HollywoodGolightly
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Posts posted by HollywoodGolightly
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A stagecoach, a wagon, what's it matter, the important thing is that they go.
I didn't live in the Old West so maybe I can get them mixed up... at least once?
But, thinking of the Old West, there is something to be said for all those great Sergio Leone westerns... with or without Clint Eastwood.
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> {quote:title=CineMaven wrote:}{quote}
> My niche is film noir, not westerns. But I've never heard of "Stage Wagon." Who did John Ford direct in that?
Ooopsie! I meant Wagon Master.
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Escape From Fort Bravo
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> {quote:title=lzcutter wrote:}{quote}
> I agree with everyone that the new and longer one that TCM was involved in is the best version. It's great to hear contemporary directors talk about Ford's influence on them, especially since so many of them paid homage to him in scenes in their own films.
I know, it's almost a sad commentary on the state of today's pop culture, but oftentimes when I'm talking about movies with many people my age, and the subject of John Ford comes up, I almost invariably feel the need to point out all the great things said about Ford by directors like Martin Scorsese and Steven Spielberg, because for people who came of age in the 80s, those seem to be among the few relevant points of reference.
And I'm like "Scorsese _and_ Spielberg say all of these great things about him! He won 4 Oscars for Best Director! He made something like 140 movies!" - and the sad thing (for me) is that there doesn't seem to be any sense of awe in them, about Ford and the remarkable legacy that he left behind, about all the masterpieces that he left behind.
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I wouldn't necessarily think it was all that surprising. The pressure to look impeccable during the shoots and when attending public events must have been a great burden.
But I do think a lot of people who grew up in that era did like to look their best at all times. My paternal grandfather continued wearing suits and ties well after he had retired, even on weekends (I think he may have skipped the ties on Sundays).
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TCMWebAdmin,
Thank you _VERY MUCH_ for the new limit on the width of photos that are posted on the forums. Many threads with extremely w-i-d-e photos had become nearly impossible to read comfortably. This change is a very good idea!
Fred has done a very good job of explaining how to resize photos, so I think it should be very clear to everybody.
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Thank you for all your hard work, Renee!
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> {quote:title=finance wrote:}{quote}
> The closest Fred came to not having good chemistry was with Joan Fontaine in "A Damsel in Distress"(1937). It's kind of forgotten, and did nothing for developing Joan's reputation.
Sounds vaguely familiar, I'm not 100% that I've seen it.
Overall, while I don't intrinsically like Fred Astaire, I'm also very much in awe of him for his amazing ability and consummate professionalism - and of course I love his dancing. He's not someone I think I would have liked to know in person, but I absolutely _adore_ watching him in almost any movie he ever made.
I wonder how Audrey and Fred got along on the set?
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The version of this that's on tcm.com includes more detailed write-ups for each of the 15 directors:
http://www.tcm.com/movienews/index/?cid=244121
Here are TCM?s 15 most overlooked classic Hollywood directors, listed in alphabetical order:
*Jack Arnold* ? By treating science-fiction films like The Creature From the Black Lagoon and The Incredible Shrinking Man seriously, Arnold inspired a generation of filmmakers who grew up to create big-budget blockbusters. Arnold came to Hollywood after years of shooting documentaries and found his niche when he turned It Came from Outer Space into a box office winner. He later used his talent for making outlandish plot ideas work by finding the right style for Gilligan?s Island, turning it into one of CBS? biggest hits.
*Frank Borzage* ? Borzage was one of Hollywood?s top directors during the transition to sound, even winning the first Oscar? for Best Director for Seventh Heaven. He mirrored the stylistic innovations of the German Expressionists, using deep focus, unsettling camera angles and a richly detailed mise-en-scene to place his stars in a harsh reality. That approach turned Janet Gaynor and Charles Farrell into one of the top romantic teams of their day and helped shape the images of stars like as Gary Cooper, Margaret Sullavan and Marlene Dietrich. Borzage?s leading couples fought to find happiness despite war wounds (My Lucky Star), the Depression (A Man?s Castle) and the rise of Naziism (The Mortal Storm). By the 1940s, Borzage was a has-been, a victim of changing tastes, the loss of some of his earliest work and his own personal demons.
