musicalnovelty

Excellent job! Is that building artwork from some old Paramount lobby card or poster?

> {quote:title=metz44 wrote:}{quote}yes..charles always looked like he was ready to explode > remember him in "swiss miss" with laurel and hardy > > he played a cheese store owner! "Ready to explode" - good description! Yes, I remember him in SWISS MISS. He was also memorable in a series of Vitaphone shorts in the early 1930's in which he was teamed with George Givot.

Here's a reportedly real one from 1949: Bob Hope in THE GREAT LOVER A CHALLENGE TO LASSIE

> {quote:title=fancagney wrote:}{quote}I am new to this forum but I know what I am talking about when it comes to the movies shown on TCM. I have been a loyal fan for for many years and cannot understand why they keep showing the same hundred or so movies over and over again when they have a database of thousands. Again they are showing To Sir With Love, Trapeze, A Patch Of Blue, The Blob, On The Town, etc, etc. I don't accept an answer like "Oh, in case you didn't catch it the first time" baloney either. Why play all these movies repeatedly and we still haven't seen a great movie like Golden Earrings starring Marlene dietrich and Ray Milland in years? Something is not right - please somebody explain this. Do we need to wake up the people in charge of programming or what? By your name you appear to be a James Cagney fan (or are you, like me, also a big fan of sister Jeanne?) Anyway, a James Cagney fan should be appreciating the film being shown on TCM right now, SHAKE HANDS WITH THE DEVIL - not often shown. And how about a few weeks ago, TCM showed A LION IS IN THE STREETS - there's a pretty rarely seen Cagney movie. So, there are always rarities and premieres to look forward to on TCM.

> {quote:title=lzcutter wrote:}{quote} > > Ray Milland in years? > Ray Milland was Star of the Month this past April so that hardly rates as being years off the schedule. > He wasn't saying Ray Milland hasn't been shown in years. He said that GOLDEN EARRINGS starring Marlene Dietrich and Ray Milland hasn't been shown in years. I agree completely with everything you said, but just wanted to clarify that one point.

> {quote:title=TomJH wrote:}{quote}Which Hollywood star of the studio system era do you think benefited from more great musical composition support in his/her films that any other? I ask that realizing that music, like any of the arts, is all in the eye or, in this case, ear of the observer. How about Laurel & Hardy (and other Hal Roach Studios stars) performing to the wonderful underscoring of Leroy Shield and Marvin Hatley?

> {quote:title=markbeckuaf wrote:}{quote}Thanks, Musicalnovelty!!! I have the DVR purring though, so I'm good! I have my cat purring...but he doesn't know how to record movies!

> {quote:title=johnpressman wrote:}{quote} > It turns out that Mr. Lugosi, jr.is a well respected Los Angeles attorney...and he is a perfect gentleman. Yes, he was when I met him several years ago and he signed a still of his Dad for me.

Read a newspaper story about her just after it happened: (scroll down to read it all): http://www.ebay.com/itm/1932-PEG-ENTWISTLE-Hollywood-Sign-Suicide-Old-Newspaper-/390342025894?pt=LH_DefaultDomain_0&hash=item5ae232a2a6 This article says she had some bit roles in other films in addition to THIRTEEN WOMEN which is widely considered to be her only film. Can anyone confirm what any of those other films may be? Interesting too that in reading about her and seeing her suicide note quoted, there are two variations. In one she allegedly wrote "I'm afraid I'm a coward..." while in the other it was "I'm afraid, I'm a coward..." - note the comma in one version, giving each statement a slightly different meaning.

> {quote:title=MissGoddess wrote:}{quote}http://www.youtube.com/watch?v=UtbvEP4-aAU > > > > Thanks very much for that great YouTube link - two of my top favorites from radio & movies - together! Coincidence! I was just chipping away at the seemingly never-ending project of organizing my movie stills and had just handled that same one you posted of Jean Arthur! BUT - I got it out again and compared it to yours and was interested to see that it is very slightly different. In mine Jean's mouth is closed and her left hand is moved just a little so her fingers are not pointing down. Otherwise, exactly the same! Must have been shot two seconds apart. And I'm sure you know, but for anyone who doesn't, it's a posed shot on a set from the 1943 Columbia movie THE MORE THE MERRIER. In the movie there is actually no such scene. In the scene on the roof Jean is lying on a blanket next to the record player, then gets up and climbs over the wall but doesn't sit on the wall with the record player like she is in this posed still.

