TomJH

I can't tell you how sorry I am to hear of Lori's death. She was always so courteous in expressing her opinions here, and there was always such a warmth that came from her writing. I found the passion of her promotion of John Garfield on these boards, an actor she felt unfairly forgotten, touching, and I think it clearly gave her a sense of having a cause. I know that she had also been in contact with the actor's daughter regarding it, as well. Lori was also very supportive to me in many of the threads that I posted, a friendly voice I could often count upon. Several times she thanked me for having promoted Garfield's little known Breaking Point on these boards, a film she hadn't seen until then. I think she later wrote that it contained her favourite performance of the actor. My heart felt condolences go out to Lori's family. Her's was a kind voice that I will truly miss seeing on these message boards. And, ginnyfan, I know that you and Lori had a special rapport. I'm sorry that you lost such a special friend.

*I didn't SEE the SHOW OF SHOWS, did Barrymore pronounce it CAH-PONE-EE, or CAP-PONE-EH?* He pronounced it Ca-po-neh.

Thanks for the input, Arturo. My Dad was raised on Spanish but could sort of understand some Italian when he heard it (to a limited degree). I guess that by pronouncing Capone's name with three syllables, John Barrymore was clearly recognizing the correct Italian enunciation of his name. You have to wonder if Al was so appreciative of that fact, however, since he preferred the Americanized version of it.

*mr6666 wrote: Maxwell Anderson's "Essex and Elizabeth" (stage play), upon it was based !* I don't mean to nit-pick, but, for the sake of accuracy, the name of the 1930 Maxwell Anderson stage play upon which the Davis-Flynn film is based was called Elizabeth the Queen, not Essex and Elizabeth. It was a big hit for legendary stage actors and husband and wife team, Alfred Lunt and Lynn Fontanne. Some TCM viewers, in fact, may have seen The Guardsman on the channel, featuring Fontanne and Lunt. It opens, in fact, with the two actors recreating the Tower of London scene from Elizabeth the Queen. Brief as the sequence is, it's sort of fun to compare it to the staging of the same scene between Davis and Flynn. I love a quote that once came from Lynn Fontanne. When asked why she and her husband chose to only star in one film together the lady replied, "We can be bought. But we can't be bored." Now that is a witty response.

To say that Jean Harlow is bad in The Public Enemy only means that her performance is in keeping with that of most of the rest of the cast of that film. Yes, Harlow IS wooden in both expressions and dialogue delivery but take a look at some of those other performers in that film. If Harlow is arguably the worst, it's not by much. Look at Donald (Mr. Personality) Cook as Cagney's older brother. Look at Edward Woods as Cagney's boyhood pal and partner in crime. Above all, look (if you can) at Beryl Mercer as Cagney's mother. Just what was she on? She comes across as simple-minded. Personally, I find Mercer to be the most aggravating performer in that film. There is no small sum of money that I would not pay to have almost anyone else cast as Cagney's mother instead of Mercer. I'll even take a shrieking, crying over-the-top Una O'Connor. At least she'd be more entertaining. Of course, my comments do not extend to the incredible street smarts naturalism of James Cagney's performance, nor, of course, the spontaneous freshness that Joan Blondell brought to her too-small role. Is it any wonder that those two had stardom just around the corner for both of them when they played these roles? But you're right, Addison, about Harlow's improvement as an actress. It is a small miracle that she could be so very very bad in Public Enemy and Platinum Blonde and yet such a tarty pistol of a comedy perfomer two years later in Dinner at Eight and Bombshell. She was a lady of considerable talent but it took experience and the right role to bring it out in her. As a matter of fact, look at the skill of her performance as, again, a gun moll, in MGM's Beast of the City, done just the year after Public Enemy. She's terrific in that film, too, and at one point does a sensual dance that drives Wally Ford a little crazy with pre-code lust. Harlow had the goods but you'd have a hard time knowing it from her earliest screen work. Thank God MGM stayed with her (and I guess with her growing popularity it had to) and kept investing in her with better roles and films for her talents. 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! Harlow's zoned out performance in this scene from Public Enemy is almost surreal. She talks like she's from a distant planet. I wanted Cagney to pull a Moe Howard and pie her here. Two years later, Harlow in Dinner at Eight. A witty script, with a great gold digger role for the blonde star showing her tremendous tarty comedy finesse. The great Marie Dressler co-stars with her in probably the most loved scene of the film, with Dressler having the film's final topper of a line. After Harlow talks of having read a "nutty" book about machines one day taking over, Marie looks her up and down and says, "Oh, my dear, that's something you never need worry about." Harlow looks at her, like she doesn't quite understand what she means. But the audience does. Harlow and Dressler couldn't be more sublime than in this, the only scene in their careers that they would ever share. But it was a pip!

So, I gather, to Italian ears Barrymore's three syllable pronunciation of Capone as Ca-po-ney (my spelling, of course, could be off) was correct. Thanks for the info, scsc1975. It's good to hear a paisano viewpoint.

