TopBilled
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Posts posted by TopBilled
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You're right, that's another tough one to pronounce. She should've changed it to Devore.
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Since fellow poster Mark is highlighting films that TCM has scheduled each week, I thought I would start to spotlight titles that are on other channels and hopefully will appear on TCM.
_Sunday 12.18_
FLIX is showing TOUGH GUYS (1986), the final pairing of *Burt Lancaster* and *Kirk Douglas.* Also in the cast are *Alexis Smith* and *Eli Wallach.*
_Tuesday 12.20_
FLIX will air ON GOLDEN POND (1981), a film that translated into a golden Oscar for *Henry Fonda* giving what would be his last screen performance. Leading lady *Katharine Hepburn* would also earn a prize statuette, her fourth.
The Fox Movie Channel airs ANNA AND THE KING OF SIAM (1946), starring *Rex Harrison* and *Irene Dunne.* How can you resist a film about a woman tutoring a man's 67 children...?
Encore Westerns has BARBED WIRE (1952), one of the last films that *Gene Autry* made at Columbia before hanging up his hat.
_Wednesday 12.21_
Fox Movie Channel has on tap one of the best espionage thrillers ever. It is FIVE FINGERS (1952), and it stars *James Mason*, *Michael Rennie* and sumptuous French beauty *Danielle Darrieux* in a rare English-speaking performance. Director *Joseph L. Mankiewicz* earned an Oscar nomination.
_Friday 12.23_
*June Allyson* (on loan-out from home studio MGM), *Lauren Bacall* and *Arlene Dahl* prove that it's A WOMAN'S WORLD (1954).' Of course, the men, portrayed by *Clifton Webb*, *Van Heflin*, *Cornel Wilde* & *Fred MacMurray*, try to refute that notion and probably have just as much fun. It airs on the Fox Movie Channel.
THE GRAPES OF WRATH (1940) gets its last airing on the Fox Movie Channel. The classic, based on the novel by *John Steinbeck*, stars *Henry Fonda* and *Jane Darwell* who gives an Oscar performance as Ma Joad. The screening is introduced by *Tom Rothman* and has an encore showing early the next morning, on the 24th.
_Saturday 12.24_
Encore Westerns has dug into the Universal vaults and pulled out THE BALLAD OF JOSIE (1968), one of the last films that *Doris Day* made. *Andrew V. McLaglen* directs and Doris' costar for this rollicking western-comedy is *Peter Graves.*
RIDERS IN THE SKY (1949), a *Gene Autry* oater with *Pat Buttram*, airs on the Encore Westerns channel.
BOOTS AND SADDLES (1937) is scheduled, a *Gene Autry* delight made at Republic with *Smiley Burnette.*
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TCM usually shows this flick every December. But I think it would work better during National Adoption Month (which occurs in November).
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For years, I have been wondering how to pronounce the last name of *Katina Paxinou.*
*Chico Marx.* Is it Chick-o or Cheek-o...?
Also, I don't know how to say the last name for *Pedro Armendariz.* Is it Ar-men-dar-iz or Ar-mend-a-riz.
And when pronouncing the last name of *Victor Jory,* is it with a J-sound or a Y-sound, because I have heard it said both ways.
LOL
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Agree. I think Wilcoxon was freelancing by that point, and his friend William Warren probably suggested him for the part. It was great to see them reunited on screen in such a completely different genre/story.
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*HENRY WILCOXON*
CLEOPATRA (1934) with Claudette Colbert, Warren William & Joseph Schildkraut
THE PRESIDENT'S MYSTERY (1936) with Betty Furness, Sidney Blackmer & Evelyn Brent
KEEP SMILING (1938) with Jane Withers, Gloria Stuart & Helen Westley
PRISON NURSE (1938) with Marian Marsh
THE ARIZONA WILDCAT (1939) with Jane Withers & Leo Carrillo
CHASING DANGER (1939) with Preston Foster & Lynn Bari
EARTHBOUND (1940) with Warner Baxter, Andrea Leeds & Lynn Bari
FREE, BLONDE AND 21 (1940) with Lynn Bari, Mary Beth Hughes & Joan Davis
MYSTERY SEA RAIDER (1940) with Carole Landis & Onslow Stevens
SOUTH OF TAHITI (1941) with Brian Donlevy, Broderick Crawford & Maria Montez
JOHNNY DOUGHBOY (1942) with Jane Withers
DRAGNET (1946) with Mary Brian, Douglass Dumbrille & Virginia Dale
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*STATE FAIR (1945)*
From Agee on September 29, 1945:
Rodgers and Hammerstein adaptation of the Phil Stong novel; nice performances by Jeanne Crain, Dana Andrews, Henry Morgan; pretty tunes, graceful lyrics. Otherwise lacking any real delicateness, vitality or imagination; and painfully air-conditioned looking, for a bucolic film; it is nevertheless good-natured and pleasant.
