JamesJazGuitar

Yes, that is Cleo (I guess you didn't see I had posted: Here is Hugo with Cleo in the background. ). One Girl's Confession is a film you have seen since we discussed it not too long ago. Like I said one of the better ones. I also like Cleo Moore in Over-Exposed (1956) which was not a Hugo Haas production. This one has her as a good working-girl photographer that gets involved unknowingly with gangster and also features a young Richard Crenna as her friend\part time assistant. I saw this on MOVIES-TV (just like I did the 4 other Haas\Moore films). Oh, and the title relates to the photographs regardless of what the poster implies (ha ha).

Cecil Parker is a treasure but I was referring to the "caretakers" (that is what Wiki is calling them), Carl and Doris Banks. Carl being used as "David" to try to get Grant jealous was one of the funnies moments. Carl was played by David Kossoff. Funny but use of the term "helper" was my third attempt at trying to find the right term. I first had husband of the maid, but rejected that since Doris was more than just a maid. So next I picked "servant", but since I just re-watched Guess Who's Coming to Dinner I decide that wouldn't be the right term to use (silly me, right!). As for Parker; He does get in some very good lines as a man stuck in the middle between Philip (Grant), and his wife (also well play by Phyllis Calvert) and their close friend Anna.

Note that Sidney Poitier covers similar territory in Paris Blues but in this film he has more of the view of the black father in Guess Who Is Coming to Dinner. In Paris Blues Diahann Carroll is an American traveling in Paris and Poitier is an American jazz musician that went to Paris to escape racisms and being stereotyped. There is a good scene where Carroll tells Poitier that he is allowing "them" (it is implied racist Americans \ whites), to define him. That Poitier can be a free man in America and that every day there are more and more enlightened Americans, but unless he can define himself on his terms he would never feel "free" and himself in America. PS: Just a few days ago I saw Carroll on the Dick Cavett show. She discussed her show (first one to star a black actor), and the over all topic. She was just wonderful using humor to express some of the bitterness she felt. That bitterness came from how both whites and blacks perceived her on the show. E.g. that some felt she wasn't black enough.

Seeing Dargo's avatar and that hammer in the mouth, I felt "hit the nail on the hand" was perfect!

Why are you holding back; You really wanted them to use that money on leasing Joan Bennett 20th Century Fox films.

Yea, that Bacall scene always rubbed me the wrong way; as you say, it is rather pathetic. So yea, why didn't Huston re-film that scene? He was on Jack Warner's dime and this would be the last film he directed for Warner Bros. under his initial deal with the studio that started with The Maltese Falcon.

A first rate film noir. Love this scene. I'm sure you're aware that is a very young Tony Curtis, De Carlo is dancing with. Lancaster, De Carlo, Dan Duryea, with many noir character actors like bartender Percy Helton.

Not sure I'm following this; it appears you're implying TCM either doesn't show Holiday Inn, at all, or that if they do they show it with the Abraham scene removed (cut-out), due to fear etc... Here is what Wiki has: Beginning in the 1980s, some broadcasts of the film have entirely omitted the "Abraham" musical number, staged at the Inn for Lincoln's Birthday, because of its depiction of a blackface minstrel show incorporating images and behaviors that are racist in nature.[23] However, because Turner Classic Movies airs films uncut and unedited, the network has left the "Abraham" number intact during their screenings of Holiday Inn.

That is one great film. Universal was able to take advantage of their fine horror films and associated actors and blend them into the physical comedy and overall humor of Abbott & Costello. Note that Karloff isn't in this film, but he is the headliner in the next one. Universal was wise not to use him for the Monster, and instead give him a leading role in the next A & C horror related film.

I can see that the film Indiscreet really moved you since this is one of the best write-up I have seen. I.e. you're channeling the vibe of the film in style! I really love the film. The ending is somewhat of a drag in that we know any "fuss" isn't really going anywhere. We all know love will overcome all. (but the husband of Bergman's helper is very funny).

The film and their studios you mention are all the correct ones expect the Spencer Tracy Jekyll and Hyde 1941 film was MGM (Tracy and Turner being under contract with MGM). If Ben did say that these films were Universal he was really mistaken. Hopefully he wasn't that sloppy.

You're right about the casting of Douglas in YMWAH. But don't tell Bacall about that: she still wonders why they cast her as a Lesbian.

Good point about Ray Milland; Maybe I did sell him short by implying that it wouldn't be too expense to obtain the lead male star. I like the film (especially the start when Ann Dvorak is on screen), but I really can't see Wendell Corey in the role. Milland was a better fit.

