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faceinthecrowd

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Posts posted by faceinthecrowd

  1. In 1967 there appeared a made-for-TV movie called "The Star Wagon," starring Orson Bean. Fourth billed was a then-unknown actor who played a yokel assistant to Bean's eccentric inventor. Mr. Unknown was -- well, different. I had never seen anyone quite like him, and I couldn't take my eyes off him when he did his mumbling monologues. I checked the credits at the end to find out his name -- it was Dustin Hoffman. I said, "This guy is going to be a star." (Whatever happened to him, anyway?)

     

    (I should add that I missed the boat on Jack Nicholson. When I saw him in *Easy Rider* I never guessed that he'd become a superstar, and an excellent actor as well.)

     

    Is there anyone for whom you correctly predicted stardom when they were still unknown?

  2. Exactly the opposite took place when *It Happened One Night* was released. When Clark Gable took off his shirt, revealing that there was nothing under it but his manly chest, the sales of men's undershirts plummeted.

     

    But to address the broader question of how movies influenced -- or reflected -- social changes, I think the 1960s are a significant decade for examination.

  3. Two footnotes to Ann Sheridan's career:

     

    1) In *Kings Row* she didn't appear on the screen for more than 60 minutes after the opening credits began, even though she was top-billed. That has to be a record.

     

    2) Her publicity photos were usually of the sultry and seductive type, but she generally played the girl next door. (An exception was the floosie in *They Made Me a Criminal.*)

  4. A favorite episode of mine is "The Element of Danger" (1962), in which Lee Marvin plays one of his patented nut jobs -- a violent guy who places himself in precarious situations because that's how he gets his kicks. I bought the DVD just for that performance.

  5. An intriguing aspect of this film is that it's never really established whether Bergman's character is the real Anastasia. It's hinted that she may be, and is giving up her claim for the sake of love; and if the viewer finds that interpretation satisfying, the screenplay doesn't rule it out.

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