MovieProfessor

The Midway Theater that was right around the corner on Queens Boulevard was one of the best and largest around! I was very disappointed to see it turned into a multiplex, as it was with The Forest Hills Theater. And then, the little Trylon Theater several blocks going west on the Boulevard? Those were wonderful days years back, when you didn't really have to go all the way into Manhattan to see a movie in a good theater. B-)

{font:Arial}Just about every movie fan has his or her favorite movie serial. In selecting what might be considered the best of the era, can at times become a matter of popularity, based around a particular character or the studio. In the case of the studio, the highest ranking among the fans goes (hands down!) to Republic Pictures. The reasons are easily enough to contemplate or come to the simple conclusion that Republic gave their serials the best production values, when basically compared to other studios and this obviously includes the major studios. Now, don’t get me wrong, if I were to pick another studio other than Republic, I’d have to say that Universal and {font}{font:Arial}Columbia{font}{font:Arial} did their fair share of competing, especially along these lines concerning a few special effects and selected characters. In this department of effects and created characters, Republic had a slight edge, along with the sort of subject matter the studio managed to cover and represent. Of all the {font}{font:Arial}serials{font}{font:Arial} {font}{font:Arial}Republic{font}{font:Arial} produced, most fans and historians seem to agree that the 1941, “The Adventures of Captain Marvel” was the finest ever devised. Masterfully directed by serial veteran filmmakers William Witney and John English, this “Captain Marvel” serial technically and artistically up lifted the whole genre to be taken seriously and appreciated by the film industry as a whole. There is also a cleverly means of mixing fantasy with a bit of Sci-Fi that expanded upon what the original comic book series had created. The now famous phrase “Shazam!” as shouted out by the young character “Billy Batson” to transform himself into “Captain Marvel” has become part of pop culture.{font} {font:Arial}Next (on my list) would be the 1948, highly successful “Superman.” This was the very first “live- action” appearance of the “man of steel” on film. Produced by Columbia Pictures, it has an interesting mixture of animation and live-action special effects. Several situations surrounding this serial have become something of a movie legend. First, in the role of “{font}{font:Arial}Louis Lane{font}{font:Arial}” was lovely Noel Neil, who in a few years would repeat her role as the woman newspaper reporter for the later to come, beloved television series. Second, and this was rather strange, actor Kirk Alyn, who played the “man of steel” never received billing on film for the serial. His name only appeared on theater posters and advertisements! Third, and this is where it really gets creepy, one of the co-directors, Thomas Carr, would go on to direct episodes of the television series! It would be Carr, using his experience from directing the serial that set down the pattern for the television series and perhaps how the “man of steel” would be always generally perceived. Forth, many elements or scenes from the serial were incorporated into the 1978 major motion picture. I also feel, actor Kirk Alyn, bares a striking resemblance to Christopher Reeve! The original serial was such a hit at the box office, {font}{font:Arial}Columbia{font}{font:Arial} brought everybody back for a sequel in 1950, “Atom Man vs. Superman,” introducing for the first time, the villainous “Lex Luthor.” The budget for both serials wasn’t exactly as good as what Republic could have done, but acceptable enough to be entertaining and at times exciting. By the 1950’s, only Republic and {font}{font:Arial}Columbia{font}{font:Arial} were the last studios producing serials, until everything gave way to television.{font}

But wait! "Omega Man" is also a remake of the first, original 1964 version, starring Vincent Price. The title was changed as "The Last Man On Earth." Base on the Richard Matheson story "I Am Legend." So, one might want to ask, which of the three filmed versions best represents the original story?

{font:Arial}Lane Chandler came to {font}{font:Arial}Hollywood{font}{font:Arial}, from his home state of {font}{font:Arial}Montana{font}{font:Arial}. Before the time of his arrival to {font}{font:Arial}California{font}{font:Arial}, he bummed around the west, doing all sorts of odd jobs. He drove a delivery truck, worked as a ranch hand and was for a time a popular tour guide at {font}{font:Arial}Yellowstone{font}{font:Arial} {font}{font:Arial}National Park{font}{font:Arial}. Once he made it to {font}{font:Arial}Los Angeles{font}{font:Arial}, he worked as a garage mechanic. It was while at the service station, he met various people working in the movie business, especially stunt men. This prompted him to consider a more interesting line of work and off he went into the wild wander of {font}{font:Arial}Hollywood{font}{font:Arial}. Naturally, the western movie side of the business was where he was going to fit in and quickly he made a mark for himself in a series of westerns films, both major and low-budget, playing bit parts. The first thing that was noticeable about {font}{font:Arial}Chandler{font}{font:Arial} was his nice height that gave him an impressionable imagery. About the time he signed on with Paramount Pictures in the late 1920’s, he met fellow Montanan Gary Cooper, who like {font}{font:Arial}Chandler{font}{font:Arial} was just getting his career started. However, it would be {font}{font:Arial}Chandler{font}{font:Arial} who score big first, getting a break to appear in some high profile projects as first a supporting player. Surprisingly, {font}{font:Arial}Paramount{font}{font:Arial} placed {font}{font:Arial}Chandler{font}{font:Arial} in a variety of subject matter, not just regulating him to the western genre. This is how he was able to movie up the casting ladder at {font}{font:Arial}Paramount{font}{font:Arial}. Meanwhile, his buddy Gary Cooper was still sort of being held back, waiting for a spot in some good and highly polished motion picture.{font} {font:Arial}Just as {font}{font:Arial}Chandler{font}{font:Arial} was on his way to becoming a possible major star, “talking pictures” were on they way in. By that time, {font}{font:Arial}Chandler{font}{font:Arial} had appeared in about six major films and he looked forward to a stab at sound. This was now the era of panic among the studios, because sound was a whole different game and would require a bit of control and a capricious quality to stand out. In this category, Gary Cooper was efficient, well over others who ended up losing out on a career to move ahead. In the case of {font}{font:Arial}Chandler{font}{font:Arial}, his voice was fine, but apparently, the studio was looking for something more imposing and voices with deeper overtones. There was also a bureaucracy at the studio that had favorites and would only feel comfortable with those individuals believed to have an overwhelming amount of star power for this new era of sound. {font}{font:Arial}Chandler{font}{font:Arial} had a nice boyish look, but not the imposing quality of Cooper. In the long run, {font}{font:Arial}Chandler{font}{font:Arial} found himself out of the framework of this new policy that would in affect change the whole course of motion pictures. It was then decided to have him move over to the low-end of studio production and perhaps with time and experience, he might get back into the major leagues. In all actuality, his major film career was short lived as he was up against Cooper and others at {font}{font:Arial}Paramount{font}{font:Arial}. So, he entered the field of what he knew best, his western roots and he was back to riding a horse and shooting a six gun. The studio also offered him lead roles in various serials.{font} {font:Arial}Many of {font}{font:Arial}Chandler{font}{font:Arial}’s early silent films are lost and several early western “talkies” he did at the beginning of the 1930 decade have vanished. His career during the early part of the decade seemed solid enough, until others entered the field, such as the likes of John Wayne, who unlike Chandler, acquired a following of fans and became a B-Movie western star. By the time {font}{font:Arial}Paramount{font}{font:Arial} dropped {font}{font:Arial}Chandler{font}{font:Arial} off their roster of main players, he was forced to move into the realm of independent, low-end production, never really being able to achieve a high-end status to work in B-Movies. This isn’t to say that {font}{font:Arial}Chandler{font}{font:Arial} was a “has been” or “washed up,” he was now just a working actor for hire. Luckily, his hard working reputation was able to stay connected to his once home base of {font}{font:Arial}Paramount{font}{font:Arial}, when director Cecil B. DeMille, would cast {font}{font:Arial}Chandler{font}{font:Arial} in several of his films, giving him bit roles. From that time on, {font}{font:Arial}Chandler{font}{font:Arial} drifted between his B-Movie status and an occasional major film. Most of his work in major films would be for unaccredited roles. The 1930 decade would have to be considered his most prolific period for motion pictures. At this stage in his life, his career in the movies, for whatever it was worth was all he wanted to do, despite having lost out on a chance to hit it really big.{font} {font:Arial}It wouldn’t be until the advent of television production, {font}{font:Arial}Chandler{font}{font:Arial} was able to get back some deserved respect or at least be more appreciated. Even though he was never a trained actor to say the least, he did learn his craft and this I think says a lot to how in those days past, an individual could achieve skill by simply having a lot of on the job experience. When viewing an early “talkie” of his, one can clearly see a sort of stiffness to his acting. Perhaps this may have been the main reason why he couldn’t be so easily considered a major player. By the late 1940’s all of these restrictions for {font}{font:Arial}Chandler{font}{font:Arial} changed, displaying a good amount of fortitude that hadn’t been there earlier for him. In 1949, {font}{font:Arial}Chandler{font}{font:Arial} was cut a good break by his good friend Clayton Moore, the legendary star of “The Lone Ranger” television series. The program had just gotten underway, when {font}{font:Arial}Chandler{font}{font:Arial} joined in to make various appearances during the first and second season. By this time, without any doubt, {font}{font:Arial}Chandler{font}{font:Arial} was a natural at his craft, fitting in so smoothly to this new form of quick entertainment. If anything could be said about television, it was in some ways a throwback to the days of B-Movie production and those adored action packed serials. In no time, {font}{font:Arial}Chandler{font}{font:Arial} was in demand, but he was also making plenty of rounds at the major studios, working steadily as a bit player and an occasional supporting one. Yet, it would be his work in television that afforded him the best opportunities and exposure. This would be the time in his career that he could take on just about any sort of role for television. It’s hard to believe just how much time and effort {font}{font:Arial}Chandler{font}{font:Arial} was putting into this career! Today, some fans of {font}{font:Arial}Chandler{font}{font:Arial} debate on just what area he achieved the most, be it motion pictures or his work in television?{font} {font:Arial}Oddly, as {font}{font:Arial}Chandler{font}{font:Arial} became such a recognizable figure on television, he would never appear as a regular long enough on a steady weekly series to co-star in. Of all the TV series he appeared in, at least four were his personal favorites. It was on these four programs, he did have something of a reoccurring role. They are: “Have Gun – Will Travel,” “{font}{font:Arial}Cheyenne{font}{font:Arial},” “Maverick” and the one he probably cherished the most, “Gunsmoke.” It shouldn’t be such a surprise, that these programs were westerns and it’s only fitting or a sort of tribute to a man, who became one of the most revered and respected individuals among those many others he worked with. Over the long haul {font}{font:Arial}Chandler{font}{font:Arial} worked in television, he rightfully became a major source of experience and support to the numerous western TV shows he appeared in. Often, when working on a program, the writers, producers, directors and especially the actors consulted with him! This I think says it all and gives {font}{font:Arial}Chandler{font}{font:Arial} a tremendous amount of professional clout. I know for a fact there were many major stars he worked with that were in some form or fashion in awe of him, only because he was there, at the very beginning of when this profession was born and for that he was and remains within this historical context, a beacon of motivation to what it takes to make it all worthwhile in this business of entertainment. {font}

