TomJH

{font:arial, helvetica, sans-serif} *crazyblonde said :Tom, If you want to get me hot post some half naked men.* {font}{font:arial, helvetica, sans-serif} {font} {font:arial, helvetica, sans-serif} How about a half naked duck? {font}

Well, MissW, while I know that this image is not exactly the same kind of hot you are talking about, it can work out to our advantage on a hot, sticky summer day like this: Now don't tell me that this guy's temperature is skyrocketing because of the weather. And then, if you're lucky: AH, relief! And, except for the inevitable visit by the fire department, how sweet it is! By the way, for those who thought that this posting was just a cheap excuse to show off a sexy shot of Sophia Loren, you're wrong. If, on the other hand, I had posted this picture: . . . you'd be right!

PHOTO GLIMPSES OF BOGART: The Battling Bogarts, they were dubbed by the press, Bogie with third wife Mayo Methot. Both were heavy drinkers, as evidenced by this picture, known for their highly tumultuous marriage, which lasted from 1938 to 1945. Mayo brandished a gun on at least one drunken occasion and on another stabbed Bogart with a knife (not seriously), in an incident kept out of the newspapers. Methot, a stage and film actress primarily known for playing tough dames, continued an alcoholic decline after their divorce, and was found dead in a hotel room in 1951, her body not discovered for several days. Upon hearing of her death while filming The African Queen in Africa, Bogart said "What a waste." According to Wikipedia, Bogart and Methot joined director John Huston in Italy during the war. At one moment Mayo insisted on singing a song, much to the protest of others present. The embarrassment of her drunken singing voice became the basis for a scene that would later be filmed in Huston's Key Largo (1948) in which a washed up Claire Trevor embarrasses herself and everyone else present by singing a song, Moanin' Low, off key. Three of Warners foremost tough guys: Bogart, Eddie G., George Raft. The dapper Raft, of course, was the only one who actually associated who real mobsters, among them the legendary Bugsy Siegel, the smooth talking hood who fianced the construction of Vegas' first major casino, the Flamingo. Big Papa Bear Sydney Greenstreet with all his cubs gathered around His wedding day to Lauren Bacall Bogart was one of Hollywood's foremost yachtsmen. On board the Santana in 1951. This, I strongly suspect, was the premiere of How to Marry a Millionaire. A really sweet photo, Bogie with his son, Stephen Humphrey Bogart, family man

It's that Charles Atlas workout course.

Thanks, crazyblonde, for pointing out that today would have been the 114th birthday of James Cagney. One of the lesser known modes of artistic expression from Cagney came through the satisfaction that he received from sketching and painting. As the actor wrote in his autobiography: "My bent for art had been obvious since early childhood, and if my mother and father had been more aware of it all those long years ago, it would probably have been well if they had steered me in that direction. I might not have been as materially successful as I was in show business, but, taking it all in all, I might have been a lot happier." A picture of Cagney sketching with artist friend John W. Hilton And here's some samples of Cagney art: There was a New York City auction of Cagney-owned memorabilia in 1992. It included some of his paintings. Last April a Cagney flower still life sold on ebay for just $266. Cagney wrote: "Since childhood, a certain fella has been on my mind. This is the fighter who goes through his career as a terrific puncher but also a terrific receiver. He winds up with a flat nose; cauliflower ears; thick, protrusive lips; proud flesh over his eyes; cuts on the cheekbone; slashes around his mouth - a human caricature. I've seen these fellas come out of fights with everything hanging loose - ears, lips, eyes - but victorious. This kind of guy has stayed in my mind for years. I have been making sketches of him with arm held high by the referee although his legs are folding under him; his eyes are almost sightless from the pounding - but still he stands, a battered hulk. From these sketches I did an oil painting I call 'The Winner' and took it into Bongart (a painter teacher). 'Jesus Christ, Jimmy! Who's that?' 'I've been thinking of this poor guy. He's numbered by the thousands in the fight racket.' 'Very spooky, very spooky." And infinitely sad as well." There's a reproduction of this painting in the actor's autobiography, Cagney By Cagney. The battered fighter, with his hand raised in victory, almost looks like his face is melting. He has slits were there had once been eyes, in Cagney's oil painting. His mouth hangs open, as if gasping for air. The painter's anguish over the fighter's sad fate is apparent in every brush stroke. Unfortunately, I could find no copy of The Winner to reproduce here, except for this tiny image with the artist standing beside it. .

crazyblonde, what about us? If it wasn't for all those bubbles getting in the way, I'd really give you something to talk about! You know, I think I'm really starting to see some results from that Charles Atlas muscle building course I've been taking. That Cagney mug's never going to kick sand in my eyes again!

Thanks very much, OrcoDev. It was nice to hear the sense of indebtedness that James Arness felt towards John Wayne for his career. Your's father's affability as an interviewer, combined with his knowledge, must have really made those interviewed feel comfortable with him. That only helps the interviews.

