musicalnovelty
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Posts posted by musicalnovelty
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Walter Catlett
Harold Lloyd
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> {quote:title=lavenderblue19 wrote:}{quote}
> Please post the answer to the 4 films in common question you posted., so someone else can have a turn with this thread.Thanks.
I just did...didn't you see my post of 10:51?
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> {quote:title=ThelmaTodd wrote:}{quote}
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> I'm liking the feature now playing on TCM; *CENTRAL AIRPORT (1933)*, a real pre-code piece with a number of suggestive scenes.
> Those who caught it or recorded it might like to comment.
>
Sally Eilers can parachute into my arms any time!
(And I'm sure you know - watch for John Wayne in a very small role).
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> {quote:title=lavenderblue19 wrote:
> }{quote}*Ah, Wilderness* was filmed in the surrounding towns of where I lived for 35 years. The film *The Gazebo* was too!
I'm familiar with that area. What town did you live in?
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> {quote:title=lavenderblue19 wrote:
> }{quote}I did the best I could with this one. I haven't seen the films in a long while.Other than my original aanswer of NE locations of Connecticut and Ma. as locations, don't know what you're looking for as the answer. As an aside, *Ah, Wilderness* was filmed in the surrounding towns of where I lived for 35 years.
That was very close: the answer is that all four of the movies had location filming in Massachusetts. (I decided I'd be a wise guy and follow the previous question, which was location filming in Connecticut, with one for which the answer is filming locations in Massachusetts).
Maybe it was too tricky because one can pretty easily research that three of the movies had Mass. location shooting, but for THE MAN IN THE NET it is not widely documented that parts of it were filmed in Mass. As noted in the previous answer it had location filming in Connecticut but it's only because the Mass. location is local to me that I've learned about it many years ago. Also I was good friends with actress Susan Gordon who played one of the children in the movie and in doing a lot of research for her on her films, along with info she had on it, I learned of the Mass. location. It was a place in Framingham, Mass. called Raceland. (Coincidentally one of the Conn. locations mentioned earlier was called Roseland.)
WALK EAST ON BEACON had location filming in Boston (presumably on & around Beacon Street).
MYSTERY STREET had location filming in several Mass. areas including Beacon Hill, Cape Cod, Harvard Square and Harvard University.
AH, WILDERNESS had filming in the city of Worcester and towns of Clinton and Grafton.
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John Carroll
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> {quote:title=bundie wrote:
> }{quote}I know some of y'all experts will be able to explain something that's always bothered me. When the Joads set out for california there was another young man with them, a stocky, dark-haired fellow...
The actor is Frank Sully.
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> {quote:title=deadendkid wrote:}{quote}
> Thanks very much! I'll be on the lookout for it. I was watching for the other Jacquie Lyn, Jackie Lynn Taylor actually, when I was abruptly staightened out. I'll bet there are other films she appeared in and didn't receive any credit. I believe it was a common practice at the time.
Yes, Jacquie Lyn and Jackie Lynn Taylor have been mixed up by sloppy reseachers for many years...and continue to be (IMDb still has Taylor - as JacquelineTaylor) listed as Ann Dvorak's child instead of the correct Jacquie Lyn in MOLLY LOUVIAN.
What makes these surprise discoveries of undocumented Jacquie Lyn appearances most interesting to me is that she did have scrapbooks and some documentation on her career, which she showed me. And as I noted earlier, her memories were sharp. So I really didn't expect to discover films she made that even she didn't even know about or have any record of.
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Van Dine short coming up on TCM:
Sunday morning, March 11, 2012 at 6:41 A.M. (eastern):
THE WEEK END MYSTERY (1931).
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Hal Roach short coming up on TCM:
Sunday night, March 11, 2012 at 11:36 P.M. (eastern):
BENNY, FROM PANAMA (1934).
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> {quote:title=cagney69 wrote:
> }{quote}I say it's Brian Aherne
I'd say a different Brian:
Donlevy
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> {quote:title=deadendkid wrote:}{quote}
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> Musicalnovelty, I was very pleasantly surprised to find Jacquie Lyn in this film. Took me a bit to recall who that little kid was. Enjoyed your story. What a find to be able to be friends with her. You mentioned a seventh film she did. What was the title?
It's YOUNG AMERICA (Fox, April 17, 1932).
She is completely unbilled and undocumented anywhere as appearing in it. If I hadn't actually seen the movie and recognized her in it I'd still never have known she's in it.
And of course, that has to make me wonder how many other so far unseen movies from that period may she also be in that are completely undocumented and we won't know until we see them.
Info on YOUNG AMERICA:
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> {quote:title=kriegerg69 wrote:
> }{quote}It would have been much easier to do such a thing to those Wayne films because many of them had very little or no music. High Noon would be much more difficult to alter because they'd have to have access to the film's audio recordings...they couldn't just simply "layer" new music in there. There's also the issue of copyright on High Noon...they couldn't simply alter the music without permission....those Wayne films, as was pointed out, were public domain and could be tampered with.
Yes, exactly. And then after the perpetrators had defaced the John Wayne movies with their added scoring they could copyright them as their own new works.
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> {quote:title=markbeckuaf wrote:
> }{quote}GIRL MISSING really had it all going for it! Sexy, sassy and mystery all in one! And my heart is still beating hard for Mary Brian! Glenda always gets me going and I expected that, but Mary was a more than pleasant surprise! I'm sure I've seen her before, but she really sparkled here!
>
> The bits between Glenda and the police inspector (Edward Ellis) was the stuff that dreams are made of! WB pre-code snap-crackle-pop at it's zenith!
Mark,
I agree, Tuesday on TCM was one of the best days ever! Thanks, TCM!
