JonnyGeetar
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Posts posted by JonnyGeetar
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Can't they just bring Omar Sharif out of the cryogenic deep-freeze and have him be the new weekend guy?
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Wow...For the record, I did just imdb Shirley Booth...She did all of three features after Little Sheba and some TV.
That's it.
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That's Mr. G., actually.
psst !
be careful some people 'round these parts take their Shirley Booth seriously.
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You make good points Dred.
Everyone cool with the whole Jane Wyman thing?
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there is also, rather clearly, no water in the bucket when he douses Walter Brennan in the opening scene.
for the record though, you can be stung by a dead bee.
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> {quote:title=lzcutter wrote:}{quote}
> Its called hindsight. Some fifty or sixty years later we are able to look at the evolution of various actors careers and lament that certain actors and directors were never honored with Academy Awards while during their lifetimes they were busy putting on screen some great cinematic characters
> And whether anyone wants to admit it or not, that can play into it when it comes time to vote.
> Did Shirley Booth deserve the Oscar for *Little Sheba*, you bet she did. She was incredible, much more than the *Hazel* you think she was.
I know, I know, I know. One of the things I really hate about the awards nowadays is how they rush the whole process...As boring as this might be, we ought to give Oscars to films three years after they came out, when we've had time to digest.
in the annals of the academy awards, 1952 is down in my book as one of the biggest "what the hell?"
years...along with 47, 56, and 96.
Greatest Show is (i think we almost all agree) trash, i don't think cooper in High Noon holds a candle to his best work of a decade earlier, I'm thrilled Gloria Grahame won an Oscar some time in her career, but she does nothing in The Bad and The Beautiful, I know it was supposed to be saluting the fact that she had a hot, hot year, but Lana Turner (for once) gives the best turn in that movie.
and yes, I know the blacklist and the HUAC and etc.
My selection of Booth had more to do with the fact that Holliday and O'Hara were NOT nominated for what were (in my humble, un-educated and two cent opinion) two of the best turns of the decade.
Would it make everyone happier if I struck Shirley Booth from the list and substituted Jane Wyman in Johnny Belinda...or would that just get me in more trouble?
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my bad, Susan Hayward was up for With a Song in My Heart that year...
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To be fair, it has been ten years (or more) since I saw Little Sheba. I will make it a point to try watching it again the next time it's on...It's just that 50 years later, I'd rather see Maureen O'Hara in The Quiet Man or Judy Holliday in The Marrying Kind win, even Susan Hayward could've won for I'll Cry Tomorrow, thus clearing the path for Roz Russell as Auntie Mame in 1958
I just don't know, when you think of all the greats who never won, who had really significant careers, it just seems glaring (to me) that someone who (I'm sorry) didn't have a MAJOR motion picture career won a best leading award right smack in the middle of the golden age of film acting.
I'm sure Shirley Booth was a lovely person though, and the fact that so many have passionately defended her means there's clearly something there.
Judy Holliday kicks **** in The Marrying Kind though. If you haven't seen it, CHECK IT OUT!
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Liz Taylor was in Suddenly Last Summer with Katharine Hepburn
and Hepburn was in The African Queen with you know who...
Now try Liberace
Edited by: JonnyGeetar on Dec 29, 2009 9:07 PM
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I like your style NZ.
Thanks for getting things back on track (or making the attempt at least.)
The only thing I just have to say is: Midler is _terrific_ in The Rose, but (in my opinion) the film is so bad, it ruined her chances.
Please don't hurt me for that.
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this one seems tough to me, but it never ceases to amaze me what some people remember...
a while back TCM showed a documentary about a director and in the documentary, he says (more or less) that he thought the end to High Noon, and especially the part where the Quaker wife shoots the bad guy was (paraphrasing here) kind of dumb. He said it was the inspiration for a movie he did later on.
I cannot recall the director who said this or the film. I really want to say it was John Ford and he maybe he meant Liberty Valance.
Anyone know?
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GLEN FORD was in 3:10 TO YUMA with VAN HEFLIN
Van Heflin was in THE STRANGE LOVE OF MARTHA IVERS with Babs Stanwyck
Stanwyck was in THE TWO MRS. CARROLLS with Bogart.
Van Heflin is the glue that connects all.
Now: EMIL JANNINGS!
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And, you know, I was kind of okay with the fork.
However, I have to say I am thrilled someone else out there also can't stand Annie Hall.
Guess this is what it sounds like when doves cry.
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Bargain basement Leonard Maltin
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(period)
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Here's one: Roy Rogers.
Bwahahahaha!
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i thought we were sticking a fork in it.
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the best, best, best Oscar book ever (outside of Inside Oscar by Mason Wyley and Damien Bona) is Alternate Oscars by a guy named Danny Peary. He gives his own picks for picture, actor and actress from 1927 to Silence of the Lambs
and he is totally right every time.
psst! look: i'm serious soon people will start posting things like you must hate all movies or you live under a bridge. my favorite was: "so what, they should go back and take the Oscar away from someone just because YOU don't like their performance?" i'm serious: watch out!
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Jonny Geetar treads very lightly into the room...
