sewhite2000

Primetime June 1 Star of the Month: Cyd Charisse (here's the SOTM!) Fiesta (Esther Williams, Ricardo Montalban) (MGM, 1947) The Kissing Bandit (Frank Sinatra, Kathryn Grayson) (MGM, 1948) The Band Wagon (Fred Astaire, Cyd Charisse) (MGM, 1953) Brigadoon (Gene Kelly, Cyd Charisse) (MGM, 1954) Meet Me in Las Vegas (Dan Dailey, Cyd Charisse) (MGM, 1956)

Daytime June 1 the theme is Summer Camp. Looks from the lineup that the focus is on the schlocky monster/horror/sci fi flick and/or swords-and-sandals drama one might be forced to watch at aforementioned camp (I remember a summer camp where we watched 20,000 Leagues Under the Sea). The Prodigal (Lana Turner, Edmund Purdom) (MGM, 1955) The Bad Seed (Nancy Kelly, Patty McCormack) (Warner Bros., 1956) Queen of Outer Space (Zsa Zsa Gabor, Eric Fleming) (Allied Artists, 1958) Attack of the 50 Foot Woman (Allison Hayes, Wiliam Hudson) (Allied Artists, 1958). Where's Nipkow? The Brain That Wouldn't Die (Jason Evers, Virginia Leith) (AIP, 1962) Dead Ringer (Bette Davis, Karl Malden) (Warner Bros., 1964) Hercules, Samson & Ulysses (Kirk Morris, Iloosh Khoshabe) (Dist. in the US by MGM, 1965) Trog (Joan Crawford, Michael Gough) (Dist. in the US by Warner Bros., 1970)

My picks: 1932 Trouble in Paradise (Ernst Lubitsch, USA) 1933 42nd Street (Lloyd Bacon, USA) 1934 L'Atalante (Jean Vigo, France) 1935 The Bride of Frankenstein (James Whale, USA) 1936 Modern Times (Charles Chaplin, USA) 1937 Make Way for Tomorrow (Leo McCarey, USA) 1938 The Adventures of Robin Hood (Michael Curtiz, USA) 1939 Stagecoach (John Ford, USA)

I've skimmed your lists for every decade. You don't specify if selections should come strictly from the list of nominees,, but you don't seem to have held yourself to that restriction, so I won't either. My pics: 1928 - The Crowd (King Vidor, USA) 1929 - The Man with the Movie Camera (Dziga Vertov, USSR) 1930 - The Age of Gold (Luis Bunuel, France) 1931 - Dracula (Tod Browning, USA)

Not exactly a wisecrack, but I like when Han Solo (Harrison Ford) says, "I don't know, do you think a princess and a guy like me ...?", and Luke instantly cuts him off with "No". And there's a great shot of Ford laughing to himself, because he knows in this moment of vulnerability, he's drawn out Luke's true feelings unknowingly.

In the most recent biography of Marlon Brando that I read, the author's stated position is that Brando was NOT Method, and every critic or reviewer from the past 60 years who cited Brando as Method gets a nudge-nudge-wink-wink we're in the Insiders Club here knowing smirk from the author as if to say to his readers, "Boy, wasn't this guy REALLY stupid? Consider yourself fortunate, Dear Reader, that you and I aren't nearly as stupid as this person who just called Brando Method!" If there's any truth to this, I have no idea which performances are pre-, during and post-Method. There's intense emotionality in all eras of movie acting. I only know when I personally find the acting legit or phony. And while I find both Brando and Dean pretty legit, I find an actor like Victor Mature pretty phony. Hope that's helpful.

Financial insecurity led me to not paying my cable/Internet '"bundling" bill for the first four months of 2019 (it was my one monthly service I deemed non-essential. I wasn't going to stop paying my electric bill), snd as a result, I had no access to either TCM itself or these message boards during that time. I was in my own Internet-free version of Nomadland. During this period, I became increasingly aware of my fellow Americans who took advantage of the free Internet offered at the public library. I see now that this is the primary function of America's public libraries. People go there to sign up for 30 minutes of free Internet service at a time. Forget checking out books. You can still do that, but no American goes to the library for that purpose anymore.

You were more bothered by the salt and pepper shakers' relative fullness than Tarantino's barefoot fetish?

