TomJH

clore, The Mind Reader and The Clairvoyant are excellent illustrations of phonies in the psychic world, and they were both made more than a decade before Nightmare Alley. Very good. I had forgotten about those efforts, though their budgets were a bit limited.

Eugenia, perhaps there is a misunderstanding when I use the term "fake spiritualist." I'm referring to those fakes who claim to communicate with the spirit world, as does Power in Nightmare Alley. Sorry if there was a communication failure.

James, Mitchum is a fake preacher in Night of the Hunter. He is not a charlatan pretending to communicate with the spirit world.

>Tom, from reading your entries here, I understand you're a big fan of Errol Flynn, but there is this quote by Basil Rathbone: ?He (Power) could fence Errol Flynn into a cocked hat.? Yes, Max, that's a famous Rathbone quote from his autobiography, In and Out of Character. Now, you can take the statement at face value if you wish (after all, who would know better than Rathbone?) and accept it as fact. But I think that statement surprised a lot of people when Basil made it since, in observing Flynn and Power throughout their careers, I think it's pretty apparent that Flynn was the greater athlete. Flynn did most of his stunts in Robin Hood and (with the possible exception of one shot) all of the duel in that film with Rathbone. Power's action scenes in Zorro were extensively doubled. Where he clearly does appear, however, is in most of the duel with Rathbone (though the really intricate choreographic moments in that same duel are handled by his double, Albert Cavens). I'm not saying that Power isn't marvelously impressive in the duel from what we can see of him. He looks, in fact, quite terrific. The speculation that has taken place, however, about Rathbone's statement has been in regard to whether Basil, a man who had an ego as much as any other actor, may have had ulterior motives to be somewhat disparaging of Flynn's swordsmanship. Flynn was an insecure actor not known to be particularly generous to his co-stars when it came to playing a scene while Power, from all accounts, was a sweet, popular guy and probably a warmer person to know than Flynn. Keeping that in mind, it's not inconceivable that Rathbone simply liked Power more as a person. Rathbone was a great on and off screen fencer while Flynn's athleticism allowed him to look good with a sword in his hand. Flynn made dueling look easy on screen (not that it was) but the illusion was there that it came naturally to him. Again, keep in mind that Rathbone took great pride in his own athleticism (and he's quite remarkable, too, especially since he was almost 20 years older than Flynn) but it was Errol who got a lot of the praise. Basil had an ego so it's not inconceivable that he was a bit resentful of all the praise that Flynn got (unlike, say Power, who was not as celebrated as a screen swordsman), while all the time Rathbone knew he was vastly Flynn's superior with a sword. Let's face it, too - Basil's athletic contribution to that duel partially helped Flynn to look as good as he did. That's something else of which Rathbone would have been aware as Flynn got the praise. Having said all that, Flynn did work very hard at the Robin Hood rehearsals and took great pride in his later years over that duelling effort on his part. Keep in mind, once again, these speculations are spawned from Flynn's superior natural athleticism to Power. Therefore, Rathbone's statement about Power's ability to duel Flynn into a cocked hat, I think, should be taken with a little bit of a grain of salt.

It's Doctor Zodiac, the fake (how can you tell from that appearance?) spiritualist in Charlie Chan at Treasure Island. This is the kind of "B" effort that would occasionally tackle the subject, strictly on a melodramatic, light hearted level. It would appear that 1947's Nightmare Alley was the first major Hollywood production to take an adult approach to the subject of fake spiritualism. power[/i]and+sucker.jpg]

James, I realize there were some Bible thumping evangelicals in Night of the Hunter but, as I'm sure you know, that's really not what I was referring to.

>Psychics, fake or real, were a borderline subject not eagerly dealt with by the majors at the time. Most people were skeptical, but a large minority were not. Many of the believers were passionate and vocal in their support. Large studios knew they risked alienating a lot of ticket buyers whatever side they took. Religious groups and organisations also disliked the subject, preferring the movies not deal with it at all. Well, Thelma, perhaps that's why the studios were so reluctant to explore such seemingly fertile fields for drama and it was primarily the little 'B"s or a poverty row effort such as Sucker Money (which I had never heard of) that were willing to take a small budget chance on offending religious organizations. Perhaps that, in turn, should add to our appreciation of the courage of Fox for daring to have their biggest matinee idol portray such a charlatan (though, at the same time, Zanuck gave Nightmare Alley as little publicity as possible).

It's been a long time since I saw that film, ham. I thought she was supposed to be the real thing, not a fake. But I stand to be corrected. Still, you're talking spiritualism, whether fake or not, in the movies, and there haven't been that many films to address the issue that I know of, certainly from the studio era. Truth is, I draw a mental blank to think of ANY films from the Golden Era outside of Nightmare Alley (dealing with the subject seriously, that is).

I guess anyone who sees Nightmare Alley would agree that Helen Walker was, indeed, a knockout in it. What a cold calculating charm she demonstrated. It's really something when you see the film and watch her turn the tables on Power's smooth talking character. What a shame that Walker's film career was severely impacted by personal issues.

