MovieProfessor

> {quote:title=JamesN wrote:}{quote}I believe the casting of Vivien Leigh was one of the best casting choices in movie history. . . {font:Arial}{color:black}Of course it was! The whole situation rested on a last minute deal that might have not happened, had it not been for David O. Selznick’s brother, Myron (an important agent) showing up at the studio with Leigh, on the evening of shooting the “burning of {font}{font:Arial}{color:black}Atlanta{font}{font:Arial}{color:black}.” Yet, there is a sort of misconception that relates to this now legendary meeting. Selznick had already known of Leigh as a possibility to play Scarlett. Her name had been on a list, drawn up by the casting department. According to some sources, Selznick had even met her early on, during a party being held at a Hollywood nightclub! The problem at first was that he couldn’t envision an English actress in the role, fearing something of a backlash of criticism from the film community and mostly the fans. Luckily, his mind was not made up yet on the night Myron brought Leigh with him. As to why he relented to consider Leigh, when it all appeared as if the frontrunner, Paulette Goddard would win the role, has been the real unsolved or unanswered mystery to the myth surrounding everything about the casting of Scarlett. Theories abound on this issue. One of them focuses on the controversy of Goddard’s relationship and assumed marriage to Charlie Chaplin that was never proven to be legal. This created a technical hindrance for Selznick, because there had already been a possible scandal over the marriage looming in the press. {font} {font:Arial}{color:black}In true traditional, motion picture form, Selznick played it safe by demanding Leigh have a screen test, so that his mind could compare her performance to the other contenders, especially Goddard. This was a last ditch effort to be clear over the issue and perhaps finally come to a decision. Leigh’s screen test proved that Myron’s hunch about her possibility was both exciting and definitely impressive. There was no doubt that Leigh had an overpowering, visually strikingly beauty, filling the motion picture screen. Everyone who first saw her screen test experienced something of a wonderful surprise. She came across so convincingly connecting to the role, it appeared as if she had thoroughly understood the character, beyond any of the other contenders. The big difference was as Kay Brown, secretary to Selznick remarked: she came on with a self-assurance that was just so overwhelmingly strong. Brown felt like everyone else who saw the screen test, Leigh was simply stunning beyond anyone's expectations towards an imagery that sparkled and made one beleive she was right for the role. But, I’ve always believed that lurking in the shadows was a presumption, relating to an article two years earlier, in the magazine “Photoplay” that had a drawing of Clark Gable (the undisputed choice as leading man), costumed as Rhett Butler with a presumed image of Scarlett. The drawing of the southern belle astonishingly resembled Leigh! In the article, the fans were asked to consider their choice to play the coveted role. At the time, the various choices made to “Photoplay” from the fans didn’t really visually relate to the drawing. Well, years after the whole fanfare died down about the movie, it was revealed that Selznick had read and kept a copy of the article in his office! Whether or not he was in fact influenced by the magazine article could never be proven. Still, it’s an interesting, intriguing possibility leading to his finally deciding on casting Leigh as Scarlett. Despite the sudden enthusiastic response to Leigh, Selznick was definitely taking a huge gamble that in the end was probably the biggest and most successful payoff in motion picture history! The only other one I can think of was Julie Andrews in 1963 for Walt Disney's fine production of "Mary Poppins." {font}{font:Arial}{font} {font:Arial}{color:black}For Selznick during the time of the Scarlett O’Hara casting, there was this sense of duty to give the role to an American actress. He believed as most did at the time to select one the movie going public could accept as well as identify with. However, the selection of Leigh, would instantaneously quelled most of the fears and criticism of her not being American, because she was an outsider, basically unknown and a fresh new beautiful face the audience would have a curiosity to see. Naturally, the publicity generated to find the right choice, gave the film an advantage of interest not ever seen before or since! This whole ordeal practically guaranteed instant international stardom for Leigh. This is something that doesn’t come around very often, since the time motion pictures became a standard form of entertainment on a world wide basis. The historic significance “Gone With The Wind” has in certain ways connected so vividly with the original novel, in terms of the personalities, style and atmosphere Selznick was able to bring onto the motion picture screen that became a global sensation, just as the Second World War began. Together with the long standing success of “The Wizard of Oz” that was released that same year, Selznick’s efforts have made “Gone With The Wind” a standard of motion picture quality. And, the casting of Vivien Leigh, as well as that of the mighty Clark Gable, created an inspiration and dream for those countless others who love or aspire to be part of motion picture magic!{font}

> {quote:title=TomJH: }{quote} > I don't want to be negative but it has always been a little frustrating to me that a certain young method actor that made only three films of note before his untimely death in a car crash has become such an iconic figure, actually known to many modern filmgoers, yet Garfield's name remains largely unknown. Not only the (3 picture) guy that got killed in the car crash, but not even another noted method actor, who became the rage of the 1950's, along with Marlon and co-starred in three films with Liz Talyor can hold a candle against Garfield! Many in the method acting genre believe Garfield as the supreme exponent of the method, simply because he was in many ways, the first of his generation, along with Paul Muni to create interest for this dramatic vocation. This is especially the case in terms of motion pictures. > Robert Nott's wonderful book on Garfield was not enough to start a revival of interest in him. Let's hope that some of those in the film colony today who find Garfield so inspiring (Robert DeNiro for example) may be able to play some kind of role in helping a Garfield film biopic become a reality. I have a problem with the mention of DeNiro possibly having something to do with a Garfield Bio movie, since he advocated for a special Academy Award be given to Elia Kazan, Garfield's arch enemy and betrayer! Naturally, DeNiro along with many other method actors who studied in New York like to associate themselves with the whole Garfield legacy. This does become a difficult issue, since many in the film community are to this day still divided on the whole "Black List" controversy that in the end, destroyed Garfield's career and I believe contribtued as much to his death.

