JamesJazGuitar

Funny but at the same time ME-TV was showing The Frozen Ghost with Kosleck, TCM was showing Nazi Agent which also featured Kosleck.

To me it also looks like Davies added Rooney for no particular meaning \ reason. So maybe the reason is a simple as trying to find something that rhymed with style and Davies couldn't find an actor known for their smile that had some degree of sadness in their life (e.g. Judy Garland would have been a great "fit" for the vibe of the song, don't you think?). Or, maybe Davies wanted to add a bright "note" to the song to keep it from being too melancholy-one-note. But likely there is no reason and I'm overthinking it.

Since you are mentioning Lugosi this gives me an opening to ask everyone something related to The Kinks song Celluloid Heroes: all the actors mentioned have a dark side (to some degree): Garbo leaving movies because she wanted to be alone, Bette Davis and her lonely life, Monroe, George Sanders (who committed suicide), Valentino who died at 31, and Lugosi (ok, not so dark, but his last film being Plan 9,,, well that could be considered a bummer way to go out). So my question is related to Mickey Rooney - why did Ray Davies include him?; The line is "If you danced on Mickey Rooney he would still comeback and smile", is a happy line. The theme of the song being: success goes hand and hand with failure (in life) on Hollywood Boulevard: so what was dark about Rooney's life; The multiple marriages? Was Ray not aware who Rooney was married to? Ava Gardner and Martha Vickers! (and other beauties). What is sad or unsuccessful about the life of Rooney?

Ted de Corsia was playing the Bettini character. Yes, the scene you mention where Bettini is clearly hiding in fear is just another small but solid one in this film. Another one is with John Hoyt the captain of the boat in which Bettini was a crew member. The banter between Diamond and Hoyt is just really "cool" (yea, I don't really like this term but I feel it fits here); Diamond makes it clear Hoyt is the next guy Brown (Conte) will have to take out and you can see the wheels turning in Hoyt head; should he take the deal of ratting out Brown for protection by Diamond? The way each approach this very delicate negotiation, with what is at stake, is cleaver and well acted. Of course Hoyt turns down the offer ,,,, exits stage right,,, there are gun shots,,,,, and that scene is over. PS: Agree with your comments about Jean Wallace. She comes across as one of those cardboard blondes. I found Helene Stanton as Diamond's burlesque dancer girlfriend Rita, to more attractive and interesting than gangster moll with regrets, Wallace.

I also wondered if Eddie has ever shown The Big Combo on Noir Alley. The film is an Allied Artist Picture so maybe Eddie hasn't been able to convince management to pony-up and lease the film. I wasn't going to watch the film due to the commercial interruptions but once I started watching it, I stayed with it,,,, commercials and all. Note that Ted de Corsia wasn't Conte's boss but instead a member of the boat crew. Conte's boss is Grazzi who is like the Sean Regan character in The Big Sleep; mentioned a lot and is murdered, but is never seen.

My Exhibit A:

I agree that Clapton has a more memorable recording legacy than Knopfler. My view about their ability as a guitarist was based on the live shows I have seen (in person or on T.V. \ You Tube), especially the tour Knopfler did with Atkins. I will admit in not being too impressed with any blues guitarist. I don't understand how one wouldn't get bored to death playing over the same blues changes, song after song. Yea, I'm a jazz, give me rhythm changes, snob! (ha ha). But as you say, given Clapton's domain, he excelled.

If I recall correctly Martin Kosleck was in a Get Smart episode where he spoofs the character he plays in this film.

My view on the overall topic of important insight is that it can only come from those who did the work. This is a frequent topic at the jazz guitar forum I'm a member of; (as an amateur jazz guitar player). Only the pros that has produced recordings, and done paying live gigs can offer any important insights. Us amateurs should just shut-up and listen!

Saw Knopfler play with Chet Atkins. Saw Clapton twice. I have to say that I find Knopfler to be a much more well rounded guitar player than Clapton. Yea, I think Clapton is overrated. Oh well.