It is David Lynch's wholly unadulterated vision. He is/was a filmmaker like none of his contemporaries. Though he dabbled with the mainstream in the '80s (to good effect with The Elephant Man and Blue Velvet, less so with Dune) his first shot out of the gate makes no such concessions. It is, of course, supremely weird and more than a little frightening, but it is also by turns funny, sad and dreamily romantic. You can lose yourself in over-pondering what it's "about", which is true of almost any Lynch film. I think it's a cautionary tale about unplanned pregnancy, especially the father's reactions to it. But it's not something that can be pinned down or labeled, other than to call it "Lynchian", an adjective rarely applied to any other filmmaker (I guess I've heard "Kubrickian"). The SFX are extraordinary. How did they make that baby look so real? 30, 40 years before high-quality CGI? It's not something Lynch has ever revealed. The finale is both horrifying and cathartic.

The 10 best films of the '70s in my opinion: .1. Taxi Driver (Martin Scorsese, USA, 1976) 2. The Deer Hunter (Michael Cimino, USA, 1978) 3. Eraserhead (David Lynch, USA, 1977) 4. The Ear(Karel Kachyna, Czechoslovakia, 1970) 5. W.R.: Mysteries of the Organism (Dusan Makavejiv, Yugoslavia, 1971) 6. Solaris (Andrei Tarkovsky, USSR, 1972) 7. Day for Night (Francois Truffaut, France, 1973) 8. Don't Look Now (Nicholas Roeg, UK, 1973) 9. 1900 (Bernardo Bertolucci, Italy, 1976) 10. Star Wars (George Lucas, USA, 1977)

Don't bring me down ... Brrruuuccceee!!!!!

I mean, you people posting on these message boards have some vague concept of how TCM works, right? Or obviously you don't. In a typical year, they probably would have been loaded up with Jesus movies. But this year, the Oscars are in April, so they're running 31 Days of Oscar. I actually thought kind of clever that they figured it out where they can run Easter Parade right in the first primetime slot of Easter Sunday. Charlie Tabash or somebody had to do some work to that make that work out. Your Jesus movies will be back. Find something actually worth getting upset about for a change.

Sorry, which one of these had African-American heritage? Edit: Never mind!

A nun ... is not a woman????

https://news.avclub.com/amber-ruffin-teaches-turner-classic-movies-that-problem-1846518856

January 8 The Strange One (Columbia, 1958) Source: TCM The second of three movies I watched on Pat Hingle night. I'll be honest right up front: I'm not sure I get this film. The movie poster with Ben Gazzara (see below) with his military cap obscuring his eyes and undershirt partially exposed seems like it would be a fit for a military version of Scorpio Rising. And from what I'm reading, there was enough of a homoerotic context to rile up the Production Code on more than one occasion before the film's release. It was written by Calder Willingham, adapted from his own play, End as a Man. Gazzara had already played Brick in the stage production of Cat on a Hot Tin Roof which, I've read, is a lot gayer than the movie. Here, in his film debut, he plays a sociopathic student at a Southern military academy. He seems to live for breaking the rules, though rather than doing so directly, he's intuitive enough to manipulate everyone around him into doing it for him. This includes his roommate (Hingle) and two underclassmen who are roommates (one of whom is played by George Peppard). In the opening sequence, Gazzara manipulates the others into setting up a fixed poker game during bed-check, getting a dim-bulb cadet who's quick to anger when drunk to beat up another cadet who happens to be the son of the academy's commanding officer. The rest of the movie is kind of a cat-and-mouse game between Gazzara and the other cadets who are either unwilling or unknowing participants. As one poster on imdb says, there's a comeuppance at the end, though it's not particularly satisfying. I guess the most homoerotic undercurrent appears in the form of another cadet who hero-worships Gazzara to the point of writing a thinly disguised novel of his life that sounds like a love letter, the parts we get to hear, even though Gazzara is abusive to him. Any implications of homosexuality no doubt made the Production Code uncomfortable. I personally am sorry to see that it has to be so tied into a sort of S&M vibe and a cruelty vibe, as if that's the only way it can be expressed. Most of the reviews I read are glowing. Not really my kind of movie, but the acting is strong, and if what I've written intrigues you, then please check it out. Hingle is a good-natured lunkhead in this one, not a very challenging role. It was pretty early in his career, I guess. Total movies seen this year: 15