This question was asked in MissW's Nightmare Alley thread but there wasn't much response. So I'll try again with a thread of its own. Was Nightmare Alley the first major "A" Hollywood production to deal with the subject of charlatans in the "spook racket" in a serious manner? Truth is, I can only think of a small handful of films that had addressed this potentially fascinating subject matter previously. And they had all been in light hearted thrillers - the two versions ('29 and '37) of The Thirteenth Chair, Miracles for Sale ('39) and Charlie Chan at Treasure Island ('39). Would anybody know of the titles of any other films to deal with the subject of the exploitation of those believing in the hereafter? And, for that matter, titles of films either before or after the mesmerizing Nightmare Alley. Unless someone can produce an earlier title, I suspect that Nightmare Alley deserves credit as the first major serious film production to deal with the subject, just as The Uninvited (1944) is hailed as Hollywood's first serious ghost film.

lavenderblue and filmlover, I agree with your Power picks. I think Nightmare Alley (and Abandon Ship) have his best work as an actor. But the film in his career that I most love is The Mark of Zorro. And that film, too, has a quite extraordinary peformance by the actor, with the marvelous gentle humour of his scenes as a fop by day contrasted to the conviction of his portrayal of an avenging man of action by night. Actually, much of it is illusion, too, by Zorro director Rouben Mamoulian. If you study the action scenes (with Zorro leaping in and out of bushes at night and riding on horseback) it's apparent that the actor was doubled a lot. It's a beautifully edited film because it's only by having the advantage of being able to study the scenes today with digital technology that that becomes apparent. Power's final duel with Rathbone, of course, is the sequence for which the actor will always be remembered for his athleticism. Even in that sequence, there were three participants, however, Power, Rathbone and Power double Albert Cavens. It's Cavens in three or so shots of the duel, including that great final moment in which Zorro backs Rathbone up to the wall and plunges the rapier into his chest. One of the great screen duels, Rathbone later calling Power the most skilled actor with a sword he ever faced on screen. (And there's been some conjecture about that statement, too, especially considering the fact that Errol Flynn was more of an athlete than Power, but that, as they say, is another story).

>How did the novel deal with the ending? I own the novel though I've never gotten around to reading it. However, I did jump to the last two pages. It ends with Carlisle a rum dum showing up at a small carny, and being offered the job as geek. Curiously, it doesn't have Carlisle's response to the offer, the implication being that he is so desperate he will accept the job. Essentially, then, the movie's ending reflects the novel up to that moment, improving upon it, in my opinion, with Carlisle's response to the offer; "Mister, I was made for it." There is no Molly in the novel's ending to rescue him from the depravity. Ty Power, by the way, loved the novel, going to George Jessel (yes, the comedian) whom Zanuck had assigned as producer of the film adaption, pleading to have the role as the con artist. Jessel was shocked by Power's suggestion, as was Zanuck, of course. Zanuck asked director Henry King to convince the actor that his fans would be upset to see him in such a part, but Power pointed out that majority of the film finds him in the role of a handsome young man attractive to the ladies, before the shock finale. Thank goodness Power won out (the best film role he'd ever have, I think), though the film received little promotion at the time by Zanuck and died a quick death at the box office. Soon afterward the full Fox publicity machine would be at work as they promoted Power's next feature to be released (which had actually been completed before Alley), a major costume adventure, Captain from Castile. That was the kind of project of which the actor had become tired of being cast.

A great shot from Nightmare Alley This is one of my favourite scenes in the film, and this photo, I think, captures the striking beauty of Lee Garmes' photography, combined with the elegance of the art direction by Lyle Wheeler and J. Russell Spencer. This scene, in turn, is such a contrast to the tacky seediness of the film's carny sequences. This particular scene, set in the garden of millionaire Ezra Grindle, has, as referenced by one of the characters, a cathedral-like atmosphere. Watching the scene, too, you have the opportunity to appreciate the genuinely touching performance of character actor Taylor Holmes as Grindle, seeing him portray a proud man falling to his knees, pleading with what he believes is a lost love for forgiveness.

>But what's wrong with the ending of Nightmare Alley ? SPOILER ALERT ABOUT THE ENDING: MissW, the novel by William Lindsay Gresham ends with Stanton, reeking of booze, showing up at a sideshow looking for work, only to have the hard bitten carny manager offer him the position of geek. The film, as we know, recreates this scene, even including some of Gresham's dialogue. The film takes the scene a step further, with Power as Stanton, responding to the offer with the words, "Mister, I was made for it." This turnaround of events for the lead character is, of course, terrific in its irony, with a ragged looking Tyrone Power, such as his fans had never seen him before (or would again). We're seeing a character about to plunge into the same alcoholic bottomless pit of depravity that had both fascinated and horrified him regarding Pete's character at the film's beginning ("How can a guy get so low?" his own words of pity for another now ringing back to describe himself). The problem for me with the ending is the business afterward to which you referred in which Molly arrives and seems to "rescue" him. That's the cop out for me. It has the distinct feeling of producer Darryl Zanuck deliberately putting, if not a happy, then, at least, a hopeful ending on the film to spare it the bleakness of the novel's ending. Zanuck wouldn't have wanted audiences to walk out of a theatre, thinking of his leading matinee idol tearing the heads off chickens with his teeth. Your interpretation that Stanton and Molly will then possibly go through a repeat of the same kind of relationship that we had earlier seen with Pete and Zeena may well be true - in real life. But this is a movie from the studio system days, the land of (usually) happy endings. I strongly suspect that most fewers will interpret the ending as Power's character being saved at the last minute by Molly. Still, the power of this final sequence, with the seedy setting, moody photography and dissipated appearance of Ty Power, does not, for me, at least, seriously dilute the darkness of this presentation. Nightmare Alley is still prime film noir.

Fedya, I haven't seen the Miracle Woman, but isn't that character a fake evangelist, as opposed to a fake spiritualist?