No other studio could make authentic urban dramas quite like Warners, and I feel that Taxi is a prime illustration of this fact. Whatever holes may exist in the storyline are compensated for the film's typical fast pace and street atmosphere. Loretta Young stands up surprisingly well to Cagney. It's also fun to watch Cagney and George Raft as competitors in a dance contest. To me, however, the most remarkable scene in the film occurs towards the end. It's that moment when Cagney's character, obsessed with vengeance, goes totally over the top and fires a series of bullets through a closet door, mistakenly believing that his quarry is trapped inside. It's a scene in which his character has a moment of temporary insanity in order to kill someone, no matter what the consequences, even with the law in the room at that moment. Cagney brings an overwhelming intensity to his performance here. Soon afterward his character, in typical fashion, has regained his equalibrium and the film has a patented happy finale. Seeing Cagney, essentially, go nuts, however, was a forerunner to almost twenty years later when he played Cody Jarrett in White Heat. That performance would be far more frightening, of course. (Think of the calculated, cold blooded scene in which he munches on some chicken while shooting a helpless captive inside the trunk of a car). Taxi is a happier, peppier affair, of course. But, briefly, that film gave audiences a glimpse of the dark side of a character that Cagney could so chillingly play.

Sepiatone, Show of Show shows the Barrymore of 1929. While it's true that he had been an alcoholic for years by this time, it's also true that at the early stages of the talkies it had not become the ruination of him as an artist yet. In fact, this film has a brief recreation of him doing a scene from one of his great stage triumphs, Richard III. By 1933-34 Barrymore's boozy lifestyle would be undoing him as an actor. In any event, Barrymore was highly literate and well versed and it's not inconceivable to me that he may have known something about the pronunciation of Capone's Italian moniker of which I was unaware. That's why I'm sort of hoping there may be an Italian on these boards who would know if "Ca-po-ney" has some credence.

I noticed in the broadcast of Show of Show this morning that at one moment, when John Barrymore was addressing the film audience in front of a curtain, he referred to gangster Al Capone. I was intrigued by his pronunciaton of Capone's name, however. Barrymore pronounced it with three syllables, Ca-po-ney. Would anyone know if this is the correct pronunciation in some quarters? I can't recall ever hearing it that way before. Are there any Italians out there who could let us know if that is the way they would have pronounced Big Al's last name? 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! Is this man's name pronounced Ca-po-ney, or was Barrymore full of ba-lo-ney?

It's been a few years since I last saw Platinum Blonde but I remember thinking that Robert Williams was easily the most interesting actor in the film, with a great throwaway delivery of his dialogue. He was a wise guy with, if memory serves me correctly, a natural understated charm (obviously others find that same charm resistable here). Am I also not correct in stating there's a scene in this film that Capra would later re-use in Mr. Deeds (is it the scene in which Coop has the butler shout in his mausoleum of a home to hear the echo- is there not the original version of that in this film with Williams? Again, it's been a while since I saw Platinum Blonde so I can't recall with total certainty).

clore, the ONE appealing thing about Good Sam is Ann Sheridan's performance. She's humourous, good natured, down to earth, and oh so patient with that do gooder husband of hers. TCM showed the film not that long ago and the print might have been from a 16mm. In any event, it was a soft washed out image. Not that anyone cares, it also had a one minute scene edited out of it (the one narrated by Sheridan in which she tells of how she first met her future husband at a church social gathering). Difficult to believe that anyone would invest the money for a restoration, if it's possible, because there would be so little interest in it. Being a fan of both Cooper and Sheridan, I did record the darned thing but I can't actually see myself sitting down to watch it.

*clore wrote: I've never gotten the sense of a mismatch whenever Ann Sheridan is involved. That's probably because she was confident enough to know her own talents and not the type to try to upstage another player.* I agree. I don't think that Sheridan was the type to have a huge ego, and would have been a pretty easy going person to get along with. She and Cagney were a great screen team but she also worked well with most others (Jack Benny and Errol Flynn in particular). One actor, however, with whom she acknowledged she had little on screen rapport was, curiously, Gary Cooper. It's my understanding that she liked Coop in real life but for some reason they fell flat as a couple on film. That fact that the film they were in was a lemon like Good Sam didn't help, of course.

It's interesting to view Darnell's performance in Summer Storm for the transition that it takes within the film itself. (Aside from the impact that it had upon her screen image). In the film's earlier scenes her character is still very much the innocent, a continuation of her Fox image. Darnell is quite convincing in that persona, as well as the seductress into which her character evolves. Not all actresses would have been as effective in that kind of dual characterization within one film. I believe that Summer Storm was the first time that Linda Darnell attempted that. She's pretty darned good at it considering her inexperience with those kind of roles at the time.

*clore wrote: She was in the Hawks-directed film I WAS A MALE WAR BRIDE.* Thanks, clore. I had forgotten about that. I guess that film was the last real hit of Sheridan's career, though it's never been one of my favourites. Nor do I think that Sheridan is really at her best in it. The film was made soon after her departure from Warners. While she was able to employ her comedy finesse in it, her role itself was quite subsidiary to that of Cary Grant.

James, I agree with you about Torrid Zone. But this Front Page-influenced Banana Republic comedy action romance is the one Cagney film that is stolen from him. The beautiful Ann Sheridan got most of the best lines and made the most of them. In this kind of raucous bantering comedy she was more than Jimmy's match, in my opinion. Sometimes I wonder how much even better this film might have been if it had been directed at breakneck pace by Howard Hawks. (Even though what appears on the screen in the final product is pretty darned fast). Too bad we never discovered what Howard Hawks would have been able to do on screen with someone like Ann Sheridan, who specialized in playing cynical dames that can go soft when the right guy comes along.