*Arturo wrote: the wrong use of elephants bother me immensely* It's my understanding that Indian elephants are used so often because the African elephant is difficult to train.

I agree, rosebette, that Edge of Darkness is a generally effective resistance movement war drama, benefiting, in particular, from some outstanding camerawork, particularly in the film's closing burst of action. While it suffers today, as do all films made at that time, from the propaganda of the screenplay, as well as some at-times pretentious dialogue ("In days to come people will say, 'There were giants here in Trollness,'") it often works quite effectively on a dramatic, some may say, melodramatic, level. It has an outstanding ensemble cast, with a particularly noteworthy performance, I feel, of considerable intensity from Helmut Dantine as the ruthless Nazi commandant. Errol Flynn gives a quite subdued performance as a fisherman leading the resistance movement. As you watch Flynn's performance, by the way, be aware that this film was made at a time of genuine turmoil for the actor, inasmuch as it was during the production of this film that he was charged with statutory rape.

crazyblonde, Cagney's appearance at the AFI was the way that I best want to remember him after he left the movies. By the time that he appeared in two final films during the '80s (coerced into doing so, it's my understanding, by his, according to many, overzealous caretaker Marge Zimmerman) he was appearing old, sickly and terribly vulnerable, this being particularly true of that unfortunate last film that he made. But when he appeared at that AFI tribute in 1974 he still very much had his faculties with him and appeared to be in relatively good health. Jimmy was really "on" that night in front of that appreciative crowd. I'm sure that, as a man who loved his retirement and the quiet life, he probably had very mixed feelings about appearing at that reception, and couldn't wait to get it over with and get back home. At the same time, though, he must have taken great pride in the honour of having been selected, and knew he would offend people if he didn't go. That's why I supplied that YouTube link a few postings earlier so Cagney fans could admire how Jimmy stepped forward that night and, old pro that he was, really delivered the goods. He was feisty, he was funny, and there was a direct honesty and decency about his character still very evident that night which helps explain why so many people today still love the man. I'll supply that link for Cagney fans, once again, so they can take a look at Jimmy the way we would all like to remember a friend in retirement:

JAMES CAGNEY AND THE AFI On March 31, 1974, thirteen years after his retirement, James Cagney was the second film artist (and first actor) to be honoured by the American Film Institute "for his lifetime contribution to enriching American culture through motion pictures." With Frank Sinatra acting as the evening's host, the event was judged an overwhelming success. But the highlight of the evening, everyone agrees, was when Cagney got up on the podium to speak. With the applauding audience of celebrities and friends eating out of his hand, Jimmy was in great form that night, with the agility of his sharp mind and quick wit very much in evidence. Not only did he give a brief imitation of himself saying "Mmmm, you dirty rat," but he also did a (very bad) Cary Grant spin on "Judy, Judy, Judy." And one of the great moments of his address is when Cagney described the shoulder hitching tough guy he watched with fascination as a kid on New York City streets, a bit that he would later utilize in the movies when he played Rocky Sullivan. When Cagney addressed that gala assembly before him, he spoke with directness, humour and humility. But, as always, Jimmy told the truth. Here's a TubeTube link to Jimmy Cagney's nine minute address that 1974 evening. To all Cagney fans, I think seeing the old master once again at this shining moment for him is a must:

I agree, Dothery. I enjoy watching Raft on screen, too. Yes, he was a wooden actor and you're hard pressed to find the same kind of impressive film titles on his resume that distinguished the careers of Bogie and Cagney and Robinson. Still, the most dapper of all Warners tough guys, Raft had an undeniable presence on screen, I feel. He was convincing as a tough guy because, as we all know, that was a reflection of his background. His real life street background was something with which James Cagney could identify. Perhaps that it part of the reason why Cagney had nothing but good things to say about Raft in his autobiography. Raft appeared in a lot of programmers, as we know. Even in these often minor film affairs Raft still captures my attention. While as an actor he clearly lacked the dynamics of a Cagney or Robinson, he was, on the occasion, cast in a good film and it paid off dividends. Look at him as Bogie's truck driver brother in They Drive By Night, conceivably the highlight of his Warners career. Or, at the end of his career, Raft is wonderful as Spats Columbo in Billy Wilder's Some Like It Hot. Who can anyone forget Raft's cold blooded efficiency in that St. Valentine Day's Massacre recreation in the film, the rival gangsters lined up against the wall, his own boys with their tommy guns pointed at them, Raft's back turned to them all with his final statement "Goodbye, Charley," to one of those rivals as his men then splatter them with gunfire. By the way, Dothery, did you see that posting earlier in this thread dealing with the real life animosity between Raft and Edward G. Robinson and the fight that broke out between them on the set of a film they made together? It also touches on Raft's appearance in the Wilder film. If you missed it, it shouldn't be that hard for you to hunt the posting down since there is a large photo of Robinson and Raft about to go at it with one another.

