sewhite2000

I checked my 1,500-song iTunes collection, consisting entirely of songs pre-1970, and I discovered somewhat to my surprise that I had only three Little Richard songs: "Tutti Frutti", "Lucille" and "Good Golly, Miss Molly". I'm always a little disappointed in myself when it takes the death of an artist before I really devote myself to an in-depth exploration of his/her work. He obviously drew from gospel and the blues but he added an explosive, driving energy that seemed to have no antecedent - it just came from his mind and his soul, apparently. That speed, that sense of just about of being out of control while still being tuneful and catchy set the blueprint for future generations of rock & rollers. It's hard to define his impact. Would David Bowie done all that androgyny stuff if there hadn't been a Little Richard? Would there have a Prince without Little Richard? His influence reaches across generations. Just at the time the death of Kirk Douglas announces there are virtually no stars still with us from the "classic" Hollywood studio era (Olivia De Havilland and ...?), it's getting harder and harder to find any remaining superstars from that first generation of rock & roll. Jerry Lee Lewis and Don Everly and I'm not thinking of too many others.

I don't how many people on here go to movies in the theaters anymore. I've routinely been seeing 80 to 100 movies in the theater a year most of my adult life, while I have friends who, unless they're taking their kids to a Pixar or a superhero movie maybe, can't remember if they've been to the theater in the last 10 years. This year has obviously been an exception for me, and I don't know how many films will even get theatrical releases post COVID-19. I'd like to say something I've noticed about the trailers played at the chains besides the obvious point that there are too damn many of them (no matter how late I try to arrive, I always seem to have sit through eight or so, as if the theater was specifically waiting for me to get there) is they are now tailored for the subset of people they think are going to see that particular movie. This is distinctly different from my childhood, when any coming attraction could be shown before any film. I distinctly remember having to stand out in the lobby until a trailer for a re-release of The Exorcist was over because it scared me too much when I was in fourth grade (I'd come to see Buck Rogers in the 25th Century). I don't know that the new trailer genre group particularly works on me, since I'll go see anything, but if you're going to see a kids movie, then ALL the trailers will be kids movies. If you're going to see a movie with a black cast, then ALL the trailers will have black casts. The only time you get to see trailers for artier films is if you've specifically gone to see an arty film. And so on.

Wait, you seem to be seeing the Monday schedules now? And when I click on the licks, they still say To Be Announced. Show me how you're doing that, please.

Top billing in opening credits, I'm sure, but it seems on the internet these things are often decided by closing credits.

My guess, just for the heck of it, is romances.

I have no idea how credit-sourcing online works, but I'm sure several people on these boards do. Sometimes a cast will be listed alphabetically or in order of appearance over the course of the movie. I don't know if always has to be because that's the way appeared in the closing credits of the actual movie, but they do end up that way online on occasion. So, if you truncate the number actors in the film to first six or eight who appear in the credits, you don't always end up listing the stars.

They still did a sci fi genre spotlight, right, even without the accompanying film course? Was that last year? I suspect the blank spots are for another overview of some genre, even if they don't do the course. That might be TCM's new thing for July.