Nothing was edited out of “Citizen Kane,” once the finished print was ready for release. If there had been any changes made, Robert Wise, who edited the film would have said it soon enough, before he passed away!! Of course, Hearst did attempt to suppress any distribution of the film. When RKO and its studio head, George Schaefer refused to adhere to the demands of stopping the film’s release, Hearst then pressured MGM’s Louie B. Mayer to intervene. Mayer offer to buy the film from Schaefer or pay its total cost, if Schaefer would agree to destroy the film. Throughout all the years since “Citizen Kane” first appeared, Orson never admitted that the story was pattern after the life of Hearst. No matter how silent Orson remained on this issue, there wasn‘t anybody at the time in Hollywood, ever able to believe the film wasn’t about or based somewhat on Hearst. The issue of whom the film was all about, rested on the shoulders of Herman J. Mankiewicz, since he wrote the original storyline, leading to a first draft of a script. Most fans of "Citizen Kane" are aware that Mankiewicz had known Hearst, through an introduction by fellow screenwriter, Charles Lederer; nephew of Marion Davies. Once Hearst got word that Mankiewicz was involved with the film, this gave him strong reason to be hostile and fearful that the movie was a shadowy reflection of his life! About “Rosebud” . . . Well, as to what it really represented is centered around what anyone wants to accept or believe, surrounding those various stories, most of which are pretty much hearsay. This rumor of the phrase being related to the genitalia of Marion Davies only began years after many associated to the production were dead. At this point, nothing can be revealed or proved as to whether or not the phrase or word is related to Davies. One story has Mankiewicz and Hearst, terribly drunk after an all night party at San Simeon, leading to Hearst bragging to Mankiewicz about Davies and how erotic she could be. Another tall tale has Charles Lederer as the one passing on all the information to Mankiewicz. Others said it was Charlie Chaplin, who was reputed to have had a long lasting affair with Davies, on and off, while she still continued to hold on to her relationship with Hearst. There are all sorts of possibilities to this situation, but again, nothing concrete will ever shed any light as to what are the real facts behind this “Rosebud” phrase. If anything can be said about “Rosebud,” it was the total invention of Mankiewicz, written into his original first treatment of the script. He based the whole ordeal of the sled on an object he once cherished, believed to be a bicycle. The first half of the film, is actually more related to the personal childhood of Orson and it’s probably in this area where Orson gave his best contribution to the original storyline as it was first written by Mankiewicz. Once the character of “Charles Foster Kane” becomes an adult, most of this area is covered by what Mankiewicz knew about Hearst. So, from a deep level of observation, the origin of the phrase “Rosebud” doesn’t really matter, since the situation relates more to a symbolic Freudian issue. Anything said that’s associated to Davies and “Rosebud” just adds more fuel to the intriguing aura of the whole “Citizen Kane” cult and it’s a very, very big one!

> {quote:title=lzcutter you wrote: > }{quote}I'm with you on Wild Bill. I've been a big fan of his for more years than I can count. I saw *The Ox-Bow Incident* on the late show when I was much, much younger and have been on Team Wellman ever since. {font:Arial}Perhaps the most incredible story surrounding “The Ox Bow Incident” was how the whole idea for the movie came to be. This is just one of several versions to the story: Upon hearing about and reading the 1940 novel by Walter Van Tilburg Clark, Bill Wellman went wild (to pun a line!) and crazy, definitely wanting to create a film version of the story. However, the rights to the book were in the hands of a {font}{font:Arial}Hollywood{font}{font:Arial} outsider, who wanted desperately to break into the motion picture business. This guy had what turned out to be one of those hysterical, legendary plans to make the movie version. He envisioned and I kid you not, none other than voluptuous Mae West to star in the motion picture! He went all over {font}{font:Arial}Hollywood{font}{font:Arial}, from one major studio to the next, trying to sell his idea of having Mae at the opening of the film, riding a horse down a hill to the scene of a group of cowboys having an open-pit barbecue! The rest of the storyline would be anybody’s guess! {font} {font:Arial}It was all too obvious to Bill Wellman that this fool or idiot wasn’t going to get anywhere with this idea of making a huge mockery of a finely written novel of the decade. Bill had to simply wait and bide his time for a chance to get his hands on the rights to the novel. The big opportunity came one evening, at a party in the {font}{font:Arial}Hollywood{font}{font:Arial} hills. There, Bill found this hopeless scatterbrain of a guy, drinking heavily and still having made useless rounds at the various studios. Only by this time, he now had given up on his idea for “The Ox Bow Incident” and was trying to sell other zany ideas; all his attempts weren’t getting him anywhere near or into a studio front office. Bill politely approached the guy and struck up a delusive conversation that led right into Bill asking if he still had the rights to “The Ox Bow Incident.” Perhaps it might have been the liquor, mixed in with a bit of frustration that resulted towards a complete turn-around on the attitude of this hopeless wannabe movie-maker. Both cut a deal that evening to meet at 20th Century-Fox and the rest is without doubt, merciful, rewarding, inspiring, classic movie history. There are some situations in {font}{font:Arial}Hollywood{font}{font:Arial} that do turn out to make sense and circumstance reaches a reasonable reality. If there is anything grand and wonderful to say about Bill Wellman, he strived to be as realistic about his career as possible. The only exception to this rule came in 1944, when Bill directed a moderately fictitious account of showman William Cody, entitled "Buffalo Bill." The film-bio was originally the idea of writer Ben Hecht. The talented and popular Hecht, conceived the motion picture as an expose' on the real "Buffalo Bill," who was nothing more than an entrepreneur, with no actual experience of having been such a daring adventurer of the wild west. Hecht simply wanted to give an observation of how a show business figure can deceive the general public into creating what essentially turned out to be an early 20th Century, urban myth. Everything seemed simple enough for Bill to comprehend on what Hecht had placed into the script. However, Hecht was for all intended purposes one of the biggest and most grandiose alcoholics of show business. Hecht had strange and outrageous, unpredictable habits. After finishing the script and ready for consideration for 20th Century-Fox, Hecht showed up at Bill's home, script in hand and tore it to pieces! During the shredding of the script, Hecht drunkenly remarked, "We can't do it to him Bill . . . We just can't do it." Bill Wellman went ahead with the project anyway, casting one of his favorite actors in the lead role, Joel McCrea, opposite lovely Maureen O'Hara and Anthony Quinn in the role of the indian war chief, "Yellow Hand." It was one of the few major western films, shot in Technicolor. The movie did manage to covered some of the so called controversies surrounding William Cody, but stayed pretty much on an upbeat atmosphere. The motion picture was a success, having achieved a generally good box-office response. Yet, Bill Wellman would be forever haunted by the initial, formative script of Hecht that would have shed a totally different light over the whole imagery and perhaps history of a major entertainment celebrity. It turned out to be one of those events that the legend had to win out over the reality and that's so typical show biz. William Cody would have completely understood and have been thankful for keeping alive his myth! B-) {font}