January 8 Hang 'Em High (United Artists, 1968) Source: TCM I watched three movies on Pat Hingle night, and this was the first. I believe this was Clint Eastwood's first Hollywood Western after his trio of "spaghetti Westerns" made with Sergio Leone, I know I caught this somewhere on commercial TV in the '80s before there was a TCM. I have sharp memories of the vivid opening sequence, although I probably stopped watching as soon as it got to the first commercial break, because I didn't have any memory of the rest of the movie. And in the four months since I watched the whole thing, I've forgotten a lot of the plot specifics. Eastwood plays an ex-lawman turned cattle rancher who is taking newly purchased cattle back to his land. We know he's a good guy because the movie opens with him wandering into a lake to retrieve a calf who has strayed, then gently carrying it out. Then an angry mob catches up with him. The guy he just bought the cattle from has apparently been murdered, and although Eastwood has a deed for the purchase, the mob - whose members include Ed Begley, Alan Hale, Jr. and Bruce Dern - decide a little vigilante justice in order a la The Ox-Bow Incident, and string him up. Only the semi-miraculous intervention of lawman Ben Johnson saves Eastwood's life, though he's left with permanent rope burns around his neck. Johnson takes Eastwood into the nearest town, takes a couple of minutes to dispatch of attempted escapee Dennis Hopper (who gets to go full bat-S crazy in his two minutes of screen time), then turns him over to a "hanging" judge played by Hingle. More good fortune for Eastwood - his case is investigated, and he's clear of all charges. Now, he wants vengeance on the sorry SOBs who strung him up. Hingle offers to make him a marshal, but he's got to bring the lynch mob and any other ne'er-do-wells he comes across in lawfully and alive. This doesn't go so well his first time out of the gate, as Eastwood ends up having to blow the guy away (I think it was Dern). I thought this would prove to be a pattern for the entire movie and lead to confrontation between Eastwood and Hingle, but it doesn't. I also wasn't sure what the ultimate relationship between those two characters was going to be. Hingle is so high on Eastwood to begin with, it seemed inevitable their relationship would sour. There's some kind of parallel going on between the type of justice the mob wants to mete out in the opening scene and Hingle's justice - he wants Eastwood to bring them in alive so he could rush them through a perfunctory "fair trial" and then string them up. A little odd to see Eastwood, the guy who would go on to play Dirty Harry, in a movie with an ostensibly liberal message about justice, although this was early in his stardom. I kept waiting for Hingle to become an outright villain, maybe the main villain, like Robert Vaughn in Bulitt. It's hard to follow what the real criminals are even up to in that movie, just that Vaughn is a jerk. But I guess the real villain's role belongs to Begley in this movie (did he ever play a nice guy?). Hingle gives an interesting speech about achieving statehood for Oklahoma means proving achievement of all the expectations of civilization, including firm justice. Regardless how you feel about his character, it's an electrifying performance. Probably the best one in the movie. Eastwood is fine, maybe a little softer at times than we're accustomed to. He tries to romance Inger Stevens, who has her own reasons for wanting justice, but these scenes don't really add too much to a movie that's already too long and at times funereally paced. Anyway, a marginal thumb up for me. I'm typically not too crazy about Westerns, so any one I can make it all the way through must be pretty good. Total movies seen this year: 14

All the featured performers are in the OP, though I admit it's a lot to look through. Just to make sure I wasn't making it up, I found they did indeed spotlight Mastroianni in 2018. They did Alain Delon last year, but I don't think they've ever done Belmondo.

They've been doing one foreign star each year for several years now. They did Mastroianni recently. So, that's not that outside the box.

