richardny4me

Well I am sure Lumet will be interesting, but it is a little disappointing, with so few remaining classic Hollywood stars, we get someone who will most likely be interviewed in other places because of his Oscar tribute.

Ben does a fine job, but watching him I sometimes get the sense that he really does not have an interest or a passion for the movies, whether they are new or old. Personally speaking, the age of who is presenting the films never matters to me (I am 40), what matters to me is the person's enthusiasm and passion. That is what energizes the movie-watching experience for me.

Interestingly I was thinking of Vivien Leigh but for the 1940 film WATERLOO BRIDGE, which I recently re-watched recently. But now that you mention A STREETCAR NAMED DESIRE, I agree that performance ranks at the very top. Unlike The New York Times I will not disclose any spoilers, but Hilary Swank's performance in MILLION DOLLAR BEAUTY is the best I have seen by an actress in years. Finally, I usually choose very dramatic performances for this category, but I also think Fred Astaire's performance in THE BANDWAGON is just brilliant, I am really looking forward to the upcoming DVD set.

I saw a rather obscure film called TWO SECONDS at the Film Forum last month and I have to say Edward G. Robinson was just magnificent. See it if you ever get a chance.

This is an interesting topic. Although I have been a movie fan all of my life, I have only become a fan of her in recent years with the purchase of her films on video, so I always like to read and learn more about her. With the exception of 100 MEN AND A GIRL, for some reason her films were hardly ever shown on tv. And except for that "Every Sunday" short film with Garland, her films were never anthologized, even though these films were huge hits during the late 1930's and 1940's and contained great songs that received nominations for the Best Song Oscar over several years (although none ever won.) My guess is Universal just did not treat her all that well, despite all of the money she earned for the studio. They really did not "buy" her any major properties, most of the films have the same plot. Also, with the exception of CAN'T HELP SINGING all of her films were in black and white, when virtually every other musical leading lady (Betty Grable, Judy Garland, Betty Hutton)had even their routine films after 1942-3 filmed in technicolor. Even before they were making CAN'T HELP SINGING with technicolor and a Jerome Kern score, I believe management still had problems with her. This is evident by the fact that in 1944 Universal did not include a cameo from her in their big wartime musical picture FOLLOW THE BOYS. My understanding is that at the time, people definitely took notice of her absence, since it would have been like MGM excluding Judy Garland or Warners excluding Bette Davis. And even though her final films were not the moneymakers they once were, Universal finished her contract by actually paying her for her final films - without actually making them! She did not move to MGM once Joe Pasternak, the guiding force behind her early hits, went there, so he developed similar films for Jane Powell. Still, it is too bad she did not make at least one MGM film, it would have been interesting to see the results, especially if they would have co-starred her with Mario Lanza.

It's a new year (that's my excuse for repeating an often-asked question), but can someone at TCM announce who will be the next guest(s) on Private Screenings? Are any of our suggested names under consideration? Thanks!

Wow, I did not even realize he was still alive. Born in 1906! He directed some of my favorites : ADVENTURES OF DON JUAN, MR. SKEFFINGTON, and the still under-rated ThE HARD WAY. He deserves an honorary Oscar just for longevity.

Oh I read that that New Yorker review on the subway right after seeing the film. In its own way, it was more entertaining that the film itself!

I went to see the film today and I was surprised to find the theater in Manhattan (a 12:20 PM Sunday performance) -half empty. However, once the film got going, I was not surprised. It is worth seeing if you like musicals, and I enjoyed the film, and will most likely get the DVD, but it rarely came to life for me. At times it seemed very sluggish. Essentially I found the film to be lacking "magic." But the design, or art direction of the film was absolutely spectacular. (The costumes were not as successfully realized, IMO.) The phantom's home was amazing. I laughed out loud when I saw lit candelabra rising from the underground sea deep under the Opera's basement, it briefly was like an old Esther Williams film. The clarification of the story was an improvement, this gave Miranda Richardson a very good little role. The best musical numbers were "Point of No Return" and "All I Ask Of You"All 3 leads were good, although I kept thinking the phantom should have been played by someone else, like Antonio Banderas. The ending, which I will not reveal, was haunting, and it is too bad the rest of the film did not reach that level.

