able to break away from it and move on to something new and different. As his public imagine began to wane, Warner Brothers made a move that seemed desperate then anything so routine. {font}{font:Arial}Troy{font}{font:Arial} was cast in the brash, rustic melodrama “My Blood Runs Cold.” Unfortunately, this situation only heightened his out of step and outmoded imagery, failing to keep his motion picture career dependable. Right after the film went into general release, showing up mostly in small local theaters and drive-ins, Warner’s did not renew {font}{font:Arial}Troy{font}{font:Arial}’s contract. This was in 1965.{font}

{font:Arial}Of course, there was always television and it was there where {font}{font:Arial}Troy{font}{font:Arial} managed, bit by bit, to keep himself from totally slipping away from everything he had come to learn and know of show business. No major production company seemed interested in offering him a weekly series. So, he had to settle on making guest spot appearances. Motion pictures turned out to be a whole different and frustrating scenario. In less than two years, from the time he was considered a major star, he was back, having to face the cold-stoned reality of accepting roles in B-movies! If there was anything to bring on a sense of despondency and gloom, it was returning into the low-end side of the business. {font}{font:Arial}Troy{font}{font:Arial} began to drink heavily and then came his frequent indulgence towards drugs, pills or painkillers. The only way to describe him at this point in life is as a “walking drugstore.” There would be times he arrived on the set of a TV show or whatever film he might be working on, a bit hung-over from the previous evening of either binge drinking or from the usual recreational drugs. {font}{font:Arial}Troy{font}{font:Arial} was beginning to lose touch with the world around him, sinking into a sort of fantasy that the next gig or possible project might be the one to bring him back under the spotlight of fame and adulation. As his reckless private life progressed, his once dashing, bright persona began to show signs of the wear and tear. The more he sank into a frustrated attitude, word around town spread quickly that he was having problems. It was during this period, {font}{font:Arial}Troy{font}{font:Arial} was married for the second time, to actress Valerie Allen, only to see this union break up by the end of the decade.{font}

{font:Arial}Between his bouts of trying to keep a job or find one, {font}{font:Arial}Troy{font}{font:Arial} did get a few decent breaks. Naturally, his past stardom was an asset to some extent, but only if he could stay reliable. The occasional luck {font}{font:Arial}Troy{font}{font:Arial} would have was also due to the many friends and performers he had known. By this time, his agent Henry Wilson was out of the picture and {font}{font:Arial}Troy{font}{font:Arial} was fending for himself. These were rough and tough days ahead of him, going it all alone and ending up dependent on the charity of someone he had known. When his income ran out, he had to skip from one place of residence to the next, never really having one single, main address where he could be reached. It wasn’t until he managed somehow to get a spot on the daytime soap opera, “The Secret Storm,” he had something of a steady job. {font}{font:Arial}Troy{font}{font:Arial} was desperate, trying to make as many TV guest spot appearances as he could. He had hoped to reach out towards what was now looking like a come-back situation. There were also a few roles in a TV movie of the week. Upon reviewing his best chances, the only area opened to him was to consider a return to low-budget films; most of which were shot outside of {font}{font:Arial}Hollywood{font}{font:Arial} at various locations and cities across the country. Some of these films turned out to be really raunchy “grind house” exploitation junk. There were such titles as “Sweet Savior,” “The Last Stop,” and a film made in {font}{font:Arial}Canada{font}{font:Arial}, “Seizure.” None of these films offered {font}{font:Arial}Troy{font}{font:Arial} any chance of getting back into the mainstream of motion pictures or the respected end of show business. Later on, came a few roles on the “live” stage, touring the country. There were some personal appearances at festivals and fairs and even a nightclub gig. This was about the only time, his fan base from the past, got to see him up close and the changes of his imagery, brought on by age. {font}

{font:Arial}The next decade of the 70’s, {font}{font:Arial}Troy{font}{font:Arial} was pretty much a “has been.” He could now walk down a street and no one would recognized him or even stop and maybe ask for an autograph. He dressed rather ragged when out in public. Between jobs, he’d spend a lot of time at a corner bar, drinking away and later came those wild and crazy parties or places where he could grab some drugs. Half the time {font}{font:Arial}Troy{font}{font:Arial} was broke, no money, simply because most of his income was spent on all the booze and drugs that came to dominate his life. Meanwhile, there came a third marriage and like his last two, it couldn’t endure long enough to give him a sense of stability. Somehow or someone finally got {font}{font:Arial}Troy{font}{font:Arial} into a rehab program to sober up and clean his act. After having dried out, he made his now famous cameo appearance in “Godfather II.” Although his role was nothing more than a walk-on, it did give him some attention. However, it was on all counts a rather sad “in joke” to have {font}{font:Arial}Troy{font}{font:Arial} use his real name as the character he was portraying in the film. Some fans have looked upon this cameo as a sarcastic point being made. This situation has now become part of the “Godfather Saga” adding to its cult. The cameo role did in a practical sense get {font}{font:Arial}Troy{font}{font:Arial} back on track and he returned to low-budget films and a few television appearances. On becoming apparent that {font}{font:Arial}Troy{font}{font:Arial} was in trouble with both his life and career, only one person from his professional past offered him some guidance and hope: Connie Stevens. It would always be Connie, who {font}{font:Arial}Troy{font}{font:Arial} could reach out to and get some reasonable emotional support. Yet, during those rough times for Troy, Connie seemed to be the one who reached out the most. This came about, probably because Connie had her own demons to deal with and she managed to rise above the fray that might have consumed her. She had identified her problems with Troy’s, in a sense of wondering what could have been or should have been to both their lives and careers. Over the years, there’s been speculation that {font}{font:Arial}Troy{font}{font:Arial} and Connie might have had a deeper relationship. Certainly, Connie would never deny she was crazy about {font}{font:Arial}Troy{font}{font:Arial} and he about her; they were really very close; I would compare their friendship to that of Gable and Harlow. Strange, how for so many years the fans wanted to see a pairing of {font}{font:Arial}Troy{font}{font:Arial} and Connie and yet they remained devoted to each other in certain ways.{font}

{font:Arial}It wouldn’t take long for {font}{font:Arial}Troy{font}{font:Arial} to sink back into his abyss. During the 1980’s, despite his falling health and poor physical condition, a few respected producers and directors did cut him a break. This came with appearances in major films; although the roles were small or in a supporting capacity. Most of the films were the popular “coming of age” teenage comedies that in a technical way of thinking, sort of exploited {font}{font:Arial}Troy{font}{font:Arial}, due to his past stardom of having been a teen idol himself. {font}{font:Arial}Troy{font}{font:Arial} just made the best of it or went along with what had to be considered an opportunity for him. Although {font}{font:Arial}Troy{font}{font:Arial} seemed to be getting it all together, he was caught in another dilemma of having to rely on an extensive amount of pain killers or some really strong medications. His excessive life style had taken its toll on him and now in order to stay both sober and keep working, the medications began to govern his every mood. It was rather weird to see {font}{font:Arial}Troy{font}{font:Arial} wearing full make-up, when out in public, simply to hide the stress and turmoil of his life. This made him look almost zombie-like. Often, he began to perspire and might go into withdrawals. This became a common occurrence that he had to keep under tabs and control as best as possible, to not embarrass himself and affect whatever job he currently had.{font}

