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ClassicViewer

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  1. Sinatra did have a role as a television cop on a few episodes of Magnum P.I. It was a recurring role.
  2. So many to mention... My *most favorite* this week was A DATE WITH JUDY. I read some of the viewer comments on it that appear on TCM's database page for the film, before I watched it. Most of the praise was unanimous. And I join the chorus. But I don't think the other folks explained why they liked it. I liked it because I thought the dialogue was very good in the parent-child scenes and that the younger actors (especially Liz Taylor and Scotty Beckett) put real honest emotion into their parts. Jane Powell was good, too...and of course, so were the leads, Wallace Beery and Carmen Mir
  3. Well get the Aqua Fresh ready, because she has a day in August...!
  4. I agree about the evening of Shirley Temple programming. I had never seen HEIDI before and it was a real treat. Loved the scene where the kids dance with the wooden shoes! And Jean Hersholt was the perfect grandpa. I bet if MGM had made HEIDI, Margaret O'Brien would've played the lead, and they would've had Frank Morgan as the grandfather.
  5. Yes, I have a feeling Judi West did not have much of a film career (I haven't checked her filmography). If THE FORTUNE COOKIE was remade today, you would probably get Jamie Foxx to play the black character and the role would need to be expanded more. Or you could use a big-name football player who wants to break into movies. I thought the guys that played the eavesdropping detectives were good.
  6. I had the flu this weekend, so I didn't go out much. While trying to get better, I watched a handful of films, some I may not otherwise have taken the time to view. First, I have to say that my *most favorite* was THE BRIDE WORE RED. I've been wanting to watch it for a long time. Dorothy Arzner was one of those rare women directors in Hollywood before WWII, and while she didn't make a lot of films, she did make several substantial ones. What I most liked about RED was watching the chemistry and loveliness of real-life couple Joan Crawford and Franchot Tone. This wasn't the only film t
  7. Sounds like a great one. I regret missing it..though I am sure it will air again in the future.
  8. Yes, I thought Jean Gillie's performance was right on the money. She could've really chewed the scenery with it and gone overboard, but she didn't. A lesser actress would've ruined it. She only made one more film after this in the U.S., something with Gregory Peck called THE MACOMBER AFFAIR. Joan Bennett was billed over her, however. Since she came out of the gate playing such a hard-edged character in her first Hollywood picture, it may've been difficult to cast her. I don't think audiences would have found anything warm or sympathetic about her screen persona. And I don't see
  9. I couldn't remember which thread we had previously discussed DECOY. Yes, that scene was a trip. So was the scene in which she runs the guy over with the car. And the other scene where she shoots the man out in the forest then laughs about it. The characters did not have a conscience and could not be bothered to philosophize about life or death. I thought it was ironic that the man they resurrected from the gas chamber doesn't live much longer anyway. It was still a great flick and the imagery was very powerful. It starts off with a bang (literally) when the locked box is blown o
  10. It's been a little while since I last commented on this thread. Among the ones I viewed recently: THERE'S NO BUSINESS LIKE SHOW BUSINESS. Though I must say that Ethel's over-the-top acting style does get to be a bit too much at times, I think she's a fabulous singer. She's one of the best vocalists on film, ever. One tiny problem I had with the film is that I felt there was a bias in favor of Marilyn, Fox's reigning queen. Scenes with Monroe give a generous amount of close-ups of her. But scenes with the other characters when she is absent from the action are devoid of close-ups. I
  11. WAIT UNTIL DARK...Have you seen this movie? I am sure the Audrey Hepburn completists have, but it's not one of her more well-known. I have to admit I was blown away by some of the scenes. First, tis rather strange to see Audrey doing a horror-suspense thriller..and it's even more shocking to see her play a blind woman. But the character is not an invalid and Audrey really channels a lot of strength and courage into the performance. She was Oscar nominated for this spine-tingler, and it was well-deserved. She is supported by some fabulous actors, like Alan Arkin, Richard Crenna and Efrem Z
  12. You bring up a valid point about writers and their muses. But I do think that when a writer is going through the editing stage, the writer considers how many subgroups are being represented...because competing groups will bring more natural conflicts into the story. If the writer does not do that, then it's left to the publisher, or the Hollywood producer. The goal is to ensure artistic quality and also increase a property's commercial appeal, even in a niche market.
  13. I don't think it has to forcefully show the POV of the other sex, but it does need to consider it and evidence of that needs to be in the film. The example of LITTLE WOMEN (1994) that I gave yesterday really illustrates this...the director is a woman, and she's definitely a feminist, but she does not delete out the father...she does not tell the film from his point of view, but she does show him as a contributing factor in the lives of the girls. I don't think Huston ever took the women's contributions into account when he was making those buddy action flicks and capers. He could easily hav
  14. I think ANNIE had great potential but Huston did not approach it correctly. PRIZZI'S HONOR he approached correctly, ANNIE he did not.
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