Well, Andy, while we may have disagreements (pretty strong ones, it would appear) about the Strawberry Blonde, a film I truly love, we can at least agree about the quality of Cagney's work in Footlight Parade. Aside from the Shanghai Lil number, I just love watching Jimmy give his whirling dervish of a performance in this film. Few actors are as lovably pugnancious or funny or could snap out fast patter like Cagney during the pre-Code period. The man brought wonderful little quirky "bits of business" to enliven the most mundane of scenes. A hand gesture, a brief comic expression. To me, from his stardom in '31 to White Heat in '49, Cagney was in a class by himself as a performer. To address the theme of this thread, however, if Cagney made one film that I regret he appeared in it was his last film, Terrible Joe Moran. But, as an earlier poster said, since he was wheelchair bound, dubbed and simply no longer the same Cagney that we all used to love, it's hardly even fair to hold this film against him. He's not bad, I suppose, in Ragtime but if I had had my way, he never would have made those last two films. His career would have ended with One Two Three.

*AndyM wrote: The Strawberry Blonde is little more than one of those "Weren't the Gay 90's Quaint?" films that Hollywood churned out with monotonous regularity from the 30's through the 50's. Like many other great actors, Cagney plays much better in movies set in the present.* It isn't possible for me to disagree more than with that statement, Andy. The Strawberry Blonde is one of the most charming Gay 90s films ever turned out by a Hollywood studio. And Cagney is brilliant in the production, convincingly showing his character (Biff Grimes) to mature from impulsive hothead dreaming about the fantasy-like title character to a middle aged man who comes to realize the folly of his youth. It's a beautiful Cagney performance, far more Oscar worthy as a characterization of depth than his largely tap dancing role in Yankee Doodle Dandy would allow him the following year. For me, The Strawberry Blonde is, in fact, one of his very best films in which one of the screen's foremost tough guys was allowed to show a softer, more sentimental side.

There is simply no major star (or in this case, former major star) who appeared in a worse film than Errol Flynn in Cuban Rebel Girls.

MissW, I have only vague memories of Paris Blues and really can't comment on it. I really love films that attempt to explore jazz club life, particularly if filmed in black and white. Perhaps Young Man With A Horn (which TCM frequently shows) is the dominant illustration of this. That film, to me, truly captures the ambience of those people who seem to live for their music (Kirk Douglas' character a little too much so in that film). Now I don't know how truly jazzy The Man I Love is considered to be as a song. Certainly it's soulful, though, and it's melancholy. There's a bittersweet quality to the music and lyrics that I find haunting. This Raoul Walsh film's opening number really does it justice in my opinion. If you liked Blues in the Night, as I certainly did, I think you'll like this one, too.

Unfortunately, MissW, The Man I Love was just on TCM a couple of weeks ago and I only just saw my recording of it today. It could be a while before it's on again. I'm a complete sucker for Gershwin or Cole Porter so when someone actually makes a good film involving any music of their's I go a little crazy for it. There's no Porter in this film but they sure do Gershwin proud.