THE ONE TIME THEY WORKED TOGETHER Okay, you wish that it was a stronger film but Smart Money, released in 1931, has the distinction of being the one time that Edward G. Robinson and James Cagney shared the screen together. Fresh off his stardom with Little Caesar, Robinson is the undoubted star of the film as a "lucky barber" with a knack for gambling and a weakness for blondes. Cagney, who was also filming Public Enemy while this film was in progress, had his own stardom just around the corner. While you wish the film had given Cagney more screen time, he still manages to make a solid impression. However, it's Eddie G.'s film all the way.

I tried googling it, MissW. There's an Edward G. Robinson that lives in Burks Falls, Ontario. That's the only Canadian connection that I know.

Now there's a girl who knows how to spell the Canadian way. Wauy to go, MissW!

Okay, okay, Dargo, I give it to you. You are a proud loud mouth.

Dargo, I would suggest that possibly you found Lazslo more coloUrful on your last two viewings of the film because you were enjoying the contents of an alcoholic beverage at the time. The right amount of booze will do that to you. I once watched a Three Stooges short after consuming eight beers and started slurring about the sophistication of their humoUr.

Don't type like that, twinkee. Those extras U's are in some of my favoUrite words north of the 49th, and pUts the lie to those rUmoUrs that Canadians aren't coloUrful. In fact we've even been known to add the occasional U to a word. So, where was I? Oh, yes, Victor Lazslo is boUring!

Is there no one that will dispute my claim that Victor Lazslo, whether it's the Paul Henreid factor or not, is boring? Admit it, all you Casablanca lovers (and, I will concede that I am one of them), that character is a bore.

*Eeh! You Canucks will NEVER be able to get the hang of it!* Dargo, I have far more upper case words in my last post to you than you did in yours, so I win. Canada 1, U.S. 0.

So why would anyone ask why some may consider Casablanca a boring film? Okay, maybe not the film. But does anybody, seriously, think that Paul Henreid's Victor Lazslo is an interesting character? Okay, okay, I give him credit for leading a rousing chorus of La Marseilles almost bringing down the rafters of Rick's Cafe in the process. A great scene, I admit. But the character himself: so noble, so self-effacing, so ready to self-sacrifice, so . . . so . . . what's the word? . . . Oh, yes, so bloody BORING!!!!

Oh, YEAH(!!!), Dargo? Well, you're not the ONLY ONE!!! that can type in UPPER CASE!!!! (notice those exclamations points, TOO, for extra emphasis?) around HERE. RIGHT NOW I'm hitting my *KEYBOARD SO HARD THAT I MIGHT BREAK THE DARNED THING*! So I better stop. But, hey, now I feel better too.

Dargo, I hope you feel better for having had your vent. However, being practical, lecturing politicians of whom Hollywood producers were afraid was not likely to revive a politically tarnished film actor's film career.

Twinkee, I guess all Robinson fans feel that way. What is tragic about Edward G. Robinson, however, is how his career was severely impacted by his left leaning politics and he was blackballed during the '50s. There he was, at the top of his game in late 1947, preparing for his role as Johnny Rocco in Key Largo. Just three years later he was finding it increasingly difficult to find employment in Hollywood. Name the great roles and films Robinson made after 1948. Well, there's a reason you can't and it was as a result of the same McCarthy hysteria that ruined so many other lives in Hollywood (and, according to some, lead to John Garfield's death). What really frightened a lot of Hollywood insiders about the political attacks on Robinson was that, unlike the Hollywood Ten, who were sent to jail, many of whom had been Communist at some time, Robinson was no political radical. And he sure as heck he was not a Communist. But he had been a major '30s and '40s political activist who sincerely hated fascism and Hitler and was very open about that. After the war, in particular, though, some politicians smelled Communism in someone like Robinson who had fought as best as he could with rallies against Hitler. Robinson, as a result, went through a career purgatory in which he was only cast in Bs in the '50s. It wouldn't be until an arch Hollywood conservative like Cecil B. DeMIlle cast him in The Ten Commandments in 1956 that some of the light began to appear the end of the career tunnel for Eddie G.. Even then, though, he still wasn't getting the old strong roles than use to be the case for him. And, outside of The Cincinnatti Kid, he never really would again. My knowledge of this period on Robinson's career is near to zero, outside of what I've just written. If anyone wants to see a more in-depth description of how Hollywood turned its back on this great actor (as it did on so many others during those frightened times), here's a link to a chapter from Hollywood Left and Right: How Movie Stars Shaped American Politics, by Steven J. Ross: http://tfm.usc.edu/autumn-2011/little-caesar-and-the-mccarthyist-mob

A few candid photos of Edward G. Robinson Eddie G. with his wife at their Beverly Hills home in 1934 At a costume party with his wife and Basil Rathbone On the set of Key Largo. Eddie, what big feet you have. With Frank Morgan. More than just friends? Hollywood Royalty: Robinson, Frank Sinatra, Mary Livingstone, Jack Benny and someone in the middle just glad to be there Edward G. Robinson, Art Collector