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I think that discussions about Alec Baldwin should go on hiatus. It only leads to arguing and odds are the thread will wind up locked. So thumbs down to the idea of starting yet another Alec thread. Bashers just won't be able to stay away and resist temptation. LOL
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I agree...this film is not for the weak. It will send you to the store for a new box of tissues.
It is worth mentioning that ALL MINE TO GIVE features Glynis Johns, Cameron Mitchell and Hope Emerson, all of whom are excellent. This was one of the last pictures that RKO made before the studio ran into financial trouble in the late 50s. Universal picked it up for distribution.
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*THE POSTMAN ALWAYS RINGS TWICE (1946)*
From Agee on May 11, 1946:
THE POSTMAN ALWAYS RINGS TWICE is mainly a terrible misfortune from start to finish. I say it with all respect for the director, Tay Garnett, and with all sympathy for the stars, Lana Turner and John Garfield.
It looks to have been made in a depth of seriousness incompatible with the material, complicated by a paralysis of fear of the front office. It is, however, very interesting for just those reasons. It is what can happen, especially in Hollywood, if you are forced to try both to eat your cake and have it, and don't realize that it is, after all, only good pumpernickel.
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Interesting idea for a thread. But I disagree. It's like saying that all of Doris Day's films should be shot in black-and-white or all of Jerry Lewis' comedy is funnier in black-and-white. Funny is funny. Comedy is comedy. Sure, some of the cinematography or art design with the Technicolor productions may add distracting visuals, but the comic performances and the hilarity of the story do not have to be overruled by the look of the film.
Personally, I think film comedies took a bigger hit when radio and television came into vogue. Suddenly, every family comedy on the screen was written like a sitcom.
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*ROCHELLE HUDSON*
WALLS OF GOLD (1933) with Sally Eilers & Norman Foster
WAY DOWN EAST (1935) with Henry Fonda & Slim Summerville
REUNION (1936) with the Dionne Quintuplets & Jean Hersholt
THE MUSIC GOES ROUND (1936) with Harry Richman & Walter Connolly
EVERYBODY'S OLD MAN (1936) with Irvin S. Cobb, Johnny Downs & Norman Foster
BORN RECKLESS (1937) with Brian Donlevy & Barton MacLane
RASCALS (1938) with Jane Withers & Robert Wilcox
PRIDE OF THE NAVY (1939) with James Dunn & Gordon Oliver
A WOMAN IS THE JUDGE (1939) with Frieda Inescort & Otto Kruger
GIRLS UNDER 21 (1940) with Bruce Cabot & Paul Kelly
BABIES FOR SALE (1940) with Glenn Ford
CONVICTED WOMAN (1940) with Frieda Inescort, June Lang, Lola Lane & Glenn Ford
MEN WITHOUT SOULS (1940) with John Litel, Barton MacLane & Glenn Ford
MEET BOSTON **** (1941) with Chester Morris
THE STORK PAYS OFF (1941) with Victor Jory & Maxie Rosenbloom
THE OFFICER AND THE LADY (1941) with Bruce Bennett
BUSH PILOT (1947) with Jack LaRue
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That sounds right. I think I had read about Pickford, too.
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*ANCHORS AWEIGH (1945)*
From Agee on August 11, 1945:
A musical about two sailors, a girl, and Jose Iturbi. It is thoroughly happy-spirited and enjoyable. But once I have paid my particular respects to Gene Kelly, who dances and acts excellently, and to Frank Sinatra, a singer, I might as well move on.
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I do not remember who...
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*TUFFY*
THE TRAIL OF THE LONESOME PINE (1936) with Sylvia Sidney, Henry Fonda, Fred MacMurray, Beulah Bondi & Spanky McFarland
THE MIGHTY TREVE (1937) with Noah Beery Jr. & Barbara Read
STAGECOACH DAYS (1938) with Jack Luden & Eleanor Stewart
ROLLING CARAVANS (1938) with Jack Luden & Eleanor Stewart
PIONEER TRAIL (1938) with Jack Luden & Joan Barclay
PHANTOM GOLD (1938) with Jack Luden & Beth Marlon
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*LIFE WITH FATHER (1947)*
From Agee on August 30, 1947:
Rich, careful, rather heavily proficient. Fun, I suppose; but I can't really enjoy laughing at tyrants, least of all tyrants who are forgiven because of their innocence. William Powell acts, rather than is, Father rather well, but it's strictly an impersonation. Irene Dunne is painfully miscast as Mother.
