MovieProfessor

I just remembered an interesting thing about "The Hungry Glass," in that actress Donna Douglas appears as the phantom lady of the mirror. Do you remember her and what was her final call to fame? B-)

How about "The Purple Room" and "The Cheaters."

{font:Arial}Your request can be next to impossible to achieve. The reason for this is due to a majority of patterns for motion picture costumes weren’t always so easily available for sale on the open market. The best and most noted designers in {font}{font:Arial}Hollywood{font}{font:Arial} did at times offer their costume creations to the average consumer, but this was usually on a limited basis. Unlike today, years ago, any woman could walk into a Woolworth’s or Sears and find a few costume patterns from a major motion picture being sold. These patterns were argumentatively altered to some affect, meaning that the layout was never as precise as for the original design. Any sales of designer’s patterns, only occurred, if the star of the motion picture was considered glamorous and had a large following of fans. Naturally, the sale of a motion picture designer’s garments was considered part of the promotion of a major film. This situation resulted in a small handful of designer’s becoming famous and they had their own shops in and around {font}{font:Arial}Hollywood{font}{font:Arial} and separate contracts were made with major retailers, where a copy of a garment could be purchased. The most celebrated of these Hollywood designers were Edith Head, Adrian, Travis Banton, Milo Anderson, Rene Hubert; Irene (Lentz), Orry-Kelly, Adele Palmer, Walter Plunkett, Edward Stevenson, Bill Thomas, Bill Travilla (whom I knew), Vera West, and Jean Louis (who my mother worked for!) All of these designers had patterns of their gowns for sale and copies of their various works available either at their own stores or at a major retailer. The same could be said for the European market and the various known designers there. Dawson did have for a time, her own line of dresses available for sale in London. The problem with any gown designed by Beatrice Dawson is that she did not have such a huge following, at least in {font}{font:Arial}America{font}{font:Arial}. Although, I’m prone to feel that “Pandora and The Flying Dutchman” is her finest work, she is probably best remembered for “The Prince and The Showgirl” and her frantic association with Marilyn Monroe. A replica of {font}{font:Arial}Dawson{font}{font:Arial}’s work from that film can be seen in the current title, “My Week with Marilyn.”{font} {font:Arial}Today, patterns of motion picture garments available for consumers are few and when they do appear, they have a tendency of going out of circulation fast. Only those classic or popular designs from the past are the ones that continue to have constant sales. In {font}{font:Arial}Dawson{font}{font:Arial}’s case, the search for her garments, have two possibilities. The first is to try and track down an old copy of an English periodical from the time of the film’s release. This could take a considerable amount of consuming effort, because you would be looking for any ads of a store offering either a pattern or a copy of the gown. This sort of research, while painstakingly long would reveal, if there was anything available during that time. Also, check out some film libraries that might have “press-books” or publicity information about the movie. This could also lead to the point of whether or not any consumer items from a film were being offered. You might want to risk taking more time, by going to a big library, checking old major newspapers here in {font}{font:Arial}America{font}{font:Arial}, of the time “Pandora and The Flying Dutchman” premiered. Second, there are dress designers that collect patterns from times past. Your best bet is to surf the web, leave messages and see if anyone can help. These current expert designers can have the necessary means of directing you to the proper area. However, in most cases, a dressmaker will want to make a full recreation of the garment themselves for sale and not deal with the sale of a possible pattern. The plain and simple realization here is that you are dealing with a designer that wasn’t exactly so well known or popular in the {font}{font:Arial}U.S.{font}{font:Arial} If anything can solved this situation, it would have to be contact with someone in {font}{font:Arial}Britain{font}{font:Arial}. We have numerous members on the site from {font}{font:Arial}England{font}{font:Arial}. So, just maybe, one of them might stumble upon this thread and be able to help you out! I sincerely hope you find the pattern, because “Pandora and The Flying Dutchman” is one of my all time favorite films! And, my favorite gown of the movie is the most famous one, the stark black one, lined with flesh colored stripes and a white bouquet at the waist! Ava was never more beautiful than in that motion picture. {font}

Even before Whitney's last movie is to be released, projections have it that the soundtrack album of "Sparkle" will set a record in sales. In death, she may end up the biggest selling, posthumous female singing artist. There can be no doubt, the film will be the most anticipated summer block-buster of the year! Already, the word of mouth is quite positive about the film. Due to Whitney's death, the film is now undergoing a few changes and additions for its August release. Those first early screenings of the film will be the hottest ticket in town. We can expect who the film will be dedicated to.

