TopBilled
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Posts posted by TopBilled
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*UP IN ARMS (1944)*
From Agee on March 11, 1944:
UP IN ARMS, which puts Danny Kaye through a Sam Goldwyn war, ought logically to leave me just as cold, but I enjoyed it. The war is nothing like that fought on land, sea or even in THE NORTH STAR. The Goldwyn Girls look like real live women instead of the customary sculptures. There are some pleasant, silly gags. All that aside, Danny Kaye is the whole show, and everything depends on whether or not you like him. I do.
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*IRENE DUNNE*
LEATHERNECKING (1930) with Ken Murray
THE GREAT LOVER (1931) with Adolphe Menjou
BACHELOR APARTMENT (1931) with Lowell Sherman
BACK STREET (1932) with John Boles
THE SECRET OF MADAME BLANCHE (1933) with Lionel Atwill
THE SILVER CORD (1933) with Joel McCrea
HIGH, WIDE AND HANDSOME (1937) with Randolph Scott & Dorothy Lamour
WHEN TOMORROW COMES (1939) with Charles Boyer
INVITATION TO HAPPINESS (1939) with Fred MacMurray
UNFINISHED BUSINESS (1941) with Robert Montgomery & Preston Foster
LADY IN A JAM (1942) with Patric Knowles & Ralph Bellamy
THE MUDLARK (1950) with Alec Guinness & Andrew Ray
IT GROWS ON TREES (1952) with Dean Jagger, Joan Evans & Richard Crenna
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DESTRY RIDES AGAIN and DESTRY (with Audie Murphy) both air on the Encore Westerns channel.
I would like to see BLONDE VENUS on TCM, though it is on DVD and available thru Netflix.
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Via Facebook:
Happy, Happy Birthday to us! TCM turns 18 today and we've never looked better! Thank you to all of our loyal fans!
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THANKS. That helps considerably! Looks like a good month on TCM. Now, I am curious as to which performers will be honored in August for Summer Under the Stars...
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DISHONORED was released on DVD in February as part of the TCM Vault series. So at least it is commercially available though it would be nice to see it aired again on cable.
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Calvin, I don't know what the theme is for the 24th. I'm stumped! Here are some July birthdays, though:
_JULY_
1 Leslie Caron, Olivia DeHavilland, Charles Laughton, Madge Evans, Farley Granger
2
3 George Sanders
4 Eva Marie Saint, Gloria Stuart, Gina Lollobrigida, Gertrude Lawrence
5
6 Nancy Reagan, Janet Leigh, Cathy O'Donnell
7 Vittorio DeSica
8 Eugene Pallette
9
10
11 Yul Brynner, Tab Hunter, Thomas Mitchell
12 Jean Hersholt, Milton Berle, Vera Ralston
13
14 Annabella, Polly Bergen
15 Marjorie Rambeau
16 Barbara Stanwyck, Percy Kilbride, Ginger Rogers, Sonny Tufts
17 James Cagney, Diahann Carroll
18 Red Skelton, Hume Cronyn, Lupe Velez, Richard Dix
19
20 Natalie Wood, K.T. Stevens
21 C. Aubrey Smith, Don Knotts
22
23 Gloria DeHaven, Michael Wilding
24
25 Walter Brennan, Lila Lee
26 Grace Allen, Charles Butterworth
27 Donald Crisp, Keenan Wynn
28 Rudy Vallee, Laird Cregar, Joe E. Brown
29 William Powell, Theda Bara, Clara Bow, Richard Egan, Maria Ouspenskaya
30
31
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*WILSON (1944)*
From Agee on August 19, 1944:
WILSON is by no means the first film in which one might watch Hollywood hopping around on one foot, trying to put on long pants. Nor are the immense responsibilities and potentialities of moving pictures so nearly Mr. Darryl Zanuck's personal discovery, patent applied for, as he feels them to be. Mr. Zanuck may be better than excused for regarding his new film as an important one, a test case. Very likely it is, not only for him but for Hollywood in general, for a long time to come.
If WILSON fails, Darryl Zanuck has promised never again to make a picture without Betty Grable. If WILSON fails, worse things than that may happen. It seems very possible that even any attempt at making serious or idea films of this sort might be postponed in this country for years to come.
If WILSON succeeds, on the other hand, it is likely that we will get a lot of other pictures like it, not only because a new box-office formula will have been established but also because, I feel sure, Hollywood is as full as any other place of men of fairly good will who would gladly devote some of it to the public weal so long as no risk is involved.