Gloria Grahame Born Gloria Hallward in Los Angeles in 1923, she was a pupil of her mother's, who was a stage actress and drama teacher. She began acting professionally while she was still in high school Louis B. Mayer saw her on Broadway and signed her to a contract with MGM in 1944 under the name Gloria Grahame. She had a nice debut in Blonde Fever but didn't make an impression until she was loaned out to RKO for It's a Wonderful Life. She had obvious star quality and sex appeal, but was an odd fit among the leading ladies at MGM, and they sold her contract to RKO in 1947. She had the same problem there. Once again, her best work came in a loan-out, to Columbia for In a Lonely Place. She was gone from RKO by 1952 and either began working as a freelancer or under very short contracts. Sexy but insecure about her looks and appreciative of the attention of men, she had plastic surgery to enhance her lips, which became her most famous feature. The '50s were here most successful years. She won Best Supporting Actress for MGM's The Bad and the Beautiful and appeared in seven well-remembered film noirs. She got typecast as a shady but sultry lady. She developed a reputation for being difficult to work with on the set of Oklahoma! (1955) and found it harder to obtain work from 1956 on. Her four-year marriage to Nicholas Ray, her director on In a Lonely Place, who was 12 years older than her, came to and end after four years and her marriage to Cy Howard after eight. Then she married her former stepson Anthony Ray, who was 13 years her junior, which prompted Nicholas Ray and Howard to file for custody for the one child she'd had by each, calling her an unfit mother. Some people who knew Nicholas Ray claimed that marriage ended because he found Grahame and Anthony Ray in bed together when Anthony was 13! The gossip and scandal sheets went into overdrive. She returned to the stage and began appearing on television in 1960, then began appearing in some zero-budget films, mostly horror, around 1970. The marriage to Anthony Ray, her fourth, was by far her longest at 14 years, but they also divorced. Her busiest period of stage work on Broadway and in London began after this last divorce, but it ended abruptly when in 1981, suffering from stomach cancer, she collapsed onstage during rehearsals and died hours after being flown to a New York City hospital, a month before her 58th birthday. I picked at least one film from every decade she worked from the '40s to '80s. There aren't a lot of choices after 1960. I included both her first and last movies. I've seen four of these films: It's a Wonderful Life (yeah, I know TCM will never show it, but I like her performance), Sudden Fear, her Oscar-winning turn in The Band and the Beautiful and Odds against Tomorrow. I also picked that last film for my Harry Belafonte day, so it's the 10th film I've used more than once. Blonde Fever (MGM, 1944) - A man (Philip Dorn) owns a small but upscale cafe on the road between Reno and Lake Tahoe. He's a heavy gambler, and his marriage is rocky. Into his life comes a waitress (Grahame). TCM Airings: 14 Without Love (MGM, 1945) - In World War II Washington, D.C., a woman (Katharine Hepburn) and a scientist (Spencer Tracy) enter into a loveless marriage of convenience, and she becomes his assistant. Various struggles bring them closer together. Grahame only has a bit part in this one. TCM Airings: 43 It's a Wonderful Life (RKO, 1946) - An angel (Henry Travers) is sent from Heaven to help a desperately frustrated businessman (James Stewart) by showing him what life would be like if he never existed. Grahame plays the town flirt. TCM Airings: 0 Sudden Fear (RKO, 1952) - After an ambitious actor (Jack Palance) insinuates himself into the life of a middle-aged, wealthy playwright (Joan Crawford), he marries her, then plots with his mistress (Grahame) to murder her. TCM Airings: 3 The Bad and the Beautiful (MGM, 1952) - An unscrupulous movie producer (Kirk Douglas) uses an actress (Lana Turner), a director (Barry Sullivan) and a writer (Dick Powell) to ensure success. Grahame plays Powell's flirty wife. TCM Airings: 95 The Glass Wall (Columbia, 1953) - A World War II "displaced person" about to be deported (Vittorio Gassman) jumps ship in the New York City harbor in order to find an ex-GI whom he helped during the war and who can prove he has a right to legal entry into the United States (Jerry Paris). If he can't find him within 24 hours, he'll be branded a fugitive and permanently disqualified from U.S. citizenship. His quest leads him to befriend a down-on-her-luck factory worker (Grahame), whom he rejuvenates through his good faith; to a jazz club where Shorty Rogers and his band and trombonist Jack Teagarden (as themselves) are playing; and to an interlude with a good-hearted burlesque dancer (Robin Raymond), who takes him to the house of her mother (Else Back) for food and rest. The climax comes at dawn in the United Nations building, where he goes to plead his case and that of all displaced persons. TCM Airings: 2 Man on a Tightrope (20th Century Fox, 1953) - A Czech circus owner/clown (Frederic March) and his entire troupe employ a daring strategem in order to escape en masse from behind the Iron Curtain. Grahame plays March's second wife, who thinks he's weak and despises him. Directed by Elia Kazan. TCM Airings: 1 Ride Out for Revenge (United Artists, 1957) - When an Indian chief (Frank DeKova) is murdered in a hateful town, a sympathizing ex-marshal (Rory Calhoun) tries to stop the Indians from attacking for revenge. Grahame plays a widow who's already lost her spouse and her father to an Indian massacre. TCM Airings: 0 Odds against Tomorrow (United Artists, 1959) - One man (Ed Begley) hires two others who are heavily bebt-burdened (Harry Belafonte, Robert Ryan) for a bank robbery. Suspicion and prejudice threaten their partnership. Grahame plays the love-starved next-door-neighbor of Ryan and his girlfriend (Shelly Winters). TCM Airings: 39 Ride Beyond Vengeance (Columbia, 1966) - A man (Chuck Connors) falls in love with a beautiful, wealthy girl out of his class (Kathryn Hayes). Against the wishes of her snobbish aunt (Ruth Warrick), she marries him, later faking a pregnancy to win her aunt's consent. He tires of living off his wife's family and eventually deserts her to become a buffalo hunter. Eleven years later, he with a self-made fortune, he sets out to return home, only to be set upon by three sadistic marauders who steal his money and leave him for dead (Michael Rennie,, Bill Bixby, Claude Aikens). Rescued by a farmer who nurses him back to health (Paul Fix), he becomes consumed by the desire for revenge. As fate would have it, all three men live close to his former home. Matters get much worse when he reunites with his wife, only to discover she's engaged to one of his attackers. Grahame is the cheating wife of one of the townspeople having an affair with Bixby. TCM Airings: 0 Blood and Lace (AIP, 1971) - After her prostitute mother (Louise Sherrill) and her john (Joe Durkin) are beaten to death while they sleep in bed, a teenager (Melody Patterson) is sent to an isolated orphanage run by a woman (Grahame) and her handyman (Len Lesser). Taking avid interest in her welfare is a private detective (Vic Tayback). Taking almost no interest at all is a social worker (Milton Selzer) completely under the thumb of the orphanage head. Lots of unpleasant surprises are in store for the girl, not the least of which is the fact that both the orphanage head an her handyman are brutal sadists who run the orphanage like a concentration camp and the possibility that her mother's hammer-wielding killer may now be stalking her. TCM Airings: 0 The Nesting (Feature Films, 1981) - A writer suffering from agoraphobia (Robin Groves) rents an isolated house so she can concentrate on her work. She doesn't know the house is a former brothel and is inhabited by the ghosts of dead prostitutes. In her final film, Grahame has a small role as the ghost of the madam. TCM Airings: 0