> {quote:title=Sepiatone you mention: . . .}{quote} most folks I know never even HEARD of Conway Twitty until his country singing career started taking off. Well, at least for that first generation of Rock & Roll fans, Conway was famous, for about six years. He made regular appearances on various television shows to give him about as good exposure as most of the other Rock & Roll stars of the era. Conway seemed to have a bit of trouble throughout his entire career. Despite his never really achieving super-stardom or a long lasting career in Rock Music, his success during his Country Music days was marred by bad investments, lawsuits and tax evasion. With Conway, it was sometimes he was up and other times he found himself down and out. His whole music career was something of a struggle that regardless of any notoriety and fortunes made, he never was without an abundance of controversy. > {quote:title=And . . . You ask:}{quote} > And do me a favor? PLEASE don't call "Viva Las Vegas" or ANY movie Elvis did once out of the Army a "Rock Musical"! "Viva Las Vegas" is NOT Rock'n'Roll. "Blue Hawaii" is NOT Rock'n'Roll. "Kissin' Cousins" is NOT Rock'n'Roll! I have to concede on that point. I guess I'm too caught up in what he once came to represent, only to later on lose it all in a bevy of mostly low-rated materials and film projects. You're right, these crop of films he made after his stint in the Army had nothing to really do with Rock & Roll music. They were just, routinely produced studio musicals.