*Clarence Brown* ? There really were two Clarence Browns ? one was MGM?s premier director of lavish star vehicles, and the other excelled at small-town stories grounded in the simplest family values. He helped make Greta Garbo a star in Flesh and the Devil, brought her into talkies with Annie Christie, then filmed one of her best performances, as Anna Karenina. He worked the same magic with Clark Gable in A Free Soul and Joan Crawford in Letty Lynton. But it was in simple family dramas that he made the camera sing. The animal co-stars of National Velvet and The Yearling were framed as lovingly as leading players Elizabeth Taylor and Gregory Peck. Arguably his best film was Intruder in the Dust, shot on location in original author William Faulkner?s Mississippi.
*John Cromwell* ? More noted for taste and restraint than dazzling camera work, Cromwell may be best remembered as the David O. Selznick director who didn?t work on any of the independent producer?s great blockbusters. Though not the flashiest Selznick pictures, films like The Prisoner of Zenda and Since You Went Away are among the most intelligent and emotionally resonant. A theater veteran, Cromwell was often considered the go-to man for film adaptations of stage plays. Drawing on his experience as an actor, he also excelled at building performances, shepherding Bette Davis through her career-defining work in Of Human Bondage and helping make Douglas Fairbanks, Jr. a swashbuckling star in The Prisoner of Zenda.
*Allan Dwan* ? Dwan may be the most prolific director fans have never heard of. By his estimate, he made more than 400 features and almost 1,000 shorts, most of them lost. He started directing in 1909, just a few months after D.W. Griffith, and made his last picture in 1961 as the great studios were being dismantled. In the teens, he used his own personality to shape Douglas Fairbanks? screen image. An engineer by training, Dwan?s technical innovations included the crane shot and the camera dolly. At Republic, he took a break from low-budget Westerns to helm one of their rare A-pictures, leading John Wayne to his first Oscar nomination in Sands of Iwo Jima.
*John Farrow* ? Farrow came to filmmaking as a technical advisor on nautical films after years of naval service around the globe. He then moved into screenwriting. Farrow?s background in both areas would inform most of his career. Although married within the business (he met MGM star Maureen O?Hara while writing Tarzan Escapes), he kept his personal life separate. Farrow?s films were tightly paced but never at the expense of the script or finer points of acting. Even his low-budget films still seem finely nuanced and provided career boosts for up and coming stars like Ann Sheridan and George Sanders. When film noir arrived in the post-War era, the genre fit his talents perfectly, allowing him to create memorable galleries of threatening, eccentric characters for films like The Night Has a Thousand Eyes and The Big Clock.
*Edmund Goulding* ? Goulding was one of Hollywood?s true Renaissance men. In addition to directing, he worked as an actor, producer, writer and songwriter and even was called on to share his expertise in costumes, makeup and hair. As a writer, Goulding invented the backstage musical with Broadway Melody, MGM?s first Best Picture Oscar-winner, while as director he helmed the first great all-star drama, Grand Hotel, the studio?s second Oscar-winner. And after two decades of sophisticated romance, he showed the rest of Hollywood how noir film noir could be with Nightmare Alley, the surprisingly harsh tale of sideshow sharpie Tyrone Power?s rise and fall.
*Henry King* ? If Henry King?s entire directing career had consisted of his incredible three-decade stay at Fox, he would be considered one of the most reliable directors of Hollywood?s golden age. Before that, however, he directed more than 60 silent features ranked among the best ever made, including the classic Tol?able David. As Fox?s top studio director, King brought his taste for simple American stories to accomplished works like In Old Chicago, Jessie James and I?d Climb the Highest Mountain. In his hit film The Song of Bernadette, he treated the film?s European peasants as if they were American farmers. King moved out of his comfort zone with the surprisingly complex psychological films starring Gregory Peck: Twelve O?Clock High and The Gunfighter. Even in his later failures, like The Sun Also Rises and Tender Is the Night, he creates moments and characters with surprising resonance.
*Gregory La Cava* ? Best known for a handful of sophisticated comedies he made in the 1930s, Gregory La Cava may have been too far ahead of his time, more in-synch with modern filmmakers like Robert Altman and the Coen brothers than with his contemporaries. La Cava came by his sense of the absurd from years of work as a cartoonist. He shifted to live action films, directing two of W.C. Fields? best silents, So?s Your Old Man and Running Wild. With the coming of sound, he found his ideal genre, the screwball comedy, a form he brought to full flower with My Man Godfrey. La Cava frequently re-wrote his scripts, encouraging actors to improvise or, as he did with Stage Door, inserting what he overheard his actors saying off-set. Eventually, his fast and easy way with scripts and his heavy drinking made him untouchable in Hollywood.