Arturo, I have always thought that Linda Darnell and Tyrone Power bring a remarkable charm and, at times, delightful gentle humour to their well written scenes in The Mark of Zorro. It goes to show the inspiration for two actors that can come from a witty script and strong director (Rouben Mamoulian). Even though they would have the same director in Blood and Sand, I have never found quite the same delight in their scenes together in that bullfighter drama. Darnell, while incredibly beautiful, is simply not as interesting a character as that played by Rita Hayworth as the vamp. (Bad girls are more interesting than good girls, as Darnell would prove later in her career). It's Power's scenes with Hayworth that leave the biggest impression in that film. Brigham Young essentially wastes both Darnell and Power in bland roles, in my opinion, and it's been too long since I saw Daytime Wife to comment upon it. But in The Mark of Zorro, I think they were a great screen team, bringing the same kind of fairy tale quality to their scenes that had so distinguished the work of Flynn and de Havilland in Robin Hood. And thanks again, Arturo, for bringing the life and career of an underrated actress to the attention of TCM viewers. Linda Darnell has been gone for almost half a century, but you still continue with your loving effort to make sure that the lady is not forgotten.

Ray, I agree with your assessments of the endings of both films. I also have to say, though, that both pictures, particularly Nightmare Alley, are so strong that they still leave overwhelmingly dramatic impacts upon the viewer anyway.

Nightmare Alley is a fascinatingly dark corrosive portrait of ambition and corruption, starting in the seedy world of the carny business. The film deals with a character whose single-minded pursuit of success is strictly at the expense of the innocent and gullible. Thank you for this recommendation, MissW, of the film that I strongly suspect was Tyrone Power's personal favourite of his career. Joan Blondell, who makes a striking impression with an earthy portrayal of a small town carny queen, complained that Edmund Goulding was the kind of director who insisted upon demonstrating to his actors what he wanted by acting out their parts for them, rather than relying upon the performers to do their own interpretations. Well, something obviously went very right for this film, considering the general excellence of the performances from so much of the cast, ranging from Power, who very effectively uses his natural charm and attractiveness as a cover for his darker intentions, to Blondell to Ian Keith as a former top psychic performer who has taken to the bottle to Taylor Holmes as a cynical millionaire desiring to see a lost dead love to, most memorably, Helen Walker, as a psychiatrist, a role that she skilfully plays with an almost serpentine cold bloodedness. MissW, when it comes to a list of the noteworthy films of the unjustly neglected Edmund Goulding, I would like to add the 1938 remake of The Dawn Patrol, with Errol Flynn, in many respects an improvement upon the Howard Hawks original, and 1939's The Old Maid, with Bette Davis. Finally, a question. Is Nightmare Alley the first major "A" Hollywood production to address the issue of fake spiritualism? I know there were a few "B" mysteries (ie. Miracles for Sale and Charlie Chan at Treasure Island) but those films all fell into the category of "light" entertainment. Nightmare Alley tackles the issue in a far more serious manner. It deals with the exploitation of those who believe in the hereafter. I think that Harry Houdini, who debunked all spiritualists, would have been very approving of this film's cynical portrayal. I think this is a must see film. Thanks again for recommending it, MissW.