{font:Arial}During the last ten years of his life, no matter how much of an effort he could make, the toll of his extreme life style slowed him down to such a point, he was burnt out. He suffered from lapse of memory and couldn’t converse so easily, if not, logically. There were times he displayed erratic behavior, so typical of someone who had become addicted to a life trapped in the vestige of hard core drugs. While he managed to get back into some of the framework of entertainment, his health now limited him and obstructed the chances of what could have been a come back on a regular basis. In a strange way, all the problems he encountered did sort of mature him to the point that a few of his last performances displayed what might be considered a final mastery towards becoming a competent actor. Perhaps this was more symbolic of his having come out from under his once bright “Golden Boy” persona. It was only in his private life, where he couldn’t get it together. Thus, Troy was affected by an outcome so apparent to what happens when a bit of fame doesn’t find a means of withstanding the pressures and disappointments one faces, while at the same time trying to stay devoted to show business. {font}{font:Arial}Troy{font}{font:Arial} has become an example of someone who enters show business and fails to understand what might lie ahead. When he began his career, he was placed into a situation that made most of everything appear so easy, only to later discover there was more to acquiring fame or success than just luck or being at the right place and time. Along the way, an individual has to make choices and take chances, instead of sitting around and waiting for somebody to push you on or take too much of the same type of advice. There should have been for {font}{font:Arial}Troy{font}{font:Arial}, a real serious point to where he had to reinvent himself. {font}{font:Arial}Troy{font}{font:Arial} never looked beyond what he had accomplished. If he had looked to where he was going, it was probably all too late to change course and the consequences of not taking some control led to a down fall he could have never recovered from.{font}

{font:Arial}The last two times I saw {font}{font:Arial}Troy{font}{font:Arial} was first in 1984, when he was working on the film “{font}{font:Arial}Grandview{font}{font:Arial} {font}{font:Arial}U.S.A.{font}{font:Arial}” It was during this first encounter, {font}{font:Arial}Troy{font}{font:Arial} had been given a small, but somewhat good film role as a home wrecker, stealing away the wife of another man. {font}{font:Arial}Troy{font}{font:Arial} had gotten himself back into some decent shape. He had put on a few pounds, but he looked much better than a few years earlier. Sadly, this wasn’t to last and he sank back into his usual web of prescription drugs and whatever else was available, burning up what was left of his mind. The second and last time I found {font}{font:Arial}Troy{font}{font:Arial}, he had only two years left to his life. He was working on a Sci-Fi film entitled, “Legion.” This time, one could clearly see he wasn’t all that healthy. He seemed in good spirits, but his mentality was far and removed from being so practical as to hold a decent conversation. One could feel a certain confused state of mind, as he would start up talking about one subject and then stop in the middle of the discussion and bring on some other unrelated subject. He had become lost and while he did manage to survive as long as he did, he had actually died years ago. He was in some ways simply a walking, talking corpse. It was devastating to see this guy, who had once been a “Golden Boy” of the movies, become a sad and lonely basket case. On the day before he died, lying in a hospital bed, helpless and delirious from having had a severe heart attack, a friend from his past came to visit him. It was Connie Stevens. She stood at the foot of the bed, speaking to him and hoping he might hear her comforting words. In the end, as it was throughout most of his life, {font}{font:Arial}Troy{font}{font:Arial} always had Connie at some point in time. It was only heartbreaking that this time up, she could do no more to help him. He had gone the distance and now would never return. He was 65 years old. {font}

February 2, 2012

Nothing was edited out of “Citizen Kane,” once the finished print was ready for release. If there had been any changes made, Robert Wise, who edited the film would have said it soon enough, before he passed away!! Of course, Hearst did attempt to suppress any distribution of the film. When RKO and its studio head, George Schaefer refused to adhere to the demands of stopping the film’s release, Hearst then pressured MGM’s Louie B. Mayer to intervene. Mayer offer to buy the film from Schaefer or pay its total cost, if Schaefer would agree to destroy the film. Throughout all the years since “Citizen Kane” first appeared, Orson never admitted that the story was pattern after the life of Hearst. No matter how silent Orson remained on this issue, there wasn‘t anybody at the time in Hollywood, ever able to believe the film wasn’t about or based somewhat on Hearst. The issue of whom the film was all about, rested on the shoulders of Herman J. Mankiewicz, since he wrote the original storyline, leading to a first draft of a script. Most fans of "Citizen Kane" are aware that Mankiewicz had known Hearst, through an introduction by fellow screenwriter, Charles Lederer; nephew of Marion Davies. Once Hearst got word that Mankiewicz was involved with the film, this gave him strong reason to be hostile and fearful that the movie was a shadowy reflection of his life!

About “Rosebud” . . . Well, as to what it really represented is centered around what anyone wants to accept or believe, surrounding those various stories, most of which are pretty much hearsay. This rumor of the phrase being related to the genitalia of Marion Davies only began years after many associated to the production were dead. At this point, nothing can be revealed or proved as to whether or not the phrase or word is related to Davies. One story has Mankiewicz and Hearst, terribly drunk after an all night party at San Simeon, leading to Hearst bragging to Mankiewicz about Davies and how erotic she could be. Another tall tale has Charles Lederer as the one passing on all the information to Mankiewicz. Others said it was Charlie Chaplin, who was reputed to have had a long lasting affair with Davies, on and off, while she still continued to hold on to her relationship with Hearst. There are all sorts of possibilities to this situation, but again, nothing concrete will ever shed any light as to what are the real facts behind this “Rosebud” phrase.

If anything can be said about “Rosebud,” it was the total invention of Mankiewicz, written into his original first treatment of the script. He based the whole ordeal of the sled on an object he once cherished, believed to be a bicycle. The first half of the film, is actually more related to the personal childhood of Orson and it’s probably in this area where Orson gave his best contribution to the original storyline as it was first written by Mankiewicz. Once the character of “Charles Foster Kane” becomes an adult, most of this area is covered by what Mankiewicz knew about Hearst. So, from a deep level of observation, the origin of the phrase “Rosebud” doesn’t really matter, since the situation relates more to a symbolic Freudian issue. Anything said that’s associated to Davies and “Rosebud” just adds more fuel to the intriguing aura of the whole “Citizen Kane” cult and it’s a very, very big one!

January 26, 2012

The other players in the original television version didn't go on towards anything so big to their careers. These principal performers were mostly noted supporting players such as J. Pat O'Malley, Kathleen Maguire and Pat Henning. Still, the "live" TV version was praised and the success of "Marty" meant that Hollywood would be interested in a film version.

January 25, 2012

{font:Arial}I remember the 1955, original television drama, as written by Paddy Chayefsky, with wonderful Thelma Ritter in the lead role. Due to Paddy’s previously huge success with “Marty,” it was only natural that another fine work of his be transformed into a major motion picture. The biggest of all problems for this film was being compared to the television version, by way of {font}{font:Arial}Davis{font}{font:Arial} versus Ritter in the role of the family matriarch. Had there been no television or previous version, Bette might have not been considered inconsistent to symbolically connecting to the role. In watching the film or television drama, the most ironic point concerning Bette and Thelma is their having worked together in the classic film drama “All About Eve.”

Most critics will favor Thelma's performance over Bette’s, while not totally discounted Bette, because the film version was in numerous ways changed from the original concept of what Paddy had written. On a technical point of view, the Gore Vidal screenplay doesn’t really make any improvements over the original script, in that characters and different events are added. In this regard, we are probably dealing with two very different types of interpretations. The real overall winner to the film version (hands down!) was Debbie! And, also for the film, I guess a few high points were scored by the performance of Rod Taylor and beloved character actor Barry Fitzgerald.

From another historical view, the most interesting aspect to "The Catered Affair" is Ernest Borgnine introducing the trailer and promoting the film as having been written by the same guy who wrote "Marty." This has for some fans become an issue to making many believe the movie is something of a sequel to Ernie Borgnine's previous success! Of course, the whole idea of "Marty" having won both an Academy Award for best picture and actor and "The Catered Affair" having what appears to be the same sort of locality, pushes the contention of a sequel and capitalizing on a previous smash hit film. Whether or not the whole idea of "Marty" and its tremendous success hampered "The Catered Affair" has been for some fans an endless debate.

