JamesJazGuitar

Rampling is not better than Trevor (few actress of any era can do noir better than Trevor), but that isn't a reason not to watch Farewell, My Lovely.

With regards to I Remember You: Here is what I wrote above: Schertzinger was a director and wrote the song (Tangerine) for his last film The Fleet is In (1941) This is a fine film with Dorthey Lamour, William Holden and introducing Betty Hutton. Schertzinger also wrote the song I Remember You for the film. Thus Schertzinger wrote two songs that are now jazz standards, Tangerine and I Remember You, while directing his last film The Fleet is In. He died shortly after the release of the film. Hutton really shines in this film.

Yea, Dick Hyman was really big in the music business; Woody Allen loved the guy and used him to score many of his films.

As for Sinatra; All of the jazz musician I know really enjoy his singing as it relates to his understanding of rhythm. My guitar teacher told me to listen to how Sinatra sings the melody and try to do something similar when playing the melody on guitar. I.e. the advise was play along to Frank or play along to Dexter Gordon! Here is what I feel is one of the best interpretations of a song by a singer - The Cole Porter song, I Got You Under My Skin;

Here is I Remember You done by Chet Baker.

Tangerine is a song written by Victor Schertzinger, the lyrics by Johnny Mercer.[1] Schertzinger was a director and wrote the song for his last film The Fleet is In (1941) This is a fine film with Dorthey Lamour, William Holden and introducing Betty Hutton. Schertzinger also wrote the song I Remember You for the film.

I love the song Check to Check and was glad to see the song got some attention after Lady Gaga and Tony Bennett recorded it. Here is a version from Mundell Lowe; I took a few lessons from him. Very nice man.

Tracy and Bogart never made a movie together because neither could agree on how the credits would be displayed. There was talk that Tracy would star with Bogie in The Desperate Hours, but that didn't occur due to this top-billing issue and Fredric March was signed instead (with Bogie getting top billing). Bacall covers this in her book, By Myself. Early in their marriage Bacall had Tracy and Hepburn over for dinner. Bacall was star struck the entire evening.

I wonder why Lugosi is green. Green with envy for Karloff getting top-billing on the poster? I don't recall how the actual opening credits are for the film and if Karloff also received top-billing there or if they had side-by-side type billing (so no one gets top-billing).

Kissing between a married woman and her suiter did occur and wasn't a violation of the Code. But kissing or too much sexual type behavior between people of two different races was forbidden. That is the reason there isn't a kiss between the Power and Loy characters in this fine film. My favorite George Brent performance; I.e. he gets to shine in this film instead of just being a second banana to the female lead like he is in the Warner Davis films etc...

Latter on Bobby would change his name to Bud and tell his father; actually dad, Klaatu, knows best.

But I suspect the Peter Sellers, A Shot in the Dark is the most well known by those at this forum. (I don't like it either but I have found it (that series of Clouseau films) to be popular at this site).

Don't worry, I will not be fooled again!

If there is such a thing as an "afterlife" I would hope by the time I get there I wouldn't give a hoot about such silly, irrelevant nonsense. (I don't really care now, but, then why I'm I posting at this thread,,,, I must be losing it!).

I see Peter Townsend more so than Aaron.

Didn't Robert Wagner use Monroe for practice to prepare for Natalie? I know I read this somewhere,,,,,,

What I recommend one does is not group people into such a wide group, especially grouping people who have died years, if not centuries, ago, with those alive today. I.e. these are artificial group classifications designed to create strawman debates.

Yea, what got me this time was the transition from "witch" to "human". Her overall screen persona was a good fit for a cold, can't cry, can't fall in love, "witch". In the scenes where she does fall in love, cries, and thus loses her powers and is now "human", the transition was real to me and touching. Hey, it worked on the Steward character (he loved her and no love potion was involved), and it worked on me as well.

I find that you're taking this POV too far the other way; for me noir is mainly about the darkness of theme, character and/or outcome but the visual style, as enhanced by B&W photography, is also part of what makes noir, "noir" for me. When making color films was far less expensive in the 50s director still decided to make such films in B&W because that is the "vibe" they wanted. Also most noirs from what I call the classic-noir-era, 1941 - 1959, were not low budget films; I.e. most where "A" picture with first rate actors (stars), made by the major studios. Yes, some of the non-major studios like Monogram Pictures, made low budget films but the most of the noirs TCM shows and that Muller features are not low budget films; E.g. films with Bogie, Mitchum, Mature, Andrews, Powell, etc.. were not low budget films.

I'm fine with labeling Roberts THE session guitarist of his era. He also founded the Guitar Institute of Technology in Hollywood. I saw Roberts live many times in West Hollywood jazz clubs. It was a common joke among jazz musicians and jazz fans that Roberts would let-his-hair-down in these clubs; I.e. really let loose with his jazz chops since his-day-job was playing a lot of commercial, corny, session music. Roberts was signed by Capital and made a lot of pop-jazz albums. I call these pop-jazz since the songs were mostly pop songs and ran < 3-4 minutes. Later in his career Roberts put out an album called The Real Howard Roberts; This was straight ahead jazz like the type I saw him play in those clubs. Roberts was a top notch jazz guitarist but he was also a business man which is rare for jazz musicians.

My guess is that it is Roberts on the "Bell" soundtrack since it sounds similar (and sounds like him), and Roberts lived within miles of where the film was made and was known to get a lot of such work during the late 50s and into the 60s.

It is Howard Roberts on guitar on this 2 for the Money album released in 1959.

Jen's youthful look is all due to Aveeno. For being their spokesperson, Jen receives a gallon of the stuff per day! Courteney Cox had to ration a one quarter bottle for one year.

I did watch Bell, Book and Candle last night and the film does have some niffy music; E.g. the trio of two horns and a guitar that played in the club. I have seen the film before but what impressed me last night was the acting of Kim Novak.