LoveFilmNoir

A YANK IN THE R.A.F. (1941) CRASH DIVE (1943) AMERICAN GUERRILLA IN THE PHILIPPINES (1950) RAWHIDE (1951) PONY SOLDIER (1952) UNTAMED (1955) THE SUN ALSO RISES (1957) MY BLUE HEAVEN (1950) WHEN MY BABY SMILES AT ME (1948) SPRINGTIME IN THE ROCKIES (1942) CONEY ISLAND (1943) MOTHER WORE TIGHTS (1947) FOOTLIGHT SERENADE (1942) THAT LADY IN ERMINE (1948) THE DOLLY SISTERS (1948) THE BEAUTIFUL BLONDE FROM BASHFUL BEND (1949) CALL ME MISTER (1951) THE FARMER TAKES A WIFE (1953) THE EGYPTIAN (1954) VIOLENT SATURDAY (1955) MY GAL SAL (1942) STAR DUST (1940) FOREVER AMBER (1947) THE 13th LETTER (1951) THE BRASHER DOUBLOON (1947) GIVE MY REGARDS TO BROADWAY (1948) ONE IN A MILLION (1936) YOU CAN'T HAVE EVERYTHING (1937) SWANEE RIVER (1939) HAPPY LAND (1943) RAMONA (1936) TIN PAN ALLEY (1940) THE GANG'S ALL HERE (1943) STATE FAIR (1962) LILLIAN RUSSELL (1940) ROSE OF WASHINGTON SQUARE (1939) BARRICADE (1939) EVERT NIGHT AT EIGHT (1935) TAIL SPIN (1939) THUNDER BIRDS (1942) HUDSON's BAY (1941) RINGS ON HER FINGERS (1942) WAY OF A GAUCHO (1952) THE LEFT HAND OF GOD (1955) DOLL FACE (1945) SOMETHING FOR THE BOYS (1944) IT HAPPENED IN FLATBUSH (1942) TALL, DARK AND HANDSOME (1941) CHICKEN EVERY SUNDAY (1949) SUNDAY DINNER FOR A SOLDIER (1944) THREE LITTLE GIRLS IN BLUE (1944) THREE COINS IN THE FOUNTAIN (1954) DESIREE (1954) From my list, two are showing up in November: AMERICAN GUERRILLA IN THE PHILIPPINES and THE GANG'S ALL HERE

Right on TikiSoo!!! I plan to "time capsule" some of my films to show to my children one day. I also think that beyond school and academics, some of our beloved classics are a great way to teach family and morality values to our youth from a young age. The same way we can let an 8 year old stay up until 11 on Friday and Saturday night watching Nickelodeon or Disney Channel, there are several family classics we can watch with them - from the plain fun ones to the ones with tones of moral preechiness.

VP, you are right about Zanuck and recording contracts. Zanuck was also one of the people who thought that TV would be a fad. He refused to loan Tyrone Power out to a studio again after MARIE ANTOINETTE wasn't as successful as both Fox and MGM had hoped. I think that I have read that he had a hand in sabotaging Robert Stack's chances of winning an Oscar for WRITTEN ON THE WIND, since he loaned Stack out to Universal. Anyway, back to Alice, I think the careers and legacy of Faye and some of her colleagues at Fox would have been different if they were at another studio. Many of the productions were quickly thrown together to get new songs out. It wasn't until after Faye left Fox that the production values significantly increased. Also, fans weren't pleased whenever musical stars had non musical roles so even if she were still at Fox in the last 1940s, she may not have been given a chance at the more solid scripts anyway.

Casablancalover, When I say chemistry I think I do mean a little of physical attributes, but more of a spark, something that makes you look at the couple on the screen and even though there was no such scene with them in the movie, you can picture the female lead brushing her hair in the vanity mirror while the husband sits at the edge of the bed removing his shoes - their relationship just appears to be realistic. Bette Davis and George Brent in DARK VICTORY don't really seem too compatible to me yet I watched LOVE THAT BRUTE with Paul Douglas and Jean Peters and I actually saw chemistry. I think the story and the acting actually saves DARK VICTORY and has helped it stand the test of time, however, I just don't really see the chemistry between the two. Sometimes it can be one or the other (story/physical) or a little of both. I completely agree with the building of chemistry. I think this is why in romantic comedies, it usually works when you see them bickering before they finally admit they love each other. While I know they were companions in real life, I have never felt the sexual chemistry between Hepburn and Tracy. I see the chemistry between the two of them as far as two great actors working well together. But even in ADAM'S RIB in a towel, I am not convinced that those two made love - in real life or in the movie! I too watch these films in the context of the time. That's why I don't over analyze Joan Crawford films where she may be somewhat over the top in the melodramatics or the fluffy Fox musicals where the two leads fight and sing all through the movie and in the last 5 minutes admit they are really in love, kiss, and sing a song until the end credits.