> {quote:title=TomJH: }{quote}What is depressing regarding The Breaking Point is the knowledge of what happened to John Garfield soon afterward. Very, very true . . . The real depressing factor over the whole issue of John Garfield's career is having been cut short from what could have been an actor with a long and distinguished ability, thrilling the generation of fans to come! Well, despite his tragic end, we do have something to ponder and admire about. He has been for so long, an exceptional actor that gets overlooked, while others who had shorter careers or weren't as really talented get more attention. I'm still waiting for that proposed major film about his life. Actor Johnny Depp has shown some interest in playing Garfield, as have a few other current performers who are popular today, having become knowledgeable of Garfield's work. You might say: The list goes on! But, let's get something rolling to the point that Garfield is an important part of motion picture history. This is especially the case with how he was ostracized, only to later on have a slew of admirers, who later on came to the motion picture business, all inspired by him! There is today this understanding that Garfield is for all its worth, a natural talent that has for so many years, led to this appreciation by those who strive to be performers in a profession that can be reckless, unforgiving and leave one out into the cold of desertedness. He didn't deserve what happened to him. His loss is certainly one of the most catastrophic in the history of motion pictures, simply because a performer like him doesn't come around too often. He is and will remain a "once in a lifetime" actor that invigorates the essence of a dramatic performing profession.

{font:Arial}{color:black}This movie has an interesting history, in that it was one of the few films Ernest Hemingway sort of admired, even though it was a total reversal on his original story. The new idea of changing the settling to {font}{font:Arial}{color:black}California{font}{font:Arial}{color:black} from the {font}{font:Arial}{color:black}Caribbean{font}{font:Arial}{color:black} didn’t violate the purpose of the story. Some fans even think “The Breaking Point” to be a far superior production then the first version of “To Have and Have Not.” I’ve always believed the two films can’t be so easily compared, due to a difference in style and an atmosphere that has a different direction. Also, the lead roles are in some technicalities very different, especially the edition of Patricia Neal and Phyllis Thaxter, who are close to what Hemingway inserted into his original novel. Of course, {font}{font:Arial}{color:black}Garfield{font}{font:Arial}{color:black} gave his usual terrific performance as an outcast or a rebellious man coping with society, trying to fit into the scheme of things. For all its intended purposes, “The Breaking Point” marked {font}{font:Arial}{color:black}Garfield{font}{font:Arial}{color:black}’s break with his Warner Brothers contract. He was undergoing some bad publicity that resulted from his legal problems with the government and investigations to subversive activities, forcing {font}{font:Arial}{color:black}Garfield{font}{font:Arial}{color:black} to branch out on his own, away from the support of the studio system. The next two years would be rough for {font}{font:Arial}{color:black}Garfield{font}{font:Arial}{color:black}, as he became something of an outcast in his private and public life, leading right up to the time of his tragic death.{font}

{font:Arial}{color:black}The now famous “Soft-Drink” incident between Bette and Joan did have a Coca-Cola connection. When Joan arrived on location to begin shooting for “Hush, Hush, Sweet Charlotte,” she came with box loads of Pepsi, handing bottles out to both cast and crew. Even a few fans, who managed to hang around the shooting set, before director Robert Aldrich put a stop to it, got free bottles of Pepsi. Bette was pretty much avoiding all direct contact of Joan, when not filming. However, Joan did make a play at Bette, by having room service in the hotel were most of the cast and crew were staying, deliver cartons of Pepsi. Bette found one in her room. She was furious at the sight of what she knew was Joan making her presence known to one and all that were about to embark on making the film. Of course, Joan wouldn’t be around for long, having become ill and she left the project. There’s always been this theory that Joan bowed out not so much due to illness, but that she was intimidated by Bette, who began a campaign of gathering around her as many personnel working on the film into her corner of favoritism. Well, once Joan was gone, Bette got on the phone and called Olivia de Havilland to consider replacing Joan, in order to save the film. Olivia gladly agreed and when she arrived at the hotel, Bette had a funny surprise for her. Upon entering Bette’s room and both ladies getting cozy, Olivia was handed a drink by Bette. They both made a toast for old-times sake! However, Olivia laughed and knew exactly what Bette had up her sleeve at the moment the toast was made, because the drink was Coca-Cola! {font}