> {quote:title=Fred you ask:}{quote} > > Weren't there other pre-1932 South Seas movies with island dames and white guys? Seems to me this type of mix was not considered to be bad miscegenation. Actually, this is correct. There were already several silent films produced about a South Seas romance or conflicts of culture. {font:Arial}What can I add or say about the immortal Robert Flaherty? Well, his association with “White Shadows of The South Seas,” as having become one of the most celebrated documentary filmmakers of his time was important. However, the film isn’t really what some fans might feel is a docudrama, because MGM added the romantic storyline as directed by W. S. Van Dyke. This was on all counts, considered a joint effort by one standard studio director, as opposed to a documentary one. Naturally, Flaherty photographed most of the long-shots and island life of montages and backgrounds, while Van Dyke handled the dramatic romantic elements between the two main characters. I think it’s safe to say that the novel of which the movie was based upon was in some ways influenced by “Bird of Paradise.” The novelist of the story Frederick O’Brien was a good friend of filmmaker Robert Flaherty. Both had already produced a “{font}{font:Arial}South Seas{font}{font:Arial}” documentary in {font}{font:Arial}Samoa{font}{font:Arial}, entitled “Moana.” This film had been sanctioned by Paramount Pictures in 1926 and had moderate success. As the Paramount project commenced, Flaherty found the island natives as not being so interesting or having any conflictual viewpoints as to their way of life. It was then decided the only thing to film was a native ritual of a boy’s passage into manhood. Writer O’Brien had lived for a long time in the South Pacific, thus leading to his being considered an authority on the island region. Perhaps the most famous of all situations that resulted from the release of “Moana” and other films of its type was the term “documentary” finally becoming the defining titled or factor to the film genre! {font} {font:Arial}Many critics and those in {font}{font:Arial}Hollywood{font}{font:Arial} at the time that “Moana” was released believed that Flaherty just might break into mainstream, commercial filmmaking. However, Flaherty could have never stayed fixed or trapped into this area of motion picture production in {font}{font:Arial}Hollywood{font}{font:Arial}. Wisely, he remained out of this framework of the major studio system and chose to roam about the world, filming cultures of interest. By the late 1920’s, Flaherty was probably the most famous documentary filmmaker of the western hemisphere, with his greatest rival being Scottish John Grierson, who by that time had become the biggest of all advocate of documentary filmmaking. It wouldn’t be until the arrival and international success of Eisentein’s film “The Battleship Potemkin” that the docudrama finally came into its own and thus led to Hollywood and the studio system, having a bit of curiosity towards this new genre that historically had a tremendous amount of propaganda and an ability to create visual interpretations of societies across the globe. In a technically marketing sense, Hollywood could have never really been so prone to dwell heavily into the docudrama field and for the most part, would remain dominate outside of America. The coming of the “Depression” gave a slight change of consideration towards the documentary. Especially, when the U.S. Government invested in scores of documentaries, funded by the NRA, thus creating some of the finest film works of the genre that are today considered classics and a visual historical record of the era. {font}{font:Arial} You make an interesting and valid comparison concerning the scene of the drowned boy in “The Shadows of The South Seas,” and that of the one in “The Treasure of Sierra Madre.” The basic point to this scene is that the use of a mirror to check for breathing was a common occurrence. So, it wouldn’t be so unusual for the movie audiences at the time of the film’s release. Nor, did director John Huston, who himself was a real adventurer, have copied the scene for “Sierra Madre.” What would be fascinating, if it could be done is to research just how many films might have utilized this method of saving a drowned person. As usual Fred, you’re “The King” on this web site, when it comes to imaginable, stimulating subject matter about the movies! Keep up the great work!{font}

> {quote:title=ValentineXavier mention: > }{quote}I'm holding out for *George Washington vs the Man from Planet X*. Yeah, I forgot about the father of our country. He too deserves some consideration for this subject! :^0 Anyway, my advice to the fanatics of this Lincoln horror movie is what Bill Shatner once said to a crazy fan: "You look like you're almost thirty . . . Get A Life . . . Move out of your parents basement . . . Be serious for a change." :|

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

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

> {quote:title=finance you ask me: > }{quote}Did Elvis REALLY choreograph the dance routines in JAILHOUSE ROCK, as he is given credit for? Well, yes and no. He obviously had some professional help in putting the dance number together. After all, he was new to the game and what was actually done was simply Elvis asking both dancers and the two choreographers at MGM that helped him, to give a simulation of his various body moves. In a technical way of thinking, there isn't much of any real dancing in the scene. There was just a lot of typical gyrations, the fans of Elvis dug so much.

> {quote:title=allthumbs . . . "organic"}{quote} {font:Arial}There is good reason to feel that some of the songs, utilized in “The Girl Can’t Help It,” are as you term, “organic.” However, and this is a very, very big: HOWEVER, the film does have tremendous amount of legitimacy on Rock & Roll terms, due to appearances by Eddie Cochran, Gene Vincent, Fats Domino and the mighty Little Richard. The other performers in the film were the usual “crossover acts,” performing between the current “mild” pop music trends and a bit of loosely orientated Rhythm and Blues, with a bit of jazz brought in. This was done as a simple marketing ploy to adhere towards the fans of these other music genres. The film best represents various styles of the music that were in some ways branching out into a different area, away from the post-war, big-band era. This diversity the film has in music terms, paved the way for Rock & Roll to find its acceptance. Therefore, while “Jailhouse Rock” is a good example towards the sort of “hard-core” music associated to Rock & Roll, it comes a year later, after “The Girl Can’t Help It” and even Alan Freed’s “Rock Around The Clock,” and there is no other reason to feel that film has no purity to the music. Both these films simply predate “Jailhouse Rock” and of course, the second film Elvis appears in, “Loving You.” Technically speaking, just because it’s Elvis, in two of his very first Rock & Roll movies, neither of these films can be so easily termed as the first real, Rock & Roll movie. These two Elvis ventures were more or less, musical films.{font} {font:Arial}What gives “Jailhouse Rock” an overwhelming presence is the idea that the biggest Rock & Roll performer of the day is finally given a musical, cinematic showcase to the style that has plunged him to fame. The storyline of the film also bares a tremendous connection to the regional factor of the music, unlike any of the previous films mentioned; even certain low-budget, Rock & Roll drive-in movies that most fans aren’t even aware of existed and were produced a year in advance of “Jailhouse Rock.” In the film, Elvis is pretty much playing a character close to his young past, growing up in {font}{font:Arial}Tennessee{font}{font:Arial} and connecting strongly to this defiant, resistant component of the music that strikes chords of apprehension, away from a known standard or style of music. When compared to the second film Elvis made, “Loving You,” here we do have some “organic” musical elements that are not as pure as what is presented in “Jailhouse Rock,” because “Loving You” drifts within the Country/Western music genre. Also, the aspect of utilizing Black & White photography was clever in giving “Jailhouse Rock” its gutsy, raw and rebellious atmosphere; despite what some might feel should have been shot in color. Usually, most fans of Elvis debate over which film, “Loving You” or “Jailhouse Rock,” best represents his performing skills and association to Rock & Roll. {font}

