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*RUTH WARRICK* THE CORSICAN BROTHERS (1941) with Douglas Fairbanks Jr. OBLIGING YOUNG LADY (1942) with Joan Carroll & Edmond O'Brien PETTICOAT LARCENY (1943) with Joan Carroll THE IRON MAJOR (1943) with Pat O'Brien & Robert Ryan GUEST IN THE HOUSE (1944) with Anne Baxter, Ralph Bellamy & Aline MacMahon MR. WINKLE GOES TO WAR (1944) with Edward G. Robinson & Ted Donaldson SECRET COMMAND (1944) with Pat O'Brien, Carole Landis & Chester Morris CHINA SKY (1945) with Randolph Scott, Ellen Drew & Anthony Quinn SONG OF THE SOUTH (1946) with Bobby Driscoll PERILOUS HOLIDAY (1946) with Pat O'Brien DRIFTWOOD (1947) with Walter Brennan, Dean Jagger & Charlotte Greenwood DAISY KENYON (1947) with Joan Crawford, Dana Andrews & Henry Fonda SWELL GUY (1947) with Sonny Tufts & Ann Blyth MAKE BELIEVE BALLROOM (1949) with Jerome Courtland & Ron Randell THE GREAT DAN PATCH (1949) with Dennis O'Keefe, Gail Russell & Charlotte Greenwood THREE HUSBANDS (1950) with Eve Arden & Billie Burke BEAUTY ON PARADE (1950) with Robert Hutton & Lola Albright LET'S DANCE (1950) with Betty Hutton, Fred Astaire & Roland Young SECOND CHANCE (1950) with John Hubbard & Hugh Beaumont ONE TOO MANY (1951) with Richard Travis ROOGIE'S BUMP (1954) with the Brooklyn Dodgers

You are tapping into a whole other area with made-for-TV remakes (and it probably requires a separate thread for discussion). Speaking of Cloris Leachman, she costarred with Fred MacMurray, Kurt Russell & Harry Morgan in a Disney version of IT'S A WONDERFUL LIFE called CHARLEY AND THE ANGEL. It was not a remake per se, but you could say it is very much inspired by the earlier picture. Leachman played MacMurray's wife, and Morgan was the angel. It was produced in 1973.

*Letters* This love note is signed with a bullet. Jeanne Eagels and Bette Davis both take turns firing one off to their intended.

*WILLIAM EYTHE* THE OX-BOW INCIDENT (1943) with Henry Fonda & Dana Andrews THE EVE OF ST. MARK (1944) with Anne Baxter & Michael O'Shea WING AND A PRAYER (1944) with Don Ameche, Dana Andrews & Charles Bickford A ROYAL SCANDAL (1945) with Tallulah Bankhead, Anne Baxter & Charles Coburn THE SONG OF BERNADETTE (1945) with Jennifer Jones & Charles Bickford WILSON (1945) with Alexander Knox & Geraldine Fitzgerald THE HOUSE ON 92ND STREET (1945) with Lloyd Nolan & Signe Hasso CENTENNIAL SUMMER (1946) with Jeanne Crain, Cornel Wilde & Linda Darnell COLONEL EFFINGHAM'S RAID (1946) with Charles Coburn & Joan Bennett MEET ME AT DAWN (1947) with Stanley Holloway & Hazel Court MR. RECKLESS (1948) with Barbara Britton SPECIAL AGENT (1949) with George Reeves CUSTOMS AGENT (1950) with Marjorie Reynolds

I think I'LL GET BY is scheduled again later this month on FMC.

*WITHOUT RESERVATIONS (1946)* From Agee on June 8, 1946: Claudette Colbert learns about life in the course of a transcontinental romp with a couple of men in uniform, John Wayne and Don DeFore. Messrs. Wayne and DeFore have kinds of hardness and conceit, in their relations with women, which are a good deal nearer the real thing than the movies usually get. Miss Colbert does another one of those tipsiness acts of hers which do more toward reducing me to Pepsi-Cola than any number of Lost Weekends ever could. The whole business is fairly smooth and spirited without attaining to any of the charm, or for that matter much of the corn, of IT HAPPENED ONE NIGHT. One thing I really enjoyed in it was the flooding of landscapes past the train windows, which were the most satisfying that I remember seeing in any American movie. Late in the film Louella Parsons appears, in person, at her microphone, also in person, with all the bewildering force of a chenille sledgehammer.