Edited by: MovieProfessor on Jan 25, 2012 11:00 AM

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January 24, 2012

{font:Arial}No doubt about it . . . This turned out to be Debbie’s big “break through” dramatic role that began a change towards her overall imagine, both as a movie star and actress. Unfortunately, despite the good critical response, MGM simply didn’t want to see Debbie move over to a serious outlook; thereby keeping her within the realm of lighthearted materials. Her next film, having been loaned out over to RKO, “Bundle of Joy” kept Debbie under the wholesome imagery that was popular and profitable. Of course, she ended up marrying her costar, singer Eddie Fisher, only to later on be a part of {font}{font:Arial}Hollywood{font}{font:Arial} history relating to one of the biggest tabloid scandals of them all. Still, Debbie managed her career rather well, but she was never able to get back on track to reach a dramatic solid standpoint. She will always represent that which is so loveable and joyously wonderful. {font}

January 19, 2012

> {quote:title=lzcutter you wrote:

> }{quote}I'm with you on Wild Bill. I've been a big fan of his for more years than I can count. I saw *The Ox-Bow Incident* on the late show when I was much, much younger and have been on Team Wellman ever since.

{font:Arial}Perhaps the most incredible story surrounding “The Ox Bow Incident” was how the whole idea for the movie came to be. This is just one of several versions to the story:

Upon hearing about and reading the 1940 novel by Walter Van Tilburg Clark, Bill Wellman went wild (to pun a line!) and crazy, definitely wanting to create a film version of the story. However, the rights to the book were in the hands of a {font}{font:Arial}Hollywood{font}{font:Arial} outsider, who wanted desperately to break into the motion picture business. This guy had what turned out to be one of those hysterical, legendary plans to make the movie version. He envisioned and I kid you not, none other than voluptuous Mae West to star in the motion picture! He went all over {font}{font:Arial}Hollywood{font}{font:Arial}, from one major studio to the next, trying to sell his idea of having Mae at the opening of the film, riding a horse down a hill to the scene of a group of cowboys having an open-pit barbecue! The rest of the storyline would be anybody’s guess!

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{font:Arial}It was all too obvious to Bill Wellman that this fool or idiot wasn’t going to get anywhere with this idea of making a huge mockery of a finely written novel of the decade. Bill had to simply wait and bide his time for a chance to get his hands on the rights to the novel. The big opportunity came one evening, at a party in the {font}{font:Arial}Hollywood{font}{font:Arial} hills. There, Bill found this hopeless scatterbrain of a guy, drinking heavily and still having made useless rounds at the various studios. Only by this time, he now had given up on his idea for “The Ox Bow Incident” and was trying to sell other zany ideas; all his attempts weren’t getting him anywhere near or into a studio front office. Bill politely approached the guy and struck up a delusive conversation that led right into Bill asking if he still had the rights to “The Ox Bow Incident.” Perhaps it might have been the liquor, mixed in with a bit of frustration that resulted towards a complete turn-around on the attitude of this hopeless wannabe movie-maker. Both cut a deal that evening to meet at 20th Century-Fox and the rest is without doubt, merciful, rewarding, inspiring, classic movie history. There are some situations in {font}{font:Arial}Hollywood{font}{font:Arial} that do turn out to make sense and circumstance reaches a reasonable reality.

If there is anything grand and wonderful to say about Bill Wellman, he strived to be as realistic about his career as possible. The only exception to this rule came in 1944, when Bill directed a moderately fictitious account of showman William Cody, entitled "Buffalo Bill." The film-bio was originally the idea of writer Ben Hecht. The talented and popular Hecht, conceived the motion picture as an expose' on the real "Buffalo Bill," who was nothing more than an entrepreneur, with no actual experience of having been such a daring adventurer of the wild west. Hecht simply wanted to give an observation of how a show business figure can deceive the general public into creating what essentially turned out to be an early 20th Century, urban myth. Everything seemed simple enough for Bill to comprehend on what Hecht had placed into the script. However, Hecht was for all intended purposes one of the biggest and most grandiose alcoholics of show business. Hecht had strange and outrageous, unpredictable habits. After finishing the script and ready for consideration for 20th Century-Fox, Hecht showed up at Bill's home, script in hand and tore it to pieces! During the shredding of the script, Hecht drunkenly remarked, "We can't do it to him Bill . . . We just can't do it."

Bill Wellman went ahead with the project anyway, casting one of his favorite actors in the lead role, Joel McCrea, opposite lovely Maureen O'Hara and Anthony Quinn in the role of the indian war chief, "Yellow Hand." It was one of the few major western films, shot in Technicolor. The movie did manage to covered some of the so called controversies surrounding William Cody, but stayed pretty much on an upbeat atmosphere. The motion picture was a success, having achieved a generally good box-office response. Yet, Bill Wellman would be forever haunted by the initial, formative script of Hecht that would have shed a totally different light over the whole imagery and perhaps history of a major entertainment celebrity. It turned out to be one of those events that the legend had to win out over the reality and that's so typical show biz. William Cody would have completely understood and have been thankful for keeping alive his myth! B-) {font}

January 13, 2012

> {quote:title=Fred you ask:}{quote}

> > Weren't there other pre-1932 South Seas movies with island dames and white guys? Seems to me this type of mix was not considered to be bad miscegenation.

Actually, this is correct. There were already several silent films produced about a South

Seas romance or conflicts of culture.

{font:Arial}What can I add or say about the immortal Robert Flaherty? Well, his association with “White Shadows of The South Seas,” as having become one of the most celebrated documentary filmmakers of his time was important. However, the film isn’t really what some fans might feel is a docudrama, because MGM added the romantic storyline as directed by W. S. Van Dyke. This was on all counts, considered a joint effort by one standard studio director, as opposed to a documentary one. Naturally, Flaherty photographed most of the long-shots and island life of montages and backgrounds, while Van Dyke handled the dramatic romantic elements between the two main characters. I think it’s safe to say that the novel of which the movie was based upon was in some ways influenced by “Bird of Paradise.” The novelist of the story Frederick O’Brien was a good friend of filmmaker Robert Flaherty. Both had already produced a “{font}{font:Arial}South Seas{font}{font:Arial}” documentary in {font}{font:Arial}Samoa{font}{font:Arial}, entitled “Moana.” This film had been sanctioned by Paramount Pictures in 1926 and had moderate success. As the Paramount project commenced, Flaherty found the island natives as not being so interesting or having any conflictual viewpoints as to their way of life. It was then decided the only thing to film was a native ritual of a boy’s passage into manhood. Writer O’Brien had lived for a long time in the South Pacific, thus leading to his being considered an authority on the island region. Perhaps the most famous of all situations that resulted from the release of “Moana” and other films of its type was the term “documentary” finally becoming the defining titled or factor to the film genre! {font}

{font:Arial}Many critics and those in {font}{font:Arial}Hollywood{font}{font:Arial} at the time that “Moana” was released believed that Flaherty just might break into mainstream, commercial filmmaking. However, Flaherty could have never stayed fixed or trapped into this area of motion picture production in {font}{font:Arial}Hollywood{font}{font:Arial}. Wisely, he remained out of this framework of the major studio system and chose to roam about the world, filming cultures of interest. By the late 1920’s, Flaherty was probably the most famous documentary filmmaker of the western hemisphere, with his greatest rival being Scottish John Grierson, who by that time had become the biggest of all advocate of documentary filmmaking. It wouldn’t be until the arrival and international success of Eisentein’s film “The Battleship Potemkin” that the docudrama finally came into its own and thus led to Hollywood and the studio system, having a bit of curiosity towards this new genre that historically had a tremendous amount of propaganda and an ability to create visual interpretations of societies across the globe. In a technically marketing sense, Hollywood could have never really been so prone to dwell heavily into the docudrama field and for the most part, would remain dominate outside of America. The coming of the “Depression” gave a slight change of consideration towards the documentary. Especially, when the U.S. Government invested in scores of documentaries, funded by the NRA, thus creating some of the finest film works of the genre that are today considered classics and a visual historical record of the era.