When it comes to the sport of boxing, while Bogart appeared in a strong indictment of the sport in The Harder They Fall (and a story that deserved to be told), it was James Cagney that actually played boxers on four occasions throughout his career. *Winner Take All (1932)* In training for his role with boxer Harvey Parry From Cagney's hectic pre-code period, a fast and funny little drama, with Jimmy playing a pug nosed puglilist who's none too bright. *The Irish in Us (1935)* A light-hearted sentimental "Irish" comedy with Jimmy as a boxing promoter who winds up in the ring himself when his own fighter gets incapacitiated. *City for Conquest (1940)* An elaborate Warners adaption of Aben Kandel's novel, with Jimmy as a truck driver-turned-boxer who goes blind. A film remarkable for its strong cast, fluid camerawork, great sets, strong Max Steiner musical score and a wonderful Cagney performance. The occasional poetic pretentiousness of the screenplay and blatant sentimentality of a tear jerker ending are minor quibbles, I feel, for one of Jimmy's better films. *Terrible Joe Moran (1984)* !data:image/jpeg;base64,/9j/4AAQSkZJRgABAQAAAQABAAD/2wCEAAkGBxQSEhQUEhQVFRUWGBgaFxcXGRgXGBwYFRcXGBcYFhwYHCggGBwmHRQXITEiJSkrLi4uFx8zODMsNygtLisBCgoKDg0NFA8PFCwZFBwsLCwsLCwrLCwsLCwsLCwrLCssKywrNzcsLCwsLDcsLCs3KyssKzcrKysrKysrKywrK//AABEIALwA8AMBIgACEQEDEQH/xAAbAAACAgMBAAAAAAAAAAAAAAAFBgMEAAEHAv/EAEUQAAEDAgMFBQQHBgQFBQAAAAECAxEAIQQSMQUGQVFhEyJxgZEHMqGxI0JScsHR4RQzYpKy8CWC0vEVQ1OT4hYXc6LC/8QAFgEBAQEAAAAAAAAAAAAAAAAAAAEC/8QAGREBAQEBAQEAAAAAAAAAAAAAAAERQQIx/9oADAMBAAIRAxEAPwDs9Yaw0E25ttGGcSVhRBbXEcwU6zWGhqspAw2+VpXaJUtRJymwgcj4UQwjbiwQlwJSnvCx1No5ihsOKU1IBXONpY8O4oKRIGZMTb3Re1M28BCywFaKdHyqppiisiqGGYEdRaYE1aw7WRMTNyb9TPCglisilxO2gcVA9wdwM3I8zTEsdYoMy1gpe2tt5vAoUrELzLWSUIESQIACRwTpc9aR0e0t9M5WmgCSb5iZPUEfKmJrrQrdcsw/tSdsFsNq0khakNoNMu6u9reJBClBKxKikwDB4D7VMNNtZFIWy95YbxTqG8qsxXlVbQRa19KKN7dWlTaStt0OJKu7bJGWxuZnN8KBpMV5KhzHrQ3aSypleQSYsKpbC2hnQA432ZQACFcJHSimAqAEkgDmdK8pfSdFJPgRQfeB9teHUFLAQSAVi4BkUOwuBQC2phedCCZNpnW/U0Q1kisBFAHNrpkoJ71W8G73aAg/im27rWhAP2lBPzr01iEKEpUlQPEEEfCkX2g4wBtA1mAGnKjm6raf2ZpQUScvERHQfnTAfS6k3BBHQ1pbyQJKgBzJgVCtRgq4xpfWhTm0nkthxTJUTALY4eZFAdSsHQi9eiaqYJSjdSQJuLzHTSp1G4/sUEoNaUJqNSoI5HlUpoK9Ie92HcxLygkD6LupE3uASYp8NLmAURi8VYXUkzx7qNBUac5Xst0tggApCoBB48aN7C2QrK8k5UgoSCSoZZBmKYscsuNMICIWvMrIr7qoA8yKGbLX2uzwAMq2yUuWjvIMGeulVnA1hmMQlCoJK4sbac6NbQ2mpRUlaYLLqSkmYKYvS01KgRIIcEEc4qLfLbTnb9moAJRECPe0ufOg6nh13ngoA1Bt3aiWGVrJiEmOc8KQsRvmrsGl5m82c9wTISkaq6GgW3941YuAohIHAGrhq/gNoOJCTlJI6a3ma6PhtvoODViVaNoUVjQ5kap6GfnXJMNiTBnAjSp9q7bUjAuYcqSrtXArMD3tQpQI4ju1cTS7tPabj7qnXTK1mTyHJKeSRoBVUGvLLKlmEgmreC2Y66QlttSj0BOpi/K9VFbNXtjElCgpJhSbg8jXraeAcYcLbqSlQ1H5VUVUHbNmlG0cIHEkdpkCVA6JV9Yf3wigG5xVtKWpzgco46GlLdbeJeHS62kkBwokjURmCo6kEfy007H3hw7RUnOcqpNwScw0NRT5hmyaG70qbSE5jBm8A6UubO32UVkAtAfx5h8RVhneFOJ7cOvIayo7mUyFm9rig9ai6H7Q2o8y2rBpSFNOd5KouW1GSR51E1jMU3JbaUlvOD7hyk6Ak0S2crMycWW2uybSUkBX0llASBEa8OPnUO0941wby2gEZCkAlcLvwCI73rVRZ/4k2XVBYUMyZGXgtOviKZMA6exJGsVyfAYbFPkKaJJ5laUnr7xpy2a7g2w1jVBC1ypuSDIEAwR94Uw0P33UosYfMSSVLufAfnRzd7DPv4ZhLbuRKQc4v3p09KXN8H8Hwxn66/kKcNxG1HBnKoBWWATwMGCacOpdzg4ovFThISsJAPSZo3jmXLZSJk9PCaj2BgVtpV2hSVKN8ogeNSY4P5u4GykXEk69aivS3CO6ElUjUxbjeNa94dhU94Ag3MmfwqQ4gJgKgKIm2ltYNToWCARcGg3kHKvRrKyggNLTDkY15MWURf8Ay6UzVCpAJ5GelRoot49oYpCnklJkhtRnLCRGUCNSalwbZLGKdMQ684pIH2RlSJHOx9aY8YyMzRkWUYBi8g2q4IFVHLFtlIE6F5M8xAP5179o2zkyw8JUFpUPNMEfA/Cpd9X4cdKY7rqCOU5L/Kqe3MVKWVrcKswV3TZKZiyfGKrNKENx7pnlNTtbPbKUqMgKMC/GjOzd3nXBmLeQapUvuz5aijDGwUoCC457l8qBaT/Er8quphSXsdAMFKwZgDiTwAHE9KH7a2YWSoaFJEg2V3hy46fGulbXxvZgFkDtnCEhate9xUdYAk2jSl7eXYoSlasxUcpKVr94rzJDnQaAwNAfRq4Abvd05iNa6luk64me6Sgi0QFehAn14VzzZGWtsZEzlFvx8eFTl/EoblteMR3VKX3klvKk5SQI58Be9KQ1724ZvFLlSYyfWhKVa6KzEGuf7x5BAQLDjb8DFFX332MKHHA52ZUMuZPdJUJSYOupNKOecOYrUQbSCkyCRmAJNgSLBFEqvh8pJzKKRwgTepSlH/UV5p/WosBi8k21q0cYFjKUjURGtB72fg1WlCHe8owJSaPncvED/mJ/vjVTYzHGsQwpaSlClg5iCInSeU/hTJt7apU5kSe6nh1OpQooKjc/EFOcONR1Im3Q3qFewXRIW82BzEk/