*Mitchell Leisen* ? As Paramount?s top director in the late ?30s and early ?40s, Mitchell Leisen brought a feminist vision and a designer?s eye to his best films, most of them romantic dramas and sophisticated comedies. Coming to the movies as a costumer and art director, Leisen moved into directing and quickly established himself as a master of screwball comedy, with films like Hands Across the Table, Easy Living and Midnight. His dramatic side was best represented by two films with Olivia de Havilland: Hold Back the Dawn and To Each His Own. The decline of the studio system and Leisen?s romantic break-up with choreographer Billy Daniels led to his turning to television in the 1950s. He eventually retired from directing altogether to run an interior decorating firm.
*Fred Niblo* ? Sometimes one?s place in history is simply a question of being in the right place at the right time. That was certainly the case for Fred Niblo, who was assigned to replace director Charles Brabin on Ben-Hur, which turned into a blockbuster for the young MGM studio. Niblo?s first films were short travel pieces, but he soon became a jack of all trades, directing, writing and starring in the film version of brother-in-law George M. Cohan?s Get-Rich-Quick Wallingford. Niblo?s reputation as an action director was established with such silent classics as The Mark of Zorro, The Three Musketeers and Blood and Sand. He also replaced Greta Garbo?s mentor, Mauritz Stiller, on the Swedish star?s second U.S. film, The Temptress. When sound came in, Niblo had little opportunity to adjust to the new medium. He eventually left the movies, returning briefly as a character actor before his death in 1948.
*Robert Rossen* ? Although his youthful involvement with the Communist party would prove his undoing, Robert Rossen possessed a passion for social justice that gave him a unique perspective on the facts of social and economic life. His best films, set in such male-dominated arenas as sports and politics, depict the struggle between success and integrity. He started his film career as a screenwriter on such Warner Bros. films as Dust Be My Destiny and The Roaring Twenties before being hired by John Garfield to direct Body and Soul. When Rossen later won the Best Picture Oscar for All the King?s Men, his career seemed assured. Then his refusal to testify before the House Un-American Activities Committee put him on the blacklist. He staged a dazzling comeback with The Hustler, but poor health brought his career to an early end.
*Robert Stevenson* ? When Walt Disney?s live action productions took off with audiences in the late 1950s, he could thank one man for his box-office success: Robert Stevenson. Unlike many directors of children?s films, Stevenson also had a keen appreciation for how children thought. He thrilled a generation of baby boomers with the adventures of Johnny Tremaine, sent them home crying after Old Yeller and presented his audience with the perfect surrogate parent in the person of Mary Poppins, making Julie Andrews a movie star in the process. Other box office hits he ushered to the screen for Disney include The Absent-Minded Professor, The Misadventures of Merlin Jones, The Love Bug and Bedknobs and Broomsticks.
*W. S. Van Dyke* ? W.S. Van Dyke?s reputation for working quickly won him the nickname ?One Shot Woody.? His rapid shooting style reflected a devil-may-care view of life that informed most of his films. During the silent era, he specialized in action films, later turning MGM?s first sound film, White Shadows on the South Seas, into a box-office and critical hit. He later spent seven grueling months in Africa shooting Trader Horn, which also provided location material for Tarzan, the Ape Man. He succeeded in making light opera a popular obsession with his six Jeanette MacDonald-Nelson Eddy musicals and redefined screen chemistry with the William Powell-Myrna Loy films Manhattan Melodrama and The Thin Man. He also scored triumphs directing Spencer Tracy in San Francisco and Margaret O?Brien in his last film, Journey for Margaret.
*Sam Wood* ? As a director whose work is more defined by his collaborators than his own personality, Sam Wood is a major exception to the auteur theory. Initially, his greatest talent was stepping back and letting actors like Gloria Swanson, Wallace Reid and The Marx Bros. work their magic, without any sense of personal directorial style to get between them and the audience. Wood apprenticed under Cecil B. De Mille, which led to a contract at Paramount. He eventually left that studio to move to MGM, where he directed such Marx Bros. hits as A Night at the Opera and A Day at the Races. While filling in for an ailing Victor Fleming on Gone with the Wind, Wood met production designer William Cameron Menzies. The two then forged a partnership that would produce some of the most visually striking films of the 1940s, including Pride of the Yankees, For Whom the Bell Tolls, Our Town, King?s Row and Ivy.
