JamesJazGuitar
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Posts posted by JamesJazGuitar
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On 5/29/2021 at 8:43 PM, misswonderly3 said:
As you may be aware, I love the Kinks and know their music well (well, all their music that counts.) Shirley anyone who's heard the song "Celluloid Heroes" must be moved by it, especially anyone who's a classic movie fan.
"That said", I've never really considered that all the stars Davies mentions in the song had sad lives, or experienced loneliness, or came to a tragic end, etc. I suppose you're right. Still, I think maybe he just mentioned Mickey Rooney because it scanned well, or maybe when he was a kid he watched an Andy Hardy movie (although tv watching in Britain in the 1950s was pretty limited, so maybe not...) Anyway, although the other actors listed in "Celluloid Heroes" did encounter sadness (or worse) one way or another at some point in their lives, and yes, the song has a certain melancholy quality to it, I suspect there's no particular meaning in the inclusion of Mickey Rooney's name.
...Actually, I just looked up the lyrics and the line is "if you stamped on Mickey Rooney, he would still turn round and smile".. There you go. Mickey Rooney was definitely one of the smiliest stars in Hollywood, like him or not, he did seem to grin a lot. I think that's all there is to it. (plus, "smile" rhymes with "style", which of course George Sanders had, even if someone had covered him with garbage.)
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.
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2 hours ago, Dargo said:
Well, this is of course unless the movie might've starred Bela Lugosi. And THEN we're talkin' the genre of "horror" of course.
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?
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1 hour ago, misswonderly3 said:
Thanks for setting me straight re. the Ted de Corsia character. As I did admit, although I've seen The Big Combo several times, even the most recent time was a while ago, and I couldn't remember for sure what role de Corsia played, I just knew he was in it.
I did want to mention a scene in the film that's always stayed with me; it's when Diamond, Cornel Wilde's character, finds Bettini, a former gang member who's now hiding out. As I recall, when Diamond calls on Bettini, the old guy's making spaghetti (?) and also, thinks Diamond is one of Conte's men come to kill him. The quiet resignation with which Bettini greets Diamond, and the sad relief he shows when he realizes Diamond is not a hit man, are somehow quite moving.
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.
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5 minutes ago, misswonderly3 said:
Anyway, I agree with james, The Big Combo is a "must-see" for noir fans. If Eddie hasn't shown it already, I hope it's coming up sometime soon.
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.
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My Exhibit A:
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44 minutes ago, LuckyDan said:
I know what you mean about well roundedness, but think of it this way: How many of Mark's recordings would you say are truly memorable, vs "not bad"? How many of Eric's? I think EC wins there. Consider too he came of age at a time when most of the brits were succumbîng to the siren's song of pop success while he stubbornly worked to stay true to the blues heritage.
But we don't have to choose. They are both amazing players with their own signature sound, especially Mark who is one of a handful of guys who does not play with a plectrum.
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.
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4 hours ago, Swithin said:
If I recall correctly Martin Kosleck was in a Get Smart episode where he spoofs the character he plays in this film.
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On 5/28/2021 at 12:02 PM, Allhallowsday said:
I doubt Mankiewicz has had any insights important or otherwise.
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!
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13 hours ago, Allhallowsday said:
Saw him tour in the 1980s with MARK KNOPFLER. One of the best shows I've seen. We actually SAT while CLAPTON played...standing there... KNOPFLER bounced off the walls when we all stood up... great dynamic, great friends...
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.
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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!
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4 hours ago, Thompson said:
Well, this is exceptional news to me. I have never heard of Act of Violence. Robert Ryan is so intense, can’t wait to see him in this one. I’m guessing right off that sentiment and girly stuff is at a minimum but he’s probably got that archetypical wife who is boss of the kitchen and maybe believable. The plot sounds like something I wouldn’t like, so we shall see. Probably the music will make the difference. All these subliminal things make the difference. And every facial expression - twitch of an eye, curl of a lip, the first drag from a newly lit cigarette.
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.
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48 minutes ago, SansFin said:
You say that as if it is a bad thing.
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.
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13 hours ago, slaytonf said:
I find that the ones who complain about agenda fatigue, are not objecting to agendas so much, but that it is not the agenda that they want to see pushed. T
I don't know why you would assume this based on the comments made.
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3 hours ago, Stallion said:
I know it was probably fruitful for Bond to show his range as an actor to play a character like this. He was also kind of a bad guy as Moose Malloy. But it is hard to see Bond this way, after the majority of films he did where he often played a gruff, but basically good guy. So many of us have seen a lot of Wagon Train episodes where he was that gruff, but genuinely good guy. However, I guess when you think about it, he is just acting and the audience knows these are fictional forms of entertainment. Nonetheless, it is hard for me to watch good ol' Ward be a bad guy, and apparently a really bad guy in Canyon Passage.
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!