> {quote:title=finance . . .}{quote} {font:Arial}You are absolutely correct! The character of “Conrad Birdie” was mainly based upon the real life of Rock & Roll singer, the late Conway Twitty. Of course, the background of the character’s induction into the armed forces was the only connection to Elvis. The rest of the “Conrad Birdie” character was definitely Twitty. Certainly, if one knows of Twitty’s early career and imagery, it all fits the bill. Twitty had a somewhat arrogant personality off stage and while he was on all counts a good performer, it wasn’t so easy to deal with his ego. Some say he was just “doing his thing” of trying to be overly “cool” and create an image that was hip than most and one that fans would remember. When his career declined, due in large part to the British Rock Music invasion of the 1960’s, he turned to revamping his career as a County/Western singer. The changed really worked in his favor. He became as big, if not, a bigger star in the switch of leaving behind his Rock Music persona. Still, at various times, there continued a crossover to Rock tunes as part of his overall repertory. This was probably expected and would keep him popular, right up to the time of his death in 1993. Before his death, he gave a television network interview and it was during that session, he admitted openly that the “Conrad Birdie” character and he were connected in certain ways to how his career in Rock Music unfolded. Throughout his career, Twitty never gave any mention of Elvis towards any possible influence. It was believed his influences were “The Big Bopper,” Gene Vincent and the great Eddie Cochran. Most of the time, a majority of singers just didn’t want to feel they owed anything to Elvis. This attitude was in a technical way a means of attempting to show one’s own style of originality. Yet, upon merely checking a singer out, it simply didn’t work or fool anybody; meaning nearly all successful solo Rock & Roll singers were perceived to have some connection to the King of Rock & Roll. So, for that early period in the history of pop music, Elvis would always remain the central starting point for a vast majority of fans and all others to follow.{font} {font:Arial}In speaking of Elvis and his imagery, there is no real logistical connection in terms of the personality of “Conrad Birdie. Elvis simply didn’t act or speak like the character in the musical, but Twitty is reliably close to what composers Charles Strouse and Lee Adams, together with what script writer Michael Stewart had in mind for the musical. When the show was about to open on Broadway, Twitty made it publicly known he wasn’t so pleased about the spreading rumors that “Conrad Birdie” was based upon him. This easily came about, due to the similarities of the names, as much as the imagery projected about the character in the show. Twitty likely feared a bit of ridicule to his career. Only the few fans or those who knew something of the whole Twitty emanation of his style realized for sure, who the character in the musical came close to symbolizing. Once the show became a huge hit, the somewhat hostile attitude towards the musical changed and then Twitty got on board what world wind of success he could ride from the musical. He was at one point even asked if he might consider playing the “Conrad Birdie” role with one of the touring companies! He refused any offers and wisely this worked in his favor, once he left his Rock & Roll roots behind to pursue a different sort of career in the Country/Western music field.{font} {font:Arial}It might be so easy to feel that Elvis could have played the role for the film. But this is without question a very stupid and illogical idea. By 1963, he was one of the top ten stars, making one million dollars a picture. The role of “Conrad Birdie” was a secondary one and doesn’t appear until about midway into the storyline. If by any remote chance Elvis would have been in the film, the whole concept of the character, as well as the entire storyline would have to have been totally changed!! So, the logistics for Elvis simply don’t equate with considering him to be in the movie, playing a role that has some similarity to who he was in real life. Amazingly, the following year, Ann-Margret, who was one of the stars of “Bye Bye Bride,” would end up appearing opposite Elvis in the highly successful Rock Musical, “Viva Las Vegas.” No doubt, Ann and Elvis must have joked about “Bye Bye Bride.” Also, in another striking point pertaining to"Viva Las Vegas" is the film being directed by George Sidney, the director of "Bye Bye Bride!" Rumor had it that Sidney was in love with Margret and wanting to guide her career. This led to a now well known controversy of Sidney during filming focusing more attention on his lovely protege than Elvis. It wasn't until Colonel Parker stepped in and demanded a change in the director's format. Later on, Elvis and Margret would be alleged to having had their own love affair. Whatever the case, Elvis and Margret remained close friends, right up until the time of The King's tragic death. {font} {font:Arial}There is one very striking issue in “Bye Bye Bride” that I believe needs clarification. This has to do with the now famous golden motorcycle suit worn in by “Conrad Birdie.” During the period of the Broadway show and then three years later when the film version was released, Elvis never wore an outfit as flashy as seen in the musical; he still had another four years to go before we would see him in some outrageous attire! The reason for the outlandish jump-suit is because “Conrad Birdie” lives, eats and sleeps by his bike! It was never intended to be seen as a performing costume. While the golden jump-suit is the signature piece that presents the character, its origins emerge from the whole issue of his beloved motorcycle. Even Twitty has no connection to this ornate outfit worn in the musical. It’s about the only original aspect to the character created specifically for the musical. Yet, some historians do believe that the “Conrad Birdie” hubbub of his jumpsuit, might have led to what we would later see among some of the Rock stars of the late 1960’s, including Elvis. However, in the case of Elvis, he didn’t start to wear his own flashy clothing, until around 1970, during his now world famous live tours and especially in {font}{font:Arial}Las Vegas{font}{font:Arial}, where this issue actually all began for him!{font} {font:Arial}How Elvis came to wear his gaudy, cape ridden costumes were from a most unlikely source! It began one evening, while Elvis was on tour performing in Vegas and he decided to take a spin around town. With his entourage, Elvis came upon the small singing act of Wayne Cochran, who was just getting his music career underway. Cochran is best remembered for two appearances. The first was on the Saturday night, live telecast of the “Jackie Gleason Show.” Jackie introduced Cochran to a national audience; it was the biggest break Cochran would ever have! His act was more or less patterned from the explosive James Brown. Cochran even copied the spins, whirls and shuffling of Brown, making him appear as a Caucasian version of the mighty African American legendary performer. The second major occurrence for Cochran came, when he appeared, as himself, with his singing group in the now cult favorite movie “CC Rider,” that starred football player Joe Namath and once again Ann-Margret.{font} {font:Arial}When Elvis caught Cochran’s act, he was more impressed by the wild and elaborate outfits Cochran shrouded himself in. This was especially the case with the various rhinestone capes that adorned Cochran. Elvis was said to have been looking for a possible new image he might consider and in no time, Cochran and The King became good friends, during there sprint in Vegas. The biggest surprise of all about how Cochran helped reshaped the image of Elvis occurred, when The King asked him on that first meeting, “Man, who does your gear?” Cochran looked at The King and replied with a sly smile, “I do it all myself . . . I don’t have a wardrobe manger.” It was then Cochran revealed to The King his little secret of having gone to such places as “Woolworth’s,” “Sears,” “J.C, Penny” and the smallest of places on the outskirts of Vegas, where he found items easy enough to make them seem so dazzling. During their first meeting in Cochran’s cramped back-stage dressing room, Cochran gave Elvis a white belt he had purchased at a local discount store! This belt ended up being worn by Elvis for many years. The white belt of Wayne Cochran had led the way for a whole new maker-over of Elvis and his notorious Vegas era began in a big spangled way. In no time, Elvis would have the best stylists available to take heed to what he wanted from the foundation laid down by Cochran to him. The reason why I can tell of this story is because I know Wayne Cochran and today he is a minister of a church in {font}{font:Arial}South Florida{font}{font:Arial}. He and I go way back to those days when he made good in {font}{font:Arial}Miami Beach{font}{font:Arial}, to later head out on a quest to possible stardom that unfortunately wouldn’t happen. However, {font}{font:Arial}Wayne{font}{font:Arial} is proud of having had a close liaison with The King of Rock and Roll. In his office, are pictures and scrapbooks of his career and Elvis is very much part of his collection. {font}{font:Arial}Wayne{font}{font:Arial} also hangs in his office, the same white belt he first gave to Elvis. It was obviously a replacement for the one he gave away. It’s a bit worn for wear and a few of the rhinestones are missing. The belt is so symbolic of something special to a chance meeting that changed the course of Elvis Presley’s career. Now that’s something Wayne Cochran (who most of you probably never heard of) can be so proud of having achieved. And, that’s how it goes in my old world show business . . . {font}

