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Jlewis

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  1. Not to jump too far ahead, but I have always enjoyed it in my three or so viewings over the decades. It has its story-line flaws (for example, I find it strange that the kids aren't as observant of "something strange going on" as Mommy is), but it is such a fun relic of seventies cinema. Today the whole happy housewife premise may seem quaint since so much has changed in the world, especially now that we have a female vice president, but it reminds me a lot (as I will mention in my own comments) of INVASION OF THE BODY SNATCHERS. Both share a phobia about the dangers of conformity: people in a
  2. It appears that UCLA may have a copy in their archives but I don't know what the fees are to obtaining a digital transfer. https://www.worldcat.org/title/state-trooper/oclc/423531825&referer=brief_results https://www.cinema.ucla.edu/directory
  3. Two little tidbits... Love the publicity shot of Buddy Hackett in his Nehru jacket. That is one of those short-lived fashion statements that is so easily dated to a specific year since hardly anybody was sporting them before and after. For the earlier in '68 opening of ROMEO & JULIET (which we may tackle again despite you already reviewing it earlier), it appeared as if attending celebrity Richard Chamberlain couldn't decide whether he wanted to wear one of those or one of the 19th century frilly shirt and vest combos that another Richard, Richard Harris, was making fashionable about
  4. It is difficult to profile just one True-Life Adventure without commenting on multiple others. I really love that series, flaws included. This is a nice video talk fest on the series (and the "People & Places" travelogues) that was uploaded on YouTube 11 months ago but dated 2016. No clue how long these videos will stay uploaded due to copyright reasons and so forth. However they are so old and vintage that I doubt the Disney corporation fusses much over them. After all, they promote these old movies on Disney Plus and other money making outlets. Although the Milot
  5. This is not as good as having the View-Master reel set itself but, if you have glasses with a magenta/red lens covering your left eye and a green lens covering your right, you can get the full 3-D effect. It may also work if you have that special virtual reality lens many use with their iPhones to see 3-D material. The earlier TruVue 3-D renditions of several characters, including Bambi at the 4:30 mark.
  6. Jlewis

    Gays on the Tube

    Which reminds me of their suburban neighbors, the Gravitzes. There wasn't much chemistry between George Tobias' Abner and the two Gladys actresses Alice Pearce and Sandra Gould so it was sometimes hard to believe they were a married couple. In addition, George remained a bachelor all of his off screen life and that often has raised speculations, although he was at least buddy buddy with actress Milicent Patrick for decades. Abner was the one who was never concerned about what was going on in the Stephens household, suggesting that he had already seen it all and... maybe... even done in it all.
  7. Jlewis

    Gays on the Tube

    A lot of fun TV shows are covered by Matt Baume from an LGBT perspective. My only complaint about his take on BEWITCHED is that he uses colorized, rather than original black & white, excerpts from the earliest episode profiled. Running from 1964 through 1972, the series switched to filmed color in '66 when all three major networks (ABC being BEWITCHED's) offered the first all "in living color" Prime-Time line-up. That was the same year that GILLIGAN'S ISLAND, LOST IN SPACE, I DREAM OF JEANNIE, THE FUGITIVE and several others made the switch as well. They did air the B&W episodes f
  8. "In this remake of the well-known German original, the lead character is played by David Wayne and his name is changed to the more American-sounding Martin W. Meaning that our thirteenth letter could also signify his first initial." It suddenly dawned on me that a W can become an M when you flip it over.
  9. Eventually I got around to seeing the '26 version and I do consider it a better production in a number of areas. Not to pooh-pooh Colleen Moore, but Gish clearly is more motivated in her role here and this can be credited, in part, to the great Swedish directorial import, Victor Sjöström, now billed as Seastrom, at the helm. Although Hendrik Sartov is credited for cinematography and mighty Metro's Cedric Gibbons dominates the set direction (along with Sidney Ullman), this is essentially Seastrom's film in both look and style. However I should add that the well written title cards, with their r
  10. Good that you clarified that Eleanor was Gil's sister-in-law instead of his sister. I wasn't sure when watching it. Just knew she was "aunt" to the girls.
  11. As always, there is so much to learn about these old shows and their casts and you provided great material here. Interesting situation with Eric Fleming and Clint Eastwood. I do wonder... just wonder since I think about such things... because Eric died so suddenly in 1966, if he did see just how successful his co star was becoming. My guess is that they were pretty much on equal footing at that particular moment in time, career wise. Hard to tell. Those spaghetti westerns were more cult like in their following than they were international blockbusters. In fact, I think the third one did not m
  12. There are a few resemblances. Both are involved in advertising to some degree. Work in the Big Apple and live in the suburbs. Both have secrets in their past that they don't reveal to their wives... namely other wives. Both are war veterans witnessing fellow soldiers getting killed, although Don served in Korea. Tom doesn't change his name and identity though. I think Betty Draper has even more in common with Betsy despite different hair color, both frustrated as housewives and being quite b*tchy.
  13. A great many, but sadly not all, of the Vitaphone shorties have made the DVD cut, thanks to the Warner Archive. A copy may exit somewhere, so it is good that you mentioned it for all eyes to see. Could not find it in UCLA's archive: https://www.cinema.ucla.edu/search/node Vitaphone Project does a lot of research, but their site may be a little old: http://www.picking.com/vitaphone.html Better yet, comment on it on the Vitaphone Project Facebook page: https://www.facebook.com/groups/vitaphoneproject/
  14. The British Film Institute has an interesting YouTube video titled After Wolfenden: LGBTIQ+ lives on UK screens that includes your previously mentioned The L-Shaped Room and various TV shows from the late fifties through seventies, if not this specific one. The Play For Today series is fleetingly referenced, however. It could be linked here, but it is easy to find online. Unfortunately, YouTube has that ridiculous age restriction warning on it... which makes absolutely no sense at all since there are no clips of nudity (OK... there is one dimly lit bare behind exposed... big deal) but I think
  15. Although the structure in its editing was occasionally confusing, if also quite innovative and cinematic-ally fascinating as well, there was a wonderful way of "dating" each scene despite it not being chronological. For example, popular music of the US and UK charts is used to good effect: Joan Weber's "Let Me Go Lover!" was a mammoth hit in late 1954, matching scenes when Keith and Viv became a couple. Canadian crooner Paul Anka's "Diana" was also covered during the early years of their marriage with children in 1957. I guess their first car after the big win was, in fact, a 1962 Chevrolet I
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