JarrodMcDonald

We also have to add that Gene Kelly became a director, going on to direct films without Stanley Donen in non-musical genres. I agree about Kelly's work ethic and I think the audience responded to that.

It looks fabulous. It seems like a combination of THE PRINCE AND THE PAUPER and RANSOM! (starring Glenn Ford). I'm excited about it...

I bet if Robeson had not fallen prey to the McCarthy witchhunt, he would've been asked to reprise his role in the '51 version.

Okay, I was afraid of that. And if these films are not made available, then they continue to be forgotten and don't stand much chance of finding new audiences.

Bergman played Joan of Arc on Broadway in the 1946 play Joan of Lorraine. Later, there was another stage production, this time in Italy called Joan of Arc at the Stake. As for film, she appeared in the 1948 version that I already mentioned. She also played the French saint in an Italian film, GIOVANNA D'ARCO. It would definitely be interesting to look at her Italian interpretation of Joan and see if she improved on it since the first film was made.

Thanks. Are any of these versions available to consumers?

On March 16, TCM will continue to observe the 100th birthday of acclaimed Japanese filmmaker Akira Kurosawa. As part of its tribute, the channel will air the director?s 1963 masterpiece, HIGH AND LOW. The movie is based on American writer Ed McBain?s novel ?King?s Ransom.? In the story, a business executive gets a call from a kidnapper that claims to have abducted his son and demands an astronomical sum. But the kidnapper has mistakenly picked up the chauffeur?s boy (who is the same age and was dressed in the other boy?s outfit while playing cops and robbers outside the mansion). The kidnapper is unrelenting and wants to be paid just the same. The businessman is reluctant to pay the ransom, but his wife says nothing is more valuable than a boy?s life. HIGH AND LOW stars Kurosawa?s frequent collaborator Toshirō Mifune. It also features actors Tatsuya Nakadai and Kyōko Kagawa. A reviewer for the Washington Post noted that the film, like most of Kurosawa?s great works, is deeply symbolic. The movie is also lauded for its pace and suspense. To participate in the thread about other Kurosawa films airing on TCM, click here http://forums.tcm.com/jive/tcm/thread.jspa?threadID=149688&tstart=0&messageID=8325985#8325985

You're right. We not only have the aristocrats (Astaire) and the proletariats (Kelly), but we have a generation gap. LOL At least when Paula Abdul shot to fame as a choreographer, she cited her classic Hollywood idols as inspiration.

I agree...their screen personas were somewhat different. Fred was usually seen in more dapper attire, even when he's in a gangster routine like the one we see near the end of THE BAND WAGON. Gene Kelly was not afraid to yuk it up and be the average Joe (though he definitely had more elegant moments on film). When I really read between the lines of what my friend was saying, it made me do considerable thinking. Would young filmgoers (and even future generations) be more inclined to sit through a Gene Kelly dance routine than a Fred Astaire routine, just because Gene Kelly looks more 'gorgeous' or 'attractive.' I don't think people watch movies as much for talent today as they do for eye candy. I also wonder if someone like Fred Astaire came along today who had more talent in his little pinky than another beefier built-up dancer, would he be given a chance to be a movie star? We have become conditioned to having John Travolta and Patrick Swayze and Ewan McGregor. I don't think a studio would say that audiences want a scrawnier male dancer.

I have to laugh...a good friend of mine asked me for some musical film suggestions...and I advised her to pick up a copy of EASTER PARADE. She watched and wrote back, saying she thought Judy was marvelous and that Peter Lawford was a dream, etc...but she thought Fred Astaire lacked sexiness. She didn't think Judy would really be interested in a guy like that. Later, I was reading up about the production of the film, and I learned that Gene Kelly had been slated for it, but he bowed out due to an injury he had sustained on another film. Kelly suggested the role be given to his friend Astaire, who was seriously contemplating retirement after the failure of YOLANDA AND THE THIEF. When I told my friend that Gene Kelly almost starred in EASTER PARADE, she said, yes, she could see that it would've been a more romantic-type film. Is that because Gene Kelly was cuter than Fred Astaire? I'm sure there were plenty of women who found Astaire attractive. But it does lead one to wonder who had broader appeal...?

I sometimes mistake Martha Hyer for Eleanor Parker.

I believe they only appeared together on film, once, in ZIEGFELD'S FOLLIES. Which one is your favorite? Are they equal in terms of musical talent, athletic ability, acting and sex appeal?

Thanks, and I do have the Penrod film set for DVR recording this evening. There were three Penrod short films that the Mauch brothers made. This is one of those. The movies are, of course, based on the famous Penrod & Sam boys-stories by Booth Tarkington (author of 'Alice Adams' & 'The Magnificent Ambersons').