{font:Arial}Many fans don’t know that Whitney Houston’s signature song, “I Will Always Love You” was in fact, already a hit tune, written and introduced by Country Singing superstar Dolly Parton in 1974. The song hit at number one on the Country Music charts. Considered one of Parton’s best tunes, it was greatly admired by none other than Elvis! His grand majesty of Rock Music wanted to record his own cover version. He contacted Dolly to cut a deal. Lurking in the shadows was manager to Elvis, Colonel Tom Parker. Before anything could be finalized, Parker had insisted that Elvis must have 50 percent of the publishing rights to the song. Dolly had come a very long way in the music industry, struggling to make a success for herself. Upon becoming a major singing star, she refused to relinquish any control of what she fought so long and hard to establish. Many in the music business hearing about the situation, advised her to reconsider her refusal to the King of Rock and Roll. After all, Elvis was a living legend and a recording by him would mean added notoriety for Dolly. Her decision to not give up control of the song was for the longest time, one of the most earth shattering experiences of her career. {font} {font:Arial}There was one issue that has remained rather unfamiliar about “I Will Always Love You” in that Dolly never considered it a romantically written tune. It was composed as a sentimental gesture, in reference to Dolly having broken her ties with Country Music legend, Porter Wagoner, who was her mentor and launched Dolly to stardom. She had been under contract to Wagoner for seven years and when she broke away from Wagoner’s authority, there was a bitter lawsuit, with claims of rights to songs and other issues relating to a percentage of money owed. Dolly would in time, settle her dispute with the one man she always would credit with having discovered her abilities and gave her the break she needed to get into the music industry. While most won’t actually rate Dolly so great a singer, she is without question, one of the finest composers of the Country Music genre, barring none! Her immense output of songs is in many ways, part of her legend.{font} {font:Arial}Then, something extraordinary occurred in 1982. This was the period Dolly was breaking into motion pictures. She had already made a big splash in the comedy “9 to 5” two years earlier. Next in line, would be a big musical film version of the Broadway show, “The Best Little Whorehouse in {font}{font:Arial}Texas{font}{font:Arial}.” Throughout her career in films, Dolly has it stipulated in her contract that she is given the option to write a song for the movie she appears in; this usually means the movie’s theme or title tune. Although, the 1982 musical already had original songs, Dolly banked on a revamp of “I Will Always Love You” for her to sing in the movie. The new version was then turned into a single that when released, hit at number one on the Country Music charts! This turned out to be a momentous event in the history of the music industry, because it was the very first time, a song that was originally written and performed by the same person, hit up at number one a second time on the music charts! This was truly remarkable as well as a feat that has for the longest time not been publicized much.{font} {font:Arial}Comes 1992 and the film “The Bodyguard,” well Dolly as of now has what some believe a record (in this case a ranking!) that will probably never be broken!! The Whitney Houston version of “I Will Always Love You,” gave Dolly her third time up at number one on the charts! This meant for the very first time, a 3rd ranking at number one of a song by the same composer! Dolly is also the only composer to have had the same song, crossover from Country Music to the Pop Music charts at number one! However you want to view the situation, it is for the record (no pun intended!) astounding and Dolly considers it her finest of achievements. She also has always given much admiration to Whitney’s version of a song that was turned into one of the most popular romantic ballads in the history of American entertainment. Since Whitney’s tremendous success with the song and becoming her signature piece, Dolly has gladly accepted this issue. The strangest of all circumstances about “I Will Always Love You” was that it was never intended to be in or the love theme of “The Bodyguard.” What happened was Whitney was supposed to sing as the theme, another famous song, “What Becomes of The Broken Hearted.” It was then discovered that the song had already appeared in a previous film. It was co-star Kevin Costner, who suggested to Whitney that she hear Linda Ronstadt’s cover version of Dolly’s song. Immediately, Whitney fell in love with the tune. It was then arranged into a romantic “soul” ballad.{font} {font:Arial}I thought it was very poignant to hear that when Jennifer Hudson sang “I Will Always Love You,” at the Grammy Awards, Dolly was brought to tears and really felt her little song had touched the heart and soul of the world at large. In a sad way of thinking, the song perhaps relates to Whitney’s tragic death, in that we now will have to find it in our hearts to understand her agonies, while we accept her magical talent and voice, filling the air with a harmony that doesn’t come around very often. Whitney is now with the likes of Judy Garland and Billie Holiday, to become a legend to her generation of fans that will keep the flames of her talent alive. Her voice is now one that goes beyond a comparison to others. In the end, it’s Whitney Houston the singer that counts the most and we must hope that she finds ever lasting peace to a soul that while singing kept us inspired, even though there was pain lingering within the splendor of her talent. The pain and sorrow of her life has taken her away from the earth, but the radiance of her talent will live on for all of us.{font}