KiHxFQ4lyaAI7u8pRCW1dqsmAlKb6TaTQfGMKaX2bgUlQMFKgQR5H8KZC6QQUkpIuCLEEaEHnQneTHu4zEdopN0hKbck8fnVQRffzIYbgiCYPiBVO/s6eW4hxIAGRCRBOpBVB6C9LuysEovsDLn7qzlHGEfrVfdRohWftUoIGUgmxTPHnUpHXdmJWWlBacijOhnhzqjtjFPoWhtplSwpJlybJMxFuOpqPYOJkONJcQowCFpIj0miAWtIBUsKGWbC58L1loq7xbbcYWsJbckISmVcxMnwM1b2bvPilNJyYBau772cBJ8O7U6MQl111V4UIv0EVJu/tJYHZ5FGJg/hQXNnYrFvJJWGsOeAKFuEeMlIo9VP9uA1t41coPEV4i9S1C4m9Rp4xTeYcCQQR4j/jWYbEBwEjgSCORGorYTFbZRBMDW5NVHNtkqU4kD6yfTLeimCZQhtJUAVoSCCb5R08KrbzrjEvIuc2TKOpSPyra15TlmYHwGtVFp1xR5ih2LE61OcQAmBwkeQ0Boe87M0FHbLshMGyZ9SMoZqXeJztNnZ9cr6FH/ADTKj60F21iLhI4QT4n3R6SfMU17vYQP4JbCiPpARzyyLK8iJqpAzcPabbailRAzEQT0o5tlnAlyEpS84JKWhKkAzOZQFhziuV4dwhWVWqSQqOYsY9KbdhvKAKUtwDdPZn6TuSe0uDmNzaDbhelhDP7SMQTgBIg5grpaYjlFc62olK2u1W6pxSkg5ZseZ1Og9Kn3n3ixDiS2p4LbB4hKVTxkJt5iPAUoKcJtNBtKqYtxMIl7GtJXpMOUTFLU11D2T7OSGnMQod4ryJPJKQM0eZA8qEG97n7NDiXR/K33lAeJpI2ljkoWSpUSSY1Op4UX3u2hKUlN1FJCANSp0yI5QkTXM3XCpRUoyokyTzmhTK5vJFkInqox8BVB/bjquIHgPzoay2pZhIKjyAmrqNjuHXKn7yhE0REraLn2zRTdnaP0wQ6qzhCc3JWiQehJjzFU/wDgp/6ifIKP5VWfwKUyC8EnoJIPOAaDqaMWMNisOs/V7QGx0yG3yqpuDhm3UL7RAULQCJ1mk7aW85edC4USmYAOUd4d4mxPCmf2cthYcJUsDkFRE8jRZ9dB2XsphKsyGUpMRIEWoq7sdhYAU2khOg5UvYPYqE27bEIcVqvr2fOSMViBkJJ7wMzwJjQVlUTzSGnihsQINhRTYgBQD0rnu3MKp3ErU0sEA6XkgdOdX91tjrWgFzFYhtUGUpVFUdIyzXuklzcwLBnG4kz/HP407VBqoVKuaniheLbQFlSkzOpAk0VdU51is7TqPhS3tXeHDyhslWYXAySbW46VFiN7cM2nMoKSL3CRRAvbiZxryiLJDZHiUn9aq4l2wPI/35Vc2vjEuOFaDKVhKgedgKE4py0jz8aqPCnIVH2k2/wApt/VVZ16FJHOqOJxAlKvsk25TrFQYzE/TIq4jWLw8uL6wSTw4Dx8OlMu570JVy/u/jQfEJ7/MAkDwH1vEzPTTmTd2YrIaUhE2kpxLsWOcn1vRLZ1GlJAdWtBTcKbgmekx86rb4pjEk/aANA1UBHaN7Qyp5bvLNrqTcc0Kq9g9lOOoWttOZKCAY1kgmw4xF/EVEnAuExlV5igzAYMuLQkT31ZQYtNp9AQY611LaeXA4FGHbWApZyBRtdc5lnoASfKKr7u7MCMIcxCAmXM5EwUg98zrAtHEEjjQLHbYOKxWHUgLSEtlwACVpKk6iRYiPei2uuhVbG7aYL2Y5oSAhCLDKEkJObIpTe31gOF15K2Ekkgrkk6WEkkCPzpl2ngUqH7pICQbgZ1jJxSdTc2JEG5UdKrsbmPdkl7DFLqwjN2awO8CnMFNkEg6HXl0ogY3tUqSezbJSNSPcHmBA0q23hMU4lSwltCUiVFTjYiOhXM9Ipu3f3ae2k0l84otsTDcNoU4oAAOKBJytgmYiTbjRVncXBN41ptSVPnsXlu9qQrVTSWZAA4h2I5GeFNXHJsQhVs7ov9UGf6RBv1qmpsTAIPwjXUHwNdj3IQyyyrCOsHtWVmXA0XSvKSEOSlJKVAQOETI1ob7RNoZmQy3hnkpCs/aLTlzHIoCQe9MrJk8hzsTHOsQMrTfPMuefK/pTj7OpvAt48YpBeeJCRytTjuDtPswpOVR426VaOn4ZdvdvVxoAyCKXMLvGiCVtPCIoZogjejDJyk5xmJAlChcc7VlpXweBLWJV3pC7EVe2bgGnFlRJzX0NBcVt9oYslRypCLZuZFTbF3gwos44kGDc1A34fBRoZ8aN0r4PeXCDR5PxpnorKUdtF1DzigspRra5HdGgpupW3kAJcSVAZkxc8xRANWPTmz9upZyxCkCCPwq1hcTh8iwBKlC4gaxwkW50mo3bU2CkYhJzAARniav7H2eMPnUV5yoAfdAJnjxt6VUWcSYtFhp5cKH4nEp0UnS4B4GruIXz0NDsQ0o6FKh/ELtAv7TeBBsfEXT5TcVpROdudcon0qTawDaCFZc6phIKR5kJSDA6mtq7y0kePrWkFlHTwgI0HyqZh6q8Xjn8xp/fWoe1g9KgDb4ql1B6H5il80X3kdlSfP8KoYDC9q4lHAm55JF1H0BoG3ZB7HDNp4rlf8nwAongsAXlpQfFXSs2Zs5WIXn91AsCdI4RVvb28TWz0Kaw/fxChcm4R/EvryT6xRYp78Y9JUMCgw2kBWKP8IgpZHIq1PlQbdRvtH8QohOXKlMkiCqSbDkEj1peW6W0kSc6iVKVMqKjJknnJJJ5k0y7jrSGHTmCYc75X7l0jLce7oddaIMvpznQvEaSlKGxHEkj4hNR7j7eUMW8ytQs52iCNAQQlxA4lN5HUK50O2rvMYKGkj79yP8oPzPpSehbjbiXUmFSVBXXjPPX40V3rB7LDAUGXnmmsyl9i32eUFRzKyEoKgCSTHCbVWc2e8hBdRiS0spKldohKiXCBGdalAgBIgC0XqpuVva1iEBDpAcGoJ48COc/gaY2tmNZ0ypUu8rUApVzOqtPAcqikPA4dnDupfdxPbvqUqVgHskBeXNlCZAAyiVEmela9oSyGEOKUMqirLzUMpgBg047xuJgFajlR3omBauP777zHGrQgXS1KRH1jJ73p8qRKU4sOd/0o9sNwhsxbvC/GhCURRHBPxbgdfwmtI7HszDFbB75kC8AT0vS9szaTrb6kpJXPO8eFBMDvAhHZpX3eUD5xNeMLtJSHM4AJ5cKmLoptYKeD6oSV91HKDNz6CvGw2wISplKoF5EdQvLUtDikd03UUzrzj1ovufjAlKisRp1moCLOxmnQfoEafVOWulClQYhtWgg9KaxUVlcb31Un/iLwUqBKeP8Ca7JXCfaYj/ABBCfqSI/gHGrCvOPDAT3FXo1s9kIQlPMSfE/pHpSSMKhSkJTmupIMi0E3p2WwCZtHFMxbpVZTKaVeAFA8OPlQ7GsoAMuBvnm4fGrK8E1zPmox86GbQcZbs22hSuZj/AHqKB7VxLeXIyDButw8vkJ5a9NK3snHAQFCctU8cVquZ5Rp5V5wDBU4kDia0hicxualVsY7eed/XX41o7IWT7xArxtzCqZS3mMyVX9DJoAO1HMyqI7rKZbK3X1QgDKEjUkwTYcAAPWhjbJcXA4/Kiqdk5SJ/v7UDftLaIUkN4VpSFEfvFwlKEj7A0ed48aWMNug/lUsZVrF8s3J1Jk6mnXYjiVYdE6pGU/wCW3yihG29pKZJS0qFLiFDUD8tRSk9sRxEF5SUqP1NVgcSoD3fCpMPh0pECTfU2v4VOliTJvPE3PjOtTuYYiD8aqKDrYzGtNMZxHEXA/DzEirPZVjbN7UA3A4osLzBOYRCkm2ZM8/qnrwIpwC31MftDGLdSlQVl7cJW2SnVJUAMiuUm/K1I232iiFgWWTf7KouD0OvkaHJMpuoJSOV/nxqAjtTbeJxEpddtxSjQNQYfD5Bf3iL9ByFW8IxlAURFu6nkD9ZR4qPwrSkzc1cFF5jiK0xyNXqqugAzQEsJZM8vlUzRk2mhzYPG08OPnyFF9nsHjQFNmDvLngkel6r7GZxDwloKVdQATcwmOHgR6UT2Wz31CNUJn1Vdb2fj/wBmcZbZErSqQOGWb5vESD4isjMNs3Hd4oQ/xvECfOuyJqNh0LSlSdFAEed6kBqa1I3XJtltftjkqUD3c1x9kaWrrJrjO/7aTtB6VAWRY/cFWFDk9mVgpKiZBvxjSijK0myqVkuJQsGfn5RFM6ADwFWstYltpF1lMcAR8qAbT2om4aSB/FEelHHsORJsBzNjHKaXXSkLJjMfqjrzNIBQF6Yd0cOMy1nhYeck0BTqaa9kMZW0xxEnzoC7wE2oDvufomj/Gf6aOJpa31fBU22PqgqPiqwANRVXdhiM6z4DwvP4VFt3GXhPW9QsY/KkJgAJBuNTPOhz6ioya0hk3Ox37xpRuoBSfEWUP6T5GocaCXTJm8elU9hYjsnSF6tMEi8GJSbennRhWBJUDwJJ9dKCJLYtVzCkQQdDUGJYIqq3istBdewpBHGtJbqfD4oKsa9kf70FdzCpWgpVMERbhyPiDQHZOyFJcUXBZswOSlxYp6Rf0prQ1WOInThpUADEIJubVTcFHcS3EDVSpygC5jX561ANlk96DT9aoCGTpf5VLhcGsmYvzI08OVMTGBSKIDDhI0fKoAeF2XFzRjCYaOF6tBRAsBrVRx3vplWhJjSQL6zQeW8fkS6tIlSlhpsC5UoSSB614wGHKVqTILiiO1WOEfUSeQJqpsx1JQ3lKluZVAIbHeSFElRKj3W8xN1HgABxotsdU5gEtBNrIUpR81KAzIFQD8VvZjkM/RuKbahaUQEyMnUiePwNdxw5lKT0HyFce2/hAvCupRwSSByIBP512DCe4j7qfkKjUSVwr2ldzaLywpE9wBOqrITJI5XFd1rg/tKeCNo4juAqIRCj9UZBMJ0J6nSnkpaxOMU4QSdAEgcAlNgB0p12evM22dZSPyPypBTTlu6uWEj7JIMj51qsrMQItEUCxqw2lQSLnVX5UdeBOozdZg0E2okZSAPMmaQAkinzCswhH3RbypMwbIUpKeZA9TXQXRelIquPBtKlnRIn9POue4rEKcWpatVGf0pg3mxqk5mCoEEg21EEnKrlwt0pboVqvJFe6zLVBLYzKVStYJCITlGqlKkpA8gZ8qYmccpRAWlKegVJEcCAIFVthsJaZlOXMSqJuZAAniLD41bLwNmm1cgAkAdNagtdgCKD4/ZfKj2CVmHy/Gp8Th5E9PlRSOMG4PdqUYh5Fikn9KZ8mX9aqYrEpRBcOvupAlSjwSkC5NESYDN2aSoQpXDkOAPWoFYmVFLQClCxJ9xH3iNT/AAi56a167F1/959Eg/UBlZ8oe74J9atNNJbhKQEgCABpQQM4UJvJUo6qMSeQ6Cnz1qVaZ9a9BQPHhW8kmoI2m78a9LQPyua9uiAeJ/3qgpRBk8qC8hAJsAfLxqhiVRPhUzWIj4UOxbtlk8qo9bBbaUwnOpeQAqWAQlMk6EAd4mTEyYBq/hcelRH7OwtUWzCRERab86qJwsNspKZShKMrfBx1SQpalc0pEeOYdaKNtvuj6SyABDaTlBnSYuBr6VBPgXtUqTlVrlSoOLnhISLeZrrTQ7o8B8q46NnvLSUoXlTB7qEFCZjTNImuwYYdxP3U/IVK1ElcD9qB/xN7wb/oFd7rgntOHJPDf8AQKeSldCaaN1T3XLjUWnvaXMcri/SltCaYN0WyXlCYGRU9biPOb1pkwrbn3bULx2FJBmPGjZZOhF/7uOYqu/hiQdKgU9lyHU5RmIMgX4SeFHwo1tfeMhIDUhah3lfYngkfaXjQbGILau6YsYIseVUctaEKhW2msxipSiruAYtm56eFANU3BIPCiA2Uqzix3bQJuTw6V5xWHnKesetG04nQ6hNkjrxNB6eSUJkkIngnUKjJoeX1ahR8zNThBWZN/lbXwA50Lxm0Ys15r/0D8T5VAxbKxUWc7utF/lRsRHMc65XF83Hnx9aLbK2040e8tWXme9EdDr4eXUFOuIZCgZpSfxfYOOrCC4UZEqVIGVKioJgG5KihUxpAnUUd2ZtXt8wgJWiJAMpKVaKQdYsLHSRUe3NnMrKStAKgCJBIMEyQY1E1BW7Z15IKLJIBBIiQrlXg7PePGpHsUsgAWAAjpFoFV1vuXub1UYrZjvAxQ3H4lTCsqnDIiYi2bTjfS8aSOYoj0OngagxOxVPnO5CSBBMkSBzjlNBOxjHUgEjOkiQRxBuCKIsYpDoyeRqmrFdkAnt0ACAAEGAEitt7Tb/5jjVuN59KCzisCQJSaA7wkhCuoPyireM3qSTDSVKSLTHrVZ/FF4DMnKkjjqescKAvjcYslPYge4nvi5AIBgcE/oKrHEOJ7oHZ5vrEkqN5MnSTz8tKqt4pxIyoIgaQKsp2o5lyuJC0nmKCRGGnMl4Z54rlXA210ruOCH0aPup/pGlcMZem0nQxVdx2f8Aum51yI/pFZqxNXBvaUn/ABJ//J/Qmu8zXMN7txsVicW682G8i8sSuDZIBkRbSkWuatoph3bdQ0pZcBhaQARwvJPyoqj2cYwcGv8AufpVtG4GLA0b/n/StMrbRIgTI1SdQRzBrWJbtJMAcTYetRt7lY5AIQUJnWHPjpUbm4eNcMuKQo8y4VHykWqKU9sKSpfdOYcxp5VQy9KdVzzF8mv5leD7OsZya/wC5/wCNVCchrMQKL5YsBTFgvZ7ikySGp//AONWxuHiePZfzf8AjQKCtKsNIhPjTONwsRx7LY/6az/ANC4rT6Lc6fy0MJW3sURDSTAgFfUkSEABHnQdKZtXQ8f7OMS4c2ZoKMAjOYhIgEdzkNKrMezPFg3LH86v9FFJaWZFeHsMQJEEcxpJ/Gn9fs5xROrHQZ1D/APFaX7MsSVezl5Zl2nUDuUMpE2PtI4dztIzCCFDmk6xyNgRXQ3tnZ4Uk5kkAgjQgiQR60PPsqxOazrEfeX/AKKZt292sbhk9ktWHda4d9wLSLzlOSFDkDp51KQLY2QKxeyxcU6J2MoRdPxrw9sNSuKdOtRcKLODSALedQY3DTGXlx6U3/8Ap1cRnT8aiXuwvgtHx/KhjnmIw/Nsfpyqu2loH92AeoroJ3TeIutoX0BUfjlFQYncdage80TwnNB8TltVTCDtnHNoSEqUBmvAE28BEUIbxrSvrx94KHxuKa3fZLi1EqOIYk9HI8NK2n2R4nixPMdp8RlvQwvLSpPeEx9pJkCdLjSeutTN4/MIcE9RYj86ddg7hYpn6N51h1mDlH0naNqI95lWWQDxQe6eXOHFzR5RlLrI52UBbQgBMDjpbiImiYUGXQZSrW8HnXdNlfuGf/AI0f0iuZf+2GJ/6zH/3/ANNdQwDJQ02gwSlCUkjSUpAMelK1EtZWkV6rKt1lZW6DVarZrVBlbrKyg1W6ysoNEVusrBQYRWhW6wUGEVqvVaoNCtmsFZQZWVgrZoPNbrQrdBhrK1WUG6ysrKDKysrKDK3Xmt0H/9k=! Cagney posing with former champ Floyd Patterson, who would attend at the actor's funeral two years later Cagney's own physical infirmities at the time became a part of his characterization as a wheelchair bound former boxer and his relationship with his granddaughter. Cagney's final film, it incorporates clips of the actor from Winner Take All.