Marsha Hunt was a true victim of the blacklist. She was never an A-list leading lady but she was a film star at Paramount Studios in the 1930's, MGM in the 1940's during the war, and then did a number of interesting independent films in the late 1940's, as well as some Broadway plays, one of which was successful enough to get her on the cover of Life Magazine around 1950. Then it all just ended as she was no longer cast by anyone, I believe her defense of her best friend's husband (actress Anne Shirley) was one of the factors. Plus Marsha was also was on that famous flight of stars with Bogart and Bacall that came from Hollywood to Washington to protest HUAC. I recall she said none of them really understood the true depth of the political forces they were going against. She is well over 80 now, but just a few weeks ago on November 16 she appeared at the Drama Bookshop in Manhattan and signed a copy of her amazing (and essential) photo-biography "The Way We Wore." She was as lucid as any woman half her age, and far more elegant. One of the last of the golden age actresses (and the perfect candidate for some documentary or a Private Screenings episode) she was very well-educated before becoming a star. She really wanted to act, and spoke about her desire to leave Paramount because of the limited range of the leading lady roles she received. Her years at MGM brought her a wide variety of small and big roles, which satisfied her immensely. Then she answered random questions from the audience, including my question about an amazing little film noir she did with Claire Trevor, called RAW DEAL. She right away knew many details about the film. Anyway, the bookstore is in the fashion district, so several people in the audience were more familiar with her extensive work as a print model (she said she probably did more fashion advertising than any other Hollywood actress). Consequently one of the best moments came when a guy who identified himself as a fashion designer said that when he was young he kept looking at Joan Crawford movies and photos, but his mother kept telling him "No NOT Joan Crawford, MARSHA HUNT. Look for Marsha Hunt!"

I am certain the lyrics will be found in "The Complete Lyrics of Lorenz Hart" , complied by Robert Kimball and published by Da Capo Press. I have seen it in the Barnes and Noble at Lincoln Center. It is definitely available for purchase from Amazon or Barnes and Noble.com. I am not sure where you are, but maybe some of your local libraries have the book, in which case you can just copy the page with those lyrics.

Oh yes, especially THE RAZOR'S EDGE. That was a great version and rather faithful to the original book, which I read twice. After I posted I thought of FALLEN ANGEL. I would love to see this released as a special version. This terrific film noir was supposed to be Alice Faye's "LAURA", but the rumor was Daryl Zanuck eliminated quite a bit of her footage from the final film in order to boost the role and career of the film's supporting player, Linda Darnell. This was a major reason Faye decided to quit Fox and the film business.

FORCE OF EVIL is being shown in a new 35 mm restored print on November 30. That alone is worth seeing, but it is on a double feature with THE NAKED CITY - which, like FORCE OF EVIL was also filmed in classic black and white right on the streets of New York. Films shot in "real" NYC are nothing special now but this was highly unusual for 1948. And both films feature a very different NYC from the limited filming in NYC of the "On The Town" musical number and the opening and closing dock scenes in ON THE TOWN, which also was filmed in the city around that time.

FOX is releasing some great films next year! A TREE GROWS IN BROOKLYN is such a great film. I think it is a forgotten classic. Besides the story, it has a very good ensemble cast, with a terrific performance by Joan Blondell, who was just the best as the Aunt. I am really looking forward to watching this DVD. And in addition to the two upcoming DVDs you mentioned, I am really eager to see LAURA. Thanks for the info!

I love that film, and I have not seen it for some time. I have never seen the 1933 version so including it would be a great bonus. I also once saw a clip on some documentary of a deleted song which had Dick Haymes singing in the shower, so I would think the whole number would be included as well.

I just watched THE BRIDE OF FRANKENSTEIN last night, and there was that great Universal logo with the plane circling the globe opening the film. I immediately thought of this thread. I know we are talking about film beginning's here, but at the film's end, I saw a logo or motto, I guess, at the top of the cast list which read "A Good Cast Is Worth Repeating." Was that also unique to Universal? I loved it, and BTW, it sure was true of the "BRIDE" cast.