Speaking of Richard Conte, last night on MOVIES-TV I watched what I believe was Conte's best film noir; the late in the cycle (1955), The Big Combo. This is a solid film with a fine cast of actors like Brian Donlevy as an aging Gangster replaced by Conte, Helen Walker as Conte's wife, gay henchmen Lee Van Clef and Earl Holliman, Robert Middleton as a police captain, John Hoyt as a ship captain with a secret on Conte, Ted de Corsia as a member of the ship's crew, and Jean Wallace as Conte's girl. The other male co-star Cornel Wilde is also very effective, giving one of his best performances (well, without having to do a lot of running!). The photography is excellent with many first rate noir visuals. The ending scene with Wallace, Conte, and Wilde with Wallace directing a spot light on Conte to assist Wilde, is one for the ages. The film is also very open sexually with Conte having a mean and kinky streak. Noir fans; this is a must-see!

Big fan of Act of Violence. One performer in the film is Mary Astor. She plays an aging woman-of-the-night. Its great to see her in such a role after so many of the mother roles she played in the 40s.

History has shown that it sometimes was for those that were not part of the demographic. Of course you're aware of that since you're not clueless about history.

I don't know why you would assume this based on the comments made.

Sometimes the audience doesn't really know that these are fictional forums of entertainment! E.g. the negative letters Fred MacMurray received after his Double Indemnity performance. Fred did go on to play a few other bad guys (Pushover being one, a noir with Kim Novak, and the Caine Munity), but after Fred and his wife were stopped by an angry fan that he was a "bad guy", his wife advised him to play only good guys. This was one of the major reasons he signed with Disney!

Yea, after a few I-don't-really-need-to-purchase-this-album, The Kinks released Soap Opera and it is my favorite of their later period. I listen often to Underneath The Neon Sign (and playing that guitar part takes a lot of practice!), and Holiday Romance. Two very solid tunes. You Can't Stop the Music was a throw in unrelated to the concept of the album (which was about the point of: how can a now rich, rock star write songs that the everyday working people can related to). While You Can't Stop the Music is a simple 4 chord song (with the break being the same 4 chords in a different key), the song has a nice feel and rocks along well. I.e. it a great campfire, acoustic guitar song.

Many people have thoughts on this topic; E.g. there are already more than 3 threads about child stars like "favorite child actors" etc...

Well it isn't the American Myth, but more like the European one; a perspective driven mostly by white, Christian, heterosexual males.

I assume this release has something to do with the upcoming new adaptation of the film. Just another example that so called remakes do not "harm" prior adaptations but instead bring more attention to them. E.g. lead to more people seeking out a film they wouldn't otherwise.

Have you seen The Great Garrick; this is a romantic comedy, directed by James Whales and starting Brian Aherne and Olivia DeHavilland. (this is how Aherne meet sister Joan who he would marry a few years later). Really nice Warner Bros. film from 1937. Aherne plays the stuffy, full-of-himself, British actor Garrick as he travels to France and meets the Comédie Française.

Kind of sounds like the Cagney \ Bogart movie The Roaring Twenties (1939).

Back then the studios provided the nomination recommendations to the Academy. My guess is that Fox did not wish to bring attention to the film and especially the role Power played. The suits at Fox did not wish to cast him in the film in the first place fearing that playing such a character was not good for his career. The poor box office returns confirmed this in the minds of the suits at Fox.

He was also did a film with Dana Andrews, Swamp Water (1942). While Bond's role in this film is small he still makes an impact.

My favorite character in the film was Ray Collins as District Attorney Adair. While not close to being as corrupt as he was as a DA in The Racket, Collins is great at these type of roles.

Watched Beauty for the Asking, with Lucile Ball, Patrick Knowles, and Frieda Inescort. This 1939 RKO film, running at 68 minutes while average, was still interesting. I really liked the interplay between the two women and Knowles made for a swell cad.