{font}{font:Arial}

You make an interesting and valid comparison concerning the scene of the drowned boy in “The Shadows of The South Seas,” and that of the one in “The Treasure of Sierra Madre.” The basic point to this scene is that the use of a mirror to check for breathing was a common occurrence. So, it wouldn’t be so unusual for the movie audiences at the time of the film’s release. Nor, did director John Huston, who himself was a real adventurer, have copied the scene for “Sierra Madre.” What would be fascinating, if it could be done is to research just how many films might have utilized this method of saving a drowned person. As usual Fred, you’re “The King” on this web site, when it comes to imaginable, stimulating subject matter about the movies! Keep up the great work!{font}

January 8, 2012

> {quote:title=ValentineXavier mention:

> }{quote}I'm holding out for *George Washington vs the Man from Planet X*.

Yeah, I forgot about the father of our country. He too deserves some consideration for this subject! :^0 Anyway, my advice to the fanatics of this Lincoln horror movie is what Bill Shatner once said to a crazy fan: "You look like you're almost thirty . . . Get A Life . . . Move out of your parents basement . . . Be serious for a change." :|

January 8, 2012

> {quote:title=lzcutter mention:

> }{quote}The movie, *Abraham Lincoln, Vampire Hunter* is based on a best-selling book of the same title. It's a mash-up of history and a vampire story. The book garnered good reviews when it was released and the movie rights were quickly nabbed up.

As for me: No matter how you want to look at it (or read it!) JUNK is JUNK. Stories like these are nothing more than preying upon the aged-old sensationlism factor. It just doesn't make any sense, unless one wants to be simply eccentric and fiddle around with reality as was the case with the film "300" a few years ago. Now, I'm sure this story of our greatest of all President will accumulate some excitement, but this will be primarily with the fans of the macabre and there's plently of those to go around. So, while this story, movie or whatever you want to call it will have its audience, anyone with a serious minded outlook to history and reality, should settle on what is our basic knowledge to the life and times of President Lincoln. Most people of reasonably sound mind will go for the Spielberg epic to come. This horror movie turns history into a video game and graphic comic for those who probably didn't get a good education, can't hold a job for more than six months, they continually borrow money from everybody and never pay it back, won't bother to read a newspaper or book, only to get all their information from a smart phone or the web; they would have a spasm, epileptic attack, stroke, seizure if they had to part with their Xbox or Playstation and my favorite one of all, can't speak the English language without the use of that nefarious "F" word, while referring to women in the lowest common denominator of a sexual nature.

January 7, 2012

. . . This is typical of anything today being made to get a good "movie buck." ] Next, it will be Hitler rising from the ashes and . . . NO! . . . Wait . . . We've already had that one . . . Remember, "They Saved Hitler's Brain?" Then, I've got an even better one: JFK and Marilyn coming back from their graves as a sort of "Nick & Nora Charles" to help humanity against a series of horrible, flesh eating zombies, surfacing from a mysterious part of the middle-east, all brought about by a noted terrorist, who was believed to have been killed, but his body was kept alive by the CIA and then managed to escape back into the mountains of Western Pakistan and so forth . . . The movie will naturally have a lot of sex, the usual gruesome violence and a big destructive finale. Anyone for selecting a cast for the picture? B-)

January 6, 2012

> {quote:title=finance you ask me:

> }{quote}Did Elvis REALLY choreograph the dance routines in JAILHOUSE ROCK, as he is given credit for?

Well, yes and no. He obviously had some professional help in putting the dance number together. After all, he was new to the game and what was actually done was simply Elvis asking both dancers and the two choreographers at MGM that helped him, to give a simulation of his various body moves. In a technical way of thinking, there isn't much of any real dancing in the scene. There was just a lot of typical gyrations, the fans of Elvis dug so much.

January 6, 2012

> {quote:title=allthumbs . . . "organic"}{quote}

{font:Arial}There is good reason to feel that some of the songs, utilized in “The Girl Can’t Help It,” are as you term, “organic.” However, and this is a very, very big: HOWEVER, the film does have tremendous amount of legitimacy on Rock & Roll terms, due to appearances by Eddie Cochran, Gene Vincent, Fats Domino and the mighty Little Richard. The other performers in the film were the usual “crossover acts,” performing between the current “mild” pop music trends and a bit of loosely orientated Rhythm and Blues, with a bit of jazz brought in. This was done as a simple marketing ploy to adhere towards the fans of these other music genres. The film best represents various styles of the music that were in some ways branching out into a different area, away from the post-war, big-band era. This diversity the film has in music terms, paved the way for Rock & Roll to find its acceptance. Therefore, while “Jailhouse Rock” is a good example towards the sort of “hard-core” music associated to Rock & Roll, it comes a year later, after “The Girl Can’t Help It” and even Alan Freed’s “Rock Around The Clock,” and there is no other reason to feel that film has no purity to the music. Both these films simply predate “Jailhouse Rock” and of course, the second film Elvis appears in, “Loving You.” Technically speaking, just because it’s Elvis, in two of his very first Rock & Roll movies, neither of these films can be so easily termed as the first real, Rock & Roll movie. These two Elvis ventures were more or less, musical films.{font}

{font:Arial}What gives “Jailhouse Rock” an overwhelming presence is the idea that the biggest Rock & Roll performer of the day is finally given a musical, cinematic showcase to the style that has plunged him to fame. The storyline of the film also bares a tremendous connection to the regional factor of the music, unlike any of the previous films mentioned; even certain low-budget, Rock & Roll drive-in movies that most fans aren’t even aware of existed and were produced a year in advance of “Jailhouse Rock.” In the film, Elvis is pretty much playing a character close to his young past, growing up in {font}{font:Arial}Tennessee{font}{font:Arial} and connecting strongly to this defiant, resistant component of the music that strikes chords of apprehension, away from a known standard or style of music. When compared to the second film Elvis made, “Loving You,” here we do have some “organic” musical elements that are not as pure as what is presented in “Jailhouse Rock,” because “Loving You” drifts within the Country/Western music genre. Also, the aspect of utilizing Black & White photography was clever in giving “Jailhouse Rock” its gutsy, raw and rebellious atmosphere; despite what some might feel should have been shot in color. Usually, most fans of Elvis debate over which film, “Loving You” or “Jailhouse Rock,” best represents his performing skills and association to Rock & Roll. {font}

January 5, 2012

> {quote:title=finance you wrote:

> }{quote}A resounding YES for Eddie Cochran. He'd be a lot better-known if he hadn't been killed so young. "C'mon Everybody" is one of the all-time rockers.

{font:Arial}{color:black}I have to agree with you . . .

What fans first don’t realize about Eddie Cochran is that he never really had the direct, regional connection to country music and its subsequent extension of “Rockabilly.” His love of for “Rockabilly” came from the time he was a young boy, listening to and then experimenting with the music. While born in {font}{font:Arial}{color:black}Oklahoma{font}{font:Arial}{color:black}, his family moved to the northern fringes of {font}{font:Arial}{color:black}Minnesota{font}{font:Arial}{color:black}, where he was raised. Later on, Eddie and his family moved to {font}{font:Arial}{color:black}Southern California{font}{font:Arial}{color:black} and it was there his professional music career began to get noticed. Since he came from a music minded family, he and his brother formed a singing act; they were early on, something like the later success of “The Everly Brothers.” During those early years as a teenager, on the road, touring from one town to the next, his recording career was somewhat established with a few small, out of the way record labels. His big break came, when the rather good, solid label of {font}{font:Arial}{color:black}Liberty{font}{font:Arial}{color:black} Records signed him on as a solo and Eddie had to relinquish his professional partnership with his brother.{font}