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The fourth installment of the MISSION: IMPOSSIBLE series will have the new Paramount logo, created to honor the studio's 100th anniversary.
http://www.firstshowing.net/2011/paramounts-new-100th-anniversary-logo-revealed-a-look-back/?shr=f
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*CHARLES COBURN*
OUR WIFE (1941) with Melvyn Douglas, Ruth Hussey & Ellen Drew
TOGETHER AGAIN (1944) with Charles Boyer & Irene Dunne
SHADY LADY (1945) with Robert Paige & Ginny Simms
YES SIR THAT'S MY BABY (1949) with Donald O'Connor & Gloria de Haven
LOUISA (1950) with Ronald Reagan, Ruth Hussey & Edmund Gwenn
HOW TO MURDER A RICH UNCLE (1957) with Wendy Hiller
A STRANGER IN MY ARMS (1959) with June Allyson, Sandra Dee & Jeff Chandler
THE REMARKABLE MR. PENNYPACKER (1959) with Clifton Webb & Dorothy McGuire
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*MIMI CHANDLER*
HENRY ALDRICH SWINGS IT (1943) with Jimmy Lydon & John Litel
AND THE ANGELS SING (1944) with Dorothy Lamour, Fred MacMurray, Betty Hutton & Diana Lynn
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*L'ATALANTE (1947)*
From Agee on July 12, 1947:
L'ATALANTE, on the whole, is put together from the outside inward. It is very good, spasmodically great poetry applied to pretty good prose. The story could be almost one of those pseudo-simple, sophisticated-earth things which several French movie-makers handle gracefully, to the delight of cultivated Americans.
It is about the sex life of a jealous barge captain and his restive peasant bride. There are a couple of weird flirtations; estrangement; reunion. There are horribly serious, instinctual, brainless people, presented with a naked directness that is beyond patronage or gentle laughter.
At its best, L'ATALANTE is sensuously much richer and more beautiful than Rene Clair's ZERO DE CONDUITE. The picture shows gifts while it suggests the struggles of a maniac in a strait-jacket (in ZERO, the maniac moves freely).
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*TENNESSEE JOHNSON (1943)*
From Agee on January 23, 1943:
William Dieterle is to be respected as a man who obviously wants to make fine moving pictures, and to use them for serious teaching. It would be a pleasure to say better of him, but that is at best a pleasure deferred. TENNESSEE JOHNSON is another of those sincere screen biographies. Now and then, helped usually by Van Heflin, the sincerity breaks loose and becomes vigorous and warming for a minute or two.
Lionel Barrymore, too, is sometimes better than you could think possible after all these years of grunting to stay awake under the boredom of his assignments. The rest is Dieterle?s customary high-minded, high-polished m?lange of heavy touches and intelligent performances. Within the limits of its nearsighted traditions it does its very best.
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This movie really caught (and held) my attention. But I feel it was a far-from-perfect effort from Dmytryk that if remade today could live up to its intended impact.
First, a user review I read said that Newton's villain in this piece is comparable to Walker's Bruno in STRANGERS ON A TRAIN and Milland's world-class manipulator in DIAL M FOR MURDER. Completely agree.
However, I think this film and its villain could've gone a bit more to the extreme. For instance, I think we should have seen more sadism between the men. And I think there should've been a stronger, more implied homosexuality between the men. Newton's character should have some Freudian sexual motivation for his own obsessive attitude about his wife's lover, namely that he wants the man for himself. Otherwise, he would've just killed the competition off early on and made it appear to police that the missing man might still be alive somewhere. SInce he goes to so much trouble to keep him (and the dog alive) for so long despite the fact that he claims to be ready to kill them both at a moment's notice, it must be realized that he continues to want them both alive and that protestations about why he is keeping them alive become excuses to support his obsessive desire to lord over the other man and get off on it.
Also, though I am not one for profanity in films, I think this story calls for it. These two men in the hidden room should be vulgar and verbally crass in most every way possible. They should be goading each other to take it to the next level and formalities should have ceased long ago. Two men in this situation are really not going to remain true gentlemen for long. They are going to be at each other's throats and expressing the violent evil they are summoning within each other given the bleak environment and its circumstances.
Names that are hard to pronounce
in General Discussions
Posted
*Hans Von Twardowski* is another one I can barely spell let alone pronounce! Given name: Hans Heinrich Von Twardowski.