Most years, TCM/Fathom events appears to be pretty big on anniversary releases, so I would think any of those you listed are likely possibilities.

Ha ha ha ... maybe isolation in all caps for your thread title? My first impression was you were recommending segregation!

Of course, the editor of The Irishman is Thelma Schoonmaker, who's won three Oscars and been a guest on TCM. So, some people think she is good.

I don't know who or what "the brand" is that gives this pre-1970 definition to meaning "classic". A lot of people on these message boards choose to use that definition. In fact, most of them would say pre-1960. But I never heard this label being applied by someone who works at TCM. I have pointed out many times on its thread that on its second day of existence, TCM showed Rich and Famous, a movie from 1981.

Followup: I am getting the giant Edward G. Robinson banner, but I think it is the July schedule, because the days of the week line up, there are some patriotic movies for the 4th and Tony Curtis movies on the 6th. Probably not gonna have much time to look at this today or tomorrow with family events brewing. But I'll try to look it over and report back later in the week.

Thought I would take a moment to say I always get nervous when I see a thread like this, and there's one person who keeps saying over and over this isn't working for me, and everyone else on the thread is saying no, no, you're wrong, its' fine. Because that means the odds are 99.9% that whatever's not working for that one person won't work for me, either! I'm about to try out the links above and find out.