Filed Under: *15TH CENTURY* Today's Picks: *JOAN OF ARC (1948)* & *CHRISTOPHER COLUMBUS (1949)* Ingrid Bergman's Joan of Arc is a strong and spiritual figure in this historical biopic from director Victor Fleming. She plays the 15th century French peasant girl who becomes a national hero after leading the French in battle against the British. But when she?s caught, tortured and put to death, she takes on the role of Catholic saint. The script is based on the Maxwell Anderson play ?Joan of Lorraine.? A year later, Fredric March plays the famed explorer Christopher Columbus. The historical biopic features March's real-life wife Florence Eldridge as Queen Isabella. Filmed in Technicolor with an extravagant budget, the picture is known for its reverent depiction of Columbus. The exquisite costumes and lavish sets are fun to see, even if the film does lack a bit of suspense. Francis Sullivan turns in a good performance as the villainous Francisco de Bobadilla. (Source for both: answers.com)

If animation features would've been as big then as now, I bet Robert Ryan would've done a lot of voice-over work. He does have a very distinctive voice. So does Aldo Ray. And Buddy Hackett. I have to admit, I was just crazy about Buddy Hackett's performance when I watched this last night. How come he wasn't as big a movie star as Jerry Lewis or Don Knotts? I remember him from TV comedy guest spots but hardly from film. He's just great!

It's one of those classic titles that keeps slipping by me...and it's Twain, Flynn and Rains...! I am looking forward to it...I just hope the print is nice and clean. Incidentally, while reading the summary of Twain's story, I kept thinking about THE PRISONER OF ZENDA...perhaps it would be a good companion title for a double feature...?

New: PATTY MCCORMACK CHARLOTTE HENRY FELIX KNIGHT

I like the last paragraph you wrote in your previous reply: "I love the "zip" of Warner films of that period, not a frame is wasted and they knew how to push buttons in terms of sexual or exploitable content but still manage to maintain dignity. As a kid growing up in NYC, I found it easier to relate to WB films more than any other studio." You're right...they do not waste a frame of film. Some directors could really take a lesson in this regard. I think when the film's story is more compact like that, it makes you as the viewer really pay attention. You don't want to miss anything. On the issue of exploitable content, I have been giving that some thought today. I bet Will Hays and the Catholic bishops felt powerless in the beginning. When they began to mobilize with the women's groups and put pressure on the theatre owners not to show certain picture that were objectionable, then Hollywood started to fight back...they pushed certain content to test the censors (a practice that would go on for decades). It was a matter of seeing which side had more power, and about how much protection would be given to artists. A film like HEAT LIGHTNING comes along in the middle of that struggle.

On March 15, TCM is airing the 1937 film adaptation of Mark Twain?s novel THE PRINCE AND THE PAUPER. It stars Errol Flynn, Claude Rains and real-life twins Billy & Bobby Mauch. The rousing tale is set in the mid-1500s and tells the story of two boys that are identical in appearance. The first boy is Edward VI of England (son of Henry VIII); and the second boy is a pauper named Tom Canty that lives with his abusive father in London. One day the boys meet and are astounded by their striking resemblance to each other. As a prank, they exchange clothes. That?s when the fun begins! Claude Rains plays the evil Earl of Hertford who catches on to the prank and decides to take advantage of the situation. Meanwhile, Errol Flynn is Miles Hendon, a man who tries to thwart Hertford?s attempts to gain power in the royal court.

We didn't mention his role as Barbara Stanwyck's father in B.F.'S DAUGHTER. He had also worked with her in THE LADY EVE.

I didn't watch the end till this morning and then caught Osborne's comments. I thought maybe you had borrowed from him. LOL I guess your instincts were right on the money. It tells me that Robert Sherwood, the playwright of PETRIFIED, borrowed from the play and film of HEAT LIGHTNING. He just eliminated one of the sisters and made the gangster more ruthless. I am definitely a fan of LeRoy. This film was great, such economy of dialogue and action...told in a 64 minute time frame, which was customary for films like these...clocking in between an hour and 75 minutes usually. I do wonder if they cut anything because of Will Hays' interference. It may've been a bit tawdrier. It's just great the way it is...everyone does a superb job. The atmosphere is the best part about it and how all the storylines play simultaenously and yet converge.

You will certainly enjoy it...it's a real treat. Can't wait to read your thoughts about it...

Was PRETTY WOMAN attempting to be a realistic view of a hooker's life? It was Julia and Richard and Garry Marshall directing...and one of Disney's adult labels (Touchstone) producing....it was a remake of PYGMALION, with elements of CINDERELLA. It was not supposed to be about what really happens to a ****. LOL

Hattie performs two songs in SHOW BOAT: "Can't Help Lovin' Dat Man" & "Ah Still Suits Me."