{font:Arial}{color:black}Eddie was on all counts, a real, technically honest guitar player, unlike many of his Rockabilly contemporaries, who simply used the instrument as a visual prop! Most of this blame of a deception, concerning a singer with a guitar has its roots from the origins of country music singing stars; especially coming from legendary Hank Williams. Most of Eddie’s early and later on big hit recordings had him playing the guitar that in some aspects made him far and way highly exceptional to having an ability others in the music field simply didn’t have! I could name a few of those early Rock & Roll singers who masqueraded around with a guitar in hand, but it’s best to simply let it go and be rational to the point that everybody had a right to have a career, even if it meant a little bit of show biz chicanery! {font}

{font:Arial}{color:black}For all his talents, perhaps his greatest will be that of a songwriter. I’ve always believed, even though Eddie would be considered a singer first, his real love was creating the music and songs of the various hit tunes that pelted the music charts across country. Even as he started out in the music business, he wrote most of the songs he performed with his brother, later as a solo act, leading right up to his hitting the big time. Once Rockabilly and its musical format began to be absorbed to become what we now term as Rock & Roll, Eddie was fast becoming one of the music genre’s finest exponent. Upon living and working in {font}{font:Arial}{color:black}Southern California{font}{font:Arial}{color:black} and so close to Hollywood, it was enviable that Eddie would get caught up in a side gig of motion pictures. He and his band were usually hired to play background music in some low budget films, mostly exploitation stuff for the teenage and drive-in movie circuit. Meanwhile, his recording career was more or less held within the confines of the West Coast and parts of the Southwest. At about this time in his career, Eddie began to create an image for himself, partially due to his agent, insisting that he appear more rebellious, raw and suggestive to the point of being unconventional. At the start of his singing career, Eddie was pretty much clean cut looking and this I think has its connection to perhaps the border line between country music and what Rockabilly represented.{font}

{font:Arial}{color:black}Then, it happened! All of sudden, the exploitation movie producer Boris Petroff, who Eddie had been working with, suggested that Eddie check out a movie that was being planned over at 20th Century-Fox, by a good friend of Petroff (and mine!) director Frank Tashlin. I now believe that as Boris saw the rise of Elvis Presley, going towards the big national scene of show business, he must have felt Eddie had the same potential. What gave Eddie a slight edge, aside from the whole “Elvis Issue,” came with the emerging popularity of his recordings. Little by little, Eddie’s reputation was spreading across the country, especially by way of the many music tours he was then making with various bands, finally reaching the East coast and getting a spot on various television Rock & Roll dance shows. Upon his return to California and what had turned out to be a successful music tour, Eddie signed on at 20th Century-Fox for a singing appearance in the now legendary and cult film classic, “The Girl Can’t Help It.” This Frank Tashlin film is by all counts, the first major, widescreen, stereophonic, color produced motion picture to showcase Rock & Roll performers. It’s with Eddie’s rendition of his hit song, “Twenty-Flight Rock,” in the movie that his Rock & Roll career simply took off towards the heights of glory; this particular song would have incredible legendary status as having been the one, Paul McCartney played one evening to persuade John Lemon into forming a band and led to astounding Rock & Roll history. The exposure the motion picture gave Eddie, set down the course he was about to take for himself and his music!{font}

{font:Arial}{color:black}There would come, a rather funny situation to Eddie’s appearance in “The Girl Can’t Help It.” Eddie’s imagery appears to have some resemblance to what Elvis looked like at the time. In fact, in the film, Eddie’s appearance is on a television network music variety show, in the vane of say, “The Ed Sullivan Show,” where Elvis made his national impact “live” and would eventually become the biggest singing star of his generation. There’s no doubt that 1956 and the year Eddie made it to a major film release, began the turning point for Rock & Roll. Eddie was now faced with a decision to make on just how and where he was going to take his style, imagery and blend it successfully with his music. In an ironic twist, Elvis and Eddie went national at around this same year; Elvis also made his film début in “Love Me Tender.” The huge surge in popularity of Elvis would have a profound effect upon just how Eddie would be perceived professionally and by the many fans he was acquiring.{font}

{font:Arial}{color:black}Although Eddie would have a string of hit songs on the music charts, the following year of 1957, his film career went back to being held on a low-budget perimeter. Eddie made his second film appearance, in the low-budget Warner Brothers film, “Untamed Youth.” While this wasn’t exactly a highly rated sort of production, it does have some very interesting things about it. The movie starred beautiful blonde bombshell, Mamie Van Doren and a cast that would later go on to have some notoriety in television, such as Robert Foulk, Jeanne Carmen, Don Burnett, Lori Nelson and especially actor John Russell. Also in this movie is a lovely little lady that would make two major film appearances, besides co-star in a classic cult horror film that same year. She was the captivating Yvonne Lime! 1957 was a banner sort of year for Yvonne, since she appeared in a supporting role for the wonderful dramatic western film “The Rainmaker.” Her second major film appearance was a nice supporting role, opposite of all people, Elvis in his second major film, “Loving You.” And, of course there was the cult horror film, “I Was A Teenage Werewolf.” I’ve always felt that Yvonne had some remarkable potential, both as a possible beautiful movie star and as a competent actress. Why she never was able to rise above her secondary, acting status will remain a mystery or just one of those things about show business. {font}

{font:Arial}{color:black}Well, as for Eddie, appearing in “Untamed Youth” was something of a big image changed for him. He was obviously portraying a restless, spirited troubled teenager, with a talent for music and performing. He’s pretty much seen as this T-shirted, denim wearing country boy. In the film, Eddie does a rendition of his song, “OOBALA BABY” and a forgotten tune entitled, “Cottonpicker.” The idea of the movie based around a corrupt reform school work camp, managed to have some appeal for younger audiences. This was the sort of film that showed up in small neighborhood movie houses and on the typical drive-in circuit. It wasn’t such a surprise to feel the film would do nothing to launch Eddie into the mainstream of motion pictures, as was currently occurring for Elvis! It was right after this film Eddie was placed on what I call “The Elvis Binge.” This time, he had a complete make-over in everything from his looks, outfits and the sound of his music, especially his singing! One of his biggest hit songs that year, “Sittin’ In The Balcony” was an obvious swipe at what Elvis was creating on records. But, along the way of the following year 1958, Eddie scored a huge and perhaps his most famous hit with “Summertime Blues!” No doubt about it, this song set into motion a standard of Rock & Roll Music to come that has in some ways never left us! This is also considered one of the best crossover tunes, utilized by Rock & Roll and Country/Western Music performers. Some have even considered the tune a teenage anthem! It’s during this period of time, Eddie is not only writing most of the songs, but performing as the lead guitarist! I remember telling a friend, having seen Eddie perform live, I replied, “Man, what you get here is as real as it can get!”{font}

{font:Arial}{color:black}Most of us thought in 1958, when Elvis got inducted into the Army, Eddie might be the one to take over reins left behind. In just two years, he was at the top of his profession. However, from a technical and visual sense, Eddie wasn’t exactly blessed with the strikingly imposing techniques of Elvis. Although, Eddie was made to emulate Elvis in looks and a performing style, he wasn’t as tall and his copying Elvis to some extent made him sometimes appear more of a contrived singing act, lacking a bit of originality. Looking back at his career, for the most part, Eddie couldn’t free himself of what was this boyish and cute appeal. Elvis would manage to move on and get away from a puerile connection. Yet, it was a whole different situation when just listening to Eddie’s best, original recordings that he stood apart, amid those who were towering figures to Rock & Roll Music. In listening to his tunes, there is this gutsy, informal passion translating extremely well and whatever juvenile personification as no bearing. Despite what would be considered a hampering aspect to marketing Eddie, he was like his good friend and fellow performer, the immortal Buddy Holly, a musician who immersed myself towards what he could do with the music first, never really wanting to create a rumpus, rebellious hype relating to a means of transposing the music. A lot of these problems Eddie encountered with his career, stemmed with trying to stay successful from within a popular marketing sense of view. This is why he had no choice in the area of preying upon the image of Elvis. The same might be said of Fabian and Ricky Nelson, who were also popular shadowy reflections of “The King of Rock & Roll.”{font}