Psssst!,
Guys: a little word of warning, people get really sensitive when you start listing specific Oscar beefs and griefs. Apparently there are a lot of hardcore Shirley Booth/L-U-I-S-E Rainer fans out there. Just be wary is all I'm saying
THE OSCARS ARE HOLY AND BLAMELESS, THEY HAVE NEVER MADE A MISTAKE OR A BAD CHOICE. THEY ARE ALL-SEEING AND WISE. HEATH LEDGER IN PARTICULAR WAS BRILLIANT AND THAT WAS A TOTALLY CORRECT DECISION FOR HIM TO WIN.
Ps- totally agree with _everything_ everyone here has said.
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all right then. let's stick a fork in it.
all apologies.
JG
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god bless each and every one of you who has ripped on Eastwood and his daughter's watery renditions.
i thought about doing a post right after i saw the doc last month, but figured i'd lay off since i've been Jonny Negative lately.
Love, love, love Johnny Mercer.
HATED the documentary- it had no structure whatsoever and did no justice to the subject, and Eastwood inserting himself and one of his myriad of talentless progeny was too, too much.
Blech!
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> {quote:title=mongo wrote:}{quote}
> Jonny, I take exception to Luise Rainer for her performance in "The Good Earth". She was nothing short of brilliant as Olan.
>
> Also Gloria Swanson should have won as Norma Desmond in "Sunset Blvd." and it was Deborah Kerr's turn to win for "The Sundowners".
Really? "Oooooh, puh-leeze, kind Suh, alms for zee pooor!".... you like that over Irene Dunne doing "Gone With the Wind" in front of Cary Grant's future in-laws in The Awful Truth or Garbo's final act in Camille or Hepburn and Rogers in Stage Door or Carole Lombard in Nothing Sacred ?
To each their own babe.
NOTE: I'd've given Deborah Kerr the award right out of the gate in 1947 for Black Narcissus and given Jean Simmons the prize in 1960 for Elmer Gantry.
Edited by: JonnyGeetar on Dec 19, 2009 10:20 AM
Edited by: JonnyGeetar on Dec 19, 2009 10:22 AM
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it's funny, all this talk about kate hepburn's 1967 Oscar for Dinner...
to me, Hepburn is on the record with the most accurate quote about the Academy Awards ever: "the right people always win for all the wrong performances."
take:
HEPBURN HERSELF: her work in Morning Glory and Dinner are nowhere near as brilliant as what she did in a score of other films, no need to laundry list them all. She deserved that sucker for the lion in winter though, and i like her in on golden pond.
BETTE DAVIS: Dangerous is sadly not on DVD and i haven't seen it since i was a kid, but Jezebel is- forgive me- crap. I'm glad she was a two-timer, but I wish that second one had been for anything other than that hokey 1938 film.
JENNIFER JONES: her work in Cluny Brown, Beat the Devil and Ruby Gentry should've been nominated as opposed to her more milquetoast turns- that said, we'll miss you tons, Mrs. Jones.
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> {quote:title=BelleLeGrand1 wrote:}{quote}
> I strongly suspect that you have never actually seen *Come Back, Little Sheba*, otherwise you couldn't possibly be so dismissive as to refer to Shirley Booth as Hazel. Before seeing the movie only a few years ago, I was as blissfully unaware as you. On the contrary, her heart wrenching performance was most deserving of the Oscar over the well established competition.
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I respect your taking up for Shirl on this, and I admit you are partially right. Years ago, I started watching "Sheba" and thought it was such a pedestrian affair that I turned it off before it was done. My including Booth on the list was more for the "who the hell?" factor and considering that Judy Holliday in "The Marrying Kind" and Maureen O'Hara in "The Quiet Man" were not nominated and either should've won....And I know I'll catch hell for this, but I like Joan Crawford in Sudden Fear.
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You want to know something really sick? I really, really enjoy Butterfield 8. I think Liz is fabu in it and I think it gets a bum rap.
Ginger Rogers is a interesting companion piece with Judy Holiday in the discussion of Oscar boners. Both are genuine talents that were only nominated once, won, and never got another nod. Yet so much of their later work eclipses the role for which they won.
Quelle damage, I 'spose.
TOP 10 STUPIDEST OSCAR WINS FOR BEST ACTRESS, 1927-the present
in General Discussions
Posted
Ballsy choices Blu, I agree with many of them.
The only thing I feel the need to air out is this: I have always felt Deborah Kerr was really miscast in From Here to Eternity
She's fine in the role (which is more of a supporting turn, I agree Dred) but I would have really liked to see Joan Fontaine (who almost did land the role) in it...Failing that, I have to admit it would've been intriguing to see what Joan Crawford (Harry Cohn's first pick) could've done, provided she was able to not be _Joan Crawford_ at that stage of the game and demand re-writes, gowns by Jean Louis and a box of scotch every morning.
She made Torch Song instead.
Oh well.
As for Audrey Hepburn, I've always felt her best work is when she's not playing a wood sprite or princess, as in Two for the Road, Breakfast at Tiffany's and The Nun's Story.
It is somewhat astounding that Hepburn had such an awesome career as many who won the little man for their first big, fat, studio lead had a bumpy ride after. I think it is a testament to her talent, beauty, and nature.