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Cavalcade
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John Sturges is the 5th director featured in TCM's "Great Directors" month-long tribute in June, and it struck me as interesting that all but one of the JS movies being shown are westerns. It seemed therefore more appropriate to start this thread in the Westerns sections - Ice Station Zebra has already been discussed quite a bit in the Films & Filmmakers forum, IIRC.
_MORNING/EVENING SCHEDULE FOR JUNE 3_
*The Hallelujah Trail* (1965) 6am ET
Indians, soldiers and temperance women fight to control a wagon train hauling whiskey across the West.
Cast: Burt Lancaster, Lee Remick, Jim Hutton, Pamela Tiffin Dir: John Sturges C-155 mins, TV-PG
*Escape From Fort Bravo* (1953) 9am ET
The Civil War complicates the Cavalry's battle against Indians.
Cast: William Holden, Eleanor Parker, John Forsythe, William Demarest Dir: John Sturges C-99 mins, TV-PG
*Hour Of The Gun* (1967) 11am ET
Wyatt Earp tracks down the survivors of the Clanton Gang after the gunfight at the O.K. Corral.
Cast: James Garner, Jason Robards Jr., Robert Ryan, Albert Salmi Dir: John Sturges C-101 mins, TV-14
*The Eagle Has Landed* (1976) 12:45pm ET
German paratroopers land covertly in England during World War II.
Cast: Michael Caine, Donald Sutherland, Robert Duvall, Jenny Agutter Dir: John Sturges C-136 mins, TV-PG
*Ice Station Zebra* (1968) 3:15pm ET
A sub commander on a perilous mission must ferret out a Soviet agent on his ship.
Cast: Rock Hudson, Ernest Borgnine, Patrick McGoohan, Jim Brown Dir: John Sturges C-152 mins, TV-PG
*Sergeants 3* (1962) 6pm ET
Three adventurous Cavalry officers and their bugler take on a renegade chief.
Cast: Frank Sinatra, Dean Martin, Sammy Davis Jr., Peter Lawford Dir: John Sturges C-113 mins, TV-PG
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The Paradine Case Hitchcock's favorite barrister
next: The Little Prince
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> {quote:title=finance wrote:}{quote}
> I just can't stand listening to her.
Listening to her speak, or singing?
Hey, it's OK, not every person is going to like every single movie star ever.
I'm still glad to have recorded Woman's World earlier today, and not because of JA; Lauren Bacall also stars in it. And I've yet to hear of anyone who didn't like listening to her. Plus the FMC print is nicely letterboxed _and_ closed-captioned.
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> {quote:title=finance wrote:}{quote}
> If she's just Audrey Hepburn, I could think of worse things to be.
Well, yeah, I guess so.
I've only ever seen Audrey and Wendy Hiller play the part, so I don't have much to compare her to. I think either Keira Knightley or Anne Hathaway are supposed to play the part in the upcoming remake - but I don't want to take the discussion off-topic, so I won't go into that.
Back on topic: I think Audrey was very lucky to make a movie with Fred Astaire, and I genuinely can't think of anyone Astaire didn't have good chemistry with, on-screen. He was just a great partner for everyone!
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Austin Pendelton was in Catch-22 with Alan Arkin
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> {quote:title=lzcutter wrote:}{quote}
> The thing to keep in mind about the Bogdanovich documentary is that it started out in smaller form. It was originally a piece to honor Pappy at the very first AFI Lifetime Achievement Award dinner. That made it somewhat easier to get film clips and participation by many of Pappy's "stock" company.
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> The original documentary came out of that and then when TCM and Bogdanovich restored it a few years ago, the new interview footage was added with contemporary directors and the old interview footage and film clips were restored.
Lynn,
Were you ever so lucky as to watch this Bogdanovich documentary in its original 1971 version? As much as I hope that the original version might be included with the upcoming DVD release, it hasn't been announced and I don't expect it to happen.
But the 2006 version is definitely the best, I think, and as a TCM viewer I'm very proud that TCM played a large role in making it happen (from what I see in the credits of the restored version).
All in all, with the release of Directed by John Ford and Wagon Master on DVD, it's going to be a nice Fall for us Ford fans.
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Wasn't it from Ford's Pilgrimage ?
