TopBilled
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Posts posted by TopBilled
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*JEFF CHANDLER*
IRON MAN (1951) with Evelyn Keyes & Stephen McNally
BIRD OF PARADISE (1951) with Debra Paget & Louis Jourdan
SMUGGLER'S ISLAND (1951) with Evelyn Keyes
EAST OF SUMATRA (1953) with Marilyn Maxwell, Anthony Quinn & Suzann Ball
YANKEE PASHA (1954) with Rhonda Fleming, Mamie Van Doren & Lee J. Cobb
SIGN OF THE PAGAN (1954) with Jack Palance & Rita Gam
THE TOY TIGER (1956) with Laraine Day & Richard Haydn
THE LADY TAKES A FLYER (1958) with Lana Turner & Richard Denning
RAW WIND IN EDEN (1958) with Esther Williams & Rossana Podesta
A STRANGER IN MY ARMS (1959) with June Allyson, Sandra Dee & Charles Coburn
A STORY OF DAVID (1960) with Donald Pleasence
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>When it came out THE CHAPMAN REPORT was certainly considered a "hot" film.
I believe it. It would certainly be interesting to see a director's cut of this film, or at least a shooting script to get a better idea of what Cukor and Zanuck intended.
Zanuck's goal was to create a film where people more openly and frankly discussed sex. I don't think America was quite ready to do that yet in 1962, and with the Legion of Decency hovering over the scene, things were rather impossible for Zanuck and Cukor.
I do think there are some excellent performances in this film, namely Glynis Johns and Claire Bloom who prove that British actresses often surpass their North American counterparts.
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Another film where paper money (albeit counterfeit bills) plays a major role in the story is MR. 880 with Burt Lancaster and Edmund Gwenn.
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Although we had a slate of Ruth Roman films last month, the actress is back in the spotlight today on TCM due to her birthday.
LIGHTNING STRIKES TWICE is repeated for those who did not see it in November. Plus, one of her westerns, DALLAS, costarring Gary Cooper gets trotted out.
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The poster is nothing compared to some of the publicity shots taken from actual scenes.
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Reflecting on this film. I think about this one a lot. It's truly one of my favorites.
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I watched THE CHAPMAN REPORT earlier. It was the first time I had seen it. It is rarely screened and in dire need of a restoration. While looking up reviews on the IMDB, I found one comment that called the film 'an entertaining old chestnut.' I love that phrase!
Apparently, director George Cukor was unhappy with the finished product. The studio (Warner Brothers) caved to pressure from the Legion of Decency and altered the ending in order to provide a morally-correct resolution for the main characters (and audience).
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*THE AFFAIRS OF SUSAN (1945)*
From Agee on March 31, 1945:
I would like to be able to make THE AFFAIRS OF SUSAN sound half as bad as it is, but I know when I'm licked. In this interminable film, Joan Fontaine is photographed as Joan of Arc.
Miss Fontaine appears as a lake-shore innocent. She wears trousers and a thinly knit jersey, and a series of gowns and negligees which are still more earnestly calculated to refute the idea, that if the Hays office permitted, she would be ashamed to make a clean breast of her development. Her wardrobe also consists of horn-rims, tight hair, ties and even sharper tailoring. This sort of thing makes me all the angrier because Miss Fontaine has proved that she is an actress worth building a good picture around.
About Dennis O'Keefe's characterization, I feel less kind. He achieves it purely by letting his hair get rather long behind the ears. And as much as I loathe haircuts, I have been trying ever since I saw the picture to brace myself to enter a barber shop.
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*JOAN DIXON*
BUNCO SQUAD (1950) with Robert Sterling & Ricardo Cortez
EXPERIMENT ALCATRAZ (1950) with John Howard
LAW OF THE BADLANDS (1950) with Tim Holt
ROADBLOCK (1951) with Charles McGraw
HOT LEAD (1951) with Tim Holt
GUNPLAY (1951) with Tim Holt
PISTOL HARVEST (1951) with Tim Holt
DESERT PASSAGE (1951) with Tim Holt
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I would hardly say posters in the thread are being xenophobic or in danger of becoming xenophobic. The fact is that some of these names, regardless of nationality, are tongue-twisters and difficult for fans and even other celebrities to pronounce.
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I will miss The Virginian, but at least the first five seasons including Men of Shiloh are now on DVD.
I am eager to see those Rawhide episodes again.
I wonder if they will ever show Bonanza...it is a Paramount production, and Encore airs mostly Universal features and television series.