I agree, any of those documentaries mentioned in both posts would be great to have on TCM. I would even add that TCM should air its own documentaries more often. (I did not have TCM on my cable system until after their Pre-code month, and I would love to see their Pre-code documentaries.) And more short films!

TCM programmer, when will TCM announce who will be the next guests? Are any of our suggested names under consideration?

Both are phenomonal, what a tough question! If I had to choose, I would say Cyd Charisse was the better dancer, but Ann Miller was the better entertainer. Any time Ann Miller came on screen, her dancing, her sense of humor and (her own) singing voice made it the highlight of the picture. But Cyd Charisse, (who's songs were usually-dubbed as many of you probably know,) danced on screen with both style and total power. In "Silk Stockings", for example, she had that great scene dancing "The Red Blues" and yet in the same picture she had a simple solo which consisted of her just getting dressed in her new silk stockings. Her movements made it into a unique dance unlike anything found in most other musicals.

Artist (and stepfather to Clinton's Secretary of State Madeleine Albright) Ivan Albright did the final portrait used in MGM's THE PORTRAIT OF DORIAN GRAY." There was a retrospective at the Metropolitan Museum of Art maybe 8-10 years ago and the actual painting used in the film was on display there. Ironically, all of his other paintings were in that "decayed" style. And as I recall from reading Gene Tierney's autobiography, the "portrait" of her used was actually a photograph touched up with paint.

I love Myrna Loy. She was amazing and the term under-rated really applies to her reputation. One of her very best films is not included, and that is THE RAINS CAME. Oh she was terrific in that film and even received an Oscar nomination for best actress, but lost to Vivien Leigh. As I recall from her autobiography, she wondered if one of the reasons she worked less as she got older was the impact of the Hollywood blacklist. She was very liberal and politically active. Fortunately though she did work in various parts, and I wish one of these tv networks would air the Myrna Loy episode of "Love, Sidney" which some of you may remember was Tony Randall's sitcom in which he played a gay man in NYC. I saw it when I was 17 but I recall Myrna Loy played a great scene with Tony on a bench in Central Park.

Edgecliff that is great! I have to admit I am anticipating the October 12 release of that MGM box set in the same way most everyone else seems to be looking forward to today's release of the Star Wars box set. Except I doubt Tower Records will stay open past midnight the night before to sell That's Entertainment (- but if they would I would be there.) I am really looking forward to Part 2 as well, just for that innovative opening credits sequence. BTW, did they give any indication of which deleted numbers would be as outtakes?

Producer Arthur Freed originally considered Judy Garland for the role of Julie in MGM's "Showboat" remake, her problems with the studio eliminated that role. Lena Horne was up for the same role but of course she did not get it either. Ava Gardner who finally won the role may have had her songs ultimately dubbed by another singer, but I thought she was so perfect in that part. Judy Garland was also thought of for Mama Rose in "Gypsy", but sadly, Warners did not want to risk the expensive project with her history. I think she would have been brilliant in that role. Norma Shearer did not want to play the mother of a grown son, so Greer Garson (thank God and Louie B. Mayer) got "Mrs. Miniver."

Mickey Rooney as a child made silent films as a cigar smoking midget(!) in the mid-1920's. He was born in 1920 and is still active and performing and this I can personally attest to since I saw Mickey and his wife perform togther at the Irish Repertory Theater in Manhattan this past Friday night. Anita Page may very well be the last silent movie actress, although in terms of actually performing through the years, Gloria Stuart and maybe Luise Rainer qualify, since both have made at least 1 film in the last few years.

I vote for more silents as well! It was such a rich period of film-making, and it should not be ignored. I have the book which contains all of the films made by MGM, (The MGM Story) and during the years of the mid to late twenties, leading up to the dawn of sound, there really did seem to be quite a number of popular and artistic films produced which look fascinating. Although it would be a real novelty to see one or two air in primetime, I realize TCM is still a business, then perhaps a few more 3 am time slots can be turned over to silent films.