> Jake you wrote: > Your insight on Marilyn Monroe and her travails with the Kennedy's I found to be very, very good. She should have stayed with Joe DiMaggio. {font:Arial}I have always suspected there was more to Marilyn’s death than what we were led to think or finally accept. Over the years, it now has become quite clear, or at least led towards a feeling her relationship with the Kennedy’s to be far more substantial and excessive. By now, it’s almost accepted by the public that she was a “Kennedy Insider,” brought into the ruckus by the 35th President’s audacious brother in law, Peter Lawford. Then, add Frank Sinatra and his pack of show business chums to this mayhem and you’ve got quite a performance! The problem I’ve always had with Marilyn’s death has to do with the simple fact that about a week before she died, she had been first fired and then rehired by the studio, signing on for a two picture deal, valued at 2 million dollars each! She was *not* in those last days leading up to her death, so depressed or forsaken. Of course, others will always say her death could have been a simple accident, by way of her pill taking and heavy drinking. Yet, even this situation has become questionable, because the records aren’t so apparently informative. On the sidelines, are a bunch of other witnesses and events surrounding her death, adding to a confused atmosphere, forcing many fans to now wonder if she might have been “done in” or silenced. At this stage, it’s all about what each and every individual fan wants to believe and nothing more can ever bring the truth back out from under the spotlight of show business clutter.{font} {font:Arial}Naturally, this whole Whitney Huston affair continues to shed light onto the routine tragic death of a celebrity; at times this is expected to happen, by way of all the gossip and innuendos one reads or hears about. I imagine in the weeks to come, when we are standing at the checkout counter at the supermarket, the tabloid rack will have its fair share of unconscionable nonsense. But, lurking in the shadows might be some sort of tall-tale or discrepancy, leading us down another path of doubts and suspicions about another beloved, popular performer that the public never seems to get enough of and won’t leave alone. Whitney could in the coming months, fall prey to what I call, Marilyn’s curse. It means a continued exertion of devotion, mixed in with speculation on how the death came about. There is never much of a question on the “Why of It?” It all ends up with too much hearsay and the facts just get tossed around to the point of having no composite proof of anything. So, the beat of show business furor and all its forms of tumult will just continue on.{font}

{font:Arial} > Jake in the Heartland . It’s ok Jake, there's no hard feelings, I respect your opinion and you certainly have a right to voice it. MP.{font}

> {quote:title=JakeHolman wrote: }{quote}You have come on this board and used the moniker MovieProfessor. . . . So, you have come on this board and used the moniker JakeHolman . . . Well, you don't have to present a resume that shows your qualifications. You're that salior who got himself killed, while servring his tour of duty on an imperialist gunboat. Anyway, patriotism to me is *not* creating false accusations towards fellow human beings. Especially those who betray their friends, knowing full well they are not guilty of anything malicious and out of desperation, turn them over to a ravenous, irrational mob of political demigods. The matter of Kazan to me, has nothing to do with patriotism, other than his trying to climb up a tree, save himself and throw somebody down to the lions waiting at the bottom. A real patriot to me is having the right to stand up for what you believe in and try to deal with the consequences that relate *to you* and *you alone* and nobody else.

Come on now Fedya! That woman was a totally crazed idiot! She was so typical of an ambitious Hollywood hustler. If she were alive today, she'd end up in porn.

> {quote:title=RazorX you wrote:}{quote}{font:Arial} Sort of sounds like a parallel universe or something. {font} I can go along with that idea too. B-)

Well Lori3, I'm with you all the way on Garfield. And, as you mentioned, he's virtually forgotten. However, there's some hope lingering for the future ahead. There's been talk of perhaps some sort of a biographical film about Garfield. I can't really say much about it, but there are at least five major current male stars who for the past years have been interested in playing the lead role. Naturally, Kazan will be very much part of the story. I wonder who would be interested in playing his role? The idea for the project has been held up in some form litigation. This is probably expected, since there are sensitive issues of the past that still to this day can have their repercussions. This is because a film about Garfield might have to deall with popular celebrities of his era, shown unfavorably. So, only time will tell whether or not anything finally makes it to the big screen. If not the movies, there's also some sort of plan for a staged version (possibly a musical) of his life. But again, this is as of now, still a pipedream.

{font:Arial}There was concern that evening about how the audience might react. What isn’t shown is that those who sat really outnumbered those who stood giving their applause. Those who sat and gave no applause at all were low in number. The ABC television network, having shown a few of the disgruntled sitting in the audience, made it all appear as if the controversy was bigger than it really appeared to be. Those clips only added to the ill-feelings and anxiety felt that night. What is so historically significant about this whole affair was even though not much of the segment is seen, what is so apparent is this division among the {font}{font:Arial}Hollywood{font}{font:Arial} elite. This turned out to be more technically severe than Brando’s refusal to accept his Academy Award for “The Godfather.” Even the night actress Vanessa Redgrave gave her now famous political uproar over her nomination had no real, long lasting effect. I don’t think {font}{font:Arial}Kazan{font}{font:Arial} really cared so much about the protest against him. It must have been like “old-times” and he could just stand there and eat it all up to the point of thinking, “Yeah, I’ve been there too and such!” He wasn’t hurt, insulted or uncomfortable in any sort of direct way, only because he had enough time to know what consequences to expect that evening. We might want to feel, the whole segment was somewhat staged for both Kazan and the audience! Concerning the audience, they were ready to take sides and then Kazan ready to say his peace, which wasn’t much of anything; because it was best for him not to shed any more controversy over the matter. {font}{font:Arial}Kazan{font}{font:Arial} would later die as he had lived throughout the second half of his life, a pariah of the motion picture business. Anyway, {font}{font:Arial}Kazan{font}{font:Arial} was and could never be like Charlie Chaplin, who also was for a time, shunned and driven out of the motion picture business he loved and help formulate. On the night Charlie came back to the Academy to receive his honorary “Oscar,” every single soul in the theater stood up and applauded. But then, for all his troubles, Charlie never stabbed anyone in the back.{font}

