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About TomJH

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    I know what gold does to men's souls.

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  1. The Man I Love (1946) Amazing, isn’t it, when you watch a film that you never really even heard of, and find yourself drawn into it right from the beginning. I discovered a little Warner Brothers gem, The Man I Love, filmed in 1945 and held up almost two years before its eventual release. It’s a difficult film to categorize by genre, part noir (certainly in appearance), part exploration of club life, particularly the jazz scene, part human drama. It was directed by Raoul Walsh in such a smooth, effortless fashion, with his gliding camerawork, that I want to scream out, “Why do
  2. There used to be a Toronto paper memorabilia store in Toronto called Memory Lane. It was run by one of the city's great nostalgia buffs, Captain George Henderson. Captain George would sell original Hollywood studio era posters and lobby cards for cheap prices. He told me he purchased paper material in bulk from old warehouses, hoping to find a treasure. A bit of an eccentric because he wanted to share his love for old films without making his customers pay a huge price for the material (other dealers must have thought he was nuts) he would sell original '40s and '50s lobby cards for as li
  3. Thanks for mentioning this, sewhite. The truth is I forgot Andrews was even in this big block buster (of middling quality, in my opinion), a comment, I suppose, on how small his role was in the film. This, unfortunately, was par for the course for the actor in his later years, perhaps the lead in a small production (a few times sci f) or, more often, support in bigger ones. After his impressive seven year period of leading man roles, starting with Laura in 1944 (if you want to include his fine, if major supporting, performance in Ox Bow Incident, make it eight impressive years), he then
  4. Thanks very much, Toto. If you think about it, all the Dana Andrews films that people talk about were from the 1940s. The only film he made after Where the Sidewalk Ends that gets any real positive discussion is Night of the Demon, an effective 1957 witchcraft horror thriller he made in England.
  5. I think that Where the Sidewalk Ends marked more than just the end of a sidewalk. It also marked the end of the period in which Dana Andrews got solid parts in good films. I agree with you entirely about the persuasive skill of Andrews' subtle performance. I have always felt, however, that the film would have been even stronger if it had had a tragic ending (he dying as he performed an heroic act as a sort of redemption for his sordid past - the screenplay seemed to be headed in that direction for a while) rather than ending on the relatively optimistic note in which it did. Nevertheless,
  6. Movie Madness' specialty is to finger point and criticize - if it's the Democrats. Ask him for any military/diplomatic suggestions of his own will only produce silence. This guy is just another partisan hack who loves to troll.
  7. So tell us, MM, what should the U.S. do in the current situation in the Ukraine?
  8. Dana Andrews' name came up in the Noir Alley thread the other day, which got me in a mood for the reliable leading man who never seemed to quite made it to the top tier of stardom (never quite up there with Tyrone Power or Gregory Peck, for example), but appeared in a number of outstanding productions during the mid to late 1940s. And Andrews was solid, more than solid, on a few of those occasions. Think of his Fred Derry performance in The Best Years of Our Lives. In any event it made me think of this old thread tribute to the actor and so I thought I'd bring it back for those who haven'
  9. No, that was David Niven's tale, though Rode repeated it in his book, along with one of my favourite anecdotes. Curtiz, as you know, was known for his malapropisms and complete mangling of the English language. Niven and Flynn used to break up about it on the set of Charge of the Light Brigade to the extent that one day Curtiz had an outburst: "You lousy bums. You and your stinking language . . . you think I know f--k nothing. Well let me tell you, I know F--K ALL!" You know I'm amazed how much Errol Flynn left out of his autobiography, not only the "bring on the empty horses" anecdo
  10. Actually The Unsuspected didn't fail at the box office. It made a profit of $400,000, which was still considered a disappointment. One of the problems Curtiz had in his production company arrangement with Warner Brothers was that he couldn't do any of the promotion for the film. That was entirely up to the studio and Jack Warner was only willing to spend so much on this film. For those interested in Michael Curtiz, I can recommend an excellent biography, Michael Curtiz, A Life in Film, by Alan K. Rode. It has lots of details about his life and, for me, far more important, the making of hi
  11. "Yes, I'd like to put out a contract on this Dargo guy. Why? Because he keeps saying I'm a bad actor. What do you mean he has a point? Now I want to put out a contract on you!"
  12. Yeh, you're right about that, Dargo. Bette Davis tried to stop him from stealing Deception by shooting him, but it was too late. He had already taken the film from her. "Take that, you little scene stealer. And that! And that!"
  13. I agree that the motive for this killing doesn't knock you over the head, But in the scene in which Rains confronts Totter he says that she and the secretary had something in common, they were both far too inquisitive (Grandison was pilfering Matilda's money, I believe). Fortunately Rains' motive for killing Totter was far more apparent. She was in danger of stealing the film from him.
  14. But his ratings remained high, especially for CNN in that prime time spot. At times he was the most watched anchor on the news network so this couldn't have been an easy decision for them. And Cuomo is hardly an idiot, just because his politics don't match with yours.
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