January 7 Trouble in Paradise (Paramount, 1932) Source: TCM Again Lubitsch, again Hopkins. Now, this is a film I will stop and watch every time it's on. It was just on again Sunday I think on a night devoted to Kay Francis (or Fwancis as one poster on here, I've forgotten who, must call her every time she's mentioned), but I'm visiting my mother and was unable to watch. Not sure I can pinpoint why I find this film so much more compelling than The Smiling Lieutenant. The twists and turns of the plot are part of it, as are the charms of Herbert Marshall. He wasn't handsome enough to be a full-time romantic lead, I guess, but he works just fine, more than fine, in that role in this movie. Marshall and Hopkins are con artists and thieves each pretending to be someone they're not. They arrange a private romantic dinner, each with the intent of fleecing the other. In a clever touch, only when they both realize they're being fleeced by the other do they realize they've found their soul mate. Or so it seems. They launch an elaborate plot to insinuate themselves into the lives of a fabulously wealthy female tycoon (Francis), by first stealing a valuable item of hers than returning it for the reward money. They both become personal assistants to Francis. I think they're pretending to be brother and sister? I've forgotten that part. Anyway, in the course of the deception, as Marshall and Hopkins are plotting to really fleece Francis of everything, Marshall proves to be a remarkably good personal assistant, and he and Francis become attracted to each other, leaving Hopkins seething with jealousy. Meanwhile, Francis' associates, who are suspicious of Marshall from the get-go, edge more closely to discovering his true identity. Much of this depends on the memory of one Edward Everett Horton, a would-be suitor of Francis' whom Marshall once conked on the head while robbing him blind in Venice. Horton and Charlie Ruggles, who was underused in Lubitsch's Smiling Lieutenant, provide a lot of nice comic relief as battling suitors for Francis' hand, though she only has eyes for Marshall. I always get wrapped up wondering how it's all going to end (not entirely sure I remember right now, which is just as well, since I can't spoil the ending). Someone is going to have to get hurt or make a sacrifice. I've already praised Marshall. Francis I can kind of take or leave, although I like her here with her quiet confidence and her adoration of Marshall. Hopkins has to play a broader role, at first the love interest, then the increasingly frustrated partner who fears she's about to be thrown over. She's fearless in the part and makes the movie stronger. Like in Lieutenant, there are many clever Lubitsch sight gags. And no musical numbers, which is probably one I reason why I like it better. This is one of the great early sophisticated comedies, and I highly recommend it. Total movies seen this year: 13

January 7 The Smiling Lieutenant (Paramount, 1931) Source: TCM This movie, which maybe should have been called The Winking Lieutenant, was part of Miriam Hopkins' Star of the Month spotlight. It was maybe my fifth, sixth, seventh time to see it. We got the obligatory references to Lubitsch Touch in the intro. I see this was Paramount's biggest grossing of the film of the year, so it was clearly a big deal. Maurice Chevalier plays a lieutenant in the Austrian royal guard who's quite the Don Juan. His comrade in arms played by the always-memorable Charlie Ruggles takes him to meet the woman Ruggles is sweet on, a concert violinist played by a strikingly young Claudette Colbert. Since one man is Maurice Chevalier and the other is Charlie Ruggles, Colbert winds up as Chevalier's girlfriend. Sadly, the gobsmacked and disgruntled Ruggles disappears from the film at this point. Sometime later, the king of the neighboring postage-stamp fictional country of Flausenthurm and his daughter, played by Hopkins, pay a state visit. While standing guard at the welcoming ceremony, Chevalier spots Colbert at the crowd and winks at her .... except Hopkins thinks he's winking at her. To avoid an international incident, Chevalier must prove his intentions were honorable and marry Hopkins. He's set up for a life of luxury, but it's a life, he finds very boring, so as often as he can, he puts on a tuxedo and straw hat (looking like Bing Crosby) and heads out to rendezvous with Colbert. Meanwhile, Hopkins is heartbroken. Spoiler Alert Hopkins summons Colbert to a private audience and bares her soul. Colbert isn't unsympathetic. She doesn't want to be a palace-wrecker, I guess. And so she gives Hopkins some advice on how to encourage Chevalier to stay home more often, along the lines of the way Sandy hooks Danny at the end of Grease. I don't know how women are supposed to interpret this. Being a bit of a "hoor" is alright within the playful confines of marriage, apparently. There are several clever sight gags, and I probably like best the scene near the end between Colbert and Hopkins. There's a kiss between them that seems to linger just a fraction of a second too long. This is not really my favorite Lubitsch film, but there's nothing I can really think of to say that's wrong with it. I give it a thumbs up, thought I might not go out of my way to watch it again any time soon. Okay, how's that for brevity? Total movies seen this year: 12