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Great news! Warner Home Video has just announced the release of 5 musicals with Dick Powell and/or Ruby Keeler as part of its made-to-order Warner Archives program:
The musicals are: Colleen, Flirtation Walk, Happiness Ahead, Ready, Willing and Able, Shipmates Forever.
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Great news on the new WAC titles starring Gary Cooper - hope they'll get around to releasing the other two movies at some point. As for the set, 6 movies for $60 seems like a pretty good deal to me.
P.S. Just a reminder that TCMWebAdmin has asked that we please keep any photos posted to a maximum size of 600x600 pixels.
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Warner Bros. has added 11 more WAC titles to the list, in what classicflix called the "Cooper, Powell & Keeler" wave:
_Cooper titles_: *Bright Leaf, One Sunday Afternoon, Operator 13, Saratoga Trunk, Task Force, Today We Live.*
_Dick Powell and/or Ruby Keeler musicals_: *Colleen, Flirtation Walk, Happiness Ahead, Ready, Willing and Able, Shipmates Forever.*
*Here is the updated list of all WAC titles - NOT including the so-called "Amazon exclusives". The 11 latest titles are bolded:*
Abdication, The
Abe Lincoln in Illinois
Above and Beyond
Actress, The
Adventures of Huck Finn (1939)
Adventures of Mark Twain
Ah, Wilderness!
Al Capone
All Fall Down
All the Brothers Were Valiant
Along the Great Divide
Angel Baby
Baby Maker, The
Badman?s Territory
Bamboo Blonde, The
Barricade
Beast of the City
Beggar's Opera, The
Betrayed
Bhowani Junction
Big Circus, The
Big House, The
Billy the Kid
Brainstorm (1965)
Break of Hearts (Hepburn, Boyer)
Breakfast for Two
*Bright Leaf*
Broadway Rhythm
Bye Bye Braverman
Cain and Mabel
Canyon River
Captain Nemo and the Underwater City
Captain Sinbad
Carbine Williams
Carson City
Castle on the Hudson
Cattletown
Chained
Christopher Strong (Hepburn)
Church Mouse, The
Citadel, The
Close to My Heart
*Colleen*
The Command
El Condor
Convicts Four
Countdown
Crescendo
Crime and Punishment, USA (1959)
Crisis
The Crowded Sky
The D.I.
Dance, Fools, Dance
Darby's Rangers
Defector, The
Devil Is a Sissy, The
Distant Trumpet, A
Doc Savage: Man of Bronze
Dream Lover
Dream of Kings, A
Dream Wife
Drums of Africa
Dude Goes West
Dusty and Sweets McGee
Edison the Man
Emma
Enemy of the People
Exit Smiling
Fallen Sparrow, The
*Flirtation Walk*
Forsaking All Others
Four Daughters
Four Horsemen of the Apocalypse (1962)
Freebie and the Bean
George Raft Story, The
Goodbye, My Fancy
Grasshopper, The
Great Garrick, The
*Happiness Ahead*
Hard to Get
Having Wonderful Time
H.M. Pulham, Esquire
Heart Beat
Homecoming
**** Tonk
I Was A Communist for the FBI
I Was an American Spy
Ice Follies of 1939
Idiot's Delight
Interrupted Melody
Invitation, The
It's Love I'm After
John Loves Mary
Johnny Eager
Joy of Living
Just the Way You Are
Kaleidoscope
Kidnapped
King of the Roaring 20's
Kiss, The
Laughing Sinners
Lepke
Lion in the Streets, A
Little Drummer Girl, The
Little Minister, The (Hepburn)
Lost Boundaries
Love (1927)
Love on the Run
Luxury Liner
Mad Miss Manton
Made in Paris
Magnificent Yankee, The
Malaya
Man from Galveston
Man from God's Country
Man Who Loved Cat Dancing
Mannequin (1937)
Mating Game, The
Meet the People
Men in White
Money Trap, The
Moonlighters, The
Mr. Lucky (1943)
Mrs. Parkington
My Blood Runs Cold
Oklahoman, The
On Borrowed Time
Once Upon a Honeymoon
One on One
*One Sunday Afternoon*
One Trick Pony
*Operator 13*
Orphans
Outlaw Blues
Oxford Blues
Painting the Clouds with Sunshine
Party Girl
Payment on Demand
Possessed (1931)
Pride of the Marines
Princess O'Rourke
Private Lives
Promises in the Dark
Purple Hearts
Quality Street
Quentin Durward (1955)
Rage
Rain People, The
Rasputin and the Empress