{font:Arial}{color:black}Eddie’s last film appearance and probably last chance to get a solid foothold in motion pictures came with the 1959, Alan Freed Rock & Roll movie, “Go, Johnny Go.” The movie had the usual performers associated with Freed. Meaning, the film was more of an extension of his live music concerts. What made this film rather different than others Freed had associated himself with was a blatant promotion towards singer Jimmy Clayton, whose big hit tune, “Just A Dream” had already lunged onto the top 20 charts. Eddie, who was definitely more talented than Clayton, had to settle on a film appearance as himself, singing what was a crazy, silly song entitled “Teenage Haven,” that simply employed the used of the melody to that classic folk song, “Home On The Range!” This was most ridiculous and not worthy of Eddie’s songwriting abilities. However, there’s always been this other argument that “Love Me Tender” was an updated version of another folk song, the Civil War ballad “Aura Lee.” So, it’s been rather common for the music business to reevaluate a familiar tune to be revised in some way. By this time, Eddie appears to be totally caught in this Elvis aura, as seen in “Go, Johnny Go.” There was also a national appearance of Eddie on Dick Clark’s primetime Roll & Roll variety show that kept him in the league of top 10 or so performers in the current music world. Unfortunately, Eddie wouldn’t have the luxury afforded to other Rock & Roll performers of having a variable motion picture career. He simply went back on tour and into the recording studio.{font}

{font:Arial}{color:black}The year of 1959, would have a heavy-hearted and frightening affect upon Eddie. Early that year, two of his best friends, the great Buddy Holly and Richie Valens, while on tour were killed in a plane crash. In a pathetic circumstance, from that time on, Eddie was haunted by an afterthought that he too might end up dying young. Shaken badly by the tragedy of two popular singers he had closely known and worked with, Eddie then wanted to quit his touring and simply get back into the recording studio, writing and cutting the best music possible. Unfortunately, like it was for some of those early Rock & Roll performers, he unwisely spent too much of his hard earned money. There were also issues relating to the typical payola or kickback system of the music industry that at times could drain a performer’s earnings, resulting in scores of debts. Eddie had financial obligations to both his family and what he owed to living the fast paced lifestyle, today still so common of most Rock & Roll stars. He had no choice but to remain out on the road, touring and making as many personal appearances as he could schedule. This situation led to his accepting a good solid offer from a British theatrical agency to have Eddie tour the {font}{font:Arial}{color:black}United Kingdom{font}{font:Arial}{color:black} during 1960.{font}

{font:Arial}{color:black}How ominous that first year of the 1960 decade would be to the world of Rock & Roll. The premonition of an early death that shadowed the confines of Eddie’s mind came to pass . . . Upon touring in England, late on a Saturday evening in April, while riding in a taxi, in the area of Chippenham, Wiltshire, the speeding taxi lost control and crashed into a lamp post, severely injuring Eddie, due to having been flung out of the taxi, lying on the street. He was taken as quickly as possible to the nearest hospital, but sadly he died from his head injuries. His body was flown back to {font}{font:Arial}{color:black}California{font}{font:Arial}{color:black}, where he was laid to rest at {font}{font:Arial}{color:black}Forest{font}{font:Arial}{color:black} {font}{font:Arial}{color:black}Lawn{font}{font:Arial}{color:black} {font}{font:Arial}{color:black}Memorial Park{font}{font:Arial}{color:black}. Since his death, countless fans to this day have paid their respects to him. Back in {font}{font:Arial}{color:black}England{font}{font:Arial}{color:black}, a plaque was also placed on Rowden Hill, where the accident occurred. The loss of Eddie Cochran was hard-felt everywhere someone had a love of the music he helped create and become part of our culture. If I were to really get mysterious about Eddie Cochran, it would be associated to his only appearing in three motion pictures, the same number as James Dean . . . Both died in a car crash . . . And, both have become symbols to their respected professions . . . One as a music idol and the other for motion pictures. {font}

{font:Arial}{color:black}Eddie’s legacy is today one of the greatest of them all! While to most he’s not as famous as others of his era, he remains to many in the music business and Rock Music devotees, a divine sort of inspirational figure; just as his good friend and colleague, Buddy Holly has become. The passing of these two music giants, so early in their careers has at times meant that had they lived on, perhaps the music genre would have taken a different pathway. Yet, for all intended purposes, Eddie would be one of the biggest of all influences to a British band that first began performing out of {font}{font:Arial}{color:black}Liverpool{font}{font:Arial}{color:black}. Later on, this little {font}{font:Arial}{color:black}Liverpool{font}{font:Arial}{color:black} group would dominate the world of Rock & Roll music; and just as Eddie had done, pump new life into the genre! So, Eddie has in so many ways lived on to inspire and help formulate the whole Rock & Roll era and a legacy that continues on, right up to this day. What always had made Eddie so special is his music. Unlike Elvis and others, who became admired idols to that first generation of Rock & Roll, Eddie’s called to fame will be an overall expertise to what the music was all about! So, forget about Eddie Cochran “teen idol.” He was truly a masterful creator of Rock & Roll Tunes that have lived on to be so influential and make him one of the genre’s most revered iconic figures. But for me, it was all about his musical skill, knowledge and abilities that were way ahead of others in the field, who simply played up to being an idol, while Eddie was on all counts, the real McCoy when it came to the music! Maybe one day, we might see a decent movie about how Eddie and his pioneering spirit help create Rock & Roll. Let’s hope for the best!{font}

{font:Arial}{color:black}OH MY GOD! Did I say all of this? I think it’s time for me to settle down and go for a good stuff drink and make a toast to Eddie. I’ve said enough . . . {font}

January 2, 2012

Forgot to mention that "Hello Dolly" was one of the very first stereo releases on video and then later on had a second release for surround sound purposes, both for VHS and Laser Disc. This occured during the 1980's. The second Laser Disc release was also in widescreen, while the VHS remained pan-scanned. It's safe to say that most Todd-AO soundtracks have been of a superior content, due in large part to the company realizing a necessity to present a "road-show" presenation with the finest means available. Another good example of an old, high-end multi-soundtrack recording would be "West Side Story." The reason for this was due to Columbia Records having a vestige interest in the produciton. The company own part of the rights to the original stage show. Columbia's part ownership allowed an association with the movie's sound crew and the music department. The results for both the film and the record album were spectacular. Today, the movie is one of only a handful that have both 4 and 6 track audio in existence on film. The success of "West Side Story" and its beautiful audio, led the way for other major, road-show productions to follow in a different direction and Todd-AO had to relinquish its domination and leadership in this field.