January 6 Death on the Nile (EMI; dist. in the US by Paramount, 1978) Source: TCM I am tentatively trying to get back on my plan of posting and reviewing every movie I watch this year. Various circumstances, family tragedy and some sort of general sense of malaise within me sidetracked me very early on. I don't know if I can recover, since I'm now nine weeks behind. I can only review one movie at a time and see what I can do! I definitely need to do shorter reviews if I'm going to have any prayer, although it will probably be hard for me to show brevity on an old sentimental favorite like this one. Two months ago, I watched LornaHansonForbes' link to the video showing all the errors in this movie. I must admit, though my viewing in January was probably 15th or 20th time to watch it, I wasn't aware of virtually any of them, although I think maybe once I noted the reversal of positions of the two newlyweds climbing the pyramid. I guess I'm not very observant, or I was just so sucked in, I didn't notice. I think I was in fourth grade when my parents and my older brother went to the see this movie without me. I don't recall the circumstances, but I must have either been sleeping over at a friend's house or with one set of grandparents. My mom and brother both raved about it. I didn't see it until it aired on HBO, probably a year later. It sparked a several year obsession with Agatha Christie and particularly the Hercule Poirot mysteries with me. Our local Waldenbooks put out all her paperbacks and had them neatly stacked in chronological order, using up a massive amount of shelf space that would certainly never happen today, and I started with Murder on the Links and went on through to Curtain. I don't know many 11-year-olds were reading Agatha Christie then. I can say with some confidence in my many years as both a teacher and substitute teacher that roughly zero per cent of 11-year-olds are aware of her existence now. I also read maybe two Miss Marples and 10 Little Indians, but otherwise, I was all about Poirot. Probably quite sexist of me. Death on the Nile was one of Christie's "travelogue" mysteries, like Murder on the Orient Express. As I recall, these books were quite a bit longer than the standard Poirot mysteries and obviously set in exotic locales. I read the book after seeing the movie. As I recall, the plot is very similar. The movie does sort of painstakingly make a case in its middle third to show why each suspect, even some really unlikely ones, might want to have committed the murder and how in a bit of a repetitive fashion that I think the book handled better. Even at age 11 with not a lot of movie-watching experience, I was like, "Yeah, okay, I get it. Any one of them could have done it." In England, there's a fabulously wealthy young woman (Lois Chiles) who has a peniless bestie (Mia Farrow) who's informed her she's fallen in love with and is engaged to a brilliant young man (Simon MacCorkindale) who's "as poor as a church mouse", and can she bring him round and maybe see if the rich woman can find some kind of employment before him. Next scene, Farrow introduces MacCorkindale to Chiles, and they smile at each other way too long. Jump ahead a few months, it's Chiles and MacCorkindale who are married and Farrow playing the role of bitter, deranged stalker. They try to flee to Cairo to get away from her, but she books passage on the same boat about to go on a Nile excursion. Also sailing is Poirot, played for the first time by Peter Ustinov. Okay, Mild Spoiler Alerts from here on out. If you've never seen the movie before, it take a little time to figure out who the victim is going to be, because the movie takes its time to work up to the murder. It's the wealthy woman, who gets shot in the temple in her cabin just after a great deal of commotion has been going on involving violence between the Farrow and MacCorkindale characters. Though Farrow would initially seem the obvious suspect, the aftermath of said violence indicates it was physically impossible for her to have committed the murder. That's okay, though: the whole damn ship is populated with a who's who of actors whose characters all bore Chiles a grudge: Bette Davis, Angela Lansbury, Maggie Smith, Jack Warden, Olivia Hussey, George Kennedy and Jane Birkin. I may be forgetting a couple. I will only reveal that most of these characters are window dressing, as a Christie story typically needs a lot of suspects, and the main triangle of characters provide the thread that needs to be followed most closely from beginning to end. The way the murder was committed, and the way the murderer avoids detection (at least temporarily - no one escapes Poirot) is probably preposterous if you give it too much thought, but very clever for an escapist movie.\ I especially like Ustinov. He's still my favorite Poirot. On this most recent viewing, I was particularly struck by the scenes between him and Farrow early on, where he warns her about letting evil nest in her heart. I find Farrow something of a mixed bag. I've never cared for her much in most of her non-Woody Allen movies (I'm not going to talk about that controversy anymore. I thought I gave a very fair summary of that new documentary, and Hibi bust a gut laughing at me, saying I sounded like an Allen PR agent. So maybe we're not even aware of our own biases), but she's very riveting here. I don't remember if this or Return from Witch Mountain came out first, but those were the first two Bette Davis movies I ever saw, and then that song came out, and I was like, "Woah, guess she was a big deal." I don't suppose I'd ever seen a picture of her younger self at that time. The snippy banter between her and Smith is great fun, and I assume the latter was thrilled to get to share the screen with the former? Similarly, I saw this movie and the Disney movie Candleshoe around the same time, followed not long after by one of the very late Pink Panther movies, and that trio was my introduction to David Niven at the very end of his career. He's charming as all get out as Poirot's Watson (more or less) in this one. I love the scene where he tangos with Lansbury (this film was also my introduction to her). MacCorkindale was briefly a big deal, but I never really heard from him again after Jaws 3-D and Manimal. I was kinda sad to see on his imdb page that he died more than 10 years ago in his late '50s. Anyway, I love the on-location shooting (was it on-location? I better pull in the reigns on that assumption, but it's very authentic-looking). It was very evocative of a time that I'm sort of sad I missed, when people of means could travel so glamorously, although it does reek a bit of colonial privilege. I always laugh when the ship's host says "I grovel in mortification". And the ending is pretty boffo. With all the big movies being postponed during the pandemic, I am only vaguely becoming aware again that film is finally about to get the Kenneth Branagh treatment, after his adaptation of Orient Express. I found that film only kind of okay. Essentially the same plot with some dumb extra scenes and unnecessary CGI. I fear this one will be more of the same. Total movies seen this year: 11