{font:Calibri}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.{font} {font:Calibri}I discovered a little Warner Brothers gem, The Man I Love, filmed in 1945 and held up 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 people stereotype this man as just an action director?” He could be, on occasions such as this, so much more.{font} {font:Calibri}It’s a film about lonely people, or, at least, those searching for something in the big city, dissatisfied with their existing lot in life.{font} {font:Calibri}The opening scene alone is worth the price of admission, and it’s got to be something of a classic. Two drunks outside a club, attracted to the music inside, are refused entry through the establishment’s locked doors, told that it’s “crazy” people inside having a good time by themselves. Walsh takes us inside and there it is, a smoke filled jazz-tinged session of the Gershwin title tune.{font} {font:Calibri}Walsh shows great respect for the jazz musicians performing. As the camera slowly, lovingly explores this group, the director gives a few of them their own brief moment. The sax player with a closeup of his fingers, the coronet player, the drummer, then back to the coronet player, only this time it's a shadowy closeup of his face. {font} {font:Calibri}The film’s star, Ida Lupino, then starts to sing The Man I Love off screen. Walsh teases the viewers, letting them hear the song’s opening lyrics before allowing them to have their first sighting of Lupino. Even then she has her back partially to the camera as she casually moves to let us see her in profile, a cigarette in her hand, from which she casually flicks an ash.{font} {font:Calibri}No, it’s not Lupino’s voice. She’s dubbed, but the voice sounds right, like it could be her’s, and Lupino, beautifully attired, then gets her first closeup, as a giant cloud of cigarette smoke escapes her mouth. And you can see it in this actress, you can see it in her eyes, that connection with the song that she’s singing (which will also come to represent her character, as it turns out). {font} {font:Calibri}“One day he’ll come along, the man I love.{font} {font:Calibri}“And he’ll be big and strong, the man I love . . .”{font} {font:Calibri}Lupino brings so much feeling to these lyrics with her expression. You’re already ready to believe in her character at this point before you even get to know her. And you see her comaraderie with the musicians, particularly at that moment in the song in which she lights the pianist's unlit cigarette with her own.{font} {font:Calibri}How I wish George Gershwin could have seen this moment that Walsh, Lupino , the cinematographer with that great smoky black-and-white photography, and the set designer, in addition to those real musicians playing there, all bring to his song. This three minute song sequence is a loving tribute to Gershwin’s haunting hurting masterpiece. {font} {font:Calibri}Even if you don’t care for the rest of the film (which I find impossible to believe) you HAVE to see The Man I Love if only for this opening. All those who love jazz, who appreciate films like Young Man with a Horn or Blues in the Night, will find something to love about this introduction that Walsh gave his film.{font} {font:Calibri}There are myriad characters in the film, and I don’t want to bog this brief tribute down by listing them all. Lupino’s character travels from New York City to California to see her family but her character is leaving one bad relationship and now drifting. There’s the sleazy night club owner, well played by Robert Alda, who only has opportunism on his mind, be it with a woman for a night or taking over someone else’s nightclub. Alda's character is fairly despicable, putting the obvious charm on one moment, angrily snapping the next when things are not going his way.