Thelma Todd, I look forward to your writeups on the hauntings at Falcon's Lair and Harlow's old home. I know that Valentino had Falcon's Lair constructed just the year before his death. Ironic, isn't it, for those who believe in hauntings, that Rudy's ghost has been in the establishment so much longer than he had been when mortal.

>Don't forget it was Cagney who got Raft into the movies. That's true, Jim. Raft got a small but noteworthy part as a dance competitor in Taxi! through Cagney before Scarface made a star of the actor. I'd say that by saving Jimmy from getting clocked on the head with a giant kleig light, George more than paid him back. Aside from that, however, the two guys simply got along well together. But then, the impression that I get is that most co-stars seemed to get along well with Raft, exceptions to that being, ironically, Bogie and Robinson.

I'm a little surprised to see the prices that some are willing to pay for cable or satellite service in Canada. I pay a little less than $50 a month, all taxes included, for Shaw Direct satellite service. Mind you, I only ask for the basic tier of channels that they offer, plus $5 extra a month for a bundle that includes TCM. The other advantage that I have with Shaw Direct is that their non-HD receiver has video and S-video outputs which allows me to record TCM presentations on a DVD recorder. It's my understanding that Bell's receiver, according to sales reps from that company, do not have those outputs, insisting, instead, that I can record on a PVR instead. Sorry, I'm a collector and like to put my recordings DVD-Rs, not have them on a computer hard drive.