> {quote:title=finance you wrote: > }{quote}A resounding YES for Eddie Cochran. He'd be a lot better-known if he hadn't been killed so young. "C'mon Everybody" is one of the all-time rockers. {font:Arial}{color:black}I have to agree with you . . . What fans first don’t realize about Eddie Cochran is that he never really had the direct, regional connection to country music and its subsequent extension of “Rockabilly.” His love of for “Rockabilly” came from the time he was a young boy, listening to and then experimenting with the music. While born in {font}{font:Arial}{color:black}Oklahoma{font}{font:Arial}{color:black}, his family moved to the northern fringes of {font}{font:Arial}{color:black}Minnesota{font}{font:Arial}{color:black}, where he was raised. Later on, Eddie and his family moved to {font}{font:Arial}{color:black}Southern California{font}{font:Arial}{color:black} and it was there his professional music career began to get noticed. Since he came from a music minded family, he and his brother formed a singing act; they were early on, something like the later success of “The Everly Brothers.” During those early years as a teenager, on the road, touring from one town to the next, his recording career was somewhat established with a few small, out of the way record labels. His big break came, when the rather good, solid label of {font}{font:Arial}{color:black}Liberty{font}{font:Arial}{color:black} Records signed him on as a solo and Eddie had to relinquish his professional partnership with his brother.{font} {font:Arial}{color:black}Eddie was on all counts, a real, technically honest guitar player, unlike many of his Rockabilly contemporaries, who simply used the instrument as a visual prop! Most of this blame of a deception, concerning a singer with a guitar has its roots from the origins of country music singing stars; especially coming from legendary Hank Williams. Most of Eddie’s early and later on big hit recordings had him playing the guitar that in some aspects made him far and way highly exceptional to having an ability others in the music field simply didn’t have! I could name a few of those early Rock & Roll singers who masqueraded around with a guitar in hand, but it’s best to simply let it go and be rational to the point that everybody had a right to have a career, even if it meant a little bit of show biz chicanery! {font} {font:Arial}{color:black}For all his talents, perhaps his greatest will be that of a songwriter. I’ve always believed, even though Eddie would be considered a singer first, his real love was creating the music and songs of the various hit tunes that pelted the music charts across country. Even as he started out in the music business, he wrote most of the songs he performed with his brother, later as a solo act, leading right up to his hitting the big time. Once Rockabilly and its musical format began to be absorbed to become what we now term as Rock & Roll, Eddie was fast becoming one of the music genre’s finest exponent. Upon living and working in {font}{font:Arial}{color:black}Southern California{font}{font:Arial}{color:black} and so close to Hollywood, it was enviable that Eddie would get caught up in a side gig of motion pictures. He and his band were usually hired to play background music in some low budget films, mostly exploitation stuff for the teenage and drive-in movie circuit. Meanwhile, his recording career was more or less held within the confines of the West Coast and parts of the Southwest. At about this time in his career, Eddie began to create an image for himself, partially due to his agent, insisting that he appear more rebellious, raw and suggestive to the point of being unconventional. At the start of his singing career, Eddie was pretty much clean cut looking and this I think has its connection to perhaps the border line between country music and what Rockabilly represented.{font} {font:Arial}{color:black}Then, it happened! All of sudden, the exploitation movie producer Boris Petroff, who Eddie had been working with, suggested that Eddie check out a movie that was being planned over at 20th Century-Fox, by a good friend of Petroff (and mine!) director Frank Tashlin. I now believe that as Boris saw the rise of Elvis Presley, going towards the big national scene of show business, he must have felt Eddie had the same potential. What gave Eddie a slight edge, aside from the whole “Elvis Issue,” came with the emerging popularity of his recordings. Little by little, Eddie’s reputation was spreading across the country, especially by way of the many music tours he was then making with various bands, finally reaching the East coast and getting a spot on various television Rock & Roll dance shows. Upon his return to California and what had turned out to be a successful music tour, Eddie signed on at 20th Century-Fox for a singing appearance in the now legendary and cult film classic, “The Girl Can’t Help It.” This Frank Tashlin film is by all counts, the first major, widescreen, stereophonic, color produced motion picture to showcase Rock & Roll performers. It’s with Eddie’s rendition of his hit song, “Twenty-Flight Rock,” in the movie that his Rock & Roll career simply took off towards the heights of glory; this particular song would have incredible legendary status as having been the one, Paul McCartney played one evening to persuade John Lemon into forming a band and led to astounding Rock & Roll history. The exposure the motion picture gave Eddie, set down the course he was about to take for himself and his music!{font} {font:Arial}{color:black}There would come, a rather funny situation to Eddie’s appearance in “The Girl Can’t Help It.” Eddie’s imagery appears to have some resemblance to what Elvis looked like at the time. In fact, in the film, Eddie’s appearance is on a television network music variety show, in the vane of say, “The Ed Sullivan Show,” where Elvis made his national impact “live” and would eventually become the biggest singing star of his generation. There’s no doubt that 1956 and the year Eddie made it to a major film release, began the turning point for Rock & Roll. Eddie was now faced with a decision to make on just how and where he was going to take his style, imagery and blend it successfully with his music. In an ironic twist, Elvis and Eddie went national at around this same year; Elvis also made his film début in “Love Me Tender.” The huge surge in popularity of Elvis would have a profound effect upon just how Eddie would be perceived professionally and by the many fans he was acquiring.{font} {font:Arial}{color:black}Although Eddie would have a string of hit songs on the music charts, the following year of 1957, his film career went back to being held on a low-budget perimeter. Eddie made his second film appearance, in the low-budget Warner Brothers film, “Untamed Youth.” While this wasn’t exactly a highly rated sort of production, it does have some very interesting things about it. The movie starred beautiful blonde bombshell, Mamie Van Doren and a cast that would later go on to have some notoriety in television, such as Robert Foulk, Jeanne Carmen, Don Burnett, Lori Nelson and especially actor John Russell. Also in this movie is a lovely little lady that would make two major film appearances, besides co-star in a classic cult horror film that same year. She was the captivating Yvonne Lime! 1957 was a banner sort of year for Yvonne, since she appeared in a supporting role for the wonderful dramatic western film “The Rainmaker.” Her second major film appearance was a nice supporting role, opposite of all people, Elvis in his second major film, “Loving You.” And, of course there was the cult horror film, “I Was A Teenage Werewolf.” I’ve always felt that Yvonne had some remarkable potential, both as a possible beautiful movie star and as a competent actress. Why she never was able to rise above her secondary, acting status will remain a mystery or just one of those things about show business. {font} {font:Arial}{color:black}Well, as for Eddie, appearing in “Untamed Youth” was something of a big image changed for him. He was obviously portraying a restless, spirited troubled teenager, with a talent for music and performing. He’s pretty much seen as this T-shirted, denim wearing country boy. In the film, Eddie does a rendition of his song, “OOBALA BABY” and a forgotten tune entitled, “Cottonpicker.” The idea of the movie based around a corrupt reform school work camp, managed to have some appeal for younger audiences. This was the sort of film that showed up in small neighborhood movie houses and on the typical drive-in circuit. It wasn’t such a surprise to feel the film would do nothing to launch Eddie into the mainstream of motion pictures, as was currently occurring for Elvis! It was right after this film Eddie was placed on what I call “The Elvis Binge.” This time, he had a complete make-over in everything from his looks, outfits and the sound of his music, especially his singing! One of his biggest hit songs that year, “Sittin’ In The Balcony” was an obvious swipe at what Elvis was creating on records. But, along the way of the following year 1958, Eddie scored a huge and perhaps his most famous hit with “Summertime Blues!” No doubt about it, this song set into motion a standard of Rock & Roll Music to come that has in some ways never left us! This is also considered one of the best crossover tunes, utilized by Rock & Roll and Country/Western Music performers. Some have even considered the tune a teenage anthem! It’s during this period of time, Eddie is not only writing most of the songs, but performing as the lead guitarist! I remember telling a friend, having seen Eddie perform live, I replied, “Man, what you get here is as real as it can get!”