Daytime May 20 Day Three of the I Miss .... theme. This week, it's I Miss Parties Dinner at Eight (Marie Dressler, John Barrymore) (MGM, 1933) Hollywood Party (Stan Laurel, Oliver Hardy) (MGM, 1934) Father of the Bride (Spencer Tracy, Joan Bennett) (MGM, 1950) Operation Mad Ball (Jack Lemmon, Ernie Kovacs) (Columbia, 1957) The Bachelor Party (Don Murray, E.G. Marshall) (United Artists, 1957) Pajama Party (Tommy Kirk, Annette Funicello) (AIP, 1964) The Fireman's Ball (Jan Vostrcil, Josef Sebanek) (Dist. in the US by Cinema V, 1968) The Party (Peter Sellers, Claudine Longet) (United Artists, 1968) Primetime Night Three of the month-long theme Dream State: California in the Movies San Francisco (Clark Gable, Jeanette MacDonald) (MGM, 1936) Born to Kill (Lawrence Tierney, Claire Trevor) (RKO, 1947) The Sandpiper (Richard Burton, Elizabeth Taylor) (MGM, 1965) Monterey Pop (Otis Redding, Jimi Hendrix) (Leacock-Pennebaker, 1968) Petulia (Julie Christie, George C. Scott) (Warner Bros., 1968)

Daytime May 19 Film Noir Road Trip (Noir situations involving people traveling, I think) Detour (Tom Neal, Ann Savage) (Producers Releasing Corp., 1945) The Treasure of the Sierra Madre (Humphrey Bogart, Tim Holt) (Warner Bros., 1948) They Live by Night (Cathy O'Donnell, Farley Granger) (RKO, 1948) Gun Grazy (Peggy Cummins, John Dall) (United Artists, 1950) Tomorrow is Another Day (Ruth Roman, Steve Cochran) (Warner Bros., 1951) Jeopardy (Barbara Stanwyck, Barry Sullivan) (MGM, 1953) The Hitch-Hiker (Frank Lovejoy, Edmond O'Brien) (RKO, 1953) Hell Drivers (Stanley Baker, Herbert Lom) (Dist. in the US by Rank Distributors of America, 1958) Primetime Night Three of the Order in the Court theme The Rack (Paul Newman, Anne Francis) (MGM, 1956) Paths of Glory (Kirk Douglas, Adolphe Menjou) (United Artists, 1957) I Accuse! (Jose Ferrer, Anton Walbrook) (MGM, 1958) Judgment at Nuremberg (Spencer Tracy, Marlene Dietrich) (United Artists, 1961) Breaker Morant (Edward Woodward, Jack Thompson) (Dist. in the US by New World, 1980)

Daytime May 18 Island Life The Most Dangerous Game (Joel McCrea, Fay Wray) (RKO, 1932) The Devil-Doll (Lionel Barrymore, Maureen O'Sullivan) (MGM, 1936) Isle of the Dead (Boris Karloff, Ellen Drew) (RKO, 1945) Miss Robin Crusoe (Amanda Blake, George Nader) (20th Century Fox, 1954) Robinson Crusoe (Dan O'Herlihy, Jaime Fernandez) (Dist. in the US by United Artists, 1954) The Little Hut (Ava Gardner, Stewart Granger) (MGM, 1957) Atlantis the Lost Continent (Anthony Hall, Joyce Taylor) (MGM, 1961) Primetime Night Three of the Body Images theme The Honeymoon Killers (Shirley Stoller, Tony LoBianco) (Cinerama, 1970) Fatso (Dom DeLuise, Anne Bancroft) (20th Century Fox, 1980) Sweetie (Genevieve Lemon, Karen Colston) (Dist. in the US by Avalon Pictures, 1990) Fat Girl (Anais Reboux, Roxane Mesquida) (Dist. in the US by Cowboy Booking International, 2001) Precious (Gabourey Sidibe, Mo'Nique) (Lionsgate, 2009)