LonesomePolecat

Eugene Pallette was in THE ADVENTURES OF ROBIN HOOD with Alan Hale

A White Thunderbird to me is only *AMERICAN GRAFFITI* next: minstrel show

Just to prove my point, t'other day we finished watching whatever movie we were watching and saw TCM was showing THE STING--one of my favorites, and a classic I would say. But my dad asked, "Why is TCM showing this?" I said, "Because it's great. They show it all the time." He said, "But that film isn't a classic--it came out when I was in high school!" See what I mean?

That is an excellent picture of Ward Bond. Hard to choose a favorite film role of his because he was in so many films. But my favorite Ward Bond moment is in MISTER ROBERTS when William Powell gives him Henry Fonda's last letter to post for the crew, and before he takes the letter, Ward Bond removes his work glove. Just remembering that makes me a little misty. Excellent touch. > {quote:title=TopBilled wrote:}{quote} > *Ward Bond* > > To Richard Greene in LITTLE OLD NEW YORK: > > Why, you dribblin' young pup--I'll break you in two! Now my favorite character actress is another John Ford favorite, Mildred Natwick.

No one it seems has mentioned Patty Duke, who did a fine job as Helen Keller in THE MIRACLE WORKER:

Love Lauren Bacall. She is great and an excellent choice. But hasn't she been SOTM before? I always prefer new SOTMs.

Esterhazy, Hildy -- Betty Garrett in ON THE TOWN

RIP Ray, you genius you.

Since everyone's talking about SUSPICION, I'll chime in my two cents. Although I agree that it seems hastily thrown in that Cary isn't the killer, I have to say that even if he was the killer I wouldn't believe it of Cary Grant's character in that film. So that being said I have to agree with something someone else said on this thread, which is that IF they weren't going to have Cary be the killer and make it a false-accusation movie, they couldn't just end the movie where they did the way they did with the hasty wrap-up without revealing that the whole time the killer was some other character in the film. So to conclude, no matter how you look at it, it's a disappointing ending.

The Americanization of Emily

153 DRACULA: "She's asleep and powerless! At last, I can fix that rat's nest of hers!"

When I was a kid I was madly in love with a kid I saw in a Disney version of Huck Finn: ELIJAH WOOD. (This kid is my age--not a cradle robber). How could you not, with those unbelievably gorgeous eyes? And the hair? And in LOTR he was still gorgeous. Sigh. There are plenty of actors I would marry anytime if I could have them as they are in movies like Danny Kaye and James Garner. But I'd be happy just to marry Mel Torme's voice. Tee hee.

Don't think anyone's mentioned my favorite: WARD BOND.

A movie whose ending bugs me is *Thoroughly Modern Millie*. It's not the very end with all the couples getting together and people revealing their true identities. It's the part leading up to that-- Miss Dorothy being sold into White Slavery leading up to the fight with the Chinese guys that really bugs me. Apart from the racism, I think it really makes the film drag--that the emotional climax of the film already happened (the couples getting together). I always fast forward that whole part. But if that doesn't count as an ending, then forget I said that.

A classic in terms of quality is up to opinions, of course. But I think in terms of how old a film has to be before it's a classic, it seems that most people think of a classic film as a film that came out before they were born, or perhaps a movie that came out when they were little. So the problem is that a young whipper-snapper like me thinks of Amadeus as a classic (and even The Hunt for Red October) whereas the more mature types on these boards think that On the Waterfront (or in some cases Gone With the Wind) is too new. Hence the reason why this sort of thread ends in fisticuffs all the time. I could be wrong--wouldn't be the first time--that's just what I've observed.

I'd have to put a vote in for Errol Flynn in terms of interesting life and fascinating person, but who is good enough to play him? Who has the charisma? Perhaps some young unknown somewhere. I think an interesting untold story is that of Thelma Todd, the star of many an early 1930s film, including the Marx Brothers' Horse Feathers and Monkey Business. She died very young in a car crash I think. But that would be an interesting story to tell because most people don't know who she is anymore. On that matter, a biopic of the Marx Brothers would be cool. Anyone ever do one about them? There was a play about Groucho I recall and a stage muscial called Minnie's Boys, but I know of no films. That would make me happy. But again, who could play the boys? Edited by: LonesomePolecat on Jun 1, 2012 4:17 PM

Dark Victory

151 "OIL CAN!!!!!"

Upjohn, Peregrin - John Williams in DEAR BRIGITTE (1965)

Elizabeth Taylor was in TAMING OF THE SHREW with Michael Hordern

COLLINS (sorry if this one's been done) William, Jane, Eleanor, & director Michael

Zorro - Tyrone Power in THE MARK OF ZORRO (flashback-- I've been directing two shows, that's where! Thanks for noticing my absence.)

White Heat

Steve Cochran was in A SONG IS BORN with Danny Kaye

deleted Edited by: LonesomePolecat on May 25, 2012 4:17 PM