{font} {font:Arial}{color:black}Most of us thought in 1958, when Elvis got inducted into the Army, Eddie might be the one to take over reins left behind. In just two years, he was at the top of his profession. However, from a technical and visual sense, Eddie wasn’t exactly blessed with the strikingly imposing techniques of Elvis. Although, Eddie was made to emulate Elvis in looks and a performing style, he wasn’t as tall and his copying Elvis to some extent made him sometimes appear more of a contrived singing act, lacking a bit of originality. Looking back at his career, for the most part, Eddie couldn’t free himself of what was this boyish and cute appeal. Elvis would manage to move on and get away from a puerile connection. Yet, it was a whole different situation when just listening to Eddie’s best, original recordings that he stood apart, amid those who were towering figures to Rock & Roll Music. In listening to his tunes, there is this gutsy, informal passion translating extremely well and whatever juvenile personification as no bearing. Despite what would be considered a hampering aspect to marketing Eddie, he was like his good friend and fellow performer, the immortal Buddy Holly, a musician who immersed myself towards what he could do with the music first, never really wanting to create a rumpus, rebellious hype relating to a means of transposing the music. A lot of these problems Eddie encountered with his career, stemmed with trying to stay successful from within a popular marketing sense of view. This is why he had no choice in the area of preying upon the image of Elvis. The same might be said of Fabian and Ricky Nelson, who were also popular shadowy reflections of “The King of Rock & Roll.”{font} {font:Arial}{color:black}Eddie’s last film appearance and probably last chance to get a solid foothold in motion pictures came with the 1959, Alan Freed Rock & Roll movie, “Go, Johnny Go.” The movie had the usual performers associated with Freed. Meaning, the film was more of an extension of his live music concerts. What made this film rather different than others Freed had associated himself with was a blatant promotion towards singer Jimmy Clayton, whose big hit tune, “Just A Dream” had already lunged onto the top 20 charts. Eddie, who was definitely more talented than Clayton, had to settle on a film appearance as himself, singing what was a crazy, silly song entitled “Teenage Haven,” that simply employed the used of the melody to that classic folk song, “Home On The Range!” This was most ridiculous and not worthy of Eddie’s songwriting abilities. However, there’s always been this other argument that “Love Me Tender” was an updated version of another folk song, the Civil War ballad “Aura Lee.” So, it’s been rather common for the music business to reevaluate a familiar tune to be revised in some way. By this time, Eddie appears to be totally caught in this Elvis aura, as seen in “Go, Johnny Go.” There was also a national appearance of Eddie on Dick Clark’s primetime Roll & Roll variety show that kept him in the league of top 10 or so performers in the current music world. Unfortunately, Eddie wouldn’t have the luxury afforded to other Rock & Roll performers of having a variable motion picture career. He simply went back on tour and into the recording studio.{font} {font:Arial}{color:black}The year of 1959, would have a heavy-hearted and frightening affect upon Eddie. Early that year, two of his best friends, the great Buddy Holly and Richie Valens, while on tour were killed in a plane crash. In a pathetic circumstance, from that time on, Eddie was haunted by an afterthought that he too might end up dying young. Shaken badly by the tragedy of two popular singers he had closely known and worked with, Eddie then wanted to quit his touring and simply get back into the recording studio, writing and cutting the best music possible. Unfortunately, like it was for some of those early Rock & Roll performers, he unwisely spent too much of his hard earned money. There were also issues relating to the typical payola or kickback system of the music industry that at times could drain a performer’s earnings, resulting in scores of debts. Eddie had financial obligations to both his family and what he owed to living the fast paced lifestyle, today still so common of most Rock & Roll stars. He had no choice but to remain out on the road, touring and making as many personal appearances as he could schedule. This situation led to his accepting a good solid offer from a British theatrical agency to have Eddie tour the {font}{font:Arial}{color:black}United Kingdom{font}{font:Arial}{color:black} during 1960.{font} {font:Arial}{color:black}How ominous that first year of the 1960 decade would be to the world of Rock & Roll. The premonition of an early death that shadowed the confines of Eddie’s mind came to pass . . . Upon touring in England, late on a Saturday evening in April, while riding in a taxi, in the area of Chippenham, Wiltshire, the speeding taxi lost control and crashed into a lamp post, severely injuring Eddie, due to having been flung out of the taxi, lying on the street. He was taken as quickly as possible to the nearest hospital, but sadly he died from his head injuries. His body was flown back to {font}{font:Arial}{color:black}California{font}{font:Arial}{color:black}, where he was laid to rest at {font}{font:Arial}{color:black}Forest{font}{font:Arial}{color:black} {font}{font:Arial}{color:black}Lawn{font}{font:Arial}{color:black} {font}{font:Arial}{color:black}Memorial Park{font}{font:Arial}{color:black}. Since his death, countless fans to this day have paid their respects to him. Back in {font}{font:Arial}{color:black}England{font}{font:Arial}{color:black}, a plaque was also placed on Rowden Hill, where the accident occurred. The loss of Eddie Cochran was hard-felt everywhere someone had a love of the music he helped create and become part of our culture. If I were to really get mysterious about Eddie Cochran, it would be associated to his only appearing in three motion pictures, the same number as James Dean . . . Both died in a car crash . . . And, both have become symbols to their respected professions . . . One as a music idol and the other for motion pictures. {font} {font:Arial}{color:black}Eddie’s legacy is today one of the greatest of them all! While to most he’s not as famous as others of his era, he remains to many in the music business and Rock Music devotees, a divine sort of inspirational figure; just as his good friend and colleague, Buddy Holly has become. The passing of these two music giants, so early in their careers has at times meant that had they lived on, perhaps the music genre would have taken a different pathway. Yet, for all intended purposes, Eddie would be one of the biggest of all influences to a British band that first began performing out of {font}{font:Arial}{color:black}Liverpool{font}{font:Arial}{color:black}. Later on, this little {font}{font:Arial}{color:black}Liverpool{font}{font:Arial}{color:black} group would dominate the world of Rock & Roll music; and just as Eddie had done, pump new life into the genre! So, Eddie has in so many ways lived on to inspire and help formulate the whole Rock & Roll era and a legacy that continues on, right up to this day. What always had made Eddie so special is his music. Unlike Elvis and others, who became admired idols to that first generation of Rock & Roll, Eddie’s called to fame will be an overall expertise to what the music was all about! So, forget about Eddie Cochran “teen idol.” He was truly a masterful creator of Rock & Roll Tunes that have lived on to be so influential and make him one of the genre’s most revered iconic figures. But for me, it was all about his musical skill, knowledge and abilities that were way ahead of others in the field, who simply played up to being an idol, while Eddie was on all counts, the real McCoy when it came to the music! Maybe one day, we might see a decent movie about how Eddie and his pioneering spirit help create Rock & Roll. Let’s hope for the best!{font} {font:Arial}{color:black}OH MY GOD! Did I say all of this? I think it’s time for me to settle down and go for a good stuff drink and make a toast to Eddie. I’ve said enough . . . {font}