{font:Arial}Jennie was definitely a ghost. Or, if you really want to get technical in a weird way, you could say she was an apparition straight out of “The Twilight Zone.” Anyway, writer Robert Nathan’s original story was in some respects “dreamlike,” as if the artist hero of the tale, stepped into a past world long gone, at times lost in a different dimension beyond his current reality. The persistence of the artist to solve the mystery of Jennie, leads him down a pathway of compassion and eventually falling in love with her. But, call it fate or a power from beyond human logic, there will be an intervention with the storm at the lighthouse that will result in the final rupture needed to free Jennie’s lost soul. The portrait will in the end signify his love, also giving him back sense towards understanding his creative process that will glow with virtuous meaning. {font}

Viewing this clip, one can clearly see, as well as feel the tension that evening at Academy Award night, in 1998. Judge for yourself . . . (!)

> {quote:title=Lori3 . . .}{quote} One very obvious point to Kazan is certain and that is he was instrumental in Gafield's downfall. They both had started out together at the Group Theater. They became close friends. By the time Kazan was a noted film director, having given up on an acting career, Kazan would finally asked Garfield to take on a fine role in his Academy Award winning film, "Gentleman's Agreement." Garfield who was a big star, appeared in the film as a favor to Kazan, taking on a small, supporting role. The two had come a very long way from the days of hanging around Times Square and making the usual rounds from one stage play to the next. Yet, there always seemed to be a sort of friction between the two. Probably brought on by a sense of envy, if not, a form of professional jealousy on the part of Kazan. It was Garfield who had that natural flare and dare towards creating something intriguing about his acting. On the other hand, Kazan simply wasn't so attractive and lacked Garfield's sense of presence, bringing on shades of low esteem and a realization as to which one of them had the necessary magic. Becoming a director/producer was about the only outlet available for Kazan and in the process, he sort of abandoned his close ties with Garfield, turning instead to his new proteges, Montgomery Clift and Marlon Brando. As Kazan reached the heights of directorial glory on Broadway and motion pictures, Garfield began his career decline, due in large part to assumptions of radical, political affiliations. When the heat was on Garfield from the House Un-American Activities Committee, he turned to whom he thought would give him support, only to suddenly realize, he was left to fend for himself, into the frigid turmoil of Cold War politics. Like so many at the time, Kazan feared for his career and while he first refused to cooperate with the government committee, he jumped ship, by agreeing to conspire against those who had once been good friends. When Kazan gave his testimony in March of 1952, Garfield died two months later. When he received the news of Garfield's death, there was little in the way of anything said by Kazan that was a reminder of their once deeply held friendship, only to refer towards Garfield's career accomplishments. It's not so much to say that Kazan could have saved Garfield, but he decided to distance himself from someone he knew to be clean of anything so subversive. Truth was that Kazan had actually been more radical than Garfield, only to see Kazan be able to raise above the fray and Garfield fall prey to becoming sacrificed. Kazan's tempestusous past and relationship to the blacklisting in Hollywood was the main reason why in 1998, the film community was divided upon his receiving an honorary Oscar. Some would say, he had too much blood on his hands.

> {quote:title=filmlover you replied:}{quote} > You should go back and check the facts on this. Each Blu-ray season of Twilight Zone was 5 discs each, except for the second season, which had only 4. I know because I have them. You are correct! I too have the entire collection. However, I still stand by my feelings that Warner's could have compressed the Looney Tunes to the point of combining more shorts on one single Blu-ray! It can be done.

> {quote:title=filmlover . . . > }{quote}High definition takes up more space than regular DVD. {font:Arial}You are technically incorrect . . . While Blu-ray and standard DVD are different by way of the storage method; the size in terms of GB makes Blu-ray having three times the space of a standard DVD! At an average, a standard DVD is about 7 to 8 GB, while the Blu-ray goes from 25 to 50 GB! Therefore, using a decent compression scheme, which some companies utilize, a lot more information can be stored on a Blu-ray. A good example of what I’m talking about is the special edition box set of “Blade Runner,” having on one of the five discs, three versions of the film! Another example of what I’m talking about is the new Blu-ray release of “The Twilight Zone” series. On standard DVD, each televised season was packed into one box set, consisting of 5 discs, resulting in 5 combined box sets. Consumers had a choice to purchase either a single season or the totally combined 5 season box set. The new Blu-ray version has one entire season on just one disc! Warner’s could have combined more information on the Blu-ray for the Looney Tunes release, if they felt there was a need to do so. However, I believe it’s more of a marketing ploy and easier to rehash what video masters already exists. If, you do the math and understand how the new video release is being handled, by way of copying the previous release, it will actually end up costing more than then original, first series on standard DVD. As far as pricing goes, well maybe the prices were at first expensive when the standard DVD version first appeared. But, because the standard DVD editions are out of print, they would now be cheaper than any new Blu-ray release! This is especially the case of costing more, if Warner's decides to release a single, entire box set of each of the Blu-ray releases! What the fans are simply hoping for (including myself!) is that more possible cartoons shorts be added, since Blu-ray can in fact handle more space than a standard DVD. {font}

THANKS Kriegerg69!