And I totally agree about the beautiful Mary Brian. I've long been a fan/admirer of hers. She is someone who, beacuse she did most of her work at a studio (Paramount) we don't see enough of on TCM, still may not have been discovered by many TCM viewers.
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> {quote:title=Sepiatone wrote:}{quote}
> I remember one time...running across *High Noon...*
> The original score was replaced by something that sounded more like the music you'd hear in a late '60's Sergio Leoni "Spagetti Western", Heavily fuzzed electric guitar and all!
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> Any of you run across anything like this before?
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>
> Sepiatone
>
That kind of thing was done to some of the mid-1930's public domain John Wayne movies that I saw on Encore Westerns a few year ago (and being a fan of those, I HATED what they did to them!!).
But I've never seen (heard) it done to HIGH NOON or any more famous or non-PD films the way the John Waynes were ruined by that added "music".
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> {quote:title=GRASLA wrote:
> }{quote}Can anyone please tell me where I can buy this 21 minute short, on either VHS or DVD?
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>
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> It starred Dawn O'Day, aka Anne Shirley, and Hal Le Roy.
No, it did not!
The Dawn O'Day who appeared in this short is NOT the same Dawn O'Day who changed her name to Anne Shirley.
But it's a great fun short that turns up on TCM occasionally.
Unfortunately I don't think it's out on DVD yet.
I believe there's been talk of a set of Hal LeRoy shorts being considered for release by Warner Archives, but nothing so far.
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On March 8, after his closing comments on the movie PRETTY POISON at about 11:50 P.M. (eastern) Robert Osborne held up the new DVD set of UPA cartoons, talked about them a little and then they ran the 1951 UPA cartoon ROOTY TOOT TOOT.
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Charles Trowbridge
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> {quote:title=mongo wrote:}{quote}
> Orson Welles takes a break from playing Rochester in "Jane Eyre" to jam with Stan Laurel and Oliver Hardy on the set of "Jitterbugs", on the 20th Century Fox lot in 1943.
Cropped off the right side of the original picture is Stan & Ollie's JITTERBUGS co-star Bob Bailey on clarinet. You can just see his fingers and shoe here.
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> {quote:title=jamesjazzguitar wrote:
> }{quote}Funny you mention the credits of The Public Menace since I noticed this when it started playing.
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> The look of the credits was very cheap. Just printed cards that were filmed like I would get from a high school class film.
> So do the other credits look more professional?
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> One last question: Who was The Public Menace? I couldn't tell if it was the gangster OR the reporter! (and until the very end the reporter would say it was Jean).
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I thought the credits looked pretty cool! Certainly nicer that just plain printing on a plain background.
The alternate titles on the DVD are more basic, not as nice as the ones on the print TCM just ran. They actually look like reissue titles, the way Columbia titles looked in about 1936, but I can't confirm this movie was reissued at all, let alone so soon after its original 1935 release. And even if it was, possibly to cash in on Jean Arthur's rising popularity after MR. DEEDS GOES TO TOWN it is rare that they'd print up new titles sections for the reissue. That said, sometimes they did, especially if they wanted to make the titles look more modern in an attempt to hide the fact that the movie is a reissue.
Good point about the title character! I suppose in all the times I've seen this movie by now, I didn't even think of that. I guess I've seen too many movies for which the title means nothing! (Musicals named after a song, B-westerns, etc.) But I'd have to say the public menace of the title was probably supposed to be the gangster "Tonelli" (played by Douglass Dumbrille).
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See Shemp Howard (in 1954) doing his Liberace imitation:
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> {quote:title=ThelmaTodd wrote:}{quote}
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> *Lee Tracy* .... Audiences found him amusing and endearing despite his occasional duplicity.
>
Most movie fans I know do like Lee Tracy. But one good friend HATED him. Too much arm-waving and hand-gesturing, he thought. And he especially hated one thing Tracy sometimes did: the way he'd kick his leg back while going through a door. My friend swore that once in the 1950's he saw Tracy in some live TV program and he did that kick thing and actually kicked over the scenery!
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> {quote:title=TikiSoo wrote:
> }{quote}Wow musicalnovelty, great story!
> Funny too that every scene the child was in, I marveled at her acting ability. When the nanny was holding her and she cried, "Mommy, mommy, I want to go with my mommy" I sat there wondering just HOW did they got that kid to do that? Was the real mother just off stage?
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> That child seemed way too young to "act" or even understand acting. She was an outstanding crier. It was totally believable acting, really outstanding job.
>
Thanks for putting it in perspective! I guess I just enjoy her happy roles (like the Laurel & Hardy movie) so much that it bothers me to see her acting so sad and hurt in MOLLY LOUVAIN...and doing it so believably. But as you said, that's because it was such good acting!
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> {quote:title=casablancalover wrote:
> }{quote}That was a great youtube video. Thank you.
Glad you enjoyed it.
By the way, you may have noticed what looks like a puddle of water on the floor during the number. Although I do have a copy of that complete show, I can't recall right now why that was, but let me just say that Abbott & Costello were also guests on that show and had just done a sketch, so that should explain it!
Here's Uncle Bill introducing The Sauter- Finegan Orchestra in another great performance from that same show (a 1954 Colgate Comedy Hour). This is an Eddie Sauter composition with lots of wild percussion:
OAR and TRT variations
in Hot Topics
Posted
> {quote:title=MGMWBRKO wrote:}{quote}
> All Warner Archive mastered titles have a 1 year moritorium on them.
Could that be the reason why NIGHT FLIGHT (1933 - MGM) has not turned up on TCM yet (although I don't believe NIGHT FLIGHT was exactly a Warner Archive release)?