TopBilled

Why does every character need to be paired up by film's end?

I believe it's only eight minutes. And although it was made in 1934, it was a silent film (basically, an experimental student film). http://en.wikipedia.org/wiki/Hearts_of_age

Supposedly Maltin found his way into the Guinness Book of World Records for shortest film review: His review for a Veronica Lake film was: "No." Can you believe that?! LOL

If we're mentioning CITIZEN KANE, Agnes Moorhead has a memorable first screen appearance. By the way, Welles' earlier short film THE HEARTS OF AGE is on You Tube. He made it at age 19.

How about fathers and daughters... *Sam Wood* directed daughter *K.T. Stevens* in PECK'S BAD BOY and KITTY FOYLE. *John Huston* directed daughter *Anjelica Huston* in several films: A WALK WITH LOVE AND DEATH, PRIZZI'S HONOR and THE DEAD. I am sure there are others.

*Tom Hanks* has directed wife *Rita Wilson* in both THAT THING YOU DO! and the more recent LARRY CROWNE. *Kate Capshaw* was directed by husband *Steven Spielberg* in INDIANA JONES AND THE TEMPLE OF DOOM before they were married.

Need to add *Jules Dassin* directing wife *Melina Mercouri*. This was a particularly fruitful collaboration: HE WHO MUST DIE THE LAW NEVER ON SUNDAY PHAEDRA TOPKAPI 10:30 P.M. SUMMER PROMISE AT DAWN THE REHEARSAL A DREAM OF PASSION

>Andy Griffith " Face in The Crowd " Great example. A scorching debut.

Haven't seen JOE...looks interesting.

Yes, Greenstreet was very good in the remake of MALTESE FALCON.

Glad you mentioned Rex Reed, he's another one. So is Gene Shalit.

Thanks Terry for your input. It is noted.

Did you read the notes on the TCM database? It is considered a remake, and the studio was considering re-doing it a few years later under the title AUTUMN IN ACAPULCO. http://www.tcm.com/tcmdb/title/91160/Springtime-in-the-Rockies/notes.html

I particularly like the work that *Emma Thompson* and *Kenneth Branagh* did together: HENRY V, PETER'S FRIENDS, DEAD AGAIN and MUCH ADO ABOUT NOTHING.

I was going to do a thread along these lines...except I was thinking more internationally. I will just add to your thread, since it saves me a step. LOL In particular, I was thinking of married couples: - Anna Neagle and Herbert Wilcox had a great partnership. - David Lean and Ann Todd made some memorable films together. - Orson Welles directed wife Rita Hayworth in the classic LADY FROM SHANGHAI. He later directed his lover Oja Kodar in a few unreleased films and in F FOR FAKE. - Dorothy Arzner directed her partner Billie Burke in a few classics: CHRISTOPHER STRONG, CRAIG'S WIFE and THE BRIDE WORE RED.

Right, a lot of folks made movies for the money. But once they reported to the set and got started, they turned out decent entertainment and sometimes high quality works of art. I don't subscribe to the auteur theory either...the reason I don't is because I think the studio heads were the real auteurs or visionaries of their products, not always the directors. Zanuck's signature is all over those pictures he did at Fox and Mayