[Oh, that face, that fabulous face II - Post 1950's. Whose is it?]

Sure does. But not Goodman, either.

[Oh, that face, that fabulous face II - Post 1950's. Whose is it?]

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

[Oh, that face, that fabulous face. Whose is it?]

Nope.

[Oh, that face, that fabulous face. Whose is it?]

While we're waiting:

[Oh, that face, that fabulous face II - Post 1950's. Whose is it?]

zas righ!

 

hoozis?:

[Oh, that face, that fabulous face II - Post 1950's. Whose is it?]

The one, or the other, or the both:

[Favorite line from movie.]

Kirk: Let's get the hell out of here.

 

William Shatner

Star Trek, "City on the Edge of Forever"

[Looking for MOVIE NAME]

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.

[Oh, that face, that fabulous face. Whose is it?]

That's it!

[Everybody Loves Vincente Minnelli]

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

[Oh, that face, that fabulous face. Whose is it?]

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

[Everybody Loves Vincente Minnelli]

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!:

 

[Oh, that face, that fabulous face II - Post 1950's. Whose is it?]

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

[Oh, that face, that fabulous face. Whose is it?]

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

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[All Criterion films free this weekend on Hulu]

Beware, there are commercials. And not a few of them. And not short.

[Oh, that face, that fabulous face II - Post 1950's. Whose is it?]

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

[Oh, that face, that fabulous face II - Post 1950's. Whose is it?]

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

 

Back atcha:

[Oh, that face, that fabulous face. Whose is it?]

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

 

Who's this siren?:

[Oh, that face, that fabulous face II - Post 1950's. Whose is it?]

That's mcright!

[Oh, that face, that fabulous face. Whose is it?]

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

 

 

For tomorrow:

[Bob Fosse Fest]

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

[Oh, that face, that fabulous face. Whose is it?]

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.

[Oh, that face, that fabulous face. Whose is it?]

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

[Oh, that face, that fabulous face II - Post 1950's. Whose is it?]

Too early in the evening yet. Yes, it's Liv.

 

Now's my chance:

 

Edited by: slaytonf on Feb 15, 2013 2:45 AM

[Thursday night.]

If my memory serves me, which it doesn't always,TCM has shown prints which are not gorgeous as you would expect of Technicolor, but not actually ugly as tonight.