Ida Lupino Ida Lupino was born to a show business family in London in 1918. Her mother took her to a film audition in 1932 when she was 14, and she won the part she was seeking. That picture was Her First Affaire. At the age of 16, she came to Hollywood with bleach blonde hair in 1934 and played a number of small and mostly not-well-remembered parts. About her only noteworthy role was in 1935's Peter Ibbetson at Paramount when she was 17. It wasn't until The Light That Failed (1939), also at Paramount, that she began to consistently get good parts. She got typecast mostly as hard but sympathetic women from the wrong side of the tracks. She spent pretty much all of the decade of the '40s at Warner Bros., defining herself quickly as Hollywood's leading hard-luck dame in films like The Sea Wolf (1940) and High Sierra (1941). Her tough, knowing characters held their own against the biggest leading men of the day - first Ronald Colman in The Light That Failed, and then at Warners, Humphrey Bogart, John Garfield and Edward G. Robinson. She played everything from a traveling saleswoman in Pillow to Post (1945) to a tough nightclub singer in The Man I Love (1946). She became less in demand as approached her 30s - there was a lot of competition for good female roles between up-and-comers and established stars. She opted to leave Warner in 1947, hoping she'd have more success securing good roles as a freelancer. This didn't happen, so she began working as a director, writer and producer. She co-wrote the screenplay for Not Wanted (1949), made at Universal, and when the director Elmer Clifton fell ill, she took over, although he still got sole credit. She joked that as an actress she'd been the poor man's Bette Davis and now as a director she was the poor man's Don Siegel. She continued to write, direct and act, mostly on low-budget melodramas, in the '50s, sometimes doing more than one of those jobs on the same film. She moved to television at the end of the decade and directed episodes of everything from The Untouchables to The Fugitive (both on ABC) for the next 10 years. In the '70s, she returned mostly to acting, making guest appearances on multiple television shows and occasional small parts in movies. Her final film was My Boys are Good Boys, a tiny independent production with Ralph Meeker and Lloyd Nolan in 1978. She died from a stroke while she was battling colon cancer in 1995 at the age of 77. She was married three times. The first, for seven years, was to the actor Louis Hayward. The longest marriage and the one that gave her her only child, a daughter, was for 33 years to the actor Howard Duff (I'm not too familiar with him, but late in his career, he played Dustin Hoffman's attorney in Kramer vs. Kramer), which ended in divorce. I stuck to films she acted in, since SUTS days have always been devoted to actors, so far as I know, though she also directed at least one of these films. I tried to limit her WB pictures, since TCM shows plenty of those, but I wanted to be inclusive of her whole career. I put in a couple of her British films as a teen, though I have no idea of their availability. The only ones I've seen are They Drive by Night and The Bigamist. I also picked Out of the Fog for my John Garfield day and The Bigamist for my Edmond O'Brien day, so they become my eighth and ninth films that I've picked more than once. Money for Speed (Dist. in the US by Regal Distributing, 1933) - A motorcycle speedway champion (Cyril McLaglen) has amorous intentions toward an attractive young woman (Lupino). His rival on the dirt tracks (John Loder) also becomes a rival for her affections. The first man causes a crash that leaves the second man seriously injured. The first man is banned from the speedway and takes up stunt riding to make a living. He finally gets an opportunity to redeem himself. Looking at her brief British resume, I feel like they threw Lupino into adult roles a little quickly. I know it's just a movie, but we have two men in their mid-30s trying to woo Lupino, who was 15. Doesn't mean I would refuse to watch it. Nobody thought anything about that back then, I guess. TCM Airings: 0 The Ghost Camera (Dist. in the US by Olympic Pictures, 1933) - A photograph is