{font} {font:Calibri}There’s also Bruce Bennett as a jazz pianist who was ripped apart by a divorce, and remains haunted by that relationship. Lupino, also hurting, finds it easy to make a connection with him but he’s reluctant to commit. Walsh does something with Bennett in this film. {font} {font:Calibri}Bennett , a big boned former Olympian, who made a career in character support in Hollywood, largely at Warners, will never be on anyone’s list of great actors. But there was always a bit of a hang dog sadness about him, and it works beautifully in this part. You can see the pain in his face as he laments over his lost love from the past. There’s also an essential decency about his character (especially in contrast to the sleazy nightclub owner) by which you can fully understand Lupino being drawn to him and wanting to take a chance. Bennett is quietly wonderful in the part. It has to rank as one of his best performances.{font} {font:Calibri}And for a film that is about a collection of people dissatisfied with their lives, an extension of that can be found in this most capable cast, none of whom enjoyed satisfactory careers in Hollywood. There was Alda, initially playing, ironically, George Gershwin in a high gloss biopic before Warners then cast him in supporting roles, often of a sleazy nature, such as in this film.{font} {font:Calibri}Then there was Bruce Bennett, a solid, if somewhat rather dull supporting player for the most part, though effective on occasion, such as in this film, Treasure of Sierra Madre (as Cody) and when playing Mildred Pierce’s former husband. Then look at the rundown of actresses in this film, all briefly appearing in Warners films before largely disappearing, Dolores Moran, effectively cast as a spoiled brat in The Man I Love who falls in with the nightclub owner, Martha Vickers, best remembered today as Lauren Bacall’s thumb-sucking **** sister in The Big Sleep, and Andrea King, leading lady of The Beast with Five Fingers.{font} {font:Calibri}There’s even Lupino. Strong performer that she was, and briefly viewed as Warner’s chief dramatic studio challenge to Bette Davis, after a strong start the studio seemed to lose interest in her. The Man I Love, released in 1947, would be one of her last effective roles before she would become the only actress I can recall who went behind the camera as director when it was apparent that acting opportunities were no longer coming her way. She was a capable director but what a loss it was for all of us that she could no longer find the right roles as an actress.{font} {font:Calibri}The Man I Love is not a great film. There is, however, a wistful melancholy about the production, with a moody ambience encompassing its lost characters, that makes it a highly affecting drama. This is a neglected Raoul Walsh melodrama that deserves a look, and then another. If only for that opening scene set in a nightclub late at night. Trust me on this one.{font} {font:Calibri} {font} {font:Calibri}A publicity shot for The Man I Love 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30a0pEdw6iBcnuwDz5CvQTrf8Anmgrs8jRoRnWy1HZa6xIrNm1Ad5KZEiVQkgCgPKKCPZUTKm3EpBB7uoiAegjbyoPjl6VIUCQqYsYkC5nrH3mtVlzxKAE6h/mgeoAED3UWjU4sFKwPEUeBUcL3Oc5g2QoixPUT99XsidPZlIBKtZgeYFHs4b7ilCZtb0pk7289zNA8Vqwg7JIhaxKlmZTPJP41M4RmssitKrKlLNDfYkxYBCPi7ekqJGpY68xq8OoipMCwhpMagSdza/8qFNYcATuak1UnXlxOytjSwi4Haauw426DsZp4oPgnVFY0ietGdB6Gs2pDK7G5QrqorsVJQpA04CgjO5VfwgIsINUsvR/fIB6n7KNhNVMww0oOmyRG/lRqdXr5ieIoX7ceXmSY/CqcUhQuEA2/+ulRK4i0jSlMr2JOyfxovwgyvsZcvJMc7AsfXNSjhhsPFyAOiRt5NHho8r1sZzbesdB2GZ7uo3Ud6q4o0Wcb9lDcWipYeAKcE1WdtVl4VUeroombIm1RbzpilSaQIn7/5U9tFdJJMFG7SRbworTcL4jQgI99Z1hNFcsXCwfEUspdu5oOF6TidjO1VHBUuGc1NpPUConDWnPU8lazsX2Dah/EmM7Ng9TRFvaszxw/CEp9dTUeWDDYaGeqkYHErk1C4LVIumrHd9dYkj1yIDRXh/CEOIcOxKwPGAkE/wAYHtoXFa7BMwWk/MZQfWsqWr7RRsPG7v0EcfUyU7LmNzZCCdkkEq9a/tJUCNj99/xrJZpGhRPjWnw6pQg9UpzdaF5nm6yKWa8L4bE3daQpXJQ7q/MLTBqkeEW0j6U4gBCvtEn20enuh2rxxU7WP8AXtFOWFrmTzLBOMo1rhYR3taRcAbyCbfZ41is1Wl9sK0JSqvaxCQSJ9RI8j0rrWvrzsensrlnHmVDDuhTVm3plPzFpIJHkZkeZpatTu8w1QqJdkzTJtUKxeOtWEgARUKhSsd2aUtkGsqwwCbb0XaTbbegOX4wJ38qLYbMkkwZpWUdbjUWrKwTwHSdwDtuB99Z3NMWU4kpTAT05TzrVYXSYrJ50yDiNCIkqA9Z/o10YKpDnJaplo16aP5AlLrIC0pVoGiSAZgQSCRtV1eTMkegJ8CR9hoDhYbWLXNFVLzTCEoUtKIcYkm5j1k05zEjcEKT1F49m4oFxQ002pBADik/JXKgE7nn6dFDmmHYbAUUN29AC/sSKMk7JrcRbs7smU5aqGIpDzRt2S3qI2nSoD3ivMRRL9QsHzQJxAodiliiGOOmgTjhUaJBcytWdtCVpmRNXcOxNNYagAURaRAoFedgHpdTxKIFWcLuKhFWMGmVUrHcflsdXyZcsJ8qkWKiyZMMpHhUyjWs6jx0+/yEG9qxvHR7yR4VsmjasjxyjvJ8qmv3GHwP8yMO4KYrb11M4mo1otWNI9SiMptWzbbjEEdGmR/7dZBKdh1tW3xbcYxz/ht4KH3U5hl2ZP8epkfUpaxX59ADxRi9LRA3PdA6k2A9praMM6G0JJkpQgHx0gCf4a5nxM/OJbB9Fsh1XmFAIH71/VXUHeXl/X21qYZaNmJX5Ie2CVkRYgHyNJ3BBN1KCRtYeKyPGfFpwyi0hMuLQlSVEDQkSUmbyo2NvbXMlk/KJUfEz9tTVrZHZFqOGdRXeiO8MYRC0yHA4mSAUEQI3GoEyayPEK8vQWnWcRiHpBDY1qEqSIgBSQbRsDRP4NFD4opI2Q86keXdI2ocR3M7bPIxp867/wDUK5zbS8Sqgoya6GJy7hT4xj1MLBwwOpzswApSEwFJQZNjoIvfy6EM54JYbx2GwwK0tupkrsXCqVCCo2g6QAALTzrau4TDozJLinSMQ63pQ1FiEpUCo26Ai5G3OgvwhvdlisC781Sp8kONLP8ADqquVJBeK5NfgkzdlnKm2zh8KHHXFFCVKlS5id4KjPRMbVzXHrcNLLyC2taytSCCmCs69jeL123iJzEJZJwqErd1BICogA2Ktxt4mK5Pxrkj7Cm3cSh152dSE7oCY09O7eLAC3PeqVI6FsPPXXfzLKMSQmR0oS3lq1u6gYMkz0JET7Ca8wuPBtzothngL0lZo19JIfkOULYWSFDSdporF6EqJBWeQSCSfUKDoxwmpHsYRBTuL/iPZVZxvqyqhyAP6NdU4484iCuYSYlKR1HKfuod8USl4uOnWFXTN/byMCtFnuOJAbQCpTw0iN4Mar8rc6HYjCCC2qJAAgGYtaDXKco9rk9P0EjTjUWTmtVTRYdSS2NG1VsSQBevWsybQ2BZMAC3KBNAMyzPXITt9tTFaEJ23KuY4zWYG1V8M1cUtFWcMii3srIEk5Suy9hWrz0qyRXmGRCakCNqzqk80jXpRyxHtYYmieW4KVi1HcgyfW0TFF8DkcKBjhTdOi7JmfXxiV4hjCNQgDwqNdW4qo4b05PRHnb3dwg0bUB4vw8oBo6wLVVzrDamjRJq8QlCeSomcwfaiqiqLY5mCaFuiDWLUVj1kHdD8EmXWx1Wj/UK2eYq/7Q6f1ED3E/fWRyf/AMQyP94j/UK1WZOwX3BfkPNICT75pvDfxyfiY/1HWrFeHqYLGOpceWVTpUtCBpBUToGsAAAm6jXVMQ7CQo9f5/dWG4SwMYpOogwlxy3VSuzv4woqK1mdrIwjhG4RIz7606Ly08xkVVmmoo5xx5mfa4rSNmk6AepmVe3qNZ0qnereZDvz1qmuKRz8TtGrwD2Oh1X4LH5axA/3iVfvtj8tVONMeGc0wzhslCEqWbwEh1c7AydJUAI3NY7KuKl4ZCgxDalgalAalEpmDKyUjc2Cee9VnsyxWNWEFbz6jsiVKHnpFhHXlTGbRJCfCedyexpeINWHMZhsQwHCWCQoKSG0rTM2JJI3ULjnQ/i/jX46W06EthCidaSpwwpISqykpm3gPOs9meXOYd1TTqdK0xIkEXAIIIsRBFFcu4NecaViHEqaYQkrKtMuLSNzQSJ8zA53rryd0TkhFJhfMvhPeU2lDcohIBWAA4sgQVFRkNzvCQo/rVinnS4oqUSSbkklRJ6kmST4mnYXBrdcCGkKUpR7qQJUfZ7ztVvOcjdwjgbeASpSQoXlMKtuN4IIMdOdc22WjGMQfMXFaHKMG8n7bUqNzEJHWVHuj1mjnD3wWF9tDrj4CFgKSG0kqIO0qWBHsNHOAMCpjEYjDLmUpFpMEazC0jopKx7POo4d2rllXUU3EwwVCiJBg7pMgR5irzbkigz69C1Jaop9hj7qfhsYSSNqXlE0ITD7D4StKtyAUjyMT9gqwxljJKlwSVXMkxPWKzqsWZvXrudFKYBqmW5zaWpJisOguKTExEHwPL3U1OCR837aZhUG6lbqufuFWKVnJp2TNKnTTinJakK8Ek8o8qhTh9J8KK4HAOPK0toUs9By8SdgPE045eS6GkkLWSE2kDUTESY9u321EZSRWcKdjGtMKUBpSoQJyrrGTPk2ZdPRf4VtCsudw/atuwD3FgBWoAHWOW101YzTF4wPFLLaVNwCFGAZi4JUocgo8MMsqlK/4sITx7zuEErdW9D3hRspa0qBSoGCDYjzFGwKznDOIcdQ4R2ms6oIN9zHrJrR1oUu6YuJT4jb5iVVNzeraqpub1WqAQQaNOcTIikgV6bUdEGE4jy/QraxrL4neug8U4tvs4kFVcxJvWViYpS0PTYGbnT1JcjWBiWifkqB9l/uopxHiuxwSiTBSkJkzGomJtvczQTC5ocOtK0tdosTu5oRtYEaSTz5jeqWe8R4nM1JwikNspKtR0lSvRBMm9/Z0o2FgnDVIj9RlLiaRfS4RyDPUJWlbaVFbiGWtKiEGO0DRdj9ZQWsi5uByre5q1OFdH7V7gfwrkWBzbswEJAD5CQkgQUdkpS0kzvKllJAiQrwrqmF4hadZBWQ2XEXBPd7wvB2i/OtJK8GkZD7M02cpzFvUmelDwJoyoWoa8xpNY1Kelj0Ip650VFpiujfBK7KnkwkAIQRAgmVLBKjuo2HgIsBeufKRNb34Jkw84PnNfY8R99O0pamViY9hlv4VMl1FnEJEm7KvNQPZH94kesVvDh0lJbN06dJHURpyoltt4hoTC0KKVDzQoKT6wpPuoHl2cTmuKYJ/8tpSfNKRq9ocH7tM6J/kzruSt0MrwLh/i2LxCVT/cMvax10PAj2p2tFx1k6cVhUPoGotQ6CL6mlQVgf5e8P2fGpcVl6WMVjMSpOpC8LqUnbUUSFp9aUo9tM4K4wRiW3EqQ2wGoKUAgIDWwN4EAgg7C4qq2ysJJtvOiTh7OEsZfgSuNK9LOrkCdYSryJQB66PqwKe1D0QvQWyeqdQUAfIi3ma5fxdxPhuwGEw6SttpwKSsEaCDrKkpkTbtIBuLCmu/Ce/8XS02B2gGlT6rlQ2SQg2CyNyZuLVymuZZ0ZPWPMBcQthOLxCejzkfvk/fQ3tSk0WwXCuOxKi52SzqJUpxzuAk3JlV1eoGqOJDYICXA7a5CVJTPQawCq0Xgb0tKL3exoQmn2b6oIZXlb2Ks20tY6gEJHY2HtrzGZF2ClNrUO0kSACQi0gFRgE3HoyPHlW6CnEam3kkklKkQVEkhBSQEidkgo22vVLi/CJTmaNQ7r3YV19mr3I99Q6doXhzIjXvVyz5EmTcHoDPb4teluAQEkiQYAKjEgEkQBe9EMuxGWvrDKWdJNklSSnUegUFap86L8cNE4NcCySkkfqhQn2fdWByHBqU0kf4qCPAJlSz6gB7qHNKlJQSuGoyeIpyqTm1bazskdJyfL/AIuVtCNB77dkpMWCknSBJBgzzCvCgz2Tac1QsDurSp3/ADJGk/xFJ9dWK86GHcwyv11FQ/3ZTpV/q9qaP6UkhVjYwrwVBPqMAqmHGMuz0aM9TnTXEf9016ALL8w1ZliEdGkAf5bn3u0uJsBinVoGHWUIg69oEzbbvG3TpWRy/PgjGO4gyZLkJ21BewKj6IACTMHbap8x4sddB75SDshvuCPFXpq/hpfjRcWn1Y/8AZ1I1Yyilstth2Iy5eEea1L1rVqUognqAAZv/wDtb3BuFSATXMsmwxdeHifGuosM6UgdBRMPrdrYB9QVsqbuxxqqtNWlGq6xei1DLReTWT4/z5eHbSGxdRibwLbmK1TarVSzzLQ63BFxtRJd3QJSspq5wjFZpiVklTyr/qpt5dKs5Vg3sQo6sWhrb0kpi0naRvWkxCKFEHlVBQpKWIS/ovn6NuODlJaVH55Vzfh9xqwxzbitJICWxe0gFQV6Rm1uVXGkYfCAYjEuqdeUkpDKE61Dl3iLCYFyRubmqxTTNNDWMUf6L5iznykrSqN/PyEsRlCsQ6p84rD4XXoIZHZuFOhR0FagY1CSYTa95vUWO4UDkJGYstoCUpCQB00kyDzInwBqkE17FW/6ESKf8AJhzkx44LTpA/SSBOmTEwLiBe0RJveRXiciaSkJVi0rmJOhR9KemwEfxUyKapNClis2mVDMcC47VJAjF4LQbKCga2nwVn/tJ/4Kv/AJkn76z6kCL1byHNVYN0uISFkpKYUSBcgzb9mrUa6zLMDxODbg1DU03wf53pXiMM4QAlbi0EkAABZ7RJPKLKv1UaziOIU/pZT6CNBe3KggFvT2apKoEaO9f5ooLj3Ctxxcae0UVFIuLq1chNqplo70yqy0E/tGm2Z0bjLjDDOt9mh55OrsRpC0lJSUlS4GkzuAdq5q44ATpHdk6QuFkAxuYAJsOXqr0M0lMVzq3Z0MO4LQrEGp8Di1tr1NqKVQbpMECLweVqSmDTmEwoTa8eo2PuJrlJEuDR3jhvE9phGF3OppBMmSSEgGTzuDXDc6yrssQ8gfIcWmNrBRj3RXXPg4enANpmS2paD6lEj3KFc/wDhBa7PMHuitKx/mQJ94NHqN5U0JYdJVJRfzUKfBXjdOJKDbtG1D/M0oLH8Cz7KP/CThhpZcNoKkavmmy0G14lCvbXPFM1DOLZWdu0TJ6JUChX8K59VdU4sdwi2uyxDwQNSVQlQLluiRJuCRtzqveptF5LJWUtyDKOOGHW4xCktriFartr5EhV0weh99R/pjL8LKmdKlkQA2VL35BRlKBPT2VlMfnWE7JbGGwxSlYguqMuEghSbGTEgTcW5UHw6ikQDEU+3elqmIy6aN9RyjgVO71S6X3CGaZyt94uL52CRsEfNHtNpmrrfEz3YBkrOgDSIACtPIFVz4Wjleg6BNSCk1OV733Nd0YWUbKy2PIpzaJNPSiaP8P5GXFAnYVaEHJ2RFWqqcbsL8IZPp75Fa4VFh2AhISBtUta1OGRWPKV6rqzcmNUKgWmrCqrrqtQEiy1TzUTKrVKDRUQZvP8i1AqFYbG4AoJBFdcVQjM8hS4Dala1DNqjTwuNdPsy2OWqFRzWizPhlaDYSKBvYQp5GsydOUXqb9OtCaumQE15rpKRTAKHlDDlKrya97Oa9LRqcp1xk02vVJpgFTY657ppq2xXsU8NzUnOxCGh0p3ZipgweQqRrL1qMBJPlU6sreK3KZZFQO4Cdq1mB4NeX8kpHjajeG4BAHfVPgKYp0qm6Eq2Jw60kyp8HeZBpD/akNoKwsKVZJJBCwDzNkmBeg3HWKYxD5cbUtXcSmNEJJBN5UQYgjZNWc3yEtm0kCw8PKgzuFI5USpVnbLYBRwlKUuIpbglnCQZq02wKm7I9Kt4XKXFmAk0q3KRoKFOnqVUoqdjCKVsJrW5XwISAXDA6UQxOCQhOhtIHjF6LHDy3kLSx1OWGpiDhCKnYwRNaNrJ5NGsvyIcxbpRI0GwdTGxigHlPDpUZItWwwWBS2IFTttBIgU6nqdNQMOviZVX4Cr2vKRoosImoHN6kJqFw3oNQlEzYtTS8rtQnT3CmdV7KnbptTWV2qH4uuZSQn1zJkmTa24okbEMv6q9mhpYdgd6/Wf2YtHh679aTrLmgQe8Csm8zJkDa/Tlv4Vey6kXL60A7iao4nJW17przFYVZUhQIlKRvzVe8xYTG24kVVZwRTCSpJ0wAqSFJAUpRhNz3goJN9kQqHCL3LRqSjsU8XwS2o90xVNXAX6wo8xqBCjpiII1Gw0Npkd290KMePnUOIwiitRDgCVSPlGARe206luH931C3psZjjq8VuBv7CfrCmK4GV84Ue7EhJQSgjBmPRSEiUlJHIG8j7amYRpVqKwQNcjkCooIi08juTuKq8NTLff1pgsfw2tBuk0OOXRvNdZWpCheCKpuZa0rkOtAlhddByH1JpdpHNk4JMbH2UVy3LWT6U1szk7PQU1GUtJ2zVcsO0TP6gpK2pWweT4cAdwHzoqxh20ikDyEUxCEAWP21KHEjn9tNRjbkZlSo5Pdk802KZ2w6HOvAP6miICVsXliXBcUNc4SSrwFHkrmnA1Rwi9w0K04KyYFw/CbSTJE0Tw2HbRZISLxy33jzibVPNZfNELS4pKFKSzpxiQB6SwENqQOqi209b9cVeFOPIpUrTlu7mn7VMgSJMwJEmPSgc459KqlTK9ULbOn0oUg6Y3KoPd9dAmsK4hbS9IIw/YoUqVBUrBMFKdHeB7cEmR/s/CoG8I4GIUNsLiOz0tlKgo2UhZklRjQU7T3rWFXyJ8wSm1sadLbaRJKQANUkgDT86fmO1e/pJnTq7VrTMau0RpneJmJjlWdxmGUjt2wk6EMf3SgCRoU6FBEDcoIUIaEeNX8Q6pxTRaWhSkl3vqaUEToOkFMiJkCZrsiRzm3uGluAJ1EgJAnUSAI6ztHjUP6Qb0a0b0TGrWjTPTVMT4ULdb/7vKUhV2TYjvAkSQUgbgkiAOUCq6kqU4SlWqX2SHeyUlMBLgI0WnTbvT8sD5MVyijmw6vGtpSFlaAg7KKkhJ8lTB2r1zEoBAKkgq9EFQBVyCZPqoHgVdmpC3ZFngs6TpS6p1OrSADCVJSdPUcyVXhEttpsrV2aR2SmypLiQtam2wRdC0hQHQSLGLdlRGZmmqs9vUiXgZidyLgi4MHeqzq70rNhUObcBvNSBQcfbSpVdaEXHJQOp9ppBI6n2n8a9pVYgcVivddKlXHHmuvA6Oo9tKlXHCLnjS7SlSrrEnhcuLiLz91e9qOtKlVdiLi7YdRTSOo9te0qm5JGnEAzJA9e4pFaevvP40qVc9Dj0OjqPbS7cdaVKpRA7tx1HtpfGE9R7aVKouceh4dRXnbDqPbSpV12cIvjqK8Lw6+KVKq3ZJ4cUOopvx1MltSpVGZ3JGFaSd/ea8IR195pUq5SZwtSOvv9deuKCuZjzI+zelSquZktHinQOdUXsemd5rylVJO5KP/Z! 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Dothery, Tony Thomas, a film historian who also knew Errol Flynn, wrote The Spy Who Never Was which also refutes Higham's lies and exposed distortions and subtle word alterations that the author made to FBI documents in order to support his accusations against Flynn. Higham was known for his purple prose and wrote another book, I believe, stating that Bette Davis and Joan Crawford were lovers. Davis wanted to sue him but was advised by her lawyer that it would only add to Higham's book sales. Higham also spoke of Flynn's supposed "bi-sexuality." The irony of this is that for years Higham was a closet homosexual. There's something particularly disgusting about an author "outing" stars who are either dead and can't defend themselves or advised by a lawyer, such as Davis was, that the case could go on for years.