NormaSheaerGirl . . . You and I are on the same team! Let’s not forget or be clear on the simple issue that Christina profited from this venture. She was able to acquire a good amount of wealth, denied to her by Joan, for reasons that Christina never made comprehensible from the standpoint of being disinherited. There has always been this hidden agenda between Joan and Christina that ultimately led to this unpleasant disclosure that to this day has been under a vast amount of arguments. It might be one thing to show your dirty laundry in public, but it’s an entirely different and serious matter, when you light a few matches and suddenly the house burns down without some rational explanation as to what went wrong. This whole ordeal for me is one that has Christina toying with the minds of those who feel so devoted to Joan and as to say to us we were all along duped, with Christina proclaiming: I’m right because I was there and lived with this woman. Well, that might be a strong case in Christina’s favor, but by going ahead with the telling of this story about Joan, her motives have to be closely scrutinized, resulting in the one main reason why she felt so compelled to write the book . . .She was broke! I can just see Christina’s publisher, asking her to sauce it up and give her story more punch. The whole idea as I see it was a person who went off on a binge of negativity in order to ensure her book would be noticed. What better way to get enough attention, by entering the realm of tabloid smut and then coming across as a tear soaked, helpless victim, at the mercy of a powerful and reckless celebrity. Oh come on now . . . Who’s she kidding? Well, it ain’t me! After all, show business is in this woman’s blood and she sure knows how to exploit it! It’s very, very simple to understand that those last years of Joan’s life, Christina was supposedly a comfort to Joan. I can testify to this personally, having seen them on occasions throughout New York City, having what appeared to be a moderately good relationship. Christina and Joan could be seen, hand in hand, showing up at parties and special galas. This was a situation that didn’t require anyone to wear a mask! The movie version of the book, covered this situation quite well. All was fine, until the reading of the will that signified Christina would get nothing back from her mentor and mother. It wouldn’t take long for a whole new mood-swing to come into the picture and Christina was off and running towards a dark-side of Joan, with no apparently good reason to explain why she wrote her book, other than to give credence on a level of vengeance that opened this new door to areas provoking others to seek fortunes in what can be assumed as a tell-all book, filled with high degrees of tormenting behavior. The problem as I see it is there is no remorse towards an understanding or a need to clarify the motives. Christina’s story becomes too sensational and lacks a simple means to seek trustworthiness or an acceptance from the formality of the story. What we are left with is not someone who should have cried for help or been able at the proper time to escape and flee. If Joan had been so horrible, why then did Christina stick around and for such a long time? It just doesn’t make any sense, unless she was expecting a big payoff at the end of this ordeal. I could never trust or believe anyone who cries “Wolf” to then sell the dead carcass of the Wolf to the highest bidder, to put it on display and show-off all its horrible fangs that were alleged to have slaughtered the poor little sheep! And for what? Well, I guess the public likes a good horror story or it just makes for a good seller! If anyone can’t figure that one out, then I guess they want to see the world through rose colored glasses! My blatant defiance of this woman is due to her making Joan a villain to the point that she must be owed something in return, because of the torment Christina claims Joan placed her through, while for years she remained close to Joan? The interesting thing about Christina is the way in which she’s even changed her story, especially during television interviews, thereby not sticking so closely to her written accounts in the book. She’s even added more spice to this tale, making Joan a wild and out of control alcoholic. If anything has been added to this story, it’s Christina’s excuse of Joan being a heavy drinker and therefore leading to so many more abusive events. Every chance Christina gets, she paints a new picture of Joan and it’s never pleasant. It’s become her livelihood and this is where she gets into deep trouble with all the criticism launched against her; and I’ve always been one of them in the forefront to speak up about how she has handled her story! Of course, I’m aware that after all these years, it doesn’t surprise me she hasn’t found any need to stop with this routine. . .Why? Well, her bankroll just keeps getting bigger and bigger, greater and greater than even what wealth Joan had. Perhaps the time hasn’t yet come for Christina to finally say, “I did have the last word!” Or, “Vengeance is mine!” Or, even still, she’s turned out like the out-of-control mother she wrote about? I guess the apple doesn’t really fall far from the tree?

> {quote:title=kriegerg69 you wrote: > }{quote}Then again, MP, you have no idea what really went on behind closed doors when the children were younger, do you? That's just the Joan you knew later in life, and how she presented herself in public, to her fans, or to you. I simply do not believe all of Christina’s claims. . .PERIOD. I feel, had this woman received something suitable or acceptable to her satisfaction from Joan’s estate, there wouldn’t have been the book and she would have gone on her merry way, disappearing from sight! But then, maybe Christina should feel proud that because of her, there was launched a whole industry of smutty books, written by children of celebrities. The way I see it, she is nothing more than a two-faced, greedy, self-absorbed, lazy, emotionally problematic woman, who reminds me of a witch, spelled with a capital “B”. She had her chance years ago to make her claims so public, while Joan was still alive! Of course, she must have realized while she was sponging off of Joan, she wouldn’t have stood a ghost of a chance to stand up against Joan. It’s all too obvious to any one with any common sense that her timing to the revelations she spoke of in her book, speak for themselves towards a lack of legitimacy as far as I’m concern. It’s rather sad that she felt so compelled to cash in on Joan because she was broke and needed some extra pocket money that later turned itself into a major jackpot. I wonder if she has ever realized the difference between making a good honest living on her own and what I see in her case as taking: BLOOD MONEY.