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

{font:Times New Roman}Some films have two sets of stereo tracks. In this case it would be 4 or 6 track systems. Depending upon the method utilized, it really doesn’t make any big difference which multipliable soundtracks end up for the video release. Of course, many of the older films, like a Todd-AO soundtrack system or standard CinemaScope stereo tracks could be remixed for the purpose of a home theater surround sound system. You may have notice that on the jacket case of numerous DVD’s pertaining to the audio, there is everything from 2 track stereo – 3 track stereo – 4 track stereo and today’s main standard of 5.1 surround sound tracks. As for 7.1, well it's still a rarity for most Blu-ray HD releases. {font} {font:Times New Roman}According to the DVD, “Hello Dolly” was transferred with only 4 track audio; unless there's been a newly remixed version for 5.1? If the video is still only 4 tracks, this is probably not from the original 6 track Todd-AO system. As to what it could be can only be clearly answered by an engineer or somebody who has access to knowledge of what 20th Century Fox Video did. My guess would be a sort of hybrid sound track of the original, produced specifically for the video or it was the only good, practical stereo source available. There are just too many types of possibilities of how an original stereo film, produced before Dolby Labs created a standard is transferred in multipliable tracks for video. Today, there is a standard method for transferring to video, a newly produced (current) motion picture that is Dolby Digital, DTS and Sony SDDS. The older films require some remixing and a few chnages from what it originally might have been! After all, older stereo films were analog sound and not digital. {font}

{font:Arial}This is a tough category for most of the famous, Hollywood major films. Very few were filmed outside of a studio soundstage or back lot. Even if there was on location filming, like “Miracle On {font}{font:Arial}34^th^ Street{font}{font:Arial},” or “On The Town,” it was somewhat limited. And, many films made overseas won’t really count, because here too the use of a studio soundstage was routine; in whatever country the production company decided to shoot the movie. As for my choice for this category, I would go with the 1954 western, “Vera Cruz.” This movie was entirely shot in {font}{font:Arial}Mexico{font}{font:Arial}. Also for some consideration might be the 1951 MGM western, “Westward The Women.” As far as I can tell, John Ford’s “Wagon Master” was mostly shot outdoors, but some sets were utilized back at the RKO studios.{font} {font:Arial}A good example of attempting what I call “juggle a film around with its look,” or to even fool an audience about the authenticity of a movie shot outdoors was with the MGM 1946 classic, “The Yearling.” It’s pretty easy in this movie to see the difference from what standing-sets there are and then what’s obviously been shot outdoors and away from the soundstage. I often wondered about Billy Wilder’s ill-fated 1951 drama, “Ace in The Hole” that was mostly shot out in the desert and what if any scene might have been shot in the soundstages back at {font}{font:Arial}Paramount{font}{font:Arial}. So, as previously mentioned, this is a tough subject to tackle and perhaps get a lid on what production team years ago, might have sacrificed the comfortable, easy environment of a studio soundstage for what reality had to offer. Today, most movies are shot on location, at a real place! Things sure have changed. {font}

{font:Arial}In all my years, I could never figure out why Warner Brothers didn’t exactly give “The Searchers” a good degree of promotion. Yet, this point or situation really doesn’t matter now. Today, this is a film that virtually stands alone, especially as being considered the greatest of all Western Film ever made. The movie went quickly toward a wide general release, without the usual fanfare given to a major film. The publicity was for the most part, rather routine, despite some television spots and a few decent news ads in about dozen major cities. It’s been said that most Western films weren’t exactly consider high-end dramatic material for a good degree of critical praise. At best, the reviews were respectable, but nothing so sensational to be taken so seriously. What the movie did have was a solid “fan base” for both Duke Wayne and director John Ford. This is what essentially made the difference over the course of those three months the movie remained widely circulated. {font} {font:Arial}This is a film that although was become a classic and considered one of the finest films of its kind, has an extraordinary history. This all relates to at least three generations of talented producers, directors, writers and even performers of the proceeding years to come, taking “The Searchers” to heart and giving the film a stature that didn’t exists, when the film was first released! It’s fascinating to me that many people (some soon to be famous filmmakers) first saw or experienced the film in a local little theater or drive-in movie! Later on, there came the numerous showings of the film in small, out of the way, rundown movie houses! This was not a motion picture, when first released that had long lines of patrons standing outside a large theater in metropolitan areas. The long lines at many theaters came thirty years later, when those generations of young fans who first saw the film, upon becoming adults, supported its virtue and beautiful ambience. It was with time and a discernible circumstance, just like what had happened with “Citizen Kane” that “The Searchers” would receive its due respect and became a bona fide motion picture classic.{font} {font:Arial}I think this is the way it should be, or it’s just plain great to see a film that isn’t all that bad or dull, become a distinguishable work of art or the creative process can now be perceived clearly and without any need to be so particular to a point of making a fuss to find something remote and beyond a routine that is both entertaining and yet can be awe inspiring. It’s when a movie inspires one or two generations who have seen it, come to love it, then understand so many underlying meanings that makes the difference for me. Ask just about any major filmmaker today and “The Searchers” is high on most of their lists as one of the great ones!{font} {font:Arial}Not long after the movie’s first run, “The Searchers” also was famous for having become a cult film favorite. This is where the fan base for the movie really grew, unlike for no other Western film before or since! Even years after the film’s release and the stories behind its production were made public, simply added more to its allure and popularity. The film’s background is now of a mythical status! Perhaps the greatest of all stories about the movie is that of Duke Wayne sort of dedicating his performance to his mentor and idol, actor Harry Carey, who had befriend {font}{font:Arial}Wayne{font}{font:Arial} early in his motion picture career. In fact, the whole Carey clan was on hand during the making of the movie, as were many others who were closely associated to John Ford and all of his skill and mastery to what might be considered the finest motion picture director of classic {font}{font:Arial}Hollywood{font}{font:Arial}. {font}

> {quote:title=finance you ask: > }{quote}Has anyone seen the film FM? I only know the Steely Dan title track. Doesn't it have a rock soundtrack? The movie "FM" absolutely has a complete soundtrack album! It was one of the best selling albums of its time. The record album even won the 1979 Grammy Award for "Best Engineered Album" of a "Non-Classical" recording. The two most famous and now immortal tunes from the movie and soundtrack are "We Will Rock You" and "Life's Been Good." Some of the finest and legendary Rock artists of the period appeared in the movie. The ironic sort of twist to all of this is that the film was released the very same year as "American Hot Wax" and "Grease!" It now seems that 1978 was a very good year for Rock & Roll in the movies!

> {quote:title=Sepiatone you wrote:}{quote}It should be noted, movieprofessor, that Bill Haley and the Comets appearance in "Rock Around The Clock" betrays one fact. The guitarist who provided the still considered stellar and ahead of it's time solo was Danny Cedrone, who was NOT a member of the Comets, and provided that solo only for that song for that one time. Cedrone died tragically shortly after recording it, so it wasn't HIM in the film. I do know of this issue about guitarist Danny Cedrone. The trouble that Cedrone faced was that by 1954, he was rather old, in his late thirties and wasn't all that physically attractive to be considered visually dynamic enough as a member of a band. Cedrone was for the most part, just a good guitar player for hire, never being able to branch out on his own or even form his own band. He was always in the shadows of some other musician. Of course, anybody who ever saw or heard him play could have never questioned or argued against his talents. He just didn't know or care about self promotion or to reach beyond where his skill had taken him. Before his death, he was simply drifting from one recording session to the next. His death was something of a mystery that ended up never having been logically explained. Here was somebody who early on, helped shaped this new type of music, never to see the full emergence of the music and this pop culture he helped bring into the spotlight. > "American Hot Wax" wasn't all that great of a movie, only trying to cash in on America's nostalgic bent at the time for '50's rock'n'roll, thanks to the success of TV's "Happy Days"(which incidentally used to use "Rock Around The Clock" as it's theme song in it's first season.) Tim Mc Intire, while talented, was obviously miscast for the part, while much of the musical history it was meant to represent was out of historical sequence. Ok . . . As an overall movie it wasn't exactly classic material. What does give the movie a tremendous amount of clout was the beautifully produced concert sequence. This was truly historical, if you know and understand the music and what it came to represent! It dosen't so much matter the issue you bring up of "out of historical sequence." The whole idea was to show something of the period and make a composite of events and the various artists and styles of music. One has to take into consideration the issue of a lot of royalties and whoever else would have to be paid! The background story, even that of Alan Freed isn't important, nor the fictitious characters. What does really matter is a documentation of the real Rock & Roll stars who appear in the film!! Sure, the movie could have been a whole lot better. But then, what does it matter when you can have the real Chuck Berry, Jerry Lee Lewis, Frankie Ford and Screamin' Jay Hawkins in a movie recreating their once popular concert performances? If anything can be righly said, this is where the movie succeeds.