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*RANDOLPH SCOTT*
WOMEN MEN MARRY (1931) with Sally Blane
THUNDERING HERD (1933) with Judith Allen & Buster Crabbe
MAN OF THE FOREST (1933) with Verna Hillie
HELLO, EVERYBODY! (1933) with Sally Blane, Kate Smith & Charley Grapewin
COCKTAIL HOUR (1933) with Bebe Daniels
AND SUDDEN DEATH (1936) with Frances Drake & Tom Brown
HIGH, WIDE AND HANDSOME (1937) with Irene Dunne & Dorothy Lamour
THE ROAD TO RENO (1938) with Glenda Farrell & Helen Broderick
20,000 MEN A YEAR (1939) with Preston Foster & Margaret Lindsay
COAST GUARD (1939) with Frances Dee & Ralph Bellamy
PARIS CALLING (1941) with Elisabeth Bergner, Basil Rathbone & Gale Sondergaard
CORVETTE K-225 (1943) with Ella Raines & Barry Fitzgerald
HOME, SWEET HOMICIDE (1946) with Peggy Ann Garner, Lynn Bari & Dean Stockwell
GUNFIGHTERS (1947) with Barbara Britton, Bruce Cabot & Charley Grapewin
CHRISTMAS EVE (1947) with George Brent, George Raft & Joan Blondell
THE WALKING HILLS (1949) with Ella Raines
THE DOOLINS OF OKLAHOMA (1949) with George Macready & John Ireland
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*Films Adapted for Stage*
The smash hit 42ND STREET makes it to Broadway almost fifty years later, and 9 TO 5 takes about thirty years before it becomes a stage musical.
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>I was tickled to see Lemmon chase down and tackle a pre-Rocky Sylvester Stallone!
Yes, Stallone before he was Stallone.
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*THE ROOSEVELT STORY (1947)*
From Agee on September 13, 1947:
This film is interesting to see, chiefly because it includes a good many revealing portraits of the lat President, and because in most other respects it is so archetypically awful. It claims to be nonpolitical, which is as absurd as if one put out a biography of Babe Ruth, taking care to avoid the hot subject of baseball.
You can't help realizing as you watch it, still more as you listen to it, that a terrifying number of Americans, most of them in all innocence of the fact, are much more ripe for benevolent dictatorship, and every dictatorship is seen as benevolent by those who support it, than for the most elementary realization of the meanings, hopes and liabilities of democracy.
It is doubtless an exceedingly well-meant film, but that doesn't exactly reduce its power to sadden and to disturb. It includes a good many shots of the dead-march in Washington. These are some of the most beautiful shots ever put on film. They were very well ordered in the newsreels just after Roosevelt's death. Here they are so used as blinders, and as springboards for flashbacks, that most of their possible power is thrown away. But even in this mangled state some of the single shots are enough to stop the breath.
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*Written by Rosalind Russell*
Roz authored the script for Esther Williams' THE UNGUARDED MOMENT, and she also wrote the adaptation for MRS. POLLIFAX.
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*FLIPPER*
FLIPPER (1963) with Chuck Connors & Luke Halpin
FLIPPER'S NEW ADVENTURE (1964) with Luke Halpin & Pamela Franklin
FLIPPER (1996) with Paul Hogan, Elijah Wood & Luke Halpin
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I just watched PRISONER OF SECOND AVENUE recently. Good flick. I like the pairing of Lemmon with Bancroft.
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*SCOTTY BECKETT AS CORKY WALLET*
GASOLINE ALLEY (1951) with Jimmy Lydon
CORKY OF GASOLINE ALLEY (1951) with Jimmy Lydon
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*Mames*
Roz & Lucy, let the comparisons begin...
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*THREE STRANGERS (1946)*
From Agee on March 23, 1946:
A director I had never expected to praise is Jean Negalescu, who has always made me think of Michael Curtiz on toast. Mr. Curtiz, in turn, has always seemed like Franz Murnau under onions. I may be wrong in praising Negalescu now, since THREE STRANGERS is smartly written by John Huston and Howard Koch and is still more smartly played by Geraldine Fitzgerald, Peter Lorre, Sydney Greenstreet, Rosalind Ivan, and Joan Loring. But this rather silly story of three blemished people buzzing around a sweepstakes ticket is told with such exactly fancy terseness, even in casual street scenes, that I think nobody should be left out. It is one of few recent movies you don't feel rather ashamed about, next morning.
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Thanks krieger. The poster who started this thread makes such volatile statements that I would imagine it turns off people who might have considered buying his book. Why patronize an author who behaves that way?
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From the glass is half full department:
Releasing some of Kay's films, even in this format with no extras, will bring new people to his fan base. That is what we should keep in mind. Anything else is sour grapes.
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*JULIETTE COMPTON*
WOMEN LOVE ONCE (1931) with Paul Lukas & Eleanor Boardman
THE MAN CALLED BACK (1932) with Conrad Nagel & Doris Kenyon
PEG O' MY HEART (1933) with Marion Davies & Onslow Stevens
THE MASQUERADER (1933) with Ronald Colman & Elissa Landi
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Thanks, Arturo.
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*BLAZE OF NOON (1947)*
From Agee on March 22, 1947:
BLAZE OF NOON is a story about four flying brothers and the anxious girl one of them marries. So long as it sticks to stunt flying and mild comedy it is pleasant enough. But the last half, during which the obsessed brothers come one by one to grief and the little woman waits it out, gets pretty monotonous.
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I like Agee's comments about TARTU very much. His writing indicates that the phrase 'film classic' is not a new thing. There already were classics back in the mid-40s. We need to realize that.
Classic Daily Double
in General Discussions
Posted
*Out West with Clark Gable*
THE KING AND FOUR QUEENS have traveled ACROSS THE WIDE MISSOURI.