I would have to agree that the whole “Mommie Dearest” controversy, stems from an issue of money. After all, Christina received very little, if nothing, from Joan’s estate. The best thing said about this whole ordeal was ironically from actress Faye Dunaway (having played Joan in the movie version!), who remarked: “It was a book, written out of revenge.” Faye, pretty much came to realize that Christina was driven to the point of shattering certain myths and perceptions of Joan. This was especially the case, when one considers the popular, positive imagery that Joan herself promoted from a perspective of family values. Joan was in some aspects of her life, a tyrannical, hard-knocks individual, determined to succeed towards keeping her career and star status at the highest level possible. In the process, Christina and the other children Joan adapted had to play a secondary role to this need of Joan holding on to something she fought so long and strenuous to achieve. Joan was for all intended purposes, a great star! There can be no disputing his issue, from all the technicalities and clearly known aspects of Joan’s career. Whether or not she was a terrible mother or parent, we will never know for sure. The opinions on this issue have now fallen into the confused realm of an urban myth! These various accusations about who she really was have drawn a line between two opposing sides that pretty much relate to certain periods of time in her career, as well as her personal life away from the spotlight of movie stardom. Joan being so devoted to her profession, came to symbolize an extreme effort towards learning all she could about the motion picture business, until there wasn’t an actress around Hollywood who could hold a candle against her over this issue! This is why it’s difficult to judge Joan on the basis of a respect she garnered from many in the motion picture business, who felt that despite her tough reputation and a possible ruthless form of parenting, she remained up until the time of her death, an admired motion picture icon. Christina Crawford has over the course of time, made her case or her side of the story to be dealt with, for all of us to decide where we want to stand on what she has proclaimed is a portion of Joan’s life that isn’t so pleasant for any of us to accept. Yet, what I don’t understand is why, during those last ten years of Joan’s life, Christina remained attached to her adapted mother? Given all the accusations of child abuse, Christina was with Joan, right up to those last moments of the great star’s life. There might be strong reason to feel a hypocrisy looming in the shadows; one of being caught by the overwhelming atmosphere of a comfort brought on by wealth and fame. We might assume there was a security that Christina latched onto, regardless of the pain she suffered from any abusive attitude on the part of Joan. Upon becoming an adult, she simply didn’t take flight from what she claims was this abusive atmosphere. Then, when Christina didn’t receive compensation for what she believed was owed to her, she openly and forcibly turned on Joan to practically destroy her legendary star image. Christina will probably continue to profit from what she has said about Joan. It’s interesting to me that her story will be a legacy towards a sort of negativity that she in turn will never be able to find any relief from or justification to what she says was a terrible time in her life. It’s easy enough for her to have finally made her fortune on the grave of Joan, dancing over the beloved dead star’s now tarnished imagery as a situation lacking some humane aspects to be concerned about. The question now is what morals or human values does Christina place over everything she has written and said relating to her deceased mother? She might feel a certain form of forgiving Joan, but it’s now too late, because she began her quest under a cloud of a rampage that left little rationality to find a personal peace and a finality of understanding the true meaning of her life with Joan. The outcome of this ordeal, as written by Christina is now plain and clear. She sought to smear and effectively change Joan’s imagery that for the most part has in some ways come back to haunt Christina! This is only because by telling her story, she had a price to pay and that now means she will forever remain an enigma, a shadowy figure behind the bright light of a great star, who could be rough, but understood certain aspects of life that Christina failed to mention or didn’t want to reflect upon. The Joan Crawford I came to know was quite a lady, in terms of how she conducted herself about her career and the respect she received from those who knew her well enough to say: “A tough gal, but with a heart of gold that couldn’t be so easily overlooked.” I was introduced to Joan, during those last years of her life, when she lived alone and was sometimes bored in her New York apartment. She seemed at the time a rather simple sort of woman, appearing not so much caught up within this means of being obsessed by her glamorous past. Joan did cherish and accept the adulation of the fans that noticed her on the streets of New York City; as she gave back her thanks to those who came to appreciate everything she once represented under the spotlight. Never once did Joan ever turn away a fan, always prepared to accept the numerous wonderful things said to her from people who simply remembered her star status. There might have been an egomania behind her personality to keeping alive this movie star imagery, but she was to my mind of thinking, sincere to this love and admiration she received. More than any movie star I ever had the pleasure of knowing, Joan has always been to me, the most affective, concrete, reliable individual to this situation of understanding what it takes to be a star and attempt to juggle one’s life around the spotlight of fame. It might have not been easy for anyone involved with Joan’s personal life to see her under a positive light, but we have to be fair as to what we can accept as both the truth and what benefit there is to Christina’s side of the story. It’s this issue that really bothers me about Christina’s book and the subsequent film that resulted in a tremendous amount of disagreement over who was the real Joan Crawford. And, to profit over an amount of nastiness and assumed pain also adds to a questionable definition to the motives of the story that has little in the way of a creditable outcome to say the book had any validity. I guess for Christina it doesn’t really matter, since she has made her fortune or been compensated in a rather strange and unconventional way. Years ago, after Joan’s death, I was at one of these motion picture film festivals. While standing in the theater lobby, Christina Crawford walked in alone. A friend of mine asked, “Hey look, don’t you know her?” I replied, “Yes, I did meet her once.” My friend then asked, “Why don’t you go over and say hello?” I didn’t hesitate to say, “She ain’t got nothing to say to me and I ain’t got nothing to say to her!” End of story.

{font:Arial}{color:black}Ok, the way I see it is to have two box sets, in a volume one and two, made up of five films per box set. My choices would be for volume one:{font} {font:Arial}{font} {font:Arial}{color:black}“They Made Me A Criminal”{font} {font:Arial}{font} {font:Arial}{color:black}“Dust Be My Destiny”{font} {font:Arial}{font} {font:Arial}{color:black}“Castle on the {font}{font:Arial}{color:black}Hudson{font}{font:Arial}{color:black}”{font} {font:Arial}{font} {font:Arial}{color:black}“Sea Wolf”{font} {font:Arial}{font} {font:Arial}{color:black}“Out of the Fog”{font} {font:Arial}{font} {font:Arial}{color:black}Volume two:{font} {font:Arial}{font} {font:Arial}{color:black}“Tortilla Flat”{font} {font:Arial}{font} {font:Arial}{color:black}“Pride of the Marines”{font} {font:Arial}{font} {font:Arial}{color:black}“The Postman Always Rings Twice”{font} {font:Arial}{font} {font:Arial}{color:black}“Body and Soul”{font} {font:Arial}{font} {font:Arial}{color:black}“He Ran All the Way”{font} {font:Arial}{font} {font:Arial}{color:black}While I know there are other titles of Garfield’s career that could be placed into this double volume box set, I decided on going for a comprehensive selection along the lines of good dramatic diversity. To create a box set of {font}{font:Arial}{color:black}Garfield{font}{font:Arial}{color:black} can be difficult, based around the subject matter, because most of his best films are of a criminal nature or that of a rebellious character on the outskirts of society. My list is made up of films that I find his performances to be first rate, while the list pretty much reflects upon his specialty of being an outcast to most of the roles he played. Rather than go with the usual TCM, four film box set, I added an extra film. Perhaps even a sixth film would be more flexible towards expanding on the subject matter.{font}

> {quote:title=finance you wrote: > }{quote}YANKEE DOODLE DANDY was hardly Cagney's best work. He liked it because it gave him one of his few opportunities to dance. How about WHITE HEAT, LOVE ME OR LEAVE ME, THE ROARING TWENTIES, etc., etc.? I agree with you on the other choices. Jimmy Cagney's win for "Yankee Doodle Dandy" was something of a sentimental affair, reflecting upon the popularity and legacy of George M. Cohan to show business. My choice for Jimmy Cagney winning would have been his performance in "City For Conquest." The entire cast of the film was first rate! I've always taken a fancy to that famous scene, when Jimmy says to Ann Sheridan, asking her to marry him: "All you got to do is Say The Word Peg . . . Just say the word . . ." This motion picture was close to his heart, stemming from his childhood in New York City. It was the type of film he could totally understand its content and characters; probably based on real ones he knew growing up. He also co-produced the movie!