> {quote:title=pencilographer you replied: > }{quote}Aside from "Twelve Angry Men" (which is a great option and forefront in my mind, but one I believe most college students probably saw in high school), which one or two in your long list would you recommend the most in terms of potential for a wide variety of talking points? I am familiar with very few of them - I've seen almost none of them. {font:Arial}Other than my main pick of “12 Angry Men,” for issues relating towards a need of humanity, I would go with the 1937 version of “Lost Horizon,” simply because it was made during a time when the world was at the brink of what would eventually lead towards the Second World War. Perhaps the best dramatic and comedic choice of combining these two genres would be the classic “Sullivan’s Travels.” This is also a great film that exposes the phoniest of the movie business, as opposed to the reality that surrounds all of us. Yet, there is a very, very devastating moral point made at the end of the film or it has a rather interesting, surprised ending. This film created by Preston Sturges was way ahead of its time and one that merits a tremendous amount of discussion, relating to how society tends to see itself and attempts to function.{font}

Here's a little list of my suggestions . . . {font:Arial}They Made Me A Criminal{font} {font:Arial}Brother Orchid{font} {font:Arial}The Roaring Twenties{font} {font:Arial}Manhattan{font}{font:Arial} Melodrama{font} {font:Arial}The Talk of The Town{font} {font:Arial}Bird Man of {font}{font:Arial}Alcatraz{font} {font:Arial}Brute Force{font} {font:Arial}The Wrong Man{font} {font:Arial}I Am A Fugitive from A Chain Gang{font} {font:Arial}Sullivan’s Travels{font} {font:Arial}The Big Clock{font} {font:Arial}Beau James{font} {font:Arial}Tales of {font}{font:Arial}Manhattan{font} {font:Arial}A Slight Case of Murder{font} {font:Arial}Saboteur{font} {font:Arial}All Through The Night{font} {font:Arial}Islands In The Stream{font} {font:Arial}Quiz Show{font} {font:Arial}The Killers – both versions{font} {font:Arial}Point Blank{font} {font:Arial}Advise and Consent{font} {font:Arial}The Inspector General{font} {font:Arial}The Trouble With Harry{font} {font:Arial}Mona Lisa{font} {font:Arial}This Gun For Hire{font} {font:Arial}The Best Man{font} {font:Arial}The Gunfighter{font} {font:Arial}Lost Horizon – 1937 version{font} {font:Arial}East of {font}{font:Arial}Eden{font} {font:Arial}Well, this is as far as I’ll go . . . This is of course, just the tip of the iceberg. But for all intended purposes, my all time favorite film for this category would be:{font} {font:Arial}12 Angry Men. {font}

{font:Arial}In reference to this subject, I’ve noticed over the years that not much attention is given to the story or the two filmed versions of “Bird of Paradise.” Based on a stage play by Richard Walton Tully, when first produced created a lot of controversy, specially a charge against Tully to emerge that he had stolen the idea from another writer. Despite the legal wrangling that surrounded the stage production, it was on all counts a success and became a popular romantic drama, resulting in a series of productions that toured the country. The strange thing about the play was that its subject matter didn’t seem to be riddled with issues of miscegenation, probably due to the whole aura of a {font}{font:Arial}South Seas{font}{font:Arial} adventure and Caucasians performing the lead roles. Tully’s play also appeared within the same early decade of the 20th Century that introduced Giacomo Puccini’s famous, tragic romantic opera “Madama Butterfly.” Both productions openly dealt with miscegenation, but with heartbreaking results. It seems there was no happy ending being characteristically offered to the subject of a love affair between people of two different races.{font} {font:Arial}1932 comes and movie producer David O. Selznick decides to create a hugely budgeted motion picture of Tully’s story. Starring Dolores Del Rio and Joel McCrea as the doomed lovers, the film, like the play, caused a sensation, especially when lovely Del Rio had what for some is believed to be the first completely nude swimming scene of the early “talking-pictures” era; this was just before the motion picture code came into existence. Directed by the skillful King Vidor, the movie’s splendid production values overshadowed any hostility towards the miscegenation issue. Of course, {font}{font:Arial}Del Rio{font}{font:Arial} and just how beautiful she looked, not really appearing so Polynesian, if not, Micronesian gave the movie a rather mild atmosphere of acceptability. Audiences lined up across the country to see the movie! Selznick brought in a huge hit for RKO Pictures. He would even end up the following year using the same sets from “Bird of Paradise,” for the classic “King Kong.” Sometimes I feel, even “King Kong” might be associated to this subject . . . Or, might this idea be little too “over the top?”{font} {font:Arial}Anyway, in 1951 came a rather refurbished version of the story, this time starring Louis Jordan and the gorgeous Debra Paget as the island native girl. In support was wonderful Jeff Chandler as the island native prince, giving the best dramatic performance of the movie. This character as played by {font}{font:Arial}Chandler{font}{font:Arial} was an inserted new one to the story and did change the overall connection to the first filmed version. What would make this 1951 version appealing was the exquisite Technicolor photography that turned out to be the real star of the film! Written and directed by Delmer Daves for 20th Century-Fox, the movie was technically impressive, yet a bit tamed and subtle with its subject matter. Director/writer Daves did give some romantic passion to the script. But, like {font}{font:Arial}Del Rio{font}{font:Arial} in the first version, Paget isn’t at all so convincing to say she is understandably a native girl. Although, Paget’s skin was slightly tanned, she looked more like a contemporary Caucasian girl at the beach, dressed in a full length sarong, showing little of anything underneath; fourteen years earlier, beloved actress Dorothy Lamour showed more of herself in the sarong she wore for the 1937, John Ford classic, "The Hurricane" that would make her world famous! The visual, Pacific island culture situation for Paget in the 1951 version is probably more of a symbolic figure than a factual one. Naturally, this movie (like the first version) was a Hollywood studio production that had no choice but to deal with a certain amount of fabrication, associated to a restraint in its handling of what was obviously a miscegenation story or romance. The movie's presentation was mainly mild in its posture. In the end, the 1951 version was a tremendous tearjerker with movie audiences. Although the film received mixed reviews, it was a moderate success.{font} {font:Arial}I sort of like the 1951 version, due to the temperament of the main characters that express their passion to each other by a clever means of skillful romantic dialog. Director Daves also incorporates some wonderful close-ups of the two lovers, expressively saying more than anything so physical. Louis Jordan and Debra Paget are adequately matched on screen, but in watching the movie, one has to accept a distinctive limitation to the style of the motion picture that won’t go beyond a method of symbolic elements of the heated desire between the two lovers. It would be understandable that by today’s standards all of this is too corny to ponder. Nevertheless, the film did stretch itself as far as it could go. Perhaps the most radical element of the film, especially for the time period of the film’s release was the native island girl telling the white man, in her culture girls have a man’s baby first, before getting married to prove they are worthy! This was something that most likely made a few heads turn, during that laid-back, conservative time in American culture. Even though both film versions of “Bird of Paradise” will remain mostly forgotten by film buffs and critics, there was something of a humane element to the whole idea that began way back in 1912, when the Tully play first appeared and perhaps a change in social acceptance was on its way.{font}

