TopBilled

Thanks. ALL HANDS ON DECK airs sporadically on the Fox Movie Channel. I don't think I have ever caught STATE FAIR 62 on FMC. Arturo would probably know if they have ever shown it. By the way, I do like REBEL a lot, so of course I am glad that one is airing, though it gets trotted out twice this month on TCM.

>By the way, apparently there's a re-make just out of The Deep Blue Sea, a version of which Leigh made in 1955. I've never seen it ( either version) but would love it if TCM were to air it. I know, they probably already have. This is the one film of hers I am desperate to see. When TCM had her as the SOTM in the fall of 2010, they did not air it. So I am thinking it is difficult to obtain and has probably not yet premiered on the channel.

>Don't think anyone's mentioned my favorite: WARD BOND. I have a good one planned for Ward Bond. Check back later this week. Today, I am going to feature Dudley Digges...I found the perfect movie quote spoken by him...

Naturally, I have seen it before. But I really was hoping this film would be shown on TCM and it would pick up some new fans. Fingers crossed, it will return to the schedule in the future.

>Well, I'm confused for you TopBilled, as I got my trusty old Sunday newspaper tv guide and it has State Fair (1962) starring Pat Boone and Bobby Darin scheduled for 10 p.m. eastern standard time. It follows Jailhouse Rock at 8 p.m. and "precedes" Rebel w/o a Cause which starts at midnight. Sooo...you might want to recheck. I just checked the TCM site and STATE FAIR has definitely been replaced. It now reads JAILHOUSE ROCK, then ALL HANDS ON DECK (Pat Boone with Buddy Hackett), followed by REBEL. I suppose they figure we'll be happy with any old Pat Boone flick!

*THE PARADINE CASE (1948)* From Agee on February 14, 1948: Hitchcock uses a lot of skill over a lot of nothing. Some very experienced work by Laughton and Leo G. Carroll; better work by Ann Todd and Joan Tetzel, who is at moments very beautiful. Valli is something to look at, too. The picture never for an instant comes to life.

*YVONNE DE CARLO* FRONTIER GAL (1945) with Rod Cameron SALOME, WHERE SHE DANCED (1945) with Rod Cameron SONG OF SCHEHERAZADE (1947) with Brian Donlevy, Jean-Pierre Aumont & Eve Arden BRUTE FORCE (1947) with Burt Lancaster & Hume Cronyn SLAVE GIRL (1947) with George Brent & Broderick Crawford BLACK BART (1948) with Dan Duryea & Jeffrey Lynn RIVER LADY (1948) with Dan Duryea & Rod Cameron THE GAL WHO TOOK THE WEST (1949) with Charles Coburn & Scott Brady CASBAH (1948) with Tony Martin & Marta Toren CRISS CROSS (1949) with Burt Lancaster & Dan Duryea CALAMITY JANE AND SAM BASS (1949) with Howard Duff BUCCANEER'S GIRL (1950) with Philip Friend THE DESERT HAWK (1950) with Richard Greene & Rock Hudson TOMAHAWK (1951) with Van Heflin & Alex Nicol SILVER CITY (1951) with Edmond O'Brien & Barry Fitzgerald HURRICANE SMITH (1952) with John Ireland & James Craig SCARLET ANGEL (1952) with Rock Hudson THE SAN FRANCISCO STORY (1952) with Joel McCrea FORT ALGIERS (1953) with Carlos Thompson SEA DEVILS (1953) with Rock Hudson CAPTAIN'S PARADISE (1953) with Alec Guinness & Celia Johnson SOMBRERO (1953) with Ricardo Montalban & Pier Angeli BORDER RIVER (1954) with Joel McCrea PASSION (1954) with Cornel Wilde TONIGHT'S THE NIGHT (1954) with David Niven & Barry Fitzgerald SHOTGUN (1955) with Sterling Hayden & Zachary Scott MAGIC FIRE (1956) with Carlos Thompson, Rita Gam & Valentina Cortese RAW EDGE (1956) with Rory Calhoun FLAME OF THE ISLANDS (1956) with Howard Duff & Zachary Scott DEATH OF A SCOUNDREL (1956) with George Sanders BAND OF ANGELS (1957) with Clark Gable & Sidney Poitier TIMBUKTU (1959) with Victor Mature MCCLINTOCK! (1963) with John Wayne & Maureen O'Hara A GLOBAL AFFAIR (1964) with Bob Hope LAW OF THE LAWLESS (1964) Dale Robertson & William Bendix MUNSTER, GO HOME! (1966) with Fred Gwynne HOSTILE GUNS (1967) with George Montgomery, Tab Hunter & Brian Donlevy THE POWER (1968) with George Hamilton, Suzanne Pleshette & Richard Carlson ARIZONA BUSHWHACKERS (1968) with Howard Keel, John Ireland & Marilyn Maxwell NOCTURNA (1978) with John Carradine THE MUNSTER'S REVENGE (1981) with Fred Gwynne AMERICAN GOTHIC (1988) with Rod Steiger MIRROR, MIRROR (1990) with Karen Black OSCAR (1991) with Sylvester Stallone, Kirk Douglas & Don Ameche

>Eagle Lion released an Abbot And Costello Film, The Noose Hangs High. TCM showed it awhile back. Yes, I recorded that one when it aired. Eagle-Lion is probably my favorite of the minor studios. I would like to see TCM air Eagle-Lion's RUTHLESS which stars Zachary Scott, Louis Hayward, Martha Vickers, Lucille Bremer, Sydney Greenstreet, Diana Lynn & Raymond Burr. It's quite a cast and a very absorbing drama. Maltin gives it three stars, but I would give it at least 3 and a half stars. Great production values, well-budgeted and you would never know that it didn't come from a major Hollywood studio.