Just read this comment and had to look it up. While Madame Bovary did lose money it still might have helped Turner's career. I looked up the film Turner did make after her suspension was lifted: A Life of Her Own. Bovary had a budget of just over 2 million, while A Life of Her Own had one of just over 1.8 million. I just wonder why it would cost that much to make a film like A Life of Her Own; The screenplay was original so it couldn't have cost that much and since the film is all set in the current time period. I don't see where MGM would have had to pay to cast an high priced independent actor. I can see why a period film like Bovary might run over 2 million. There is also paying for the rights to use the novel to the estate of Flaubert. Note that Turner didn't wish to make A Life of Her Own, but according to Wiki: Lana Turner initially refused to star in the film, but MGM executives Louis B. Mayer and Dore Schary demanded she honor her contract with the studio.

At least Power never had to do a film with Monroe.

To address your question I don't think the Internet has increase the number that are offended by something. Instead it just increases the number we know are offended. I.e. when they were yelling at their T.V. or kicking their dog, the general public didn't know about that. This is why I objected to the OP using the term "we", as if he represented the views of a significant portion of TCM viewers. As for your "insignificant" comment: My gut tells me this is a counter reaction to those that are offended by TCM showing certain films. I.e. the OP believes the reaction of the PC activist to ban films (which TCM has faced pressure to do), is over-the-top so they do a counter over-the-top counter-reaction. But I did find it ironic the OP threated to boycott TCM, just like the PC activist they despise. I feel TCM's choice was the best middle ground between these two opposing POV. Notice that TCM has been running their own spots to explain why they went with this middle ground approach. Of course there are those that believe TCM can't have it both ways. Oh well.

I have never heard of Markey until today but wow, this author was a player. And they say a picture is worth a thousand words! This from Wiki: Although he was not overly handsome, he was a very skilled conversationalist and he quickly became a popular fixture in Hollywood society. Among his good friends in Hollywood were producer John Hay Whitney, composer Irving Berlin, and actors Douglas Fairbanks Jr., Ward Bond and John Wayne. He would often go fishing with Bond and Wayne off Catalina Island. A 1946 article in the Washington Times Herald said, "Other Men Say: What's Gene Markey Got That We Haven't Got?" The article ran a photo of Rudolph Valentino with the caption, "NOT SO HOT – By Comparison. Though all American womanhood swooned over him in his day, Rudolph Valentino was no Markey." Soon after he arrived in Hollywood in 1929, it was also reported that, "Markey became the most sought after unattached man in the cinema firmament, so sprinkled with far handsomer, richer male stars.

Of course my reply was a wisecrack but one that has relevance IMO; "we" is often used to try to convey the feelings or opinions of one-person reflect the feelings\opinions of a wider group thus adding creed to the statements. Sometimes the use of "we" can be representiave, but often they are not. I.e. the "I" doesn't have data about how others really feel\think, they just assume they feel\think like themselves.

Jack Palance would have matched the actual looks of Duchin better than Power but then the producers would have had to cast someone other than Kim Novak to avoid the "no way a gal that looks like this would be with some guy that looks like that!". PS: The point being that casting is done to fill the seats and not to be representative of the actual characters. E.g. look at the posters for the film. Clearly they were designed to highlight this beautiful couple.

We don't agree with you.

You use the term "we" but you are only one person. You were not elected to represent some "we" group, right? While I don't need these so called warning they don't make me feel "uncomfortable". Thus I just ignore them. Oh, and to practice cancel culture by boycotting TCM is ironic. I believe it is foolish as well (since I go to TCM for the films and not the host talk), but to each his own.

How did they not cast this guy in The Frogmen?

I'm a fan of The Eddy Duchin Story. As a musician I really love the scene where the children play along with the Duchin band. Since this is a Columbia film I doubt TCM has it in their "vault": the original Ted Turner Library of films which are mostly associated with the studios Warner Bros., MGM and RKO. I.e. it is more likely TCM leased the film as part of a limit lease package of Columbia films. I believe the last showing was part of Kim Novak theme programming. Either way hopefully TCM shows the film soon. The cast is first rate and one of the few films with Victoria Shaw.

My favor Dillman films would be Compulsion, Francis of Assisi, and Circle of Deception, which also featured Suzy Parker. I remember Parker in Kiss Them for Me, The Best of Everything, and The Interns. Of course I enjoyed the many fine Dillman T.V. performances. He was great playing the slick and charming cad. Dear Dinah: Did you really get bit by a rattlesnake and that is why your parents moved from L.A. to Santa Barbara?

If Eddie is going to show a Hugo Haas \ Cleo Moore film I recommend One Girl's Confession (1953) over Strange Fascination. The film has a better storyline and out of the 7 films they made it is the one I like the best. Here is Hugo with Cleo in the background.