> {quote:title=Filmlover and lzcutter . . .}{quote} Allow me to make it all clear . . . The DVD Golden Collection is and will probably remain for some time, the largest and most informative video release of the Warner Brothers cartoon shorts. The Blu-ray version is in some respects a rehash of what has already been released. This HD version of the series was expected. Only time will tell, if this new Blu-ray series will out rank the regular DVD version by way of the number of shorts. Besides, I was surprised that volume one of the Platinum Collection on Blu-ray, which has larger space, only has 50 shorts, the same as the regular DVD version! I would have expected double that number on a Blu-ray! Anyway, it's a sure bet that the HD version of these cartoons will cost a whole lot more! So, if anyone isn't so prone as to want 1080P and settle for 480P, they'd be saving themselves a lot of time and effort, if not, money.

It was in 1991, Turner and MGM/UA Video, released a 5 volume box set entitled, "The Golden Age of Looney Tunes" on Laser Disc. This video series was never released on VHS! Each box contained 5 discs, ten sides. The total amount of cartoon shorts were 338. This was for its time, the largest and most ambitious video series produced. The 5 volume box set was sold on a limited basis, meaning that it wouldn't be repeated or reissued, once the series was over. After Laser Disc was phased out of the market and DVD took over, there was this waiting game among fans who wanted see the original Laser Disc series transfered to digital. Well, in 2006, that's just what Warner Brothers Home Video did. However, there were changes made, in that the title was now "Looney Tunes - Golden Collection," and there were more cartoon shorts added. The number of DVD boxes are at 6, with four DVD discs to each box. This now brings the new total of shorts to 356! Unlike the Laser Disc release, the entire collection of cartoons for the DVD were even fully restored! *They look beautiful!* Sadly, the series on DVD is now, I repeat, *now out of print*. If you want it, there are still a reasonable amount of copies floating around, but these will probably disappear soon enough. Once the current supply has been brought up, it will be almost impossible for any store or distributor to order any new copies. The existing supply is now priced at anywhere from $130.00 to just under $200.00. I didn't waste anytime and quickly brought my copy. I even have the original Laser Disc set! Anyway, I think this is the most convenient and exhilarating way of having most of the best Looney Tunes and Merry Melodies of classic animation. In the last six years, I had an annual Looney Tunes party at my house. Friends and neighbors gather around and bring their grandchildren. But, it's really the old folks (like me!) who get a real big knick out of watching cartoons that still have a way of thrilling us and bringing back wonderful memories. . ."Da-da-da. . .That's All Folks!"

{font:Arial}Here’s a tidbit that isn’t generally known about the film . . . It was decided not to have the film end, as it was written by Jones in his novel. Instead of the hooker getting killed, originally it was the writer who dies at the end of the story. Shirley has always said that in a hard way of thinking, having the hooker killed off added a sense of moral fiber. Everyone, including director Minnelli felt by changing the original ending, there would be an ethical and compassionate mood towards an understanding that the writer and this wayward girl just weren’t right for each other. Therefore, the storyline ends with the girl giving to her lover a noble, self-sacrifice towards protecting not so much him, but the love and benevolence he has given unto her. At this point in the story, she can’t go back to her life of **** around. Upon her pimp tracking her down and demanding she return to him, her love for the writer has totally push her beyond a limit she can no longer control and she believes this is her one and only chance to find some decency to her life. . .She wants to strongly believe, she can make the relationship work. I think screenwriters John Patrick and Arthur Sheekman were right in changing the ending, because the girl could have never really satisfied the writer’s intellect. His pathway is already laid down for him and it’s all about the creative process for him to tell the tragic story or write it. And, in doing so, he will realize there were boundaries for everyone involved they didn’t understand or want to accept. Life is full of so many plain and simple restrictions for all of us to deal with. It’s a crap shoot and we can never know what numbers are going to show up at the throw of the dice. There’s no loading the dice of life! It can never be done. We just have to throw the dice and hope! In the case of “Some Came Running,” it was “snake-eyes” for just about everybody in the story, while everyone kept yearning to get that magical number in their favor. {font}