No doubt about it! She was a knock out! It's funny how when she became so famous, later on in life as an older character actress, it's difficult for some fans to envision her as a glamorous, beautiful woman.

> {quote:title=slaytonf you ask: }{quote}What are some films, aside from the ones you mentioned that you would like to have in a profile of his work? I'm most interested in using this idea as a way of bringing new films to TCM, or airing ones that are rarely shown. Any of those films with Raksin's work that fit the bill? {font:Arial}{color:black}While David had a limited output of scores, certainly what he did create warrants attention and can be perceived as giving him a worthy profile of his own! Of his scores that I might consider, in relation to a diversity of subject matter are the following:{font} {font:Arial}{color:black}“Laura.” This one is easy to figure out why it has to be included. This was from a historical standpoint, one of the very first films to incorporate a basic theme that covered most of the background music of the film. I’ve always felt that this invention of a basic theme was owed to none other than Alfred Newman, who was running the music department at 20th Century-Fox and must be credited with getting David’s composing career off the ground.{font} {font:Arial}{color:black}“The Gang’s All Here.” Now, trust me on this one! While this was one of the best Technicolor musicals of 20th Century-Fox during the War Years, David did a few of the orchestrations and composed all the music to the spectacular finale, stemming from the song “The Polka-Dot Polka.” Al Newman handled the musical direction and for some years it was believed he composed the grand finale of the film. This occurred because David was unaccredited for his work and for other numerous films throughout his career.{font} {font:Arial}{color:black}“The Shocking Miss Pilgrim.” Ok, here we ago again! Another musical and in this case probably the best one Betty Grable ever made at 20th Century-Fox! The songs were written by George and Ira Gershwin. But, it was David who beautifully orchestrated the tunes, some of which became hits. Al Newman received credit for the musical direction, but David was the one who put this wonderful film’s music together. {font} {font:Arial}{color:black}“The Secret Life of Walter Mitty.” Wow! This is what I would call the big turning point in David’s career as far as musicality goes! He was loaned out to the Goldwyn Studios and in the process created what is truly a masterpiece of film scoring. This was the first time he was out on his own and without the support and tutelage of Al Newman. However, throughout the film, I sense Newman’s influences everywhere. David would say on occasions that this score was a massive undertaking, incorporating more styles and themes than he had ever dealt with up to that time. There is an absolute beauty to listening to this score that contributed so much to the success and popularity of the movie. {font} {font:Arial}{color:black}“Forever Amber.” This was a film that fans might have expected Al Newman to handle. It was an historical epic and one of the studio’s biggest productions of the year. But, David having proven himself over at the Goldwyn Studios was given the green light by Darryl Zanuck to take over and man did he do a magnificent job! This of course meant his usual means of surrounding the music score with a basic theme. Still, David had a series of others themes for the film he skillfully created and director Otto Preminger (who directed “Laura”) praised David and they would work together in the following years to come. David received an “Oscar” nomination for his work. Interestingly, Al Newman was also nominated for “Captain from {font}{font:Arial}{color:black}Castile{font}{font:Arial}{color:black},” the other big epic film that year from 20th Century-Fox. Neither composer won, losing out to Miklos Rozsa and his score for “A Double Life.” Perhaps the votes for David and Al Newman were divided evenly between them in order for Rozsa to win? I wonder. Anyway, the best thing about this score today is that it's available, in full, on CD! So, I say don't wait if you don't have it, because it will probably go out of print! {font} {font:Arial}{color:black}“Daisy Kenyon.” We’re back to drama here and David came off with a rather mild but effective music score, underlining the various characters to what was essentially a melodrama from director Otto Preminger. At this point, David now appears to be the composer of choice by Preminger and the results are quite good. Unlike his previous scores, there wasn’t one main theme surrounding the score, but an interesting blend of serious symphonic tones that uplifted the film to appear as a prestigious drama, instead of a typical soap opera.{font} {font:Arial}{color:black}“Whirlpool.” Enter 1950 . . . This marked David’s last score for 20th Century-Fox, until he retuned six years later! Once again, he’s teamed up with Preminger for what is one of the best suspense dramas of the year. David added a rather flamboyant and moody style to the music score. This pretty much signified how he saw the confused mental state of a woman suffering from enforced delusions by a corrupt hypnotist. In watching this film, David’s music has a way of transposing the atmosphere towards feeling the conflict of the mind trying to understand the torment of what is possibly real and what is a superimposed fantasy. This score that I rate highly has never been given a decent release as a full album on CD. I thought somewhere along the way, before David’s death someone might produce a version of the score, but I have yet to see one appear.{font} {font:Arial}{color:black}“Pat and Mike.” One of the very best Tracy and Hepburn films to come out of MGM. David would at this time, during the early 1950’s, be working regularly at MGM and this decade would be his most prolific as a film composer. While this isn’t such a spectacular score, it was an amusing one. David created two separate themes for Tracy and Hepburn, culminating towards one basic love theme. It’s always been the theme he wrote for {font}{font:Arial}{color:black}Tracy{font}{font:Arial}{color:black} that’s the most wonderfully spirited of all. The various montages spurred on by David's music, as Hepburn raises to glory as a tennis player were exhilarating. But, my favorite piece of music was the one heard during the scene at the restaurant, the night before Hepburn’s big golf tournament. This was a theme that incredibly was something of a mixture to the themes of the main characters. Well, luckily for all of us, this score is available on CD. The original recording sessions from MGM are mostly intact. Glory Hallelujah!