> {quote:title=metz44 wrote:}{quote} I've been refraining from answering this one because with the guy's name printed right under his picture, it's too easy! But since still nobody else is answering, I'll submit this: Is this the guy? http://www.imdb.com/name/nm0092129/bio

> {quote:title=ClassicFilmMan wrote:}{quote}I fell asleep just before the last Cher outro of the evening began after the film "Lady of Burlesque" and woke up while she was talking about which movies she likes to watch just before she is getting ready to go to work. > > Before she mentioned that she liked musicals the best, she mentioned two types of movies that she didn't like: dramas was one and the other one I didn't catch. If anyone taped or DVR'd the segment and can tell me, I'd be much obliged. > > > Thanks in advance! > I was watching but not recording it but I think she said something like she didn't care for dramas and downbeat movies, or some similar term. Which made me wonder why she selected THE BIG STREET as one of her choices for her night on TCM.

Here he is: A future SOTM (we hope!) http://www.cartelespeliculas.com/galeria/displayimage.php?album=302&pos=21 Click on the image for a nice enlargement. And while there, check out the other great artwork.

> {quote:title=ThelmaTodd wrote:}{quote} > *OLD MOTHER RILEY MEETS THE VAMPIRE aka MY SON THE VAMPIRE aka VAMPIRE OVER LONDON (1952)* > > Renown Pictures. w/Lugosi, Maria Mercedes > And don't neglect to mention the STAR of the movie, Arthur Lucan (as "Old Mother Riley").

> {quote:title=mongo wrote:}{quote} > Dorothy Lamour reads to her son John in 1949 Nice photo...and nice house. Notice that Dorothy's couch and curtains match!

> {quote:title=ThelmaTodd wrote:}{quote}Gad, does anybody remember the *Ritz Bros*? Oh sure! Some of my friends absolutely adore them (hi Kay, hi Scott!) Others passionately hate them (hi Ed, hi Bob!) I'm right in the middle. I like the Ritzes most of the time, but admit they're not for everyone.

> {quote:title=darkblue wrote:}{quote}You recently watched 'Murder by Contract'? I thought I was the only person who remembered that wonderfully offbeat small gem. Well, me and Tarantino anyway. Well I haven't exactly watched it "recently" but have seen it several times and have a video copy around here someplace. It was so cool the first time I saw it and saw where the guys were driving and I said "They're headin' for Thelma's place" and to see that they really did! As I mentioned they drove by it, but it was so cool to see it in a movie.

> {quote:title=clore wrote:}{quote}I think this is the only "color" film *Lugosi* was in! > > There's also SCARED TO DEATH which may be Cinecolor, but it should still qualify. There were two others. Can you name them? Okay, time's up. Here they are: 50 MILLION FRENCHMEN (1931) - Only B & W prints exist now, but it was originally in 2-strip Technicolor. And for years Lugosi fans have been reading that he served as host / Master-of-Ceremonies (or some such role) in the Hungarian (or one other of the foreign) versions of the 1930 Universal musical revue KING OF JAZZ. That was in color, so if he really was in that, it would count as a color credit for him. Without getting too deeply into it, I am not sure this really is true. IMDb doesn't seem to mention any of the foreign versions of that movie. Can any Lugosi expert tell us more? By the way, I've seen the French version and he ain't in that!

> {quote:title=ThelmaTodd wrote:}{quote} > As to knocking on their door, I would advise calling them first! You might get a better reception. By all means take pictures if they will let you. Here's a link to them, complete with cool info and pictures of the building and her: > > http://www.paulistproductions.org/about-us-our-building.html > That is a good idea. Security concerns have changed significantly even just since the last time I was there. One may not be welcome any more even wandering around exploring the area outside and up the hill where the garage and Roland West house are, like I was able to do several times way back in the 1990's. Fun fact about Thelma's Sidewalk Cafe: Watch the 1958 movie MURDER BY CONTRACT and about ten minutes in the main characters take a drive down the Pacific Coast Highway and sure enough they pass Thelma's place. We get a good (but too brief) look at it as of 1958. That was a good idea about starting a separate thread for Thelma discussions. Maybe a Moderator can look over what has already been posted here about Thelma and move those posts from here and turn them into a new thread on Thelma.

> {quote:title=EugeniaH wrote:}{quote}musicalnovelty, your second paragraph intrigues me. Wish you would elaborate on that (not wanting to be morbid or anything). > I guess I was assuming that everyone here knew at least the basics of Thelma Todd's death. She died in that garage and since it still looks exactly the same (at least it still did last time I was there) and one can peek in through a tiny window if the doors are closed, it is just very sad to think that this is the very place where the beloved Thelma Todd died. It's easy to get emotional being right there where such a sad event happened.