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*FRANCO NERO*
THE TRAMPLERS (1966) with Joseph Cotten & Gordon Scott
THE HIRED KILLER (1967) with Robert Webber
THE WILD, WILD PLANET (1967) with Tony Russel
MAFIA (1969) with Claudia Cardinale & Lee J. Cobb
THE MERCENARY (1970) with Jack Palance & Giovanna Ralli
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*I REMEMBER MAMA (1948)*
From Agee on April 24, 1948:
Much more love and talent are devoted to this show than the basic show is worth. A beautifully shaded production; a good deal of skillful acting and direction; subtle outdoor work by the cameraman, Nicholas Musaraca. A mild but generally gratifying family movie.
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I always thought *Franchot Tone* had an interesting name. He's not a Maurice or a Charles or a Louis, but a Franchot.
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Fans of classic western television series, take note:
The Virginian leaves the airwaves at the end of the month. So does Maverick and Cheyenne. Instead, we will now have Laredo, the half-hour version of Gunsmoke, and reruns of Rawhide.
There is an all-day marathon of Laredo on December 31st, an all-day marathon of Rawhide on January 1st, then an all day marathon of the 30-minute episodes of Gunsmoke on January 2nd.
_Here is the new line-up of western TV series:_
*Monday thru Friday afternoon:*
Lawman
Have Gun - Will Travel
Laredo
Wagon Train
Rawhide
Gunsmoke (half-hour)
Gunsmoke (half-hour)
Gunsmoke (one hour)
*Saturday morning:*
Laredo
Wagon Train
Have Gun - Will Travel
Gunsmoke (half-hour)
Rawhide
Also leaving the airwaves are the Saturday morning reruns of BRET MAVERICK, CIMARRON STRIP and HOW THE WEST WAS WON.
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Sorry. Not in love with Winona. I think she was woefully miscast in AGE OF INNOCENCE (and I don't see how she earned an Oscar nomination for it).
But I think she is perfect in the 1994 remake of LITTLE WOMEN. She does a splendid job, but I think I probably can tolerate her more in that one because she doesn't carry the film...she shares the load with Susan Sarandon.
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I think LOUISIANA PURCHASE, a Bob Hope-Vera Zorina comedy that has lots of dancing, benefits greatly by having been filmed in Technicolor.
As for colorizing, watching Shirley Temple's early black-and-white films in their computerized versions definitely ruins it. But I can see why the studios do it, since a lot of today's kids prefer to watch movies in color. It's a marketing ploy.
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Yes, I love Maria Ouspenskaya. That's another one. I am guessing the emphasis is on the third syllable...?
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>...it's pronounced "ar-mehn-DAR-eess" -- that's why there's an accent over the second "a" in the name: Armend?riz.
Thanks. Mystery solved.
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I would like to see TCM give John Saxon a SUTS tribute and show THE APPALOOSA in letter box. But considering they recently honored Brando and that film did not make it on the schedule, I think it's going to be a long wait.
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Thanks for mentioning those, CasaCinema. Fox Movie Channel is showing some of their better titles this month...what a shame that in January it will all be history.
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*BEVERLY ROBERTS*
THE SINGING KID (1936) with Al Jolson, Sybil Jason, Edward Everett Horton & Lyle Talbot
GOD'S COUNTRY AND THE WOMAN (1937) with George Brent
TENTH AVENUE KID (1937) with Bruce Cabot
TROPIC FURY (1939) with Richard Arlen & Andy Devine
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*MR. BLANDINGS BUILDS HIS DREAM HOUSE (1948)*
From Agee on April 24, 1948:
How to go broke on $15,000 a year, efficiently demonstrated by Myrna Loy, Cary Grant and Melvyn Douglas. A bull's-eye for middle-class middle-brows. For the low and the high not hard to take and just as easy to let alone.
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You're welcome. And I agree, the Encore Westerns channel does seem to offer films from every decade of sound film. The new schedule for January just went up and there are some more good offerings in the month ahead.
Classic Film Criticism
in General Discussions
Posted
*SINCE YOU WENT AWAY (1944)*
From Agee on July 29, 1944:
David O. Selznick's SINCE YOU WENT AWAY is a movie about an American home in wartime. It is clear that Mr. Selznick thinks of it as the American home and that the Hiltons, who live in it, are supposed to be the American family.
I accept Neil Hamilton as the all-American husband, Claudette Colbert as his all-American wife, Jennifer Jones as the all-American seventeen-year-old, the new Shirley Temple as her thirteen-year-old sister, Hattie McDaniel as the ultimate colored cook, and so forth and so on, taking care not to omit the best piece of casting of all: Joseph Cotten as the forever rejected bachelor suitor who, clouding the screen with discreetly alarming threats of adulterous desire, forever comes back to Miss Colbert for more.
I accept most of the things the Hiltons and their friends do, not to mention Mr. Selznick's masterpiece, the Hilton home, one of those pitiful suburban brick things which is indeed the American home if you agree with me that seven out of ten Americans would sell their souls for it.