{font} {font:Arial}{color:black}“Carrie.” This is David’s first score created at Paramount Pictures. It was a period drama, based on the classic novel by Theodore Dreiser. It was on all counts a big motion picture, starring Laurence Olivier and Jennifer Jones. The music was low-keyed to the point of expressing the cold, sadden atmosphere of a period that identified with the struggles of those on the low-end of society, reaching for some sort of wealth and satisfaction. The music score is rather simple, but with overtones of beauty and grit that expresses the emotional needs of the characters and their doomed romantic entanglement.{font} {font:Arial}{color:black}“The Bad and The Beautiful.” A masterpiece of modern film scoring or one that set a standard that has never left us! David was back at MGM and man did he create a winner here! This was a big picture and David saturated the film with enough themes to have a few left over and the end results are dazzling. The main theme is one of the most famous, if not, recognizable for any film coming out of the 20th Century. My favorite of all themes is the one used during the montages. Years later, David would record for RCA, a symphonic suite of the score, conducted by him! This album became one of the most popular of its kind, stemming from a classic film score series RCA invested heavily in. David was one of a few noted film composers, still alive to contribute to the series. The others were Bernard Herrman, Miklos Rozsa and one of my all time heroes Dimitri Tiomkin. So, David was in good company during those years classic film music made a huge comeback!{font} {font:Arial}{color:black}“The Vintage.” This is a film TCM could easily air, since its part of the MGM collection, but hasn't been seen much. Most likely, because the film is not so well known and wasn’t exactly a big success, it has suffered the woes of being neglected and not considered mainstream. Despite a rather lukewarm sort of reception on the part of the critics and public, “The Vintage” does have a wonderful score by David and for all accounts, ought to be placed on a CD album, simply because of the craftsmanship displayed from a musical sense of thinking.{font} {font:Arial}{color:black}“Until The Sail.” I must admit this is one of my all time favorites of David! Not only are the character themes and background music first rate, so is the exquisite love theme of the motion picture that was beautifully sung by Edie Gorme. Once again we’re in luck! The entire score is available on CD, straight from the MGM vaults! If you’re a real devoted film music fan, than this is the type of recording you can really appreciate. TCM has already shown the film on various occasions and I try never to miss it, even though I’ve seen the film countless times!{font} {font:Arial}{color:black}“Twilight for the Gods.” Here we have David’s first and only time he worked at Universal Pictures. This was for a big Rock Hudson adventure vehicle that was nicely produced. The film is in my opinion rather underrated and David’s score is one of his best of the period as the 1950’s are winding down. I feel a bit frustrated about this score in that Universal never offered a soundtrack release. This is a score that deserves consideration, based solely on the beauty and skill of what David composed that otherwise would have been another in a typical sort of routine score so use to receiving from Universal Pictures. Had David cut a deal with the studio and stayed on, he might have lifted their prestige to levels they had never really known on a regular basis.{font} {font:Arial}{color:black}“Two Weeks In Another Town.” Ok, I know some of you will say, “Hey ain’t this just a rehash of “The Bad and The Beautiful?” Well, there’s no denying that because film clips were used from the previous film, it stands to reason that David relied to some extent towards his earlier work. This has been considered a sequel of sorts, because of the same major star and director revising the aura of a previous success. Yet, there is for consideration, a new and fresh feel to what David added and the results were satisfactory, if not, bright and intense. The score for “Two Weeks In Another Town” was also more sophisticated than his earlier work on “The Bad and The Beautiful.” You can judge for yourself, because a CD of the entire score is available! I have it and treasure it!{font} {font:Arial}{color:black}“Love Has Many Faces.” I can just hear a few of you laughing at the selection of this one! Ok, it is a rather flashy sort of melodrama about gigolos and bored rich women looking for companionship around the beaches of {font}{font:Arial}{color:black}Mexico{font}{font:Arial}{color:black}. Yet, David added a bit of an ornate fashion that reflected well upon the main characters of the story. The score is modern and lavish to a point of signifying the atmosphere shrouded by a Latin flavor, while staying closely connected to a contemporary pop style of music. What really adds to the film’s favor is hearing the theme song, beautifully done by Nancy Wilson. There was a single made of the theme song, but no soundtrack has ever been available. I give high marks to TCM for having aired the film and hope to see it again.{font} {font:Arial}{color:black}“A Big Hand For The Little Lady.” One of the last, finest scores of David’s career came with this interpretation of the “Old West.” This marked his first and only time at Warner Brothers. Because this was a western, the score might be considered a lively one. However, there is another fine mixture of low-keyed materials and those that uplift the spirit towards a sort of bonding to the whole aspect of the storyline. I believe this is one of David’s few scores that had an infectious quality, both as to relating to the characters and a finale that when first viewed by an audience was a tremendous, joyous surprise. Uniquely, it’s at the end of the film, with the credits displayed, the main theme of the movie is heard in its entirety. The film score was in many ways a triumph for David, because he really experimented and went into music areas not expected for a western film. The symphonic opening of the film alone, speaks for itself on a tone of avant-garde. There is both a symphonic and yet, folkloric sense to what he created. This film score has a very strange history in that the studio soundtracks disappeared and the entire score is sort lost or may never be recovered. This is unless someone will painstakingly sit down and rewrite everything from hearing the actual finished film strip. TCM has already shown this film, so it won’t be so easily missed.{font} {font:Arial}{color:black}On the question of “The Big Combo” . . . Well, that was totally David’s and he should get the credit as the film’s composer.{font}

