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*BARBARA STANWYCK* THE MIRACLE WOMAN (1931) with David Manners A LOST LADY (1934) with Ricardo Cortez RED SALUTE (1935) with Robert Young BANJO ON MY KNEE (1936) with Joel McCrea THE PLOUGH AND THE STARS (1936) with Preston Foster A MESSAGE TO GARCIA (1936) with Wallace Beery & John Boles THIS IS MY AFFAIR (1937) with Robert Taylor ALWAYS GOODBYE (1938) with Herbert Marshall FLESH AND FANTASY (1943) with Charles Boyer THE BRIDE WORE BOOTS (1946) with Robert Cummings THE OTHER LOVE (1947) with David Niven SORRY, WRONG NUMBER (1948) with Burt Lancaster & Wendell Corey NO MAN OF HER OWN (1950) with John Lund THE FURIES (1950) with Wendell Corey & Walter Huston TITANIC (1953) with Clifton Webb & Robert Wagner ALL I DESIRE (1953) with Richard Carlson BLOWING WILD (1953) with Gary Cooper CATTLE QUEEN OF MONTANA (1954) with Ronald Reagan THE MAVERICK QUEEN (1956) with Barry Sullivan THERE'S ALWAYS TOMORROW (1956) with Fred MacMurray & Joan Bennett FORTY GUNS (1957) with Barry Sullivan THE NIGHT WALKER (1964) with Robert Taylor THE HOUSE THAT WOULD NOT DIE (1970) with Richard Egan A TASTE OF EVIL (1971) with Roddy McDowall THE LETTERS (1973) with John Forsythe & Jane Powell

*TORMENT (1944)* From Agee on August 30, 1947: The first half is a fine, ardent movie about a schoolboy, a deranged teacher and a terrified working girl. Thereafter it fritters out into pretty good horror melodrama and pale conclusions.

*Early Marilyn Monroe* She plays a waitress in Fox's DANGEROUS YEARS and is an uncredited square dancer in the studio's GREEN GRASS OF WYOMING.

TCM aired DON'T TELL THE WIFE today. This is a great RKO film with a ton of character actors: Guy Kibbee, Una Merkel, William Demarest, Guinn Williams & Lynne Overman. Wonderful entertainment!

*Could There Ever Be a Remake?* The unthinkable occurred when Universal allowed a remake of PSYCHO. What if someone wanted to remake CITIZEN KANE...?

*BOOMERANG! (1947)* From Agee on March 22, 1947: Directed by Elia Kazan, this is the story of a real-life murder and the resultant police and political work. It was made in Stamford and White Plains. Notable for Dana Andrews' best performance to date, it has a large cast mainly of Broadway actors, inspired perhaps by their surroundings. The script and photography are exactly what they should be. The film never tries to get beyond the very best that journalistic artists can do, but on that level it is a triumph, a perfect job. I very much hope it is a springboard for many more films of its kind.

*FLAME AS RUSTY* FOR THE LOVE OF RUSTY (1947) with Ted Donaldson & Ann Doran MY DOG RUSTY (1948) with Ted Donaldson & Ann Doran RUSTY LEADS THE WAY (1948) with Ted Donaldson & Ann Doran RUSTY SAVES A LIFE (1949) with Ted Donaldson & Ann Doran RUSTY'S BIRTHDAY (1949) with Ted Donaldson & Ann Doran

I guess what I meant, instead of listing them, was which one are viewers' personal favorites and why.

The list does seem endless. I like your inclusion of Eve Arden. Some character actors were leading men and women during the silent era, and their careers evolved considerably with the advent of talkies. I was watching TCM's recent broadcast of THE FALCON TAKES OVER, and it has Anne Revere in an early film role. She's excellent as always. She is definitely not intended to be George Sanders' love interest. It's strictly a character role for her.

Who are the best character actors?

*Meg Ryan & Tom Hanks* It started with JOE VS. THE VOLCANO...then, it was SLEEPLESS IN SEATTLE.

*THE VERY THOUGHT OF YOU (1944)* From Agee on December 9, 1944: THE VERY THOUGHT OF YOU is a story about the wives of absent soldiers. It entangles sincerity and even some insight. There are some pretty good family quarrels and some straight acting. But there is so much wincing embarrassment of over-stylized talk and of rubbing the audience's nose in emotions that it is hardly at all worth seeing.

*INGRID BERGMAN* THE BELLS OF ST. MARY'S (1945) with Bing Crosby ARCH OF TRIUMPH (1948) with Charles Boyer & Charles Laughton JOURNEY TO ITALY (1955) with George Sanders ANASTASIA (1956) with Yul Brynner & Helen Hayes ELENA AND HER MEN (1956) with Mel Ferrer INDISCREET (1958) with Cary Grant THE VISIT (1964) with Anthony Quinn CACTUS FLOWER (1969) with Walter Matthau & Goldie Hawn A WALK IN THE SPRING RAIN (1970) with Anthony Quinn FROM THE MIXED-UP FILES OF MRS. BASIL E. FRANKWEILER (1973) with Sally Prager & Richard Mulligan A MATTER OF TIME (1976) with Liza Minnelli & Charles Boyer

Wasn't Glenn Ford the SOTM the second month back in 1994? If so, then that would suggest TCM had a deal with Sony/Columbia right from the beginning.