taken at the scene of the murder and the camera tossed out of a castle window to destroy the evidence. It lands in the back of a passing car being driven by a chemist (Henry Kendall) who becomes an amateur sleuth after developing the film. He goes in search of the woman captured in the photograph (Lupino). When the camera is stolen from his laboratory, his suspicions are further aroused. TCM Airings: 0 Peter Ibbetson (Paramount, 1935) - A Victorian-era architect (Gary Cooper), commissioned by a duke (John Halliday) to design his stables, falls in love with the duchess (Ann Harding). Lupino plays a vulgar English woman whom Cooper befriends in Paris. TCM Airings: 0 Yours for the Asking (Paramount, 1936) - A casino operator (George Raft) hires a down-on-her-luck socialite (Dolores Costello) as the casino hostess in order to help her out and improve casino revenue, but his pals fear he may follow her onto the straight-and-narrow path, which wouldn't be good for business. So, they hire two con artists (Lupino, Reginald Owen) to try to manipulate him back off the path of righteousness. TCM Airings: 0 Let's Get Married (Columbia, 1937) - A political kingmaker (Walter Connolly) attempts to elevate the ambitious suitor (Reginald Denny) of his daughter (Lupino) into the higher echelons of politics by getting him elected to Congress. His daughter isn't interested in her hand-picked choice for a husband. He's duly elected, but she wants a weatherman/inventor (Ralph Bellamy) to be her husband. TCM Airings: 0 They Drive by Night (Warner Bros., 1940) - One of two truck-driving brothers (George Raft, Humphrey Bogart) loses an arm. They both join a transport company. The other brother is charged in the murder of the owner (Alan Hale). Lupino plays Hale's wife, who has eyes for Raft. TCM Airings: 40 Out of the Fog (Warner Bros., 1941) - A racketeer on the Brooklyn piers (John Garfield) bullies boat owners into paying protection money, but two fishermen (Thomas Mitchell, John Qualen) decide to eliminate the gangster themselves rather than complain to police. Lupino plays Mitchell's daughter, a 21-year-old telephone operator and an ambitious young woman who dreams of leaving the neighborhood. TCM Airings: 29 Life Begins at Eight-Thirty (20th Century Fox, 1942) - A young woman (Lupino) lives in a New York City flat with her father (Monty Woolley), a celebrated actor brought down by alcoholism. Lame from an early age and feeling trapped in her small world, she's delighted to meet a charming male tenant (Cornel Wilde). Her father is offered the lead in a new production of King Lear, and the neighbor gets a composing job in Hollywood. For a while, better times seem to beckon. TCM Airings: 0 Devotion (Warner Bros., 1946) - Genius authors Emily and Charlotte Bronte (Lupino, Olivia De Havilland) both fall in love with their curate (Paul Henreid) as they seek to get their work published. TCM Airings: 34 Escape Me Never (Warner Bros., 1947) - In Venice in 1900, a woman, Fenella, (Eleanor Parker) is engaged to a composer, Caryl, (Gig Young) until she hears that an unmarried woman, Gemma, (Lupino) and her child are staying with a composer with his last name. She ends the engagement and heads off to a retreat in the mountains. There she meets and is intrigued by a man, Sebastian, (Erroll Flynn), but she doesn't know he's the brother of Caryl and the composer Gemma is actually living with. She learns the truth. Gemma demands he decide between them, and when Fenella won't commit, he leaves with Gemma to be married. They go to England, where he begins writing a ballet. Fenella and Caryl become re-engaged, but Fenella is still in love with Sebastian. TCM Airings; 29 The Bigamist (The Filmakers, 1953) - A man (Edmond O'Brien) secretly married to two women (Joan Fontaine, Lupino) begins to feel the pressure of his deceit. Also directed by Lupino. TCM Airings: 16 The Big Knife (United Artists, 1955) - A Hollywood actor (Jack Palance) is pressured by his studio boss(Rod Steiger) into a criminal cover-up to protect his valuable career. Lupino plays Palance's wife, who tells him she won't live with him anymore unless he becomes his own man again by refusing to re-up for seven years with the studio. TCM Airings: 24