> {quote:title=RayFaiola wrote:}{quote}Rich - you are quite right about Harry Woods writing the emblem. I think it first appeared in 1929. > I guess Jackson did the subsequent adaptation when it was reorchestrated in 1932. I was not aware that C.B. had composition credit for it as well. Are you sure that assignment doesn't come from a cue sheet which might include an extension provided by C.B.? > > Was "Charming" listed on the cue sheets for IT HAPPENED ONE NIGHT? Or was the title assigned elsewhere? > The credits for the Emblem are confusing to follow. Among the many cue sheets I have from between 1928 and 1936 there seem to be different combinations of names but mainly J.H. Woods and Constantin Bakaleinikoff but sometimes C.B. alone. I do know Howard Jackson's name and work very well but don't recall ever seeing him credited as the Emblem composer. In fact he doesn't seem to appear at all on Columbia cue sheets until about 1936. The great majority of the cue sheets from the 1934 era seem to list Woods & C.B. together as the composers so that was how I came to the decision to name them. On the cue sheet for IT HAPPENED ONE NIGHT (dated March 5, 1934) there are eleven selections listed. Interestingly, the "Emblem" is not even listed at all! The first cue is given as follows: Charming - Main Title - L. Silvers - (Publisher) - Berlin - Use: Instrumental Background - Partial or Entire: Entire. Cue #11 is the End Title and it's credited same as above except it's usage is Partial instead of Entire. More on the "Emblem": Checking five random early 1930's sheets: THE LAST OF THE LONE WOLF (1930) ARIZONA (1931) DARING DANGER (1932) VIRTUE (Sheet dated Nov. 20, 1933, although the film was about a year old by then). CIRCUS QUEEN MURDER (June 21, 1933) All credit the Emblem as "Opening Emblem" and credit the composer as Bakaleinikoff (on only two sheets is the initial C. given). Looking at several more random sheets from about May 1935: JUSTICE OF THE RANGE (May 8) UNKNOWN WOMAN (May 18) THE LEATHERNECKER (short) (May7) SCREEN SNAPSHOTS #10, SERIES #14 (short) (May 15) And I'M A FATHER (short) (Jan. 25, 1935) All credit "Columbia Emblem" with composers as Bakaleinikoff & Woods. A few more: ANTS IN THE PANTRY (short) (Feb. 3, 1936) HELL SHIP MORGAN (Feb. 10, 1936) SHE MARRIED HER BOSS (Aug. 14, 1935) HIS MARRIAGE MIX-UP (short) (October 7, 1935) A FEATHER IN HER HAT (Oct. 4, 1935) And several others from later in 1936 All these credit "Columbia Emblem" with composer as C. Bakaleinikoff. More random sheets from 1934: WHITE LIES (Nov. 13) SQUARE SHOOTER (Nov. 21) IN THE DOGHOUSE (short) (Nov. 20) All credit "Columbia Emblem" by Bakaleinikoff-Woods As I said, these cue sheets can be confusing. Fascinating but confusing. For example, in my listing of usages of the tune "Charming" in Columbia films I included the 1935 Andy Clude short I'M A FATHER. But that was only because I have a video copy of the short and know the film well and have heard the opening titles. I couldn't rely on the cue sheet - it lists a different tune ("At the Races") as the Main Title. I have encountered other similar mistakes occasionally.

> {quote:title=clore wrote:}{quote}A lot of forums on the web still have people writing as to whether SHANE is still alive at the end of the film or not. > > John Carpenter's THE THING is another one to leave a question unanswered. > > > Another: The Marx Brothers movie HORSEFEATHERS (1932) - who's the bride in the final scene?

> {quote:title=clore wrote:}{quote} > > A lot of forums on the web still have people writing as to whether SHANE is still alive at the end of the film or not. > > > John Carpenter's THE THING is another one to leave a question unanswered. > > > SHANE and THE THING - yes, two good examples of just what I was talking about.

> {quote:title=PrinceSaliano wrote:}{quote}I'm somewhat surprised that his two 30s Columbia pics (NIGHT OF TERROR and THE BEST MAN WINS) have not turned up on TCM. I'd love to see them both on TCM. NIGHT OF TERROR I've seen but not in quite a while. But THE BEST MAN WINS I've never seen.

> {quote:title=CineMaven wrote:}{quote} Musical Novelty writes: *Just catching up with a few "thanks" for your recent comments on SHANGHAI EXPRESS, STAND-IN, and even ATTACK OF THE 50-FOOT WOMAN. Even with movies I know well, your entertaining reviews always bring out things I hadn't thought of or noticed myself.* > > Hi there M.N., thanxx so much! Nice of you to say so. Hope Hurricane Irene didn't treat you folks too badly. > Thanks so much for the concern. But it turned out that even though we weren't far from the worst local damage the whole thing was just a slightly stronger-than-usual wind & rain storm for us. But I feel bad for all the folks who had power loss, flood damage, etc. And I trust all was well for you down in NYC.