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TopBilled

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Everything posted by TopBilled

  1. *Gloria Grahame Takes a Ride* In RIDE OUT FOR REVENGE with Rory Calhoun, she would do anything to get a man (even start a massacre); then she's back for more with Chuck Connors in RIDE BEYOND VENGEANCE.
  2. *CATHERINE DENEUVE* REPULSION (1965) with Ian Hendry & Patrick Wymark THE YOUNG GIRLS OF ROCHEFORT (1968) with George Chakiris, Gene Kelly & Danielle Darrieux MAYERLING (1969) with Omark Sharif, James Mason & Ava Gardner THE APRIL FOOLS (1969) with Jack Lemmon, Peter Lawford, Myrna Loy & Charles Boyer
  3. *UNCONQUERED (1947)* From Agee on October 27, 1947: UNCONQUERED is Cecil DeMille's florid, Technicolored celebration of Gary Cooper's virility, Paulette Goddard's femininity and the American frontier spirit. It is, to be sure, a huge high-colored chunk of hokum. The story is set in the early 1760s. Miss Goddard, an English girl, is unjustly accused of crime and is sentenced to 14 years of slavery in North America. The highest bid comes from Captain Cooper of the militia. A scoundrel, Howard DaSilva, tricks Cooper out of his new property. Scoundrel DaSilva wants war with
  4. Sorry I omitted that one. As tcmsnumberonefan indicated, IT'S LOVE I'M AFTER does air on July 10th. In fact, all three of his films with Bette Davis are scheduled that evening. As for Spike Lee, I was surprised at how tame and classic his choices were. Not at all what I would expect from him.
  5. *Based on Erskine Caldwell* TOBACCO ROAD and GOD'S LITTLE ACRE make it to the screen from Caldwell's novels, both with considerable controversy.
  6. *GEORGE BRENT* FAIR WARNING (1931) with George O'Brien & Louise Huntington THE HOMICIDE SQUAD (1931) with Leo Carrillo & Mary Brian THEY CALL IT SIN (1932) with Loretta Young, Una Merkel & David Manners MISS PINKERTON (1932) with Joan Blondell & Ruth Hall THE CRASH (1932) with Ruth Chatterton LUXURY LINER (1933) with Zita Johann & Alice White LILLY TURNER (1933) with Ruth Chatterton SPECIAL AGENT (1935) with Bette Davis & Ricardo Cortez SNOWED UNDER (1936) with Genevieve Tobin & Glenda Farrell THE CASE AGAINST MRS. AMES (1936)
  7. *THE EMPEROR WALTZ (1948)* From Agee on July 24, 1948: Bing Crosby, a Yankee drummer, loves Joan Fontaine, a Viennese countess. Crosby's dog, a fox terrier, loves Fontaine's dog, a poodle. The Emperor Franz Josef himself at length declares that Americans are not merely just as good as Austrocrats but better. That goes for their dogs too. At its best this semi-musical is amusing and well shaped, because Charles Brackett and Billy Wilder have learned a fair amount from the comedies of Ernst Lubitsch. In general it is reasonably good fun. At its worst it yaps and embraces every u
  8. I agree that Monroe and Fox did patch things up right before she died, but I think finishing the picture would've been an uphill battle for her. Obviously, they would have to replace Cukor, since she and Cukor were professionally at odds, and then they would have to find a director who could get new footage out of her that matched the stuff Cukor already shot. She would have a lot to prove on set to repair her already damaged reputation. I am sure that she would've prevailed and the picture would've eventually been completed, but it may have become another CLEOPATRA with budget over-ru
  9. Hudson only made one film with Day in the 50s. PILLOW TALK was released at the very end of the decade, in October 1959. The other two comedies they made with Tony Randall were released in the 60s. He did a few comedies with Gina Lollobrigida in the 60s, and there was one with Paula Prentiss that was directed by Howard Hawks. In the 50s, Hudson was used more by Universal in action flicks, westerns and melodramas directed by Douglas Sirk. As for Day, her 50s output was largely a continuation of her earlier film work in the late 40s at Warners. After she left Warners and signed with Univ
  10. Thank you. They are also focusing on musical biographies in July. The Rusty series continues each Saturday morning with the last installment, RUSTY'S BIRTHDAY, airing at the end of the month. Since one of the JUNGLE JIM entries pops up at the beginning of the month, I am wondering if that will be the next series in September. They have obviously leased JUNGLE JIM from Sony, so my guess is we'll see more. Meanwhile, a batch of FALCON flicks with George Sanders airs on the 3rd, following a few of his SAINT titles. Of interest to fans of classic Paramount films is the fact that E
  11. Here's the line-up: _July 3_ STAND-IN...with Joan Blondell & Humphrey Bogart GONE WITH THE WIND...with Vivien Leigh, Clark Gable & Olivia de Havilland FIRST OF THE FEW...with David Niven THE LAMP STILL BURNS...with Stewart Granger...Howard only served as producer of this one. GENTLE SEX...with Joan Greenwood...This British production is a film that he directed and did not appear in as an actor. He does serve as the uncredited narrator, however. _July 10_ FIVE AND TEN...with Marion Davies NEVER THE TWAIN SHALL MEET...with Conchita Montenegro OF HUMAN BONDAGE...with Bett
  12. I thought about that, too. But POPI was also pulled off the schedule. That is a United Artists picture already in the Turner library, and it has had a DVD release.