From RKO in 1931 And Warner Bros. in 1946

TCM hasn't shown Sorry, Wrong Number since December, 2012. I don't have an answer why, other than it's a Paramount film (I think one of the 700 or so Paramounts now owned by Universal).

I don't wanna swoop in and be a "gotcha" poster (I've certainly been "gotten" virtually every time I've made an erroneous statement around here), but the OP did mention this film.

Found this on imdb, maybe not the greatest source in the world for medical information, but ... CF patients are required to don gloves, masks, and oxygen packs. One rule that must not be broken is to maintain at least a 6 foot distance at all times between themselves and any other CF patient. The risk of passing along their specific mixture of bacteria is simply too great.

I actually saw this movie in the theater. I've forgotten the specifics, but I think "the deal" was if your body is already weakened by the disease but you're exposed to the germs of someone else with it, the chances of the exposure being fatal are extremely high. The movie certainly made it sound like it was a real thing.

Ann Sheridan Confession time: much like I've always had trouble distinguishing between Brian Aherne and Brian Donlevy, I realize I wasn't really sure of the difference between Ann Sothern and Ann Sheridan. All classic movie actors need different first names! They were both in a lot of TCM friendly movies. But okay, I see Sothern was Maisie, and Sheridan was the one in Kings Row, The Man Who Came to Dinner, etc. Sorry, I'm sure this is painfully obvious to all of you. I know Sheridan is about to be Star of the Month. I'm not going to look at which films will air that month until after I complete my list. I feel sure most or none of my Paramount selections will air. Brief bio: She was born pretty near to where I live now in Denton, Texas, about 50 miles north of Dallas, in 1915 to an automobile mechanic and a homemaker. She played women's basketball at North Texas State Teacher's College, which is now the University of North Texas, where she majored in education. Her sister submitted a picture of her in a bathing suit to Paramount Studios' "Search for Beauty" which promised the winner a screen test and a bit part in a movie. She won and was put under contract at the age of 19, appearing first in Wagon Wheels (1934). In 1935, she had bit parts in 12 different Paramount films. In 1936, she moved to Warner Bros., where she got more of the same until she finally got her first role of substance in 1938's Angels with Dirty Faces, which TCM no longer airs. She was given the nickname "The Oomph Girl", which she didn't like, although Rex Harrison commented on her "earthiness that never transcends to blatant sexiness". She became a p i n u p girl alongside the likes of Betty Grable. She ended up in a lot of forgettable comedies, but became much adored nonetheless. She did get some notable dramatic parts, though: opposite James Cagney in Torrid Zone, George Raft in They Drive by Night and Ronald Reagan in Kings Row. Warner Bros. unceremoniously dropped her in 1948, but she quickly rebounded with 20th Century Fox's I Was a Male War Bride opposite megastar Cary Grant. In a sadly all too typical turn of events in Hollywood in those days, she found it much harder to find good roles (or any roles) as she moved into her late 30s. The Marilyn Monroes, the Audrey Hepburns, the Natalie Woods, the Grace Kellys, the Leslie Carons, et al, were on the rise, and her services were no longer in demand. She was reduced to working in tiny independent films like 1957's The Woman and the Hunter, which would be her last. She resurfaced in the early '60s on the NBC soap opera Another World, before landing the 1966 primetime CBS Western comedy Pistols n' Petticoats. She didn't quite finish the first season, dying of esophageal cancer one month shy of her 52nd birthday in early 1967. I stuck to the unfamilar. I've only seen two of these movies: Torrid Zone and Thank Your Lucky Stars. I won't regurgitate the whole list, but Thank Your Lucky Stars with both Sheridan and John Garfield (and two dozen other WB stars) becomes the seventh movie I've put on more than one of my imaginary SUTS days. Mrs. Wiggs of the Cabbage Patch (Paramount, 1934) - Spoiler alert! This is pretty much the whole movie - A family plans to celebrate Thanksgiving in their rundown shack with leftover stew, without the participation of the father (Donald Meek) who wandered off long ago and hasn't been heard from since. A neighboring do-gooder (Evelyn Venable) brings them a real feast. Her boyfriend (Kent Taylor) arranges to take the family's sick son (George Breakston) to the hospital. The other son (Jimmy Butler) makes money by peddling kindling and takes the family to a show. The mother (Pauline Lord) is called to the hospital just in time to see the boy die. Another neighbor (ZaSu Pitts) has a man she wants to marry (W.C. Fields), but he insists on tasting her cooking first. The father appears suddenly, clothes in tatters, with just enough money to save the family from foreclosure. The do-gooder and her boyfriend get married. Sheridan has an uncredited role as a girl in town when the family goes to the show. TCM Airings: 1 You Belong to Me (Paramount, 1934) - When a recently widowed vaudeville performer (Helen Mack) marries an acrobat (Arthur Pierson), her son (David Holt) takes an immediate dislike to his new stepfather, preferring the company of a happy-go-lucky vaudeville comic (Lee