JamesJazGuitar

Clara Blandick was in the Wizard of Oz with Billie Burke.

Strother Martin was in The Wild Bunch with William Holden.

Clearly TCM, since it beginning, has had "difficultly" leasing Fox and Paramount films (as well as Universal). I.e. TCM tends to show mostly films from the former Ted Turner library of films, and therefore Warner Bros. RKO and MGM films dominate the programming. I guess I read to much into your "anymore" comment; I.e. to me, it implied something changed in TCM's ability to lease Studio-Era Fox and Paramount films.

I assume you're not a fan of Who's Afraid of Virginia Woolf then.

Are you alluding to the Disney acquisition of 20th Century Fox? I didn't know that Disney has made a decision not to lease Fox films they now have the rights to, to networks like TCM. As for Paramount films: What has changed recently with regards to TCM leasing these films? ViacomCBS still owns the rights and TCM has been able to lease some of their films. PS: Yea, I wish TCM would (or maybe could), lease a lot more Fox and Paramount films.

Keyes got divorced the same year the film was made, 1950; Huston treated her very badly. So that dreadful look wasn't only due to make-up. It would be great if Noir Alley showed the 1947, Dick Powell noir Johnny O'Clock. This is a Columbia film, with a fine supporting cast of Thomas Gomez, Nina Foch, Ellen Drew, and Lee J. Cobb (who as the cop, doesn't overdo it like he tends to do).

Mamie Van Doren, who was born on February 6th 1931, and thus just turned 90.

Now Voyager would have been too much if there were more scenes like the breakdown one. Instead there are some very emotional scenes that, for me, provide just as much of an emotional punch-in-the-gut: E.g. when Bette shows Paul her family photo and the fact she is the old looking Aunt, that she had major issues, and still has some. Etc.... These more subtle scenes are the sign of solid direction: if those scenes were done like the breakdown scene, the film would be a camp classic!

Ok, that makes sense. That was a mistake, especially after such a successful run with To Each Her Own (Oscar), The Dark Minor (all actress like those good\evil duo role parts), The Snake Pit (Oscar nomination and National Board of Review and NY Critics Circle, Best Actress), and The Heiress (Oscar, Golden Globes, NY Critics Best Actress). Coming back after 3 years for My Cousin Rachael was a let down. While I feel Olivia does some fine acting in the film, Richard Burton in his first film was just too joyless. Add a confusing did-she-did-she-not ending and yea, she deserved something better.

I'm also a big fan of Now Voyager. The acting is first rate by all expect Tina, but hey, that was a very difficult part for a young actress, especially having to act with masters of their craft like Davis and Rains. The parts with Tina do drag the film down a bit, and since I have seen the film so many times, I'll go and get a sandwich during one or two of the Tina dominated scenes. BUT I always come back for the ending. What is also funny is my wife's reaction to the film, as well as another one with Paul Henreid, Casablanca. Being Italian she is a romantic, but she gets annoyed at unfulfilled love (like Bogie \ Bergman in Casablanca, and here between Henreid and Davis): The stars just are not enough, she demands they get the moon!!!!

It was made during the time she sued and it wasn't ill-advised. It was necessary especially after both Cagney and Davis and their legal attempts failed. Paramount couldn't release the film until the Superior Court of CA ruled in her favor. It was necessary for all actors, athletes, entertainers and all other employees that were under contract. The studio went on to lose its case in a decision considered to be such a landmark that it has been dubbed the “de Havilland law,” Superior Court Judge Charles S. Burnell said that the actress’s contract was a form of “peonage” or illegal servitude. In a big, splashy headline, Variety, noting the ruling, declared on March 15, 1944, “De Havilland Free Agent.” The court took away any wiggle room that employers had,” said Alan R. Friedman, partner at Fox Rothschild. “It was a decision applying to more than just Hollywood. It applied to every employee in California.”

Not a fan of the Sound of Music either but Austria and the cities of Salzburg and Innsbruck are worth the trip. Using a train to get from the various cities is a breeze and very enjoyable. My wife and I flew into Munich and then took the train to each of these towns staying for 3 nights each. We went in May and while there was a light snow one day, the next day it was sunny and in the 70s. Thus the mountains looked liked they do in the photo. Here is Salzburg: Those hills are alive!

More on the Night of the Hunter and the cinematographer: The director of photography was Stanley Cortez, who also shot Orson Welles' 1942 film The Magnificent Ambersons. Because Laughton had very little experience working with film, Cortez would visit his house to explain various concepts of camera lenses, camera heights, and what effect each of them gave.[42] Laughton told Cortez that the nitrate prints of the silent movies that he had been watching for research impressed them with how sharp they looked, so he asked Cortez to create that same sharpness for The Night of the Hunter.[43] The studio brought most of the crew from a recent film Black Tuesday because they had worked so well together, and Cortez had experimented with a new black-and-white film Kodak Tri-X on that production, with great results. He chose to shoot certain scenes of this film on Tri-X because it had a sharp contrast that would help fulfill Laughton's vision.[4

Yea, at least a guest role on The Big Valley.

I know this will only appeal to a very limited audience but for me this is some of the finest playing I have seen. I saw Kessel live many times. He gave a great show and had a good stage presence. Witty, and charming.

6. 1955 was a busy film year for Sinatra appearing in 4 films, two musicals and two dramas: The Tender Trap, Not as a Stranger, Guys and Dolls, and The Man with the Golden Arm.

Ketty Lester - Love Letters Next: Song that features a dog

Cobra Women (1944)