slaytonf

Ohh. I'm in love. . . .

Bette Davis made an appearance on It Takes a Thief.

I will have to scour Indian films to find an actor you can't id. Yes, it's him, the token American in French films.

I thought I was scrounging in the farthest coreners of filmdom, but you got her!

Sure does. But not Goodman, either.

Hey, it does resemble him, but no, not Crowe.

Nope.

While we're waiting:

zas righ! hoozis?:

The one, or the other, or the both:

You might be conflating different movies. The only one I can think of that approaches your plot line is 49th Parallel, with an all-star cast, including: Lawrence Olivier, Eric Portman, Leslie Howard, Glynis Johns, and Raymond Massey: http://en.wikipedia.org/wiki/49th_Parallel_(film) It's on TCM in April.

That's it!

I'm talking about musicals, not the whole filmography.

Ok, who are these two (be careful)?:

But nobody likes Stanley Donen. Even though he was equal, in my mind, to Minnelli in creating the look of MGM, and by extension, all Golden Age, musicals until the End-Of-Musicals-As-We-Know-Them. Minnelli's long list of achievement is often cited (The Pirate, An American in Paris, The Band Wagon, Brigadoon, Gigi), but Donen's is just as impressive, if not more so: On the Town Royal Wedding Singin' in the Rain Seven Brides for Seven Brothers Funny Face But I'm big enough to admit it's my personal preference. Perhaps I prefer Donen's compostion. Look here: He piles six brawny men up against a door to keep out one little ol' Jane Powell. It's not only a witty image, but also says a lot about the power of her character and the position she has in the household. Notice also how he could only get five brothers side-by-side, even on a CinemaScope screen, so he stuck one in back. Minnelli and Donen also both have a wonderful awareness and use of color. Minnelli tends to dress his scenes in spectrums, while Donen likes to use three colors: This from Funny Face, which, as I think about it, might have the best use of color of any movie. Look how he creates a black-and-white sequence in a color film, only with red light: He literally throws the color at you: And it certainly has the most brilliant sequence: the photo shoot, where Audrey Hepburn and Fred Astaire fall in love: White on black in a color movie: Take the picture! Take the picture! Take the picture!:

You don't have to be old to appreciate her, her enormous talent, and her sensational dancing in Sweet Charity.

Not to change the subject. . . .well, yes, to change the subject, who's this Tyrolean gent?: {font:Helvetica}{font}

I thought nobody would get her. What do you remember her from?

I was wondering when someone would get to her. Rosanna Arquette. Back atcha:

What, an make it even easier for you? That's Miss Dru. Who's this siren?:

That's mcright!

I know there are, 'cause I see 'em in the movies. For tomorrow:

TCM has shined the spotlight on actors, directors, composers, and cinematographers. Now it's time to shine it on a choreographer. Bob Fosse was one of the most distinctive and influential dancers/choreographers of the stage and screen. Just when you thought all the possible body movements were explored by Hermes Pan and Joe Kidd, Fosse comes along with dozens of new moves, postures, and transitions. His dancing and dances are energetic, lively, quirky, idiosyncratic, fresh, engaging, and sexy. Highlighting his work would provide an excellent excuse for showing a lot of great films: Kiss Me Kate Give a Girl a Break White Christmas My Sister Eileen The Pajama Game Damn Yankees! Sweet Charity Cabaret All That Jazz and throw in a couple of TV shows: Liza With a Z Pippin: His Life and Times But not, Not, NOT The Little Prince

Well, shweethard, if ya wades in deh wateh, you takes yeh chances wid da shahks. Late means late enough so people will be asleep so my pics won't be guessed in two minutes, and last at least till morning.

Don't feel so bad, you wouldn't have gotten it anyway. There's no such thing as a Glynes Johns.