slaytonf

Well, if anyone is interested, here's a pic of Ann Elder: What makes me think that I was mistaken and that scsu1975 called her as Eileen Brennan is the hair style.

You might be able to record, or download the intro and capture the music from it. I don't know if the music for this, or any other of these movie intros are full length tunes, but TCM might be persuaded to release them as an album, or individual tracks.

I'm not sure I understand the difference.

It looks like you're right:

This is all I know: http://www.tcm.com/mobile/

IMDB lists Joe Lanza and Lou Southern as dancers. You can check their filmographies to see if either of them are in the films you remember seenig the dancers in: http://www.imdb.com/name/nm0487289/ http://www.imdb.com/name/nm0816135/

If you mean my post, you are very welcome.

That's who I think it is. So you get the credit!

Not Pamela Rogers. Try another regular.

Judy Carn is right, scsu1975! Now I looked carefully at pics of the last one, and I don't think it's Eileen Brennan. And, Twinkee, Laugh-In is right! though I don't know when you posted what.

Good one darkblue! Two down. Now it should be obvious where the pic comes from.

>infinte1: >I do hold TCM to a higher standard than other channels because I have a higher regard for TCM then I have for other channels. But, this is really the fault of TCM who sells itself as the VANGUARD of classic cinema, the premiere advocate of film preservation, and the all-around lovers and caretakers of classic film. If asking for an apology is too much to expect from such a channel as I have described, then feel free to damn me. Maybe, I have listened to their hype too well, I actually believe all of the above. Are you telling me I shouldn't, that they are on the same level as any other station and so I shouldn't expect any better service from them then I can find on commercial TV? You ascribe to TCM exaggerated claims. As a result, you hold it to an unrealistic standard. Compared to the wealth of programming provided, the shortcomings you present are minor. If TCM only played the movies it does in its regular lineup, it would more than abundantly justify its existence. But it does much more. It letterboxes movies. The bookending of films by Ben Mankiewicz and Robert Osborne, and the other hosts, flawed as they can be, as often as not provide interesting information. The silent and international film series, debated as they are, bring many rarely seen films--to American audiences at least. Through it's composer competition it has rescored many silent films. TCM has worked to bring to light films that have long been tied up with contested copyright. It has brought to its audience long forgotten programmers American studios had to produce for the British market, many with rare work by well known talent, Michael Powell among them. It has produced a series of spotlights on how different groups have been treated in film, including, African Americans, Latinos, Homosexuals, and Arabs. It has produced many other spotlights focusing on, among others: Bernard Herrmann, John Ford, films restored by the American Film Institute, William Wellman, Chuck Jones, Hal Roach, Buster Keaton. All of these bringing at least a few, if not dozens of rare examples of their work. It has produced many interviews with actors, directors and producers, both entertaining and insightful. I know I've only touched on a few of the things TCM has done, and maybe others can recall more, but I hope it gives some perspective. What I think can help is of we get a better idea of the process by which TCM gets its films, whether from distributors, or studios, or both. A lot of discussion centers around the quality of prints (if the term print can still be used) it gets. Can TCM audit prints in advance and request alternates? seek prints of the same movie from different sources?

You mean, another one. He's been celebrated on TCM at least three times within the past two years or so.

Buzzi it is! That's one. And she's a clue to the others.

And now for something less obscure. There is the obvious, and not so obvious:

The bottom lady is Joanne Dru. The others, and their links: ?

No, his name is Venantino Venantini, and may he rest now and forevermore in obscurity.

I was thinking that since he was so obscure, it would be most merciful to let him remain obscure. Ok, one last set of clues, and if no one gets him, I'll disclose his name. He was in The Agony and the Ecstasy, and in Anzio.

The prevailing opinion is that the music for these vignettes is composed for them. I don't know if they are available independently.

Isn't there a database that lists the films songs have been used in?

TCM has shown it a couple of times. It is very strange to watch a silent musical.

Thanks for the input. As I said, I've reluctantly come to the conclusion Walker's not a ghost. After all, ever hear of a ghost sleeping with a woman?--though if there is any woman that could bring that about, Angie Dickenson is the one to do it.

How about?: http://www.tcm.com/tcmdb/title/94659/The-Vampire-Bat/

Except for the ending, it plays as a straight-forward tale of righting a grievance. But Walker disappears into the darkness without collecting the money. So was he an avenging spirit, or did the entire movie take place in his mind as his life drained out of the bullet holes in his body? There's evidence for the ghost proposition; people keep saying he's supposed to be dead. I prefer it, but the more I consider it, the more it appears to me it's his dying thoughts. Angie Dickenson's best role, by-the-way.

Haven't seen NBNW in, oh, three, four weeks now. Maybe I shouldn't have mentioned it.