Tracy). Sheridan has an uncredited part as a guest at the wedding at the beginning of the movie. TCM Airings: 0 The Glass Key (Paramount, 1935) - A man (George Raft) is the personal advisor, friend and bodyguard to the political boss of a large city (Edward Arnold). The son of the boss' political opponent (Robert Gleckler) is mysteriously murdered. His opponents try to pin the crime on him because they oppose the campaign he's running to clean up the city. The bodyguard risks his life and reputation to find the real killer and clear his friend. Sheridan plays a nurse. Remade by Paramount in 1942 with Alan Ladd in the Raft role. TCM Airings: 0 Rocky Mountain Mystery (Paramount, 1935) - The heirs of the dying owner of a valuable radium mine (George F. Marion) are being murdered as a mining engineer (Randolph Scott) tries to uncover the killer and clear the name of his accused cousin. TCM Airings: 0 Little Miss Thoroughbred (Warner Bros., 1938) - A young orphan girl (Janet Chapman) wants a small-time gambler (John Litel) to be her father. It's an early leading role for Sheridan, but I can't find any information about her part. I assume she's the love interest of the gambler. This is apparently not a Damon Runyon adaptation, but it sounds like one. TCM Airings: 11 The Patient in Room 18 (Warner Bros., 1938) - Unable to solve his most recent case, a famed private detective (Patric Knowles) shows signs of being on the verge of a nervous breakdown. He's admitted to a private institute. He's unable to rest and relax as ordered, but he doesn't mind being there so much, because it allows him to spend time with the head nurse (Sheridan), with whom he's in an on-again/off-again relationship, the status of the relationship usually being determined by her. Besides the detective having a butler who's a known ex-con (Eric Stanley), there's a lot of intrigue going on at the institute. The only other patient is the institute's elderly and wealthy benefactor (Edward McWade), who needs a $100,000 radium treatment, according to the head doctor (Harland Tucker). Another doctor who once had money and is now broke (Charles Trowbridge) is incensed by the treatment, believing the benefactor doesn't need it and that it would better serve a multitude of patients more in need of it. The wife of the head doctor (Jean Benedict) is having an illicit affair with a poor intern (Edward Raquello) and would leave her husband for him if he only had money. The head doctor, meanwhile, lusts for another nurse (Rosella Towne). The benefactor's nephew (John Ridgley) is in deep debt, and his uncle won't help him pay, and the nephew is in a relationship with the nurse the head doctor desires. With all these circumstances going on, two people in the institute are murdered. and the $100,000 of radium is stolen. All of the survivors appear to have had opportunity to have killed one or both victims. Thus, the detective must give up being a patient and resume his profession, and even though she's a suspect, the nurse is right by his side, helping him investigate. Things are complicated because the detective and the police investigator assigned to the case (Cliff Clark) have a friendly rivalry. The case takes a turn when it's discovered the night watchman (Frank Orth) actually witnessed the murders. TCM Airings: 8 Torrid Zone (Warner Bros., 1940) - Plagued by revolutionaries who harass his plantation in a banana republic, a fruit company executive (Pat O'Brien) rehires his former nemesis (James Cagney) to restore order and profits. Sheridan plays a card shark and torch singer O'Brien thinks is too much of a distraction to his employees. The last Cagney-O'Brien collaboration until Ragtime. TCM Airings: 31 Castle on the Hudson (Warner Bros., 1940) - An arrogant mobster sentenced to a long prison term in Sing Sing (John Garfield) becomes a changed man when given a chance by the fair and progressive warden (Pat O'Brien). Sheridan plays Garfield's stand-by-her-man girlfriend. TCM Airings: 27 Thank Your Lucky Stars (Warner Bros., 1943) - Two producers (Edward Everett Horton, S.Z. Sakall) are putting together an wartime charity show with an all-star cast, but the egotism of radio personality Eddie Cantor (playing himself) disrupts their plans. Sheridan is one of dozens of Warner Bros. stars cameoing as themselves. TCM Airings: 34 The Doughgirls (Warner Bros., 1944) - A man (Jack Carson) and a woman (Jane Wyman) are just married, but when they get to their honeymoon suite in Washington, D.C., they find it occupied. The man goes to meet his new boss (Charlie Ruggles), and when he comes back, he finds three girls (Sheridan, Alexis Smith, Eve Arden) in the suite. He orders his wife to get rid of them, but they're her friends, and the room begins to resemble Grand Central Station more than the quiet honeymoon suite he was expecting. As long as there are intruders, he declares he won't stay in the suite and that there will be no honeymoon. TCM Airings: 22 Just Across the Street (Universal, 1952) - The secretary (Sheridan) of a toilet repair man (John Lund) pretends to be wealthy. TCM Airings: 0 Appointment in Honduras (RKO, 1953) - A wealthy American couple (Sheridan, Zachary Scott) are taken hostage on an arduous jungle journey. TCM Airings: 0 Postscript: Okay, I just looked up Sheridan's June SOTM lineup, and TCM is airing five of the films I picked, all Warner Bros. releases: Little Miss Thoroughbred, The Patient in Room 18, Torrid Zone, Castle on the Hudson and The Doughgirls.