{font:Arial}The William Wyler, 1956 “Producer’s Showcase” version of “The Letter” had to be tightly staged and conceived for its television presentation. Adding to this rather variant method was the issue of being presented “live” and having what was for the era, a spontaneous progression of excitement. Nobody at the time of the broadcast (at least the press!) made a comparison to the 1940 film. Everyone pretty much accepted the notion that this was a different direction being taken, especially on the part of William Wyler. Some fans might feel that the television drama of the Maugham short story was contracted from the original Broadway play. This issue didn’t seem to matter, because in the technical sense of thinking, Wyler had to make various changes to the content for television, due in large part to commercials breaking into the stream of the presentation and allowing for the usual means of changes for the scenes. I’d say that Wyler combined both aspects of his filmed version and that of the original play. Most likely, the television version owed more to the play than it did towards the movie, because Wyler being a committed artist to his craft didn’t want to be conceived as having repeated himself. Those of us who saw this “live” drama on television will usually agree that it was Anna May Wong who stole the show!{font} {font:Arial} {font} {font:Arial}There is to this day, a controversy surrounding the highly prized and respected “Producer’s Showcase” television program. So far, only the beautiful musical artists of the classical field and pop music, who appeared on the program throughout its distinguished run, have had a decent video release; as of now, there are two box sets that are a mixture of the various seasons. These available box sets of “Producer’s Showcase” are labeled as “Festival of Music.” Meanwhile, the diversified dramas and specials remained scattered about on poor quality materials or they are simply not available at all. There was for a short time, a letter writing campaign to the NBC network, in order to perhaps generate interest in a continued process of having the dramas finally released. This has been slow to happen and while many fans wait, there are sites on the web that offer terrible kinescoped versions of some dramas and specials. Just about every written, major work or popular story from Maugham reached television at some point during what is now termed as television’s Golden Age! This is an impressive achievement by those in the television industry that spent a lot of time and effort presenting a great writer’s works; some of which weren’t widely known! One of the finest dramas presented of Maugham’s works on NBC was that of “The Moon and Sixpence,” in 1959. The drama was broadcast “live’ and in color! It starred Laurence Olivier, Judith Anderson, Hume Cronyn, Cyril Cusack, Denholm Elliott, Geraldine Fitzgerald, Jean Marsh and Jessica Tandy.{font}

> {quote:title=slaytonf you asked: }{quote}Who's a composer you'd like to see highlited? Well, my first choice would be David Raksin, because I knew the man and learned a lot about the art of film scoring from him. His crop of film music wasn't exactly very high, but what there was of it, certainly added enough quality and poise to classic Hollywood. David struggled somewhat throughout his music career in motion pictures, due to demands and attitudes forced upon him by various producers and directors who knew nothing about music making. There was this sophistication to his style that expressed a dexterity beyond what others could produce. Discovered by Charlie Chaplin to arrange the score for "Modern Times," in 1936, David's career was off and running to a high flying start. For a very long time, David did orchestrations before getting into actual composing. His big break came when fellow composer Alred Newman supported his ideas and craftsmanship while David worked at 20th Century-Fox. This led to his most famous score for the film nori classic, "Laura." In his later years, he worked at MGM, where he brought a new sort of avant-garde to the music department, under the leadership of Johnny Green. Perhaps his greatest known work for MGM was "The Bad and The Beautiful." This score would in time, become one of the most studied, copied and popular of its kind. Before his death in 2004, at the age of 92, he was still promoting the art of film music at universities and various film festivals.

> {quote:title=slaytonf wrote:}{quote}I choose Michel Legrand. Well, you didn't mention one of his most magnificent film scores, "Ice Station Zebra." This was truly surprising, since Legrand was considered more a pop music oriented composer. Thus, he has become one of the best and revered music maker's of his generation.

{font:Arial}Interestingly, William Wyler made his network television directing debut with a “live” staged version of “The Letter” in 1956! In the Bette Davis role was the wonderful, yet almost unrecalled Irish actress, Siobhan McKenna, who appeared in numerous British films and on the {font}{font:Arial}London{font}{font:Arial} stage. The great John Mills, handled the role of the husband. Dashing Michael Rennie was the lawyer. And, in the role of the Asian mistress was the fabulous Anna May Wong. The production was part of the highly admired NBC network “Producer’s Showcase” program that was the creation of broadcast pioneer Sylvester (Pat) Weaver. It shouldn’t be such a difficult task to guess as to who his famous daughter is and her various accomplishments in show business!{font}

{font:Arial}Looking at {font}{font:Arial}Marshall{font}{font:Arial}’s long and distinguished career, it’s hard to believe he lost a leg during his active service in World War One! Even to this day, many fans have no idea of just how successful he hid his disability. This was an actor who did it all! Without any doubt, {font}{font:Arial}Marshall{font}{font:Arial} was one of the most popular actor’s of his era. His love of the profession was legendary and garnered him so much respect. As he aged, it didn’t matter to him to end up becoming a character actor. He was always in demand, right up to the time of his death that in so many ways saddened the motion picture community on the day he passed on.{font} {font:Arial}My favorite film of his is one that has been most underrated, “The Moon and Sixpence.” His beautiful narration and stellar performance was absorbing and displayed a skillful, provocative urbane style that few actors could have matched! And then, there’s that haunting and intriguing voice of his that is so recognizable. I had the wonderful and rare pleasure of having met him once and as far as I could tell during that one encounter, he was just like the some of the delightful, elegant characters he played on screen. After my meeting him, I left with a confidence and a firm belief that he was rather special, wonderful and somebody whom I could admire without any disappointment! They just don’t come around like him very often. {font}