*Nazis in North America* Errol Flynn tracks a downed Nazi flyer through the Canadian wilderness in NORTHERN PURSUIT; while Edward G. Robinson risks his life to infiltrate Nazi sympathizers in the U.S. in CONFESSIONS OF A NAZI SPY.

I was looking at filmographies of the minor studios...so many titles we've never seen aired on TCM, probably most viewers have never heard of many of these films and who knows what condition the original prints are in...but this is a part of our Hollywood film history. Minor studios included Tiffany (which attempted more prestigious and serious subject matter); Sono Art World Wide (which took over Tiffany); Selznick International Pictures; Supreme; Victory; Spectrum; Majestic; Willis Kent (specializing in polished westerns); Progressive Pictures (controlled for a time by Willis Kent, then later went out on its own to make exploitational films); Grand National Pictures; Puritan Pictures (maker of westerns and action melodramas); Monogram (which became Allied Artists); Lippert-Screen Guild; Producers Releasing Corporation (PRC); Eagle-Lion (started by J. Arthur Rank and later took over PRC); Sol Lesser's Principal Productions; American International Pictures (AIP); Chesterfield; Avco Embassy; Lone Star Pictures (which specialized in westerns and released product through Monogram); plus Mascot and Consolidated Film which combined to form Republic. Then, there's United Artists, which is its own story.

*MAXIE ROSENBLOOM* HIS EXCITING NIGHT (1938) with Charlie Ruggles EACH DAWN I DIE (1939) with James Cagney & George Raft THE STORK PAYS OFF (1941) with Victor Jory & Rochelle Hudson HARVARD, HERE I COME (1941) with Arline Judge & Marie Wilson THE BOOGIE MAN WILL GET YOU (1942) with Boris Karloff & Peter Lorre HERE COMES KELLY (1943) with Eddie Quillan & Joan Woodbury THREE OF A KIND (1944) with Billy Gilbert & Shemp Howard CRAZY KNIGHTS (1944) with Billy Gilbert & Shemp Howard TROUBLE CHASERS (1945) with Billy Gilbert & Shemp Howard NIGHT CLUB GIRL (1945) with Vivian Austin & Edward Norris HOLLYWOOD OR BUST (1956) with Dean Martin & Jerry Lewis

*RELENTLESS (1948)* From Agee on April 24, 1948: The careful, pretty production and the decent work of Robert Young and Marguerite Chapman are better than this western story deserves.

*Kathleen Turner & Michael Douglas* First, they are ROMANCING THE STONE; then, they are embroiled in a nasty little WAR OF THE ROSES.

*Dame Judith Anderson* To Joan Fontaine in REBECCA: I watched you go down, just as I watched her a year ago. Even in the same dress, you couldn't compare.

*Louis Calhern* To Richard Anderson in THE MAGNIFICENT YANKEE: It's a free country. Everybody's entitled to his opinion-- even the President of the United States.

*THE HAIRY APE (1944)* From Agee on June 17, 1944: Seeing the screen version of THE HAIRY APE I wonder whether it was really such a very good play in the first place. In any case it is hardly worth seeing as it stands here. The obsessed stoker is sincerely played by William Bendix, but Bendix is not the sort of man to inspire the sort of fear or the sort of pity that is needed. The character, robbed of all biological-political meaning, and of the best of his talk and glossed over with sub-comedy, could inspire neither emotion even if Bendix could. Susan Hayward, as the loathsome girl who makes him trouble, is more interesting. She is of the wrong social wave length to carry this particular role; but there are roles, not yet invented so far as I know, in which she could do a paralyzingly good job on one important kind of vicious American woman. Who would be left in the audience is harder to imagine.

*OLIVIA NEWTON-JOHN* TOOMORROW (1970) with Ray Dotrice GREASE (1978) with John Travolta & Stockard Channing XANADU (1980) with Gene Kelly TWO OF A KIND (1983) with John Travolta & Oliver Reed

I'm delighted that Hazel is airing on Antenna TV. I would love to see December Bride in syndication.

What do you find corny about MOULIN ROUGE? Have you seen the two prior versions?

I don't consider Capra films corny, either...sentimental, yes...but not corny.

Mark, I think I was going by what calvin had originally posted. I usually copy the schedule into a calendar...and sometimes I forget to see if there have been changes during the intervening three months. Hopefully, the TCM programmers will not give up on this title and we will see the Ann-Margret version later this year on TCM.

*Bing Crosby Has Rhythm* First, he has RHYTHM ON THE RANGE with Frances Farmer, then he has RHYTHM ON THE RIVER with Mary Martin.

I was reading a book of film reviews recently, and the phrase 'generously buttered corn' was used. I love it! Sometimes Frank Capra's detractors refer to his movies as 'Capra-corn.' I don't know if I have ever seen a motion picture that I felt was so corny it wasn't worth watching. Have you?

The schedule is always subject to change, and it certainly did this time. I had written down that the 1962 version of STATE FAIR was to have aired on June 7th. However, it has been replaced by REBEL WITHOUT A CAUSE, which airs again on June 23.

Spring Byington had some of the best lines in film. The interesting thing is that I think she was portraying women who really did talk and think that way, as exaggerated as it may have been. Someone else mentioned character actors becoming celebrities on television, and Spring certainly accomplished that on the long-running sitcom December Bride.