THE CORSICAN BROTHERS with Douglas Fairbanks Jr. is currently scheduled for July 9th.

There was no dedication to Ginger last year, and it was the centenary of her birth. They honored her as SOTM back in March 2010, so maybe they felt they did enough for her already...? I am never unhappy when Stanwyck dominates the schedule. She's a crowd-pleaser in every sense of the word. Even in mediocre pictures, she is excellent.

Thanks for the note. His birthday is in June, but it's always nice to see his Zanuck films on FMC. They air ELOPEMENT sometimes, too. His career is rather interesting. Lundigan was initially signed by Universal in the late 30s, and after a series of B-films and occasional parts in A-pictures (such as a Deanna Durbin vehicle), he wound up at Warners/First National where he was once again headlining B-films. He eventually worked his way up to an occasional A-picture, then he went over to MGM where he was once again in B-films. The war interrupted his motion picture career, but when he returned to Hollywood he was signed by RKO, this time doing leads in routine noir programmers. Zanuck signed him next, and he was an A-lister from this point on. After his contract with Fox came to a close in the mid-50s, he freelanced and his output slowed considerably.

*Elliott Gould & Donald Sutherland* After their earlier success with M*A*S*H, the two s*t*a*r*s find more asterisks and jokes four years later as S*P*Y*S.

*CASBAH (1948)* From Agee on June 19, 1948: The old reliable garbage of Pepe Le Moko and Algiers turned into a likably unpretentious semi-musical. Disconcertingly straight work by Tony Martin and Yvonne de Carlo.

*ANNE KIMBELL* THE GOLDEN IDOL (1954) with Johnny Sheffield MONSTER FROM THE OCEAN FLOOR (1954) with Stuart Wade GIRLS AT SEA (1962) with Guy Rolfe

There are a lot of ways to link films together. It's fun to make the connections!

It's possible she didn't notice, but how could she not notice? It's interesting that when a housekeeper is called for in her comedies, they do not even get a black actress for that...they call up Thelma Ritter and give her the job!

*Unlikely Duo: Randolph Scott & Cary Grant* HOT SATURDAY is Cary's first movie as leading man, and the other leading man in the picture is Randolph Scott. They also costarred in MY FAVORITE WIFE eight years later.

*WILLIAM LUNDIGAN* THAT'S MY STORY (1937) with Claudia Morgan THE LADY FIGHTS BACK (1937) with Kent Taylor & Irene Hervey STATE POLICE (1938) with John King & Constance Moore FRESHMAN YEAR (1938) with Constance Moore THE FORGOTTEN WOMAN (1939) with Sigrid Gurie & Eve Arden THEY ASKED FOR IT (1939) with Joy Hodges & Michael Whalen THE CASE OF THE BLACK PARROT (1941) with Maris Wrixon A SHOT IN THE DARK (1941) with Nan Wynn & Ricardo Cortez SAILORS ON LEAVE (1941) with Shirley Ross SUNDAY PUNCH (1942) with Jean Rogers & Dan Dailey APACHE TRAIL (1942) with Lloyd Nolan & Donna Reed HEADIN' FOR GOD'S COUNTRY (1943) with Virginia Dale NORTHWEST RANGERS (1943) with James Craig & Patricia Dane DISHONORED LADY (1947) with Hedy Lamarr & Dennis O'Keefe MYSTERY IN MEXICO (1948) with Jacqueline White & Ricardo Cortez THE INSIDE STORY (1948) with Marsha Hunt & Charles Winninger STATE DEPARTMENT FILE 649 (1949) with Virginia Bruce I'LL GET BY (1950) with June Haver & Gloria de Haven MOTHER DIDN'T TELL ME (1950) with Dorothy McGuire ELOPEMENT (1951) with Clifton Webb & Anne Francis LOVE NEST (1951) with June Haver, Frank Fay & Marilyn Monroe I'D CLIMB THE HIGHEST MOUNTAIN (1951) with Susan Hayward & Rory Calhoun DOWN AMONG THE SHELTERING PALMS (1953) with Jane Greer, Mitzi Gaynor, David Wayne & Gloria de Haven INFERNO (1953) with Robert Ryan & Rhonda Fleming SERPENT OF THE NILE (1953) with Rhonda Fleming & Raymond Burr THE WHITE ORCHID (1954) with Peggie Castle TERROR SHIP (1954) with Naomi Chance RIDERS TO THE STARS (1954) with Herbert Marshall, Richard Carlson & Martha Hyer THE UNDERWATER CITY (1962) with Julie Adams

