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Everything posted by path40a

  1. Unfortunately, there is no prize for the winner (that is, if we discontinue this thread), but I will provide clues until someone correctly guesses the answer. Not Irma La Douce, Clue #12 - one prisoner cons another
  2. Since the other thread is operational now, perhaps we should retire this one. I'm not sure why we have two of these games going at the same time anyway, when one seems more than enough.
  3. I never watched "Murder, She Wrote", but I do enjoy many of her films. Something to consider, for those who may not care for the actress, Robert Osborne's Private Screenings programs are excellent, regardless of how you may feel about a particular performer. He's an excellent interviewer and he has a knack for getting a lot out of an interviewee, not only about themselves, but about others they worked with, including their directors and fellow actors. There are always several new nuggets of information for classic movie fans to learn.
  4. path40a

    No silents?

    For the past four years, in August, TCM features a different actor, actress, or star's movies each day - they call it "Summer Under the Stars". All of the regular monthly features: The Essentials, Syncopation Station, Silent Sunday nights, TCM Imports, Darkness After Dawn, and Lone Star Cinema take a backseat to this programming (much the same happens in February, when TCM features Academy Award nominees, exclusively, in lieu of their regular scheduling format). Things will return to normal in September.
  5. Kay Francis stars with William Powell; Warren Hymer plays the law, McHugh and the great Aline MacMahon play the cons who help Powell on-board the ship.
  6. songbird, I've seen neither of those films, so I can't provide any info. I understand what you're saying about Susan Hayward too, but I like so many of her films (including those, regardless) anyway. They Won't Believe Me (1947), The Lusty Men (1952), I Married A Witch (1942) - a comedy, The Fighting Seabees (1944), and even Ada (1961) are less emotionally draining to watch than her Best Actress Oscar nominated performances. If you haven't seen The Lusty Men or Ada, I'd recommend them, FWIW.
  7. cinemabuff, do yourself a favor and watch the original, One Way Passage (1932), this afternoon at 6:45 PM ET even though you just watched (and enjoyed) the remake, 'Til We Meet Again (1940). It will be interesting to see what you think, since I watched them in chronological order. The first film is much tighter (only 68 vs. 100 minutes long), and better IMO ... and Frank McHugh is in both! On my site, I've listed the original among my essentials, but not the second (even though I enjoy it too, and love Merle Oberon).
  8. Don't forget the TCM premiere of Private Screenings: Angela Lansbury tomorrow night; it should be a great addition to this wonderful series! In fact, the first week of Summer Under the Stars is something to behold: August 1 - Angela Lansbury including several great films like Kind Lady (1951), The Manchurian Candidate (1962), The Picture of Dorian Gray (1945), and The World of Henry Orient (1964). Gaslight (1944) airs on 8/29 as part of Ingrid Bergman's day. August 2 - Groucho Marx (catch up on any of the Brothers films you haven't seen) August 3 - Susan Hayward including the TCM
  9. Thanks for keeping this thread going allie!
  10. 1. Regarding the credits, I can see what you mean, but I haven't found any information to confirm your suspicions. There is a brief "shot" of the book. Perhaps MGM was just trying something new? 2. No, there is no such scene. I guess the director (or editor?) didn't find it necessary; it would have been a hard sequence to do credibly anyway. The first scene to indicate the writing gaff occurs right after their mother Sophie (Gladys Cooper) has learned from Marguerite (Donna Reed) that she and William were 'engaged'. Patriarch Octavius (Edmund Gwenn) receives a letter from William th
  11. No, Clue #10 - a 'forced' (contrived) relationship
  12. No ... Me Tarzan, You Jane A pompous ****, huh? Well, if I started posting spelling corrections, then you'd know for sure, right? ;-) BTW, I'm a big Seinfeld fan too. I don't know why it's so much fun watching self absorbed selfish people behaving badly, but it is; and, trust me, those traits aren't exclusive to New Yawkers either! I'll bet you were LYAO when you first saw the "Junior Mint" episode, about your name (rhymes with a part of the female anatomy). Peace
  13. By the way, last I looked, these threads allow for opinions. You know, everyone's got one? True, but the cold hard facts of life are: Henry Kissinger has a more informed opinion about U.S. Foreign Policy than, say, Al Franken (and Paul Newman has a more informed opinion about acting talent than you;-)
  14. Do I detect a hint of jealousy? In any case, recalling that you don't think much of Charlie Chaplin nor Gary Cooper either, I guess I shouldn't have bothered to respond in the first place. Ms. Taylor's demonstrable acting talents were (still are?) considerable; she was much more than just a pretty face. And you don't have to take my word for it, just ask Paul Newman;-)
  15. But wasn't she the modern day Anna Nicole? I think you meant the reverse. In any case, NO! There is no comparison between someone who had/has immense talent, beauty, compassion for others with a philanthropic legacy to prove it ... AND that white trash bimbo gold digger named Smith. How you could even mention both persons in the same post is beyond comprehension.
  16. While I agree there have been some awful musicals, several of which I can find on your list (but I won't be providing their names or those of any others because I always try to find something good to say about a movie, in lieu of bashing it), I personally think that The Girl Most Likely (1957) and Sweet Charity (1969) have their merits. I wouldn't rate either of them among my favorite musicals, and neither is great, but each certainly has some charm. I actually find TGML to be more tolerable than the original Ginger Rogers film (Tom Dick and Harry (1941)) on which it's based (sacrilege, I kn
  17. If you're interested: http://forums.tcm.com/jive/tcm/thread.jspa?threadID=68964&start=75#6905062
  18. I too like the 1936 version best; the characterizations are sharp and their motivations, especially Morris's, are better defined. I've listed Hell's Heroes (1930) among my essentials because it's a great early William Wyler film (it's also relatively short), and Charles Bickford is great to its end! I like John Wayne's version, 3 Godfathers (1948), which includes a trial and a somewhat hokey (some would say, overly sentimental, but I don't usually use that term negatively;-) ending, just not as much as Three Godfathers (1936). The differences in what the film-makers do with the Mexican band
  19. Not to worry GarboManiac, my post had gotten buried somewhere deep in the thread anyway. BTW, August 6th's star was originally Doris Day (who's one of the ones on the cover of the August Now Playing Guide, believe it or not); she was replaced by Robert Duvall, whose movies have changed more than once per the on-line schedule. At one time, Secondhand Lions (2003) was listed in the 6 AM ET slot (now it's Tomorrow (1972), one I'll be taping).
  20. Happy Birthday moviejoe! We certainly miss you participation around here.
  21. No, Clue #9 - a fight breaks out at a dance
  22. A lot of movies one sees start out great but fade as the story evolves. For some reason, several of these (more than I can recall) are from the science fiction genre. I think I know one of the reasons - it's easy to think of a far out possibility (e.g. unrestricted by reality) that's captivating enough, it's just difficult to finish the thought (and/or make it into a complete film). Several examples come to mind, from Journey to the Far Side of the Sun (aka Doppelg?nger (1969)), to The Boys from Brazil (1974), to Brainstorm (1983). Each has a startling, mind blowing concept; each runs out
  23. How could I possibly choose? Edward G. Robinson first made an impact as a gangster in the title role of Little Caesar (1931) and yet, that same year, played a much different, ethical newspaper editor in the AA Best Picture nominee Five Star Final (1931). Though I don't care much for his characterization in Barbary Coast (1935), I did like Kid Galahad (1937) and even The Last Gangster (1937) which provides a sort of "what if Rico had gone to jail?" bookend for this aforementioned character. He then spoofed these stereotypical roles in A Slight Case of Murder (1938), and later Larceny,
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