> {quote:title=Swithin . . .}{quote} {font:Arial}Well, I also feel very sad about what was done. While the good Sister has her cause to consider and is being somewhat abandoned by the religious, administrative order of the situation, it’s come to the simple issue of using her past clout of fame. Had there been no need for this, Sister Dolores and the abbey would have remained out of the spotlight. My contention towards this matter is the point out the underlying reason for what is in some respects a last ditch, desperate plea for help. Of course, the idea of the film she appeared in is for a good cause and this doesn’t really mean anything so inappropriate. It’s just that for the longest time, she preferred a life of seclusion within the abbey, refusing to address anything relating to her past days as a film star. Even when a man appeared, proclaiming to be her son, by way of a secret love affair with Elvis, Sister Dolores remained steadfast in not making any public statements and ignored the media and its request to have her speak out over various claims about her past. Time and circumstance would have to change this attitude, once it became apparent, she would have a means to take advantage of her past and perform a deed towards what she believes to be a righteous position. It just goes to show that when the chips are down, it’s relevant to make the best possible move one has at their disposal. {font}

> {quote:title=mr6666 . . .}{quote} I'm reminded of what Ethel Merman once said: "When you've been there and had a good taste of it, show business gets into your blood and there's no getting away from it!" B-)

{font:Arial}There was also the underlying issue of keeping the Broadway musical on a level of originality. It was decided not to stray away from two new songs that were wonderful and had their place within the framework of the storyline. Besides “The Music that Makes Me Dance,” being cut from the film, so was “Who Are You Now?” Both these musical numbers pretty much were a stand-in for “My Man," during the stage show's run. By the time of the film version in 1969, the real Fanny Brice classic tune was appropriate to now have a strong effect at the finale of the musical, as well as to cut down on the running time that before the motion picture was edited, ran nearly four hours! There were other original scenes cut from the film that many film buffs have wondered about. As of now, none of this lost footage has been found or recovered. {font}

{font:Arial}Here’s a tidbit for consideration: Whitney only appeared in 3 major films and died after completing her fourth one. Exactly as James Dean that in the following years, after his death was designated an icon to his generation of fans. Certainly, Whitney fits the bill for her generation of devotees and her record sales prove this point. Despite not having a big film career, she will in time, come to symbolize the elements of talent and tragedy that go both hand in hand to creating a legend. We can expect in the coming years, if not months, plans for a film about her life and everything else therein that comes with being famous. I believe the real fuss about Whitney has this underlying feeling that her potential was never really met as a motion picture star and her glory as a major singing star was in some ways short lived. {font} Edited by: MovieProfessor on Feb 22, 2012 4:20 PM

OR, a new "Sister Act" . . .

The underlying issue to this sitatuon of the documentary film and her appearance on "Oscar" night is a means for Sister Hart to raise money on behalf of her depleted, struggling abbey. This is why she has in the past several years come out from under her seclusion, while the abbey has suffered from a lack of financial support. Well, there simply isn't any better way to raise money, than by somebody who was once a part of show business! This sort of big publicity, garnered at an event that's one of the biggest, most watched, world wide is too good for a cause to pass up! B-)

{font:Arial}O’Rielly was way off base in the comments he made on Fox News, blaming those who were around {font}{font:Arial}Houston{font}{font:Arial} for her troubles on the evening she passed away. O’Rielly fiercely believes, the entertainment community, be it music, motion pictures or television, refuses to accept the perils and pitfalls of recreational drugs and prescribed medications that at times are abused. The comments O’Rielly made, pertaining to a lack of advocacy towards an anti-drug platform within the show business community has been a problem that can’t be so easily preached upon or settled. This situation has been going on for so long and will probably never find any sort of logical resolution, trapped in a never ending cycle of those you will and those who won’t. What O’Rielly fails to address or understand is that there will always be a set group of individuals who will fall from grace and never be able to find a decent pathway and tranquility to their lives. It’s a crap shoot. Nobody is ever safe from the allure and bright lights of fame and fortune. No matter how much O'Rielly wants to point fingers or condemn somebody for the reckless death of a beloved celebrity, it will in the end come to a series of choices that doomed celebrity made.{font} {font:Arial}I’m very surprised at O’Rielly, crying out so harshly over the death of Huston, given some of the problems he’s had to face, amid charges of past sexual harassment and financial discrepancies. Certainly he isn’t of a puritan state of mind. No matter how much he may want to proclaim the unhealthy sagacity of a few, it doesn’t mean that within the majority, there isn't a means of finding his or her outlet to an astuteness that will save both their life and career. The only issue that he addressed that made any sense to me was in signifying the lack of a pursuit among the majority to campaign against those destabilizing factors that took the life of Whitney Huston. This is where the real problem lays, in a sense of no means to a standard, preventive method to warn and perhaps save somebody from understanding what really counts and get them away from the hazardous decisions that will eventually stop them, dead in their tracks. Huston did say in a published interview: I'm my own worst enemy." Tragically, that statement has come to pass. {font}

> . . . Shatner still have his real hair? Well, if you want to really get up close and check him out, he's currently appearing "live" on Broadway in a one man show, "*Shatner's World: We All Just Live in It*.” Starting at around 6:30 in the evening, you can occasionally see a few Trekkies standing around the Music Box Theater, hoping to catch a glimpsed of their idol "Captain James T. Kirk" arrive! > Mr6666 . . . Well, Howdy there! Yep, that's our pretty little gal from good old Bugtussle, Tennessee.