*TENDER COMRADE (1944)* From Agee on May 6, 1944: TENDER COMRADE is one in the eye for widows, with plenty for mere war wives too, and nothing I can imagine for anyone else except the hardiest of misogynists, for whom it should prove the biggest treat and the most satisfying textbook in years. TENDER COMRADE gets along without dry ice and well-fed ghosts; its comfortable realism suggests an infinitely degraded and slickened LITTLE WOMEN. The highest-salaried tender comrade is Ginger Rogers, hilt-deep in her specialty as a sort of female Henry Fonda. She is a girl named Jo. In flashbacks, we are given her courtship, marriage, tiffs, etc., with her tender comrade who is now away at war. Jo is waiting out the war in a rented house with four other female comrades, of whom three are working in an aircraft plant. The fourth shows how any decent refugee can meet the servant shortage by refusing any pay for house-keeping; the others prove their Americanism by splitting their wages with her. Miss Rogers consistently addresses these companions as kids, and her baby as little guy or Chris boy. At the climax, getting news of her husband's death, she subjects this defenseless baby to a speech which lasts twenty-four hours and five minutes by my watch. It is one of the most nauseating things I have ever sat through. It is terribly pitiful, to choose the mildest word, to think how much of America the picture as a whole is likely to move, console, corroborate, and give eloquence to. When you see such a film as this you have seen the end.

That's right...he does sort of repeat the deep sea diving bit in RED WITCH. I love both those films and consider them among his best!

*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.

*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

*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 the Indians and a weak frontier (he is a fur trader). Patriot Cooper wants peace and a strong frontier (he is the stuff that the unborn U.S. is to be made of). DaSilva gets his war, and it remains for Cooper to rescue Miss Goddard from the aborigines (Boris Karloff and friends). Mixed with all the 19th century theatricalism, the 20th century talent for making movies move, and the overall impression of utter falsity, UNCONQUERED has some authentic flavor of the period.

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.

*Based on Erskine Caldwell* TOBACCO ROAD and GOD'S LITTLE ACRE make it to the screen from Caldwell's novels, both with considerable controversy.

*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) with Madeleine Carroll SUBMARINE D-1 (1937) with Pat O'Brien & Wayne Morris GOD'S COUNTRY AND THE WOMAN (1937) with Beverly Roberts MOUNTAIN JUSTICE (1937) with Josephine Hutchinson WINGS OF THE NAVY (1939) with Olivia de Havilland & John Payne ADVENTURE IN DIAMONDS (1940) with Isa Miranda & John Loder THEY DARE NOT LOVE (1941) with Martha Scott & Paul Lukas INTERNATIONAL LADY (1941) with Ilona Massey & Basil Rathbone SILVER QUEEN (1942) with Priscilla Lane & Eugene Pallette YOU CAN'T ESCAPE FOREVER (1942) with Brenda Marshall TWIN BEDS (1942) with Joan Bennett EXPERIMENT PERILOUS (1944) with Hedy Lamarr THE AFFAIRS OF SUSAN (1945) with Joan Fontaine, Dennis O'Keefe & Don DeFore TEMPTATION (1946) with Merle Oberon LOVER COME BACK (1946) with Lucille Ball & Vera Zorina CHRISTMAS EVE (1947) with Randolph Scott, George Raft, Joan Blondell & Ann Harding THE CORPSE CAME C.O.D. (1947) with Joan Blondell OUT OF THE BLUE (1947) with Virginia Mayo, Turhan Bey, Ann Dvorak & Carole Landis SLAVE GIRL (1947) with Yvonne de Carlo ANGEL ON THE AMAZON (1948) with Vera Ralston, Brian Aherne & Constance Bennett ILLEGAL ENTRY (1949) with Howard Duff & Marta Toren THE KID FROM CLEVELAND (1949) with Lynn Bari & Russ Tamblyn BRIDE FOR SALE (1949) Claudette Colbert & Robert Young RED CANYON (1949) with Ann Blyth & Howard Duff F.B.I. GIRL (1951) with Cesar Romero, Audrey Totter & Tom Drake MAN BAIT (1952) with Margeurite Chapman MEXICAN MANHUNT (1953) with Hillary Brooke & Marjorie Lord TANGIER INCIDENT (1953) with Mari Aldon

*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 unguarded leg in sight.