>Sometimes I just want to watch something "fun" from the 30's or 40's. That's what I was thinking, too. DING DONG WILLIAMS recently aired and that's a fun RKO film from the mid-40s. Compared to SCHINDLER'S LIST, it hardly seems important. But it's fun. And can we say that SCHINDLER'S LIST is not worth airing on TCM because it was not made during the studio era? These are two different types of animals. On TCM, we get to see a variety of films.

*WORLD OF PLENTY (1943)* From Agee on July 24, 1943: There is still doubt, and should be none, about the American release of English documentaries. WORLD OF PLENTY deserves better than that rubber truncheon of a categorizer. It is about past, present and future food. It was energetically and well written by the late Eric Knight and surprisingly (to me) well edited by Paul Rotha. It has some adroit pedagogical help from the Isotype Institute and a general boldness in ideology which I would like to see cutting grease in as many American theaters as possible.

*Out West with Elvis Presley* He's a FLAMING STAR named CHARRO!

*TOMMY & JIMMY DORSEY* I DOOD IT (1943) with Red Skelton THE FABULOUS DORSEYS (1947) with Janet Blair & William Lundigan A SONG IS BORN (1948) with Danny Kaye & Virginia Mayo MAKE BELIEVE BALLROOM (1949) with Jerome Courtland & Ruth Warrick DISC JOCKEY (1951) with Ginny Simms & Tom Drake

I think keeping this thread alive is the best way. You are making your interest in her films known to the TCM programmers. They look at posts on these boards. This is an easy request because they can access many of her films, except the Paramount titles which requires them to go through Universal. Keep in mind that they probably have the line-up for this summer already determined but it is not too early to start making a case for next year's SUTS. And certainly, they could do a primetime salute to her any night of the year.

*MUSIC FOR MILLIONS (1944)* From Agee on January 6, 1945: MUSIC FOR MILLIONS uses Margaret O'Brien and Jimmy Durante and June Allyson and Jose Iturbi and a symphony orchestra and God only knows how many dollars as to get close to the least good possible out of any of them.

*Good Charlotte* The murder of a beloved is the theme in both pictures, though HUSH...HUSH, SWEET CHARLOTTE is a far cry from CHARLOTTE'S WEB.

*ELEANOR PARKER* THE LAST RIDE (1944) with Richard Travis & Charles Lang THREE SECRETS (1950) with Patricia Neal & Ruth Roman DETECTIVE STORY (1951) with Kirk Douglas & William Bendix THE NAKED JUNGLE (1954) with Charlton Heston THE SEVENTH SIN (1957) with Bill Travers & George Sanders RETURN TO PEYTON PLACE (1961) with Carol Lynley & Jeff Chandler MADISON AVENUE (1962) with Dana Andrews & Jeanne Crain EYE OF THE CAT (1969) with Michael Sarrazin

*Presented by Jack Webb* Webb's company, Mark IV Productions, helps bring PETE KELLY'S BLUES to the screen and -30-.

*WILD HARVEST (1947)* From Agee on October 6, 1947: Two high-skilled bums carom around the odd corners of the world, working at the same jobs, tomcatting after the same girls, fighting each other, and unable to do without each other. The heroes are migratory workers, involved in the robust job of wheat harvesting with combines. The harvesting job gives the audience something novel and vigorous to look at, and it also gives the players something better to do than talk and make faces at each other. But there is still too much talking and face making. Alan Ladd, boss of the gang, can take women or leave them alone, and believes in leaving them alone when there is work to do. Robert Preston, the gang's mechanic, can't leave them alone. He causes so much trouble chasing girls and bootlegging wheat for chasing funds that he would be fired if he weren't indispensable to mechanized harvesting. The worst of the trouble revolves around Dorothy Lamour who is marooned on a farm but can only think of one good use for hay. She points this good use out to Ladd, who spurns her advances. So she marries Preston in order to keep in touch with her quarry. Finally Ladd and Preston slug it out in a bar and find that they mean much more to each other than the disconcerted Lamour does.

*LEE J. COBB* TONIGHT WE RAID CALAIS (1943) with Annabella & John Sutton BUCKSKIN FRONTIER (1943) with Richard Dix & Jane Wyatt THE MOON IS DOWN (1943) with Cedric Hardwicke & Henry Travers JOHNNY O'CLOCK (1947) with Dick Powell & Evelyn Keyes THE DARK PAST (1949) with William Holden & Nina Foch THE MAN WHO CHEATED HIMSELF (1951) with Jane Wyatt THE FAMILY SECRET (1951) with John Derek SIROCCO (1951) with Humphrey Bogart & Marta Toren THE FIGHTER (1952) with Richard Conte THE TALL TEXAN (1953) with Lloyd Bridges GORILLA AT LARGE (1954) with Cameron Mitchell & Anne Bancroft YANKEE PASHA (1954) with Jeff Chandler, Rhonda Fleming & Mamie Van Doren THE ROAD TO DENVER (1955) with John Payne & Mona Freeman MIAMI EXPOSE (1956) with Patricia Medina & Edward Arnold THE GARMENT JUNGLE (1957) with Kerwin Mathews THE BROTHERS KARAMAZOV (1958) with Yul Brynner, Maria Schell & Claire Bloom THE TRAP (1959) with Richard Widmark & Tina Louise BUT NOT FOR ME (1959) with Clark Gable, Carroll Baker & Lilli Palmer