*Ready, Willing and Able*
Red Lily, The
Red Mill, The
Return of the Bad Men
Room for One More
Roughly Speaking
*Saratoga Trunk*
Scaramouche (1923)
Sergeant, The
Shining Hour, The
*Shipmates Forever*
Shopworn Angel, The
Single Standard, The
Sins of Rachel Cade
Skin Game
Smart Set, The
Soldier in the Rain
So This is Love
Somewhere I'll Find You
Souls for Sale
Spitfire (Hepburn)
Spring Fever
Strange Interlude
Sunrise at Campobello
Sweet November (1968)
Tarzan and the She-Devil
Tarzan and the Slave Girl (1950)
Tarzan's Magic Fountain (1949)
Tarzan's Peril (1951)
Tarzan's Savage Fury (1952)
*Task Force*
Temptress, The
They Only Kill Their Masters
This Woman is Dangerous
Thousands Cheer
Three Comrades
Three Sailors and a Girl
The Toast of New York
*Today We Live*
Tom, Dick and Harry
Too Hot to Handle (1938)
The Trail of '98
Trail Street
Tugboat Annie
Two Girls and a Sailor
Voices
We Were Dancing
Westbound
When Ladies Meet
Wichita
Wild Orchids
Wisdom
A Woman Rebels
Yes, Giorgio
Young Tom Edison
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The 2nd director to receive a prime-time salute during TCM's "Great Directors" month is Frank Capra - whose distinctive style gave birth to the term "Capracorn", and who also won 3 Oscars as Best Director between 1935 and 1939.
PRIME TIME SCHEDULE FOR JUNE 2ND - FRANK CAPRA
*It Happened One Night* (1934) 8pm ET
A newspaperman tracks a runaway heiress on a madcap cross-country tour.
Cast: Clark Gable, Claudette Colbert, Walter Connolly, Roscoe Karns Dir: Frank Capra BW-105 mins, TV-PG
*Mr. Smith Goes to Washington* (1939) 10pm ET
An idealistic Senate replacement takes on political corruption.
Cast: Jean Arthur, James Stewart, Claude Rains, Edward Arnold Dir: Frank Capra BW-130 mins, TV-G
*You Can't Take It With You* (1938) 12:15am ET
A girl from a family of freethinkers falls for the son of a conservative banker.
Cast: Jean Arthur, Lionel Barrymore, James Stewart, Edward Arnold Dir: Frank Capra BW-126 mins, TV-G
*Arsenic And Old Lace* (1944) 2:30am ET
A young man about to be married discovers the two aunts who raised him have been poisoning lonely old men.
Cast: Cary Grant, Priscilla Lane, Raymond Massey, Jack Carson Dir: Frank Capra BW-118 mins, TV-G
*Platinum Blonde* (1931) 4:30am ET
A heartless heiress seduces a hard-working reporter into a disastrous marriage.
Cast: Loretta Young, Robert Williams, Jean Harlow, Halliwell Hobbes Dir: Frank R. Capra BW-89 mins, TV-G
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Always!
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That's a very cute dog, TikiSoo!! Looks very lovely. :x
As for the "greed" of animals, yes, that is also greed of a different kind, I suppose. But it's not the same as in humans, I think, especially those who already have everything they need and don't have to worry about going hungry and are still trying to amass more and more and more, like so many of the Wall St. financiers who have been so prominently in the news in the last few months. Seems to me a bit different from animals which are legitimately worried about survival, even those which store food for the winter, because they just want to have enough to get by, right?
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Gotta love Captains Courageous, featuring Spencer Tracy's wonderfully sentimental performance as Manuel the sailor:
http://www.tcm.com/mediaroom/index/?o_cid=mediaroomlink&cid=204978
Another great Fleming movie is the remake of Dr. Jekyll and Mr. Hyde, this is one of my favorite scenes:
http://www.tcm.com/mediaroom/index/?o_cid=mediaroomlink&cid=236816
William Wyler's: "THE LETTER"
in Films and Filmmakers
Posted
> {quote:title=scsu1975 wrote:}{quote}
> It is nowhere near as painful as having six bullets pumped into you.
Uh-huh. Just hope you're not speaking from experience...