January 2, 2012

{font:Times New Roman}Some films have two sets of stereo tracks. In this case it would be 4 or 6 track systems. Depending upon the method utilized, it really doesn’t make any big difference which multipliable soundtracks end up for the video release. Of course, many of the older films, like a Todd-AO soundtrack system or standard CinemaScope stereo tracks could be remixed for the purpose of a home theater surround sound system. You may have notice that on the jacket case of numerous DVD’s pertaining to the audio, there is everything from 2 track stereo – 3 track stereo – 4 track stereo and today’s main standard of 5.1 surround sound tracks. As for 7.1, well it's still a rarity for most Blu-ray HD releases. {font}

{font:Times New Roman}According to the DVD, “Hello Dolly” was transferred with only 4 track audio; unless there's been a newly remixed version for 5.1? If the video is still only 4 tracks, this is probably not from the original 6 track Todd-AO system. As to what it could be can only be clearly answered by an engineer or somebody who has access to knowledge of what 20th Century Fox Video did. My guess would be a sort of hybrid sound track of the original, produced specifically for the video or it was the only good, practical stereo source available. There are just too many types of possibilities of how an original stereo film, produced before Dolby Labs created a standard is transferred in multipliable tracks for video. Today, there is a standard method for transferring to video, a newly produced (current) motion picture that is Dolby Digital, DTS and Sony SDDS. The older films require some remixing and a few chnages from what it originally might have been! After all, older stereo films were analog sound and not digital. {font}

January 1, 2012

{font:Arial}This is a tough category for most of the famous, Hollywood major films. Very few were filmed outside of a studio soundstage or back lot. Even if there was on location filming, like “Miracle On {font}{font:Arial}34^th^ Street{font}{font:Arial},” or “On The Town,” it was somewhat limited. And, many films made overseas won’t really count, because here too the use of a studio soundstage was routine; in whatever country the production company decided to shoot the movie. As for my choice for this category, I would go with the 1954 western, “Vera Cruz.” This movie was entirely shot in {font}{font:Arial}Mexico{font}{font:Arial}. Also for some consideration might be the 1951 MGM western, “Westward The Women.” As far as I can tell, John Ford’s “Wagon Master” was mostly shot outdoors, but some sets were utilized back at the RKO studios.{font}

{font:Arial}A good example of attempting what I call “juggle a film around with its look,” or to even fool an audience about the authenticity of a movie shot outdoors was with the MGM 1946 classic, “The Yearling.” It’s pretty easy in this movie to see the difference from what standing-sets there are and then what’s obviously been shot outdoors and away from the soundstage. I often wondered about Billy Wilder’s ill-fated 1951 drama, “Ace in The Hole” that was mostly shot out in the desert and what if any scene might have been shot in the soundstages back at {font}{font:Arial}Paramount{font}{font:Arial}. So, as previously mentioned, this is a tough subject to tackle and perhaps get a lid on what production team years ago, might have sacrificed the comfortable, easy environment of a studio soundstage for what reality had to offer. Today, most movies are shot on location, at a real place! Things sure have changed. {font}

January 1, 2012

{font:Arial}In all my years, I could never figure out why Warner Brothers didn’t exactly give “The Searchers” a good degree of promotion. Yet, this point or situation really doesn’t matter now. Today, this is a film that virtually stands alone, especially as being considered the greatest of all Western Film ever made. The movie went quickly toward a wide general release, without the usual fanfare given to a major film. The publicity was for the most part, rather routine, despite some television spots and a few decent news ads in about dozen major cities. It’s been said that most Western films weren’t exactly consider high-end dramatic material for a good degree of critical praise. At best, the reviews were respectable, but nothing so sensational to be taken so seriously. What the movie did have was a solid “fan base” for both Duke Wayne and director John Ford. This is what essentially made the difference over the course of those three months the movie remained widely circulated. {font}

{font:Arial}This is a film that although was become a classic and considered one of the finest films of its kind, has an extraordinary history. This all relates to at least three generations of talented producers, directors, writers and even performers of the proceeding years to come, taking “The Searchers” to heart and giving the film a stature that didn’t exists, when the film was first released! It’s fascinating to me that many people (some soon to be famous filmmakers) first saw or experienced the film in a local little theater or drive-in movie! Later on, there came the numerous showings of the film in small, out of the way, rundown movie houses! This was not a motion picture, when first released that had long lines of patrons standing outside a large theater in metropolitan areas. The long lines at many theaters came thirty years later, when those generations of young fans who first saw the film, upon becoming adults, supported its virtue and beautiful ambience. It was with time and a discernible circumstance, just like what had happened with “Citizen Kane” that “The Searchers” would receive its due respect and became a bona fide motion picture classic.{font}

{font:Arial}I think this is the way it should be, or it’s just plain great to see a film that isn’t all that bad or dull, become a distinguishable work of art or the creative process can now be perceived clearly and without any need to be so particular to a point of making a fuss to find something remote and beyond a routine that is both entertaining and yet can be awe inspiring. It’s when a movie inspires one or two generations who have seen it, come to love it, then understand so many underlying meanings that makes the difference for me. Ask just about any major filmmaker today and “The Searchers” is high on most of their lists as one of the great ones!{font}

{font:Arial}Not long after the movie’s first run, “The Searchers” also was famous for having become a cult film favorite. This is where the fan base for the movie really grew, unlike for no other Western film before or since! Even years after the film’s release and the stories behind its production were made public, simply added more to its allure and popularity. The film’s background is now of a mythical status! Perhaps the greatest of all stories about the movie is that of Duke Wayne sort of dedicating his performance to his mentor and idol, actor Harry Carey, who had befriend {font}{font:Arial}Wayne{font}{font:Arial} early in his motion picture career. In fact, the whole Carey clan was on hand during the making of the movie, as were many others who were closely associated to John Ford and all of his skill and mastery to what might be considered the finest motion picture director of classic {font}{font:Arial}Hollywood{font}{font:Arial}. {font}

December 31, 2011

Darn It! :0 I'm disappointed again with the Sci-Fi channel, having passed up what is said to be Rod's favorite episode of the series, "A Big Tall Wish." While other fans have claimed he favored other titles, this is the episode *he cherished the most*! After all, "Bolie, You Got To Believe . . .!"

December 29, 2011

> {quote:title=finance you ask:

> }{quote}Has anyone seen the film FM? I only know the Steely Dan title track. Doesn't it have a rock soundtrack?

The movie "FM" absolutely has a complete soundtrack album! It was one of the best selling albums of its time. The record album even won the 1979 Grammy Award for "Best Engineered Album" of a "Non-Classical" recording. The two most famous and now immortal tunes from the movie and soundtrack are "We Will Rock You" and "Life's Been Good." Some of the finest and legendary Rock artists of the period appeared in the movie. The ironic sort of twist to all of this is that the film was released the very same year as "American Hot Wax" and "Grease!" It now seems that 1978 was a very good year for Rock & Roll in the movies!

December 29, 2011

> {quote:title=Sepiatone you wrote:}{quote}It should be noted, movieprofessor, that Bill Haley and the Comets appearance in "Rock Around The Clock" betrays one fact. The guitarist who provided the still considered stellar and ahead of it's time solo was Danny Cedrone, who was NOT a member of the Comets, and provided that solo only for that song for that one time. Cedrone died tragically shortly after recording it, so it wasn't HIM in the film.

I do know of this issue about guitarist Danny Cedrone. The trouble that Cedrone faced was that by 1954, he was rather old, in his late thirties and wasn't all that physically attractive to be considered visually dynamic enough as a member of a band. Cedrone was for the most part, just a good guitar player for hire, never being able to branch out on his own or even form his own band. He was always in the shadows of some other musician. Of course, anybody who ever saw or heard him play could have never questioned or argued against his talents. He just didn't know or care about self promotion or to reach beyond where his skill had taken him. Before his death, he was simply drifting from one recording session to the next. His death was something of a mystery that ended up never having been logically explained. Here was somebody who early on, helped shaped this new type of music, never to see the full emergence of the music and this pop culture he helped bring into the spotlight.

> "American Hot Wax" wasn't all that great of a movie, only trying to cash in on America's nostalgic bent at the time for '50's rock'n'roll, thanks to the success of TV's "Happy Days"(which incidentally used to use "Rock Around The Clock" as it's theme song in it's first season.) Tim Mc Intire, while talented, was obviously miscast for the part, while much of the musical history it was meant to represent was out of historical sequence.

Ok . . . As an overall movie it wasn't exactly classic material. What does give the movie a tremendous amount of clout was the beautifully produced concert sequence. This was truly historical, if you know and understand the music and what it came to represent! It dosen't so much matter the issue you bring up of "out of historical sequence." The whole idea was to show something of the period and make a composite of events and the various artists and styles of music. One has to take into consideration the issue of a lot of royalties and whoever else would have to be paid! The background story, even that of Alan Freed isn't important, nor the fictitious characters. What does really matter is a documentation of the real Rock & Roll stars who appear in the film!! Sure, the movie could have been a whole lot better. But then, what does it matter when you can have the real Chuck Berry, Jerry Lee Lewis, Frankie Ford and Screamin' Jay Hawkins in a movie recreating their once popular concert performances? If anything can be righly said, this is where the movie succeeds.