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6 hours ago, Det Jim McLeod said:
Soap Opera by The Kinks-May 1975
Another concept album by the Kinks, and this is a good one, I liked it much better than Preservation. It begins with "Everybody's A Star" in which the main character Starmaker, is a rock star who wants to prove he can make anybody a star. He switches places with ordinary man Norman and lives with the man's wife and works at his dull job. "Ordinary People' is the kind of song Ray does best, about the plight of the ordinary British working man. "Rush Hour Blues" is a good song done in blues style about waking up, having tea, catching the train to work. "Nine To Five" shows how the Star is finding out how dull life is working at this ordinary office job. The next two songs "When Work Is Over" and "Have Another Drink" captures the feeling of unwinding after work at the bar with a few drinks. "Underneath The Neon Sign" has some great guitar playing, sort of a sad country tune. My favorite song on here is "Holiday Romance" about taking a holiday at a seaside hotel and he has an affair. It has a vaudevillian feel and nice string arrangement. "You Make It All Worth While" has Star and the wife Andrea (played by June Ritchie) arguing over dinner and we know find out that Star was actually Norman all along, it was just his fantasy about being a rock star, I thought this was a good twist to the story. 'Ducks On The Wall" is a hilarious song about Norman/Star hating on the terrible taste décor in his house, a bunch of ducks on the wall. Norman realizes he must now face reality again in "Face In The Crowd". The final song "You Can't Stop The Music" is a tribute to all rock stars.
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.
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2 hours ago, DickLindsay said:
I am always amazed at some of the performances by child stars of the 1930s and 1940s. the two that come to mind are Judy in THE WIZARD OF OZ, and Freddie Bartholomew for CAPTAINS COURAGEOUS (he was only 12 or 13, wow!). anyone have thoughts on this topic?
Many people have thoughts on this topic; E.g. there are already more than 3 threads about child stars like "favorite child actors" etc...
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1 hour ago, slaytonf said:
Why, the very ones you push yourself: The American Myth. God's in his heaven, everyone's in his place.
Well it isn't the American Myth, but more like the European one; a perspective driven mostly by white, Christian, heterosexual males.
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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.
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6 minutes ago, nakano said:
I likeJames Whale a lot, it is a great pre-code & good acting from Morgan,and all of the cast It would never be made in any era after 1934 i guess.
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.
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10 minutes ago, macintex said:
I saw a movie years ago that had a plot that could be used now. It wasn't a Jimmy Cagney movie, but it would be in character for him..
Two friends or brothers. One is meek and mild and a nice guy. He gets drafted and goes to war but doesn't want to kill anyone. In battle, he is finally forced to shoot the enemy. And, he kind of likes it. He becomes an aggressive soldier and kills a whole lot of the enemy because now he really enjoys it. The war ends and he falls in with local mobsters who enlist him into the mob. He becomes their enforcer and assassinates a few people, cops narcs, etc... Meanwhile, his brother or friend has become either a policeman or prosecutor that is going after the mob. This puts the two against each other.
Great plot. The movie was made in, I THINK, 1929 and it was a World War One veteran. I have looked through 1929 movie talkie titles but did not see any likely candidates.
Kind of sounds like the Cagney \ Bogart movie The Roaring Twenties (1939).
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2 hours ago, Herman Bricks said:
Judith, I love NIGHTMARE ALLEY too, and agree that Tyrone Power deserved a nomination, at least for his challenging performance! The 1940's was such a competitive era, in terms of great films, great performances, I wondered perhaps if that explains the possible snub.
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.
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40 minutes ago, TopBilled said:
Not to sidetrack the conversation (too much), but a few nights ago I watched CANYON PASSAGE (1946) a fine western noir by Jacques Tourneur. It's filmed in Technicolor, but don't let that fool you...it's a very dark, gritty western with some heavy themes embedded in the narrative.
Ward Bond plays the main villain (though higher billed Brian Donlevy is also cast as a villain). Bond's very first scene has him trying to steal some gold from Dana Andrews' room. They get into a brawl and Bond goes flying through a window and breaks his leg.
This doesn't stop Bond. Later he returns to have another confrontation with Andrews and they have a huge barroom brawl. In that particular scene, bottles are smashed, chairs are busted and both men severely beat each other.
Bond doesn't win the fight, so he leaves town and takes his aggression out on some natives. There is a very chilling scene where Bond sees a pretty native girl skinny dipping in a river with her sister, and he approaches them with a menacing look. It is implied that he is about to rape the girl.
A short time later we find out that Bond did more than rape her, he killed her and her sister. This sets in motion a war between the white settlers and the natives who want to avenge what Bond's character has done. Bond ends up on the run, being chased through the woods. Bond comes upon Andrews and the other white men he had previously alienated, and he begs them for a second chance. They refuse to shelter him, and Bond suffers a gruesome death at the hands of the natives.
Anyway, CANYON PASSAGE shows just how mean and dangerous Bond can be when he's given a chance to play a truly evil man. I think it's his best performance.
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.
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10 hours ago, Moe Howard said:
4th time was the charm for me.
Sanchez plants the bomb because he thinks he's going to marry the daughter, Marcia Linnekar. She is in cahoots with her attorney though and he anticipates Quinlan eventually becoming involved in the investigation. Once that happens, Sanchez is the ready made patsy. It's just a subplot and has nothing to do with the Grandi crime family.
You have the scheme to discredit Vargas right. But I don't think they actually use heroin. The hot-rod hellcats make her believe they used the real stuff but there's mention that it was sodium pentathol, as Vargas had suspected.
There's several plots going on that intersect with Quinlan , the bombing, the Grandi arrest and who will be head of the crime family, Quinlan's history of planting evidence and Quinlan's relationship with his partner, candy bars, hooch and Tanya the fortune teller.
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.
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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.
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on svengoolie tonite
in General Discussions
Posted
Funny but at the same time ME-TV was showing The Frozen Ghost with Kosleck, TCM was showing Nazi Agent which also featured Kosleck.