{font:Arial}It’s definitely a drama and always has been considered so. The whole idea to create a film version from what was originally another novel by James Jones, turned out to be MGM’s answer to the big block-buster hit a year earlier of “{font}{font:Arial}Peyton Place{font}{font:Arial}.” The casting of Frank Sinatra was important to the whole creative process, due in large part to already having made his own huge impact in the 1953 film version of what is James Jones greatest and most revered book, “From Here To Eternity.” It’s as if there is something of a repeat to a past aura being presented in the making of "Some Came Running," all due to Frank’s previous connection to Jones. Frank was pretty much in control of this whole project. He was by 1958, one of the top ten movie stars world wide. Director Vincente Minnelli had one very legendary rift with Frank during filming. The problem occurred when Minnelli asked one of the assistant directors’s to tell Frank, there were pages of the script that needed to be filmed that day and possibly finished. Frank was too content drinking his booze and chatting with Dean and Shirley, sitting in the afternoon shade, outside of his trailer. Upon receiving the request, Frank then asked the assistant to show him what pages of the script were the ones to be shot. The assistant gladly showed Frank the portion of shooting material in the script he had in his hand. Frank then quickly snatched the script from the assistant and tore out that section of the script that he was shown, ripping up all the pages. Frank replied, “So there, now we don’t have to worry about shooting this part of the script.”{font} {font:Arial}This film marked the first time Frank and Dean worked together on screen. They had already known each other, years earlier from the days they both appeared at {font}{font:Arial}Atlantic City{font}{font:Arial}’s famous hot spot, “The 500 Club.” Dean was working with Jerry at the time and it’s always been believed that Dean was on that first encounter, intimidated by Frank’s tremendous success and perhaps it was on that occasion began Dean’s alienation towards his teaming with Jerry. “Some Came Running” was as important for Dean as it might have been for Frank. Dean was after all, playing a character he probably once was in his youth!! He had been born and raised in that part of the country and as a teenager, hung around gambling joints, seedy hotels and nightclubs. He had been famous in his own {font}{font:Arial}Ohio{font}{font:Arial} hometown for running a floating crap game! Dean was without question the most connected member of the cast to the aura of the storyline. His credibility to the role he played resulted in a marvelous performance, most of which he improvised and added his own bits of dialog. As for Shirley, well she practically stole the film right from under both Frank and Dean and the rest of the cast! What was bothersome about the role Shirley played was that even if one hadn’t read the book, everybody could figure out the character was a hooker. Nothing about the character’s so assumed background was clearly exposed! Naturally, there were fears from the censorship board and it was felt to best let the audiences figure it out for themselves.{font} {font:Arial}Now, whether this film is good or not, depends upon a selective process. In other words, because the film does lack a solid continuity to the storyline, all we are left with are the performances and certain technical touches director Minnelli gave the film. As a whole, the movie is a bit too chopped up, as if its attempting to add as much from the novel as possible, but we are in the end not left with much, other than the strains of the main characters. Minnelli had originally wanted to shoot the film as a three hour dramatic epic. It’s with this idea that the film is trying to emulate the success of “{font}{font:Arial}Peyton Place{font}{font:Arial}” that was for all intended purposes, a massive road-show presentation. This would not occur with “Some Came Running” and Minnelli had to cut the film down and eliminate certain scenes that he believed were crucial. The deleted material was for those who saw it, rather interesting and adding more flare. One of the deleted scenes was a compassionate rendezvous in a bedroom between Frank and Shirley. Minnelli wanted that scene in, because it displayed the pathetic nature of the hooker, pleading in a pitiful way to Frank’s character to allow her to love him and perhaps he might come around to loving her.{font} {font:Arial}I do feel that the highpoint of the film, the now famous last scene at the carnival, with all the colored lights and rides was impressively filmed by Minnelli. Just the idea that he filmed the whole ordeal at a real honest to God carnival was something quite remarkable for its time. Most of the film was shot on location and this I believe does give the film some technical quality and should be admired at certain points. One of my favorite scenes is the beginning of the picture, with Frank on the bus and then getting off to return to his home town, right in the middle of {font}{font:Arial}Main Street{font}{font:Arial}. One can clearly tell the scene is for real and not at a {font}{font:Arial}Hollywood{font}{font:Arial} back-lot. TCM has a wonderful short documentary about the making of the film, with interviews of the real town’s people who participated in various scenes as extras. While I can’t really rank “Some Came Running” as a bona fide classic, it is a nicely made motion picture that delivers more on the performances than the overall storyline. Certainly, this film marked the beginning of Shirley’s raise to international super stardom. There is also the point that Frank and Dean became really close after this film, they became something like brothers. So, if you’re a die-hard movie fan and sentimental about the behind-the-scenes antics of what goes on to make a motion picture, this has to be your sort of movie. It’s a film that is admired and cherished by the devotion of the fan base the stars have acquired. And, this isn’t really part of or connected to the whole “Rat Pack” era, because Frank and Dean hadn’t yet begun to gather up the gang and head to {font}{font:Arial}Las Vegas{font}{font:Arial}. There still was about one more year to come for all hell to break loose at the Sands Hotel in Vegas and a lot of history would be made there; both for show business and on a hidden political point of view.{font}

Ahhh Yes! The Ridgewood! That was another big one. Probably as big as The Midway, if not, bigger? And, the little wondeful Oasis was for me an even nicer theater then The Trylon, only because the seating was more comfortable. You're right about going to any of these theaters now, turned into a multiplex, they are nothing more than a mess and the small screens aren't worth the extra expense! B-)