That's very perceptive of you, Thelma Todd, your reasoning for the selection of a hotel room by my friend and her fellow participants. I had never thought about that aspect before, just turned off by the chicken business. There's a great movie script in the makings here with all the information that you have provided. And, yes, I will be checking out the link you provided.

George Raft and his underworld connections may have saved James Cagney's life. The following is an excerpt from Cagney's autobiography, and a bit of an insight into when a famous movie gangster had to deal with the real thing: "In September of that year (1942), I became President of the Screen Actors Guild, and we all had a deep professional worry to attend to. Gangsters were muscling into pictures, and they decided that the Screen Actors Guild offered lucrative opportunity for exploitation. Whereupon the Chicago mob sent out to California one George Brown, head of the projectionists' union. Mr. Brown was rather colorful; he always had a mouthful of chewing tobacco, with brown spittle running down the side of his mouth, all that in contrast to a spotlight-sized diamond ring he always wore. He brought a couple of hoods with him, and together they tried to take over all the labor unions in Hollywood. Fortunately, the government stepped in and they found that Brown and a man named Bioff had shaken the motion picture producers down for about a hundred thousand dollars. The Screen Actors Guild pressed the case against these extortionists, and Brown and Bioff were convicted. They went to prison, and so did Joe Schenck, who did a year at Danbury. It was not an easy time, and there were moments when things were a bit tender. My Bill (Cagney's nickname for his wife) got a phone call one night, and a man assured her I'd just been killed in an auto accident. She didn't panic but called the Guild office where I was at a meeting. There were other planned surprises. The Mob had arranged for a several hundred pound klieg light to be dropped on me while on the set, but George Raft heard about it, told the Mob that I was a friend of his, and the project was canceled." It's no wonder that Jimmy Cagney always spoke well about this fellow New York street guy and film star, one Georgie Raft.

Andy, I don't wish to sidetrack my own thread with boxing but I might add that Walcott was ahead on points when Marciano knocked him out with a single right hand in the 13th. Yes, that first Marciano-Walcott fight was one of the true classics. I didn't know Jersy Joe became head of the NY State Athletic Commission. Just for clarification for Bogart fans and those familiar with The Harder They Fall, Walcott played Toro Moreno's trainer in the film, and the one that took direct shots right on the chin without blinking when Bogart wanted to prove to the disbelieving Toro that he had no punch. Show business and boxing seemed to go together in the old days, to a degree. It's far from unusual to see photos of certain boxers rubbing shoulders with the stars, or is it the other way around? Here's a shot of Max Baer once again, this time hamming it up with Gary Cooper and George Raft. Raft doesn't scare so easily, does he? Actually, considering some of the characters with whom Raft associated off screen, it's no wonder.