From Paramount in 1934 And Columbia in 1941:

My parents have spent the last seven and a half weeks almost entirely indoors, and I've spent most of that time with them. They too are very concerned about the comings and goings of the nieghtbors, especially the ones on either side of them, but the whole street, really.

There was a time in my life when I could have easily watched The Godfather twice in one day and probably did. I would probably say the same about The Godfather, Part II, if they would take out the DeNiro flashback scenes. I know he won an Oscar and all but ... meh. Casablanca I always get sucked into, no matter how many times I've seen it. David Lean's Great Expectations, Stagecoach, Gunfight at the OK Corral, The Apartment. Any number of Billy Wilders, honestly - Ace in the Hole, Sunset Blvd., Double Indemnity. Ummmm .... Mr. Smith Goes to Washington. The Public Enemy. Some of the ones mentioned above, The Letter, Mildred Pierce. Maybe Gidget, even. Vertigo. Several Joseph Mankiewicz films - No Way Out, All about Eve, A Letter to Three Wives. Several William Wyler movies - The Best Years of Our Lives, Wuthering Heights, Detective Story. Oh well, There are probably plenty more, like Gerald said, those were the first ones that popped into my head.

I must admit I had to look up Marie Wilson. I didn't recognize her by name. I'd heard of the My Friend Irma movies but haven't seen any of them. Looks like I've seen a couple of movies she was in but I didn't know who she was when watching. I'd certainly like to learn more, especially after seeing a few photos of her! (Hope I can still say that in these PC times). Brian Keith is an actor who always surprises me when I see him in something "new". I wasn't quite old enough to watch Family Affair during its first run but I did see a number of episodes in syndication only a few years later. And I saw The Parent Trap either on TV or in a theatrical re-release. I don't remember. After becoming a TCM fan, I've caught him in everything from Reflections in a Golden Eye to With Six, You Get Egg Roll. During this year's 31 Days of Oscar, I watched The Young Philadelphians for the first time and enjoyed him very much as Paul Newman's secret father pretending to be a family friend (even though he was only seven years older than Newman).