slaytonf

She's English. Mostly known for her prominent role in a TV series, but gained popularity for her appearances in a long-running English film series.

Here's the proper place for this face:

The inspiration for this is not what you think. I was just watching that charming little movie by Wim Wenders called Alice in the Cities, where a directionless author ends up with a girl on his hands, the daughter of a woman he encounters, and helps get a plane reservation at the airport. It seems to me this plot element has been used a lot, usually with initial resistance on one or the other's parts, passing through acrimony, and ending up with mutual affection. Even so, for the life of me, aside from this and Paper Moon, I can't think of any other titles where this plot element was used. Any one know?

You got her musical!

Stray Dog was shown as part the the Kurosawa retrospective TCM did on him. Doubtful to me if it will ever be shown again. The most I think we can expect of Kurosawa is Seven Samurai and Rashamon, and if we're lucky, Yojimbo. If it accords with your scruples, you can see most of his films with English subtitles on that site that has uploaded videos.

Not her. Her career was mostly in the 20s and early thirties. Hm, that doesn't help much. She started out as a dancer at the Paris Opera.

Nobody knows her?:

Not him. Now that I look at him, I got him on the wrong thread, so follow me over to the original face thread, and I'll post him there. In the meantime, here's a face for you:

Gorch you got her! Whose face is this?: Follow this face over to the other face thread.

This is how I know her best:

Now where did I see her?:

Was musicalnovelty right about James Finlayson?

A little late, but Miles you are right!

Yahoo! He was in a lot of seventies movies and TV series.

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One thing you can be confident of is that Devil and Matter will air again in the not distant future. Another note: on Thursday, April, 25 at 10am TCM will air Too Many Husbands. Not so good a movie as Devil, but Jean Arthur sparkles in it.

It is the first Jean Arthur movie I ever saw, and still one of my favorites. I instantly became enamored of her, and placed her on my list of favorite actresses. The movie has many of my favorite moments in film, including the scene at the police station where Bob Cummings dissects the entire staff, and turns them from arrogant and bullying to timid and cringing; and the scene where Jean Arthur tries to nerve herself up to knocking out Charles Coburn in the shoe storeroom. But my favorite, and one of the great moments in movie history, is the scene in the managers' office, where, after being tricked out of the list of employees who support a union, she gathers herself and leaps across the manager's desk to grab it from his hands. It is magnificent. I have never seen anybody, let alone another actress, do the like.

I believe the Pepe Le Pew character was inspired by, or meant as an affectionate take-off of Maurice Chevalier. You might also consider Yves Montand:

Eddie Mayhoff. Is your pic from How to Murder Your Wife?

Please excuse the delay in responding. You no doubt have a better understanding of music theory and composition, and how it has been developed over the centuries by contributions from various composers. Being a jazz player, you probably also are aware of the classical background of many of the great jazz composers, and how that influenced their work--at least as I gather from CD inserts. Anyway, as I gather from the intermittent discussions I've heard and watched here and there, it seems there is agreement on what classical composers are doing when they write their works, and how they are making use of, referring to, playing off of, and smashing conventions. But admittedly, it is, well, I won't say subjective, but it isn't quantified. No one can measure a peice of music and compare it with another. In baseball, we can say someone has a higher lifetime batting average than someone else. Nobody has ever found a way to quantify musical composition, or made the effort, I think. I would be interesting to speculate how to do it. But you do mention the means you have of determining at least the ranking of guitar players, and I think you imply they are objective criteria. So, if there can be ways to rank guitar players (and, by extension, other musicians), perhaps there are ways to rank composers.

Kicking butt in Shakespeare. I asked about Norma Shearer because I normally don't care much for her acting. Her mannerisms are overdone and affected, and seem a holdover from her silent movie days. But I think she did fine here. Usually, American actors in classic films don't do a good job with Shakespearean material.

Rant, rant, rant.

I think I'd have to go with I Am a Fugitive from a Chain Gang. Devastating. But my favorite is the ending of Trouble in Paradise, with Miriam Hopkins and Herbert Marshall in a cab exchanging items they had stolen.

No need to apologize. What do you think of Norma Shearer's performance?

Prokofiev wrote socres for seven movies: 1934 Poruchik Kizhe ( Lieutenant Kizhe ) (Dir. Fainzimmer) 1938 Alexander Nevsky (Dir. Eisenstein) 1941 Lermontov (Dir. Gendelstein) 1942 Kotovsky (Dir. Fainzimmer) 1942 Partizani v stepyakh Ukrainy ( The Partisans in the Ukrainian Steppes) (Dir. Savchenko) 1944 Ivan Grozny ( Ivan the Terrible, Part I ) (Dir. Eisenstein) 1958 Ivan Grozny II: Boyarskii Zagovor ( Ivan the Terrible, Part II: The Boyars' Plot ) (Dir. Eisenstein) Though to be sure, his socres for Nevsky, Ivan the Terrible, and, most notably, Lieutenant Kizhe are the best known. As noted by others, Copland wrote some film scores, which received notice and acclaim, but nowhere near as many as a film composer like Herrmann or Steiner. I would like to make one observation. I doubt many would object to the contention that Beethoven was a better, and more important composer than, say, Satie, Vivaldi, or even Handel. It is not an opinion, but a judgement based on analysis of their compositions, and the effect they have had on the development of classical music. How is it that when considering film composers, who employ the same orchestral mode of compositon, with the same music theories, rating them suddenly becomes a matter of opinion?