  13. Interesting comment. Some of them I edit, if there are references to obscure foreign films he is comparing a well-known film to...but many times, he does a series of films he has seen during a week and yes, they are very brief. Occasionally, he will just write a single sentence about a film, promising to review it more fully in a later commentary (he may or may not fulfill that promise).
  14. It is interesting that he describes the supporting cast as minor players. Of course, some of them would have long successful careers, people like Lauren Bacall and Dorothy Malone.
  15. *George C. Scott as George S. Patton* He reprises his role as PATTON, the decorated general in a made-for-TV sequel called THE LAST DAYS OF PATTON which fills in the missing gaps of the earlier film.
  16. *ROSSANA RORY* THE RIVER CHANGES (1956) with Harald Maresch THE BIG BOODLE (1957) with Errol Flynn THE ANGEL WORE RED (1960) with Ava Gardner, Dirk Bogarde & Joseph Cotten COME SEPTEMBER (196) with Rock Hudson & Gina Lollobrigida
  17. *THE BIG SLEEP (1946)* From Agee on August 31, 1946: THE BIG SLEEP is a violent, smoky cocktail shaken together from most of the printable misdemeanors and some that aren't. It's one of those Raymond Chandler Specials which puts you, along with the cast, into a state of semi-amnesia through which tough action and reaction drum with something of the nonsensical solace of hard rain on a tin roof. Humphrey Bogart and several proficient minor players keep anchoring it some sufficient kind of reality.
  18. Yes, THE CLOCK is one of those MGM stories that you have to just accept and go along with for the ride. I find it interesting that Judy is so luminous in this picture, considering that it is not shot in Technicolor. I am always just utterly captivated watching her and Robert Walker in it.
  19. Fred, It is definitely interesting to read what you have referenced. However, keep in mind that Adrian Scott was not only a producer, but he was a screenwriter. So if they had to find another writer to tone down the Communist overtures, then it may have been that he was trying to remove some of Scott's earlier material.
  20. Yes, it could work that way. You would have to come up with a title or description that links those two performances of his.
  21. Thanks for the link to the article. I particularly like ALVAREZ KELLY...and I would suggest that TCM show THE MOUNTAIN, a Paramount picture he did with Spencer Tracy, Robert Wagner and Claire Trevor. In a way, he was like Robert Wise in that he worked successfully across a variety of genres with top name stars and big budgets. His collaborator during those fruitful days at RKO was producer-writer Adrian Scott. Scott was also blacklisted and part of the Hollywood Ten. When Dmytryk recanted, he named Scott as a subversive whose goal was to put Communist ideas into films. Together th
  22. *SONG OF LOVE (1947)* From Agee on November 8, 1947: The film takes the liberty of showing Johannes Brahms declare his love for Clara Schumann. Liberties are also taken with the music. Even so short a piece as Brahms's G-Minor Rhapsody is haggled to bits. I don't like these kinds of license even when they are excusable, or unavoidable. But very much to my surprise I did rather like SONG OF LOVE. All such inaccuracies and mutilations, and some clumsy casting, and some wrongly styled acting, were in my feeling more than counterbalanced by the real tenderness and quiet in which the p
  23. I happen to think Garland's best work is in THE CLOCK, which I love very much. She is also effective in A CHILD IS WAITING. She proved herself as a capable dramatic actress more than once.
  24. *STUART WADE* MONSTER FROM THE OCEAN FLOOR (1954) with Anne Kimbell TEENAGE MONSTER (1958) with Anne Gwynne
  25. *Non-Witch Margaret Hamilton* I had to search under 'Margaret Hamilton beautiful' in order to find this picture! She plays a very kind landlady in RKO's CHATTERBOX and does a wonderful job as a stern but caring schoolmarm in Republic's THE RED PONY.
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