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DougieB

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About DougieB

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    I Love Melvin

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  1. Too bad they're pulling out A Kiss Before Dying yet again for Robert Wagner, probably because it's from United Artists and they wouldn't have to deal with Fox. Wagner was a good enough actor and made enough noteworthy films (and has shown a more than friendly interest in TCM) that TCM should have made a better, less predictable choice even if it meant going to Fox. For that matter, All the Fine Young Cannibals is from MGM and, even though it's sort of a mess, it's almost never shown and has a good cast, including a rare film appearance by Pearl Bailey. My preferred choice would be Frank Tashli
  2. I'm really looking forward to Tell Me That You Love Me, Junie Moon (1970) on May11. Otto Preminger had tried to take the collective cultural temperature in 1968's Skidoo and failed miserably. Junie Moon was an attempt to try it again from another angle and it worked better. TCM is showing it under its "Body Image" theme because the Liza Minelli character is disfigured and another character is crippled, but the film is equally about diversity, something our society is still struggling with 50 years later. It seems to have been MIA in terms of broadcast and streaming, so it'll be nice to be rea
  3. You sure it was a car and not a chariot? (March isn't the time to get drenched, so sorry about that.)
  4. I'll be watching/recording it on ABC too. It's amazing how good the remastered print is now, based on the ads for the broadcast. Smaller screen, but it'll be way good enough for me. I'm sure the staff-into-serpent trick will look even faker in higher definition, but the movie is basically one big, beautiful, glossy, overblown fake-out anyway. That's show biz (or is it just DeMille?). Now, over to you, Moses, you stubborn, splendid, adorable fool!
  5. It breaks my heart to think of you down there with all the spring break fools. Somebody needs to start a William Castle punishment poll for your Governor.
  6. I think it was British. Sean Connery played a creep who got her involved in a murder plot. He'd already done Bond so maybe he was fulfilling some previous contractual obligation, or maybe he just wanted to be that close to Gina Lollobrigida. I saw it on local TV sometime in the 70's but I'd love to see it again. But, yes, overheated. It kind of reminds me of I Thank a Fool, the British Susan Hayward movie with Peter Finch, where the guy sets the woman up to take the fall for murder. (Thus, woman of straw). (Portrait in Black with Lana Turner and Anthony Quinn would also be a good, equally chee
  7. Gina never looked better, with the possible exception of Come September. Like with Sophia Loren, time smoothed out her rough edges. She got the total glam treatment and the movie treats her character fairly respectfully, though she has to "pay for her sins". The opening scene is great: Gina comes scampering out of a cab with her "date", about to enter a trendy club, gibbering away in French (I think it was). A ridiculously blowsy streetwalker is passing on the sidewalk and pauses to take Gina in, then catches Gina's eye and winks broadly. Gina takes a quick moment to take stock and absorb the
  8. It's always struck me that way too. Peter's like Hans's Mini-Me. The shot of the two of them in the bow of the ship watching the approach of Copenhagen with the swelling music score and Danny's arm around the boy looks like Leo and Kate in Titanic.
  9. After Underwater! he reteamed with Jane Russell for my favorite guilty pleasure. Raoul Walsh's The Revolt of Mamie Stover (1956). Jane was a pistol and Richard Egan was second only to Robert Mitchum in his ability to pair with her believably, in my opinion. It's Twentieth Century-Fox, but TCM has shown it and there's a stunning widescreen print out there.
  10. Speaking of pitch-perfect, Capra was so smart to bring Josephine Hull and Jean Adair from Broadway, even though they were basically unknown to movie audiences. They really embodied your idea that everyone's mad in some form by playing it so straight, without the scattershot dithering and overkill others might have resorted to in the roles.
  11. Once the parodies started, my favorite was The Big Bus (1976), about a mammoth nuclear-powered bus on its maiden non-stop trip from NYC to Denver. It relies heavily on stupid jokes and sight gags, not all of them beauts, but another one comes up while you're still groaning at the last one and a few are real winners. I love the seedy dive bar where all the bus drivers hang out. Instead of oxygen masks, the stewardesses demonstrate protective body bags which drop from the ceiling in case of nuclear contamination. Everything inside the bus is laughably out of scale, including a huge piano lounge
  12. This definitely goes on the calendar. Thanks for the heads-up. You will not be disappointed in Go Naked in the World. Anthony Franciosa falls in love with call girl Gina Lollobrigida, who is in the little black book of his father and every other hot shot in town. Poor Gina has to suffer in the end though, because the Production Code wasn't quite dead yet. It's been a while since Youngblood Hawke's been around so I'm really looking forward to seeing it again. You're right about Minnelli; when he went off the rails it was spectacular. I'd add his Home From the Hill to The Cobweb as campy melodra
  13. Did anyone else catch Be Natural: The Untold Story of Alice Guy-Blache when TCM showed it recently? Number 1; It was a very detailed look at the life and career of the pioneering woman director who had been so far under the radar as to be almost entirely unknown. Number 2: It was in itself an exemplary documentary film, expertly spanning eras and locations using extremely clever visuals to do so. She worked in both the United States and France and in both creative and business aspects of what wasn't even an "industry" yet, basically in every aspect of filmmaking. Plus there was a generous sele
  14. I know that part of your original point was that franchises are an unimaginative way to keep the careers of actors going, but I personally am looking forward to Harrison Ford as Indy again. Kingdom of the Crystal Skull made allowances for the aging of the character and I expect a new installment will do the same. I think the fact that he is basically a tenured professor who occasionally gets drawn back into the kind of adventures which defined his youth makes the scenario all the more plausible. I was also pleased to see Carrie Fisher in the latest round of Star Wars trilogies. It made sense t
  15. I was commenting in another thread about Audrey Meadows' great supporting performance in That Touch of Mink and it reminded me of how well Doris played off of other women. Not every top female star could say that. Some seemed only to be able to interact well with other women if there were a clearly defined hierarchy and it was obvious who was the star; they saved all their energy for "the man." Doris and Audrey were believable roommates. Doris was endearingly bemused by Spring Byington as her mother in Please Don't Eat the Daisies. Her intimacy with Myrna Loy as her aunt in Midnight Lace was
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