sewhite2000

Yeah, it's a very short scene. As I recall, the actors don't speak any dialogue. They're just listening to the radio broadcast. It is interesting to see Stewart and Bel Geddes hanging out like old times, though this very short scene gives us no indication if they've become lovers finally or are continuing their little dance.

Okay, here we go. Apparently the extra scene was for the European release. Who knew the European censors would tougher than the American ones? Maybe they were just more observant about a dude completely getting away with murder. https://evesreellife.wordpress.com/2012/02/14/vertigo-the-alternative-ending/

I don't think so, but I'm not 100 per cent sure of that. I'll do some online research. It's certainly not part of the "official release", as far as I know, certainly not the version that airs occasionally on TCM.

That was 1971, I think, and after the Hays Code had been replaced by the ratings system, so the old rules no longer applied.

The studio actually made Hitchcock tack on a scene at the very end where Stewart is back in his apartment with Barbara Bel Geddes, and they're listening to a radio broadcast that announces that the Elster character has been picked up in Europe and will be shipped back to America to stand trial. I saw it in the extras of a Vertigo DVD I used to own. I don't know if that was that version that got approved by the Hays Code, but somehow it had been removed again by the time of release. As for Out of the Past, it was probably just one of those instances where the censors didn't even think about it, or maybe they were okay with the self-defense angle.

This is just paraphrasing from my memory. I didn't record it. But I guess all these "real-life wonder women" movies are being jointly hosted by Alicia Malone and Jacqueline Stewart. Must have been recorded before the present pandemic crisis. They're sitting in the same room. They mostly talked about how the movie was a passion project for Russell, who worked with the Sister Kenny Foundation, or whatever it was called. They showed a couple of photos of the two of them together. Then some talk about the real-life Sister Kenny and how her polio treatments were the best thing going before the Salk vaccine. Malone pointed out Russell was well aware that biopics about cause crusaders were usually not cash cows, but that she felt it was film she really needed to do, although none of the studios initially showed any interest. She finally agreed to a, I think it was, three-picture deal with RKO if one of those pictures could be Sister Kenny. Finally, just before they introduced the movie, Malone said, "Here she is with absolutely no attempt at an Australian accent, Rosalind Russell as Sister Kenny." This caused both women to titter a bit, and Stewart said, "That's probably a big relief to you." I didn't really understand that comment, but it made both of them laugh much more boisterously. Malone said, "It's a difficult accent to master!" and reintroduced the film.

They mentioned her complete lack of an attempt at an accent in the intro. And she definitely wasn't a nun. She had a romantic interest for part of the film.

Leopold! Leopold! And a good 60 years before Amazon, he gets his orders delivered with lightning speed!

I was a journalism major and am a sucker for good journalism films, as well: watching All the President's Men in my high school U.S. history class made me want to become a reporter. The nature of journalism has changed radically, but you still get a good modern movie like The Paper or Spotlight. Broadcast News is probably the best one for the TV side of things, although The China Syndrome is great too. Darker movies that remind us that journalists (and their media bosses) themselves can be subject to human frailty are also worth watching: Absence of Malice and Network are good examples.

The Right Stuff is a fantastic movie. There are many wonderful vignettes like the one depicted in the clip above. I must admit, I didn't know Mrs. Glenn was still living, but this very human portrayal by Mary Jo Deschanel (who went on to play Eileen Hayward on Twin Peaks) memorably drew her to my attention.

I just did a Google search for "Where can I watch Leave It to Beaver?" and got this answer: "Leave It to Beaver is not scheduled to air on TV in the next 14 days. Put it on a watchlist, and you will be informed of its next airing."

I'm on record here as not caring terribly much for most Westerns or musicals and pretty much all movies set in eras earlier than 1800. But, there are exceptions to all my so-called rules, because I probably have at least a few examples of some of my favorite movies applying to each of those genres or subgenres. But in general, I would say I mostly seek out any film set within the past 200 years on TCM, most especially dramas or noirs. Comedies are okay, depending upon certain extremely random criteria that I'm probably unable to specify on without deeper thought. Anything that's a dramedy is probably in my most preferred list, say anything from Billy Wilder. Action/adventure/espionage are okay, depending on their setting. And, generally, I prefer "town" Westerns that are mostly set in saloons or the sheriff's office than out in the dry, dusty desert and war films that are set on base or in civilian settings than out in the battlefield. I'm weird like that. Silents I have mostly ignored other than the most famous examples. But I'd like to think I'd watch pretty much any movie at least once.