Arturo, I wanted to let you know how much I have enjoyed all the information that you have provided about Linda Darnell. You really know your studio systems history, and seem to have a particular love for those stars at 20th Century Fox. Linda Darnell is, sadly, remembered by only a few today. I will always associate her primarily with the film of her's that I was raised on as a kid, The Mark of Zorro. She brought not just great natural beauty to the role, but also a charm and beguiling innocence. I thought that she and Tyrone Power were a perfect fairy tale couple in that film, since the two had such wonderful chemistry. I recall one time when I was a kid seeing Linda Darnell as a panelist on a television show. Unfortunately, I can't recall the name of the show but it had three panelists trying to indentify which Hollywood celebrity stood behind a curtain. There would be five photographs of celebrities from which they could chose by asking questions. I remember two things that I thought as a kid as I viewed Darnell on this show: 1) she was still stunningly beautiful and 2) how can she appear so happy when Tyrone Power is dead? Again, I loved her and Power together in Zorro and for many years just assumed that they were lovers off screen, as well as on. 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! Darnell and Power in the dance sequence in The Mark of Zorro. Power was never more dashing than in this film, and Darnell's virginal innocence was a perfect compliment for him. Zorro was a rescuer and Darnell brought a vulnerability to her role. Who wouldn't want to rescue this beautiful lady? As a little boy I dreamed of donning a mask and cape and rescuing Linda Darnell. Yowza! What happened to that sweet innocent? This is obviously a sexy glamour shot from when Fox was transforming Darnell's screen image. It appears that they are trying to have her directly compete with those shots of Jane Russell in The Outlaw in this one. Here are a couple of off screen shots posed by Darnell: This one was a 1943 promotion for the American Red Cross. Again, Arturo, it's great to see the information that you have provided on this beautiful lady, afflicted with career frustrations and, of course, such a tragic end. I hope you are able to pull a book together on her. P.S: I did a Wikipedia search and found the name of that daytime television show on which I saw Darnell. It was an NBC show called Your First Impression, with alternating hosts Dennis James and Bill Leyden. It was on the air from January 2, 1962 to June 26, 1964. Arturo, I don't know if you know anything about when Darnell appeared on the programme. It saddens me now to think that when I watched her on this show it was one of her last professional appearances. Edited by: TomJH on Dec 16, 2012 10:45 AM

*Name a film earmarked for Ann Sheridan that Davis couldn't have gotten. Probably one requiring a sexy woman.* Shine on Harvest Moon. Can you see Bette singing turn-of-the-century songs with Dennis Morgan? The Doughgirls. Can you see Bette Davis doing brittle dialogue-driven comedy like that with an all-female cast competing with her? Silver River. Can you see Errol Flynn saying, "Sure, I'd love to have Bette as a co-star again!"

By "later work" I'm thinking of Muni's post-Warners career, which would include his performances in Hudson's Bay and, gad, A Song to Remember (also known to me as A Ham I'd Like to Forget).