December 28, 2011

> {quote:title=pencilographer you replied:

> }{quote}Aside from "Twelve Angry Men" (which is a great option and forefront in my mind, but one I believe most college students probably saw in high school), which one or two in your long list would you recommend the most in terms of potential for a wide variety of talking points? I am familiar with very few of them - I've seen almost none of them.

{font:Arial}Other than my main pick of “12 Angry Men,” for issues relating towards a need of humanity, I would go with the 1937 version of “Lost Horizon,” simply because it was made during a time when the world was at the brink of what would eventually lead towards the Second World War. Perhaps the best dramatic and comedic choice of combining these two genres would be the classic “Sullivan’s Travels.” This is also a great film that exposes the phoniest of the movie business, as opposed to the reality that surrounds all of us. Yet, there is a very, very devastating moral point made at the end of the film or it has a rather interesting, surprised ending. This film created by Preston Sturges was way ahead of its time and one that merits a tremendous amount of discussion, relating to how society tends to see itself and attempts to function.{font}

December 28, 2011

Here's a little list of my suggestions . . .

{font:Arial}They Made Me A Criminal{font}

{font:Arial}Brother Orchid{font}

{font:Arial}The Roaring Twenties{font}

{font:Arial}Manhattan{font}{font:Arial} Melodrama{font}

{font:Arial}The Talk of The Town{font}

{font:Arial}Bird Man of {font}{font:Arial}Alcatraz{font}

{font:Arial}Brute Force{font}

{font:Arial}The Wrong Man{font}

{font:Arial}I Am A Fugitive from A Chain Gang{font}

{font:Arial}Sullivan’s Travels{font}

{font:Arial}The Big Clock{font}

{font:Arial}Beau James{font}

{font:Arial}Tales of {font}{font:Arial}Manhattan{font}

{font:Arial}A Slight Case of Murder{font}

{font:Arial}Saboteur{font}

{font:Arial}All Through The Night{font}

{font:Arial}Islands In The Stream{font}

{font:Arial}Quiz Show{font}

{font:Arial}The Killers – both versions{font}

{font:Arial}Point Blank{font}

{font:Arial}Advise and Consent{font}

{font:Arial}The Inspector General{font}

{font:Arial}The Trouble With Harry{font}

{font:Arial}Mona Lisa{font}

{font:Arial}This Gun For Hire{font}

{font:Arial}The Best Man{font}

{font:Arial}The Gunfighter{font}

{font:Arial}Lost Horizon – 1937 version{font}

{font:Arial}East of {font}{font:Arial}Eden{font}

{font:Arial}Well, this is as far as I’ll go . . . This is of course, just the tip of the iceberg. But for all intended purposes, my all time favorite film for this category would be:{font}

{font:Arial}12 Angry Men. {font}

December 27, 2011

{font:Arial}In reference to this subject, I’ve noticed over the years that not much attention is given to the story or the two filmed versions of “Bird of Paradise.” Based on a stage play by Richard Walton Tully, when first produced created a lot of controversy, specially a charge against Tully to emerge that he had stolen the idea from another writer. Despite the legal wrangling that surrounded the stage production, it was on all counts a success and became a popular romantic drama, resulting in a series of productions that toured the country. The strange thing about the play was that its subject matter didn’t seem to be riddled with issues of miscegenation, probably due to the whole aura of a {font}{font:Arial}South Seas{font}{font:Arial} adventure and Caucasians performing the lead roles. Tully’s play also appeared within the same early decade of the 20th Century that introduced Giacomo Puccini’s famous, tragic romantic opera “Madama Butterfly.” Both productions openly dealt with miscegenation, but with heartbreaking results. It seems there was no happy ending being characteristically offered to the subject of a love affair between people of two different races.{font}

{font:Arial}1932 comes and movie producer David O. Selznick decides to create a hugely budgeted motion picture of Tully’s story. Starring Dolores Del Rio and Joel McCrea as the doomed lovers, the film, like the play, caused a sensation, especially when lovely Del Rio had what for some is believed to be the first completely nude swimming scene of the early “talking-pictures” era; this was just before the motion picture code came into existence. Directed by the skillful King Vidor, the movie’s splendid production values overshadowed any hostility towards the miscegenation issue. Of course, {font}{font:Arial}Del Rio{font}{font:Arial} and just how beautiful she looked, not really appearing so Polynesian, if not, Micronesian gave the movie a rather mild atmosphere of acceptability. Audiences lined up across the country to see the movie! Selznick brought in a huge hit for RKO Pictures. He would even end up the following year using the same sets from “Bird of Paradise,” for the classic “King Kong.” Sometimes I feel, even “King Kong” might be associated to this subject . . . Or, might this idea be little too “over the top?”{font}

{font:Arial}Anyway, in 1951 came a rather refurbished version of the story, this time starring Louis Jordan and the gorgeous Debra Paget as the island native girl. In support was wonderful Jeff Chandler as the island native prince, giving the best dramatic performance of the movie. This character as played by {font}{font:Arial}Chandler{font}{font:Arial} was an inserted new one to the story and did change the overall connection to the first filmed version. What would make this 1951 version appealing was the exquisite Technicolor photography that turned out to be the real star of the film! Written and directed by Delmer Daves for 20th Century-Fox, the movie was technically impressive, yet a bit tamed and subtle with its subject matter. Director/writer Daves did give some romantic passion to the script. But, like {font}{font:Arial}Del Rio{font}{font:Arial} in the first version, Paget isn’t at all so convincing to say she is understandably a native girl. Although, Paget’s skin was slightly tanned, she looked more like a contemporary Caucasian girl at the beach, dressed in a full length sarong, showing little of anything underneath; fourteen years earlier, beloved actress Dorothy Lamour showed more of herself in the sarong she wore for the 1937, John Ford classic, "The Hurricane" that would make her world famous! The visual, Pacific island culture situation for Paget in the 1951 version is probably more of a symbolic figure than a factual one. Naturally, this movie (like the first version) was a Hollywood studio production that had no choice but to deal with a certain amount of fabrication, associated to a restraint in its handling of what was obviously a miscegenation story or romance. The movie's presentation was mainly mild in its posture. In the end, the 1951 version was a tremendous tearjerker with movie audiences. Although the film received mixed reviews, it was a moderate success.{font}

{font:Arial}I sort of like the 1951 version, due to the temperament of the main characters that express their passion to each other by a clever means of skillful romantic dialog. Director Daves also incorporates some wonderful close-ups of the two lovers, expressively saying more than anything so physical. Louis Jordan and Debra Paget are adequately matched on screen, but in watching the movie, one has to accept a distinctive limitation to the style of the motion picture that won’t go beyond a method of symbolic elements of the heated desire between the two lovers. It would be understandable that by today’s standards all of this is too corny to ponder. Nevertheless, the film did stretch itself as far as it could go. Perhaps the most radical element of the film, especially for the time period of the film’s release was the native island girl telling the white man, in her culture girls have a man’s baby first, before getting married to prove they are worthy! This was something that most likely made a few heads turn, during that laid-back, conservative time in American culture. Even though both film versions of “Bird of Paradise” will remain mostly forgotten by film buffs and critics, there was something of a humane element to the whole idea that began way back in 1912, when the Tully play first appeared and perhaps a change in social acceptance was on its way.{font}

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Tragic Hollywood Stories

Tragic Hollywood Stories

Tragic Hollywood Stories

Edited Three Minutes From Citizen Kane

THE CATERED AFFAIR

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Abraham Lincoln Meets Count Dracula.

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