I will also leave out La Strada for the same reason, which probably would have made my list otherwise. The same criteria probably applies to the Japanese films I'm including below, but remaining willfully ignorant, I will ago ahead and include them. My Top 10 Movies of 1954: 1 Sansho the Baliff (Kenji Mizoguchi, Japan) 2 Rear Window (Alfred Hitchcock, USA) 3 On the Waterfront (Elia Kazan, USA) 4 Animal Farm (John Halas and Joy Batchelor, UK) 5 A Star is Born (George Cukor, USA) 6 The Barefoot Contessa (Joseph Mankiewicz, USA) 7 The Wanton Countess (Luchino Visconti, Italy) 8 The Seven Samurai (Akira Kurosawa, Japan) 9 Johnny Guitar (Nicholas Ray, USA) 10 Seven Brides for Seven Brothers (Stanley Donen, USA) Best Director: Alfred Hitchcock, Rear Window Best Actor: Toshiro Mifune, The Seven Samurai Best Actress: Judy Garland, A Star is Born Edit: Oops, three days after my original post, I see that I accidentally credited Kurosawa's films as being from the USA. Apologies. I am correcting above.

Well, Spence's powers of prognostication turned out be prescient after a few weeks. So, I hope Mr. Wonder is taking care of himself.

There was a long thread about this very topic just in the past month. I made a number of contributions to it. Hold on, I'll see if I can find it. Edit: it's on page four, but here's a direct link to the first page anyway.

Passive-aggressive behavior was first defined clinically by Colonel William Menninger during World War II in the context of men's reaction to military compliance. Menninger described soldiers who were not openly defiant but expressed their civil disobedience (what he called "aggressiveness") "by passive measures, such as pouting, stubbornness, procrastination, inefficiency, and passive obstructionism" due to what Menninger saw as an "immaturity" and a reaction to "routine military stress".[10]

Every generation gets its new shocking music to terrify their parents.Remember when Michael J. Fox went into Eddie Van Halen mode at the end of "Johnny B. Goode"? I wish we had the capacity to let the parents of 1955 to listen to five minutes of some speed death metal with the Cookie Monster growl vocals or five minutes of gangster rap. Then maybe they'd decide Bill Haley & His Comets weren't so bad!

I missed that one when (if) it was on as part of TCM's Bond tribute, but I included it in a package of about two dozen DVDs I got for my dad for Christmas either last year or the year before and watched it with my parents for the first time since childhood. That was a good fight scene.

Ha ha ha, I guess Samuel L. Jackson has been in too many PG-13 Avengers movies. They've brought down his average.

I was surprised at how little time was devoted to the crime plot and how much to the romantic triangle. I was expecting to see more of the female painter in danger, but after the one assassination attempt, pretty much all she had to worry about was which guy she was going to pick.

I have only seen The Lady Eve of those five, the most predictable one, I guess, if you're only going to have seen one. It's very funny, and Stanwyck is fantastic in it, ranging from sexy as all get-out to heartbroken to vengeance-driven to remorseful. For me, however, Preston Sturgess' movies tend to have a certain lack of heart, which I suppose should make them refreshing for the time, but however much I enjoy watching them, they usually leave me a little cold at the end.

That first one especially sounds very end of year tribute-y. Plus, it's probably long enough to squeeze in as many celebrities as they need.

Has anyone mentioned Astrid Kirchherr, the German photographer and confidant and inspiration of the novice Beatles during their residencies in Hamburg, taking some of their earliest iconic pictures? Briefly the lover of the doomed bassist Stu Sutcliffe. She was one week shy of her 82nd birthday.

Ah ha ha ha, "Thanks, Hasbro, or whoever made this."

I, too, am a rare bird who mainly watches dance or musical movies for their storylines and just to have to sit there and tolerate it until the next number is over. Having said that, I suppose I'm mostly charmed by the dance numbers in Fred Astaire movies, in which he's usually incorporating found items or the scenery around him in some inventive way. On the recent night devoted to tap dancing, I watched The Little Colonel and enjoyed seeing Bill Robinson, about whom so much has been said and written. That staircase-dancing scene with Shirley Temple was already the stuff of legend in my childhood, and I was glad to see it in its entirety.