> {quote:title=FredCDobbs wrote:}{quote} > Did anyone notice anything unusual in that Glenn Ford Western shown late last night? Unusual like what? I believe I DVR'd it but I doubt I get around to seeing it for a few more nights.

Lz, I remember that and it did get ugly. TCM gives us the schedule so far in advance with such limited revisions it's possible to work and make travel arrangements around premieres. I'm spoiled! LOL

MovieFreak, I have my biases when it comes to quite a few Fox film stars that had contracts under Zanuck in the 30s-40s. Why? Maybe because it was through Fox films that I began watching classics, more specifically their splashy Technicolor films. A film with Faye, Power, Ameche, Grable, Payne, O'Hara, Tierney, even Carmen Miranda can do no harm in my eyes. However, for the sake of this good topic, let me come down from my bias and provide some criticisms where necessary. First, let me say that I don't own too much music from these classic movies nor have I kept up with the info of album sales and music popularity and the "Hit Parade" which went on from the mid 30s until the mid 50s. As for films, one thing I have learned from these message boards is that it really is necessary to watch as many films as possible before really coming to a solid opinion of an actor. For one, it's fair, but also, some of these stars were victims of bad contracts, bad scripts, etc. When Grable was shining, stars like June Haver were left with less than stellar projects. When you watch a film like FALLEN ANGEL and then you read about what was going on behind the scenes, things make sense. Also, when you watch a film and you think it's been cheaply done with poor looking sets etc and then you read that a film the studio released 6 months prior practically bankrupt it, it all starts to make sense. Now, back to Faye. I happen to like the fluffy Fox musicals. Scripts usually have holes in them, they are mostly filmed on a back lot yet take place in beautiful locations, and sometimes they really are nothing but a poor excuse to display musical numbers - not to mention some ham acting at times!! I find Faye to have a mature type of beauty, mainly after Fox cleaned up her camp look and made her grow out her brows and gave her a more natural looking blonde. Faye in her prime did not look convincingly like someone younger, for example, waiting for a soldier to come home. Maybe this is because she had that sultry voice, I don't know. As far as acting, I think she was the victim of quickly thrown together scripts but did the best she could. I like THAT NIGHT IN RIO as a Don Ameche film, not an Alice Faye film, we don't get to see her display of talent. Now the two of them in YOU CAN'T HAVE EVERYTHING is a great way of seeing their talents. Faye sometimes comes off as a little silly to me in some of her love scenes. Particularly with John Payne in both WEEKEND IN HAVANA and HELLO FRISCO HELLO....but in the latter her voice was just amazing. Faye was probably more known for her voice whereas Betty Grable was known for her beauty, those legs, her dancing, and her voice. I think this is what makes Faye stand out less. I would recommend you watch the following films to appreciate Faye's acting and singing abilities. I personally thought she was very attractive and talented, although I did read that she used to have issues keeping her weight down for her roles, but I don't know if that is credible information....we obviously see less leg from her than Grable, and in some of these films, she does look "different" at times. Anyway, watch these films for a better appreciation for the wonderful Alice Faye: FALLEN ANGEL WEEKEND IN HAVANA HOLLYWOOD CAVALCADE IN OLD CHICAGO YOU CAN'T HAVE EVERYTHING THE GANG'S ALL HERE TIN PAN ALLEY ALEXANDER'S RAGTIME BAND

Skimpole, I understand where you are coming from, however, I think that in a realistic light, love is a risk. When we open our hearts up to care for and love another human being, we are also risking rejection from that person, as well as them not reciprocating the same level of love. I think that what makes a great romantic movie is chemistry with the leads. I have watched some classics with a question mark in my head the whole time because I just don't understand how the director could really see those two people making love in front of the camera believable to a movie going audience - but hey, I guess it worked. Also I think a believable story with solid acting is important. Sometimes when there is too much melodramatics or scene chewing it really takes from the film and almost becomes a caricature of itself. Good, realistic acting is really important in love stories. When I watch some of the romantic films of the 30s and 40s on TCM I can't help but think some of the "love scenes" are rather ridiculous and laughable at best. Sometimes some comic relief, by a near spinster or skeptical wise cracking girlfriend or right hand man really pushes along the story and provides dialogue to help the viewer understand the feelings and motives of the characters in the film. This formula usually works and is best when there is a solid script.