{font:Arial}The ring you are asking about I believe was part of a series of jewelry Marilyn purchased or may have been given to her, during the time she lived primarily in New York City. Unbeknownst to the fans, Marilyn would sometimes wander over to Tiffany’s and Cartier’s to browse and on occasions buy an item. Marilyn actually spent a lot of time, disguised walking around the city; especially within the vicinity of 5th Avenue. Upon becoming a big star, she also kept in her personal collection some various costume jewelry that she wore in a few of her films.{font} {font:Arial}The ring as seen by your dad may also have been one of two possibilities. The first and rather controversial point of view is a diamond ring given to Marilyn by Joe DiMaggio at the time they married. The other possibility is a costume or fake ring that Marilyn cherished, believed by some to have been worn by her in the film “Gentlemen Prefer Blondes.” I’d bank on the ring being one of the Tiffany pieces from her time in {font}{font:Arial}New York City{font}{font:Arial}. What makes the whole Tiffany idea a bit intriguing for me is that legendary author, Truman Capote had known Marilyn during her time in New York. The two of them were sometimes seen together at celebrity events and parties. Truman was probably partially inspired by her to write his popular book, “Breakfast At Tiffany’s.” Truman even wanted Marilyn to star in the film version, but the role was later on handed over to Audrey Hepburn. Of course, this is only my personal theory on what ring it might have been and can’t really be proven.{font} {font:Arial}Push come to shove, it’s difficult to say just what ring Marilyn might have been wearing on that day. Most everyone associated to the film crew have passed on. Yet, she did have a good amount of both real and costume jewelry at her disposal. If anything could be said about this situation is that Marilyn knew how to dress herself up and simply look astonishingly glamorous. Anyway, Merry Christmas, Happy Holidays and Have A Good New Year! MP {font}

{font:Arial}From a historical standpoint, most film buffs and movie critics seem to agree that the opening soundtrack of “Blackboard Jungle,” with “Bill Haley and Comets” rendition of “Rock Around The Clock” was the first time a Rock & Roll song was utilized for a major film in 1955. Then, the following year came what many believed to be, the founding father of promoting the music, disc-jockey Alan Freed, with his appearance in the Columbia Pictures musical, “Rock Around The Clock.” The film was in many ways, rapidly produced, in order to capitalize on what was suddenly a major thrust into the music business.{font} {font:Arial}As to just how much insight Freed had into the production has never been fully explained. What did make the film interesting was the inclusion of “Bill Haley and The Comets,” once again performing their hit song, “Rock Around The Clock,” that became the movie’s title. Bill Haley and his band were then made the film’s headliners, being given most of the songs and a storyline of how Rock & Roll evolved to become a domineering factor to the music business and a new phenomenon, penetrating popular American culture. Besides Haley, there was probably the standout performance of the entire film, the wonderful singing group, “The Platters,” doing a beautiful rendition of their legendary tune, “Only You.” Just for the record and rather technically odd, at the time of the movie’s release and in the following years to come, there was never an official soundtrack record album made of the film!{font} {font:Arial}Naturally, the tremendous success of “Rock Around The Clock” with young audiences, paid off big for Columbia Pictures. The film’s success had made Alan Freed an international figure of show business! While Freed and a series of other Rock & Roll films were to come, suddenly at about the same time, Elvis made his national appearance and he eclipsed just about every other Rock & Roll star of the era. This was especially the case with the series of Rock & Roll movie musicals Elvis would make. Freed and Elvis would never have any sort of an association, other than Freed playing one hit record after the other recorded by Elvis over the radio airwaves.{font} {font:Arial}Then, it came!! At the end of 1956, there was the major release from 20th Century-Fox of the now cult classic “The Girl Can’t Help It.” This was definitely, the first widescreen, stereophonic, color motion picture that showcased or even examined the new music medium of Rock & Roll. Although the movie was essentially a comedy and a big promotion for screen goddess Jayne Mansfield, this was for many years the finest film to present some of the best talents available; but most of them faded away and were never heard from again. The film also did an interesting job of blending together different styles of music, such as jazz and romantic ballads with the major aspect of Rock & Roll. Most notable or memorable to the film was songstress Julie London, singing “Cry Me a River.” There was also wonderful Fat’s Domino and of course the one and only, electrifying Little Richard. Some film historians have rated “The Girl Can’t Help It” as a major cultural expression to the 1950’s, as well as aspects of how the music business was run during that time period. The director of the film, Frank Tashlin, just so happened to be an idol of mine and he was for me a marvelous filmmaker and understood elements of entertainment that were both saucy and yet there was enough good taste to his various comedy films.{font} {font:Arial}Now, moving along to the present era or not far from the past, to my opinion was the best film ever produced about Rock & Roll, the 1978, biographic story of none other than about Alan Freed himself, “American Hot Wax.” This film is one that should have received more attention, because it was filled with beautiful and creative production values. The film is also highlighted with real, major Rock & Roll stars, besides fictitious ones that are probably based on other real Rock & Roll performers. The two most famous appearances were by Chuck Berry and Jerry Lee Lewis. Their appearance in the film is historically important from a documented perspective of recreating something of their now legendary concerts, despite both singers having aged and yet you wouldn’t have noticed it! There’s been a standing debate about one of the fictitious characters in the film, as played by actress Laraine Newman. I believe, like many others that this character is based on singer/songwriter Carole King! In the title role of Alan Freed was the talented, yet tragic actor Tim McIntire. His father was popular character actor, John Mclntire. Before his untimely death, Tim also portrayed country singer George Jones in the 1981 television movie, “Stand by Your Man.” I find it rather a shame that “American Hot Wax” doesn’t get much exposure on television and there is yet no official DVD release of the film. What’s available are imported DVD versions of the film or the usual bootleg stuff made off of cable or the old VHS release of the movie. Anyway, Merry Christmas, Happy Holidays and Have A Good New Year! MP {font}

> {quote:title=Arturo wrote: > }{quote}*This gold lamé dress, pleated all over, is the one that caused a ruckus at a Photoplay Awards* show in early 1953, where Marilyn, in her first flush of fame (and probably coming from the set of GENTLEMEN PREFER BLONDES), won for (Best New?) Personality (of the Year?). MC Jerry Lewis howled like a coyote, and Joan Crawford added to the brouhaha when she publicly censured her behavior. This is to some extent correct. There is something of a fable about that golden dress. Originally, the studio had wanted Marilyn to wear the gorgeous pink gown, from "Gentlemen Prefer Blondes." Costume designer Bill Travilla objected to this idea, since the pink gown was as he always referred to "a speciality item," meaning it was never to be worn as an opulent fashion gown. Bill had to custom-stitch Marilyn into what for him was essentially a costume and nothing else. Therefore, the alterative was this other gown, Bill had designed for Marilyn, but was never worn for a film project; The somewhat gold dress Marilyn is seen wearing in "Gentlemen Prefer Blondes" is similar in style, but not as elaborate and different, because the Photoplay gown is held together around the waist by a ribbon. Marilyn did wear the gold gown from the film for a few publicity events and interviews, but no so much on a regular basis, nor did the gown become part of her personal wardrobe. It would the other golden (Photoplay) gown that she kept. The studio then came to realize that Bill was right, in that the golden gown created a bit of a sensation with the press and public at large. Marilyn would receive a lot of attention by way of this rather exaggerated response. In no time, Bill's Hollywood fashion house was flooded with orders and his career had hit the heights! Little could he have speculated, what would happen in a year or so to follow! I also have to add: TCM member "*TikiSoo"* was right to insinuating that the golden gown was not one in the same as the one worn in "Gentlemen Prefer Blondes." The award Marilyn received that evening was for "most popular film actress" of 1953. Part of the reason to getting this big Photoplay award was probably due to the mega-media coverage of her marriage to baseball legend, Joe DiMaggio. *Votes* *for this award came from* *the magazine readers*. The most popular actor winner was Alan Ladd. The Photoplay event that was covered "live" on network television was as big as the annual Academy Awards! The event was held as a banquet and not so much an awards show. This was pretty much the forerunner to how the "Golden Globe" awards are held. The annual Photoplay festivities, lasted until 1968, when this highly loved traditional fan magazine gave way to the now, infamous supermarket tabloid business.