Fedya, I have good news for you, no GREAT news. According to FMC's schedule, they will show both the pan and scan and widescreen of GOOD MORNING, MISS DOVE (why both, I don't know). But anyway: November 25, 2010 6AM ET Widescreen October 4, 2010 9AM ET Fullscreen Let's see if they actually do play both as listed on the site. I plan to record and keep both on the DVR for comparison.

MFF, I emailed FMC a laundry list of films I think they should show. I don't have the list on this computer but I will make sure I post it tomorrow. It will be interesting to see which on my list pop up in the near future. Glad they are putting I WAKE UP SCREAMING back in the rotation. I'm all for anything Victor Mature from Fox's vaults but I rather they show this film in the block right before VICKI so people can judge the better picture for themselves.

I happen to like Alice Faye...both in her films and her voice. I read your review in it's entirety (nice blog by the way) and I have to point out that you have not been fair to Alice Faye. You have based some of your opinions off of the written opinions of others. You even quote her A&E biography - that same quote is in her IMDB mini bio - is that where you got it from, or did you watch the full bio? Also, have you watched some of her other films? You may have read that Lillian Russell was praised, but it definitely isn't her most popular, highest grossing, or well known film. Most Faye fans will point out films like THAT NIGHT IN RIO, HELLO FRISCO HELLO, TIN PAN ALLEY, WEEKEND IN HAVANA, THE GANG'S ALL HERE, ALEXANDER'S RAGTIME BAND, IN OLD CHICAGO, YOU CAN'T HAVE EVERYTHING, HOLLYWOOD CAVALCADE, GEORGE WHITE'S 1935 SCANDALS and FALLEN ANGEL with some solid acting and songs from Alice Faye. I noticed that you made some comparisons to Judy Garland and Doris Day. Alice Faye went to radio after she fell out with studio boss Darryl F. Zanuck at Fox in 1944 and never really had a starring role after that. She was also older than Judy and Doris so her music was being listened to by the previous generation. Also, Faye's career came at a time where Fox was pumping out musicals - mostly fluff and loose adaptations of stage plays and novels to fill movie houses during and before WWII encouraging patrons to buy war bonds. It wasn't really until the 1950s before Fox's production values could match those of MGM's where Garland was. Day also was lucky to have made films with these high production values at Fox in the 1950s and 1960s. I would probably say that Alice Faye may have been perceived as stubborn. She went against how Zanuck felt she should live her life and what direction her career should go. She didn't really have a say so as far as scripts and projects were concerned. She left Fox because of how much her part in FALLEN ANGEL was edited to build up the career of Linda Darnell. It was a slap in her face. Also, Faye missed out on several other vehicles, that ended up going to the lovely red head Vivian Blaine (and a few to Betty Grable) due to pregnancy. In all fairness though, many of those films weren't really good except for GREENWICH VILLAGE which had quite a diverse cast (William Bendix in a musical!!) and some good songs. And she may have probably bolstered SOMETHING FOR THE BOYS and NOB HILL - not to take anything away from Vivian Blaine, but I can see Faye in these films particularly when you hear and watch the musical numbers. Fortunately for Faye, she left the movies before Zanuck or any other major producer could chew her up and spit her out. Look at what happened to both Day and Garland. Day basically shuns Hollywood, and Garland abused alcohol and pills because of the pressures etc. Had she decided to stay in pictures, I think she may have done alright in a few more film noirs and dramatic roles.

Hey guys, thanks for your input. I am looking forward to seeing RIDE THE PINK HORSE. Unfortunately, I don't think it is available on DVD and I guess I'm going to have to go "underground" to find it as well as several others. I also plan on keeping track on whether or not TCM airs any of the films on that list. I keep hearing about THE BRASHER DOUBLOON so it is high on my list of "must see". I compiled that list from books, wish lists here and on other sites, as well as browsing the filmography of actors. It's alarming how many noirs are buried somewhere....I'm interested in both A and B noirs. I am automatically interested in any film that is adapted from pulp fiction or a "hard boiled detective" story.

I like him in: THE BLUE DAHLIA THE DARK CORNER MACAO A BELL FOR ADANO GREENWICH VILLAGE. The guy was made for film noir. Also would like to see the following: CALCUTTA (1947) GAMBLING HOUSE (1950) THE WEB (1947) THE GLASS KEY (1942)

Loved him in everything I have seen him in except the *National Lampoon Movie Madness* film. Horrible.

Regarding the question I asked you, I guess we will have to agree to disagree. Sometimes top billing was a way the studios built up a star, sometimes it worked, other times it didn't. Not saying this was the case for Gloria Stuart, but when I see someone top billed, it doesn't say star to me vs. a look at their entire body of work/contribution to popular/well received films.

> {quote:title=TikiSoo wrote:}{quote} > Obviously this subject of teaching through film is something I'm passionate about. I'm grateful for all the varied responses & arguments. I definitely agree that a good film to supplement what is taught in the classroom can and will benefit this new generation of students who have things like iPods, iPhones and black berry phones to keep them distracted in long lectures. I'm sure there is a significant increase in the amount of children with ADD then say 50 years ago. Anyway, I think movies are a great way to provide visuals and get some good discussion going, but I feel it is up to the teacher to point out any historical inaccuracies (or at least make it a point to say that the film is a rather fictionalized account) and discuss the similarities and differences between the movie and the book. If the students understand what is being portrayed, beyond Hollywood trying to fill movie theater seats, then I am all for it.

> {quote:title=MyFavoriteFilms wrote:}{quote} > She most certainly was a big star in her day. She had above the title billing with people like Shirley Temple and Alice Faye. It doesn't get more important than that at Fox. So are you saying that above title billing automatically equals big star?

> {quote:title=Jayo wrote:}{quote} > Tony Curtis authored 2 volumes of autobiography: "Tony Curtis: The Autobiography" (with Barry Paris) in 1993, and the more recent "American Prince." I've read, enjoyed, and believe to be factual, > the former; I have not yet read the latter. Jayo, I read "American Prince" and not the first one and from what I have read from online reviews and on discussion boards, the original is accurate and the 2nd one is basically pretty fictional to the point where it is contradicting things he said in 1993. People's general idea was that the latter was probably for money.

Ironic you mentioned Tony Curtis...his auto-bio is filled with fiction. Having read most of that book (I gave up when it started coming off as manure in some parts) and seeing him in interviews of the last 15 years, I have come to the conclusion that what Tony Curtis "recalls" from the golden era of Hollywood is less fact and more about being a good story teller and entertaining the viewer/his fan. Pretty sad too. A few years ago I used to be addicted to a blog dedicated to celeb auto-bios and it would really break down some of the details of the books....I am going to search hard and see if it still exists in any form on the net, it used to be a good read.

Aaaah yes clore, and who can forget the trash peddler Boze Hadleigh....I'd pay money to see he and Porter hanged in prime time! I really didn't mean to come off as a jerk in my original reply but I did feel some kind of way about this filth of a book to even be highlighted out of all of the books coming out this month. You'll never see a Darwin Porter book be advertised on TCM and I'm sure if his publisher was a credible one with ethics, they would darn well pay for the advertising. What's even more sickening is that people give this guy's work the attention he seeks and often enough purchase his books. Some actually take his fictional slander as facts and go trolling internet message boards with his dreck quoting it as fact. If so many of these actors had all of these gay affairs, sordid experiments with drugs etc then when in the heck did they have time to make their films? I mean seriously, the libel laws in this country are being abused by hacks like this and it's unfortunate for the friends and family members of these deceased actors - it's also a disgrace to the literary world and it hurts the credibility of several true biographers who have spent years researching their subjects.

FMC shows my favorite film with her in it playing a "girl detective" (how ironic after reading the post above where she is quoted as saying she didn't really care for these roles). Well anyway, the film is called ISLAND IN THE SKY (1948) and co-stars Michael Whalen as her D.A. boyfriend and she solves a murder before they go on their honeymoon. Good ol' reliable Leon Ames plays a bad guy! Anyway, she is great and looks great in this film. Has anyone seen a TCM Remembers for her? I wouldn't be surprised if they had to spend the last few hours clearing the rights to show film clips of her films since a majority of her work was at Fox. Some of her most recent pics online at Getty Images shows her at the AMPAS Centennial Celebration for her 100th bday back in July and she looked great....and just fine sipping wine...and not looking a day over 70! RIP Gloria Stuart...

Just like I am sad that when you say "Public Enemy" in 2010, people even aged 30+ think Johnny Depp before Mr. Cagney.

Kinokima, I believe Darwin Porter sometimes co-authors his trash. Please make sure you add those authors into your trash pile as well. It's truly sickening.

> {quote:title=CelluloidKid wrote:}{quote} > *I wonder what Lauren thinks of this!?* I'm sure she wouldn't have anything pleasant to say. Prediction: her bio by Mr. Porter will be printed 6-12 months after her death and she will be a sex addicted maniac that engaged in **** with Kate and Spence. How does Darwin Porter sleep at night?

Sorry for the super long list and I am already certain that I will have to buy 75% of those on my list from private sources if I ever want to see them although I will be making a 2011 list and seeing what shows up on TCM and what doesn't. I have read good things about I WALK ALONE from reviewers so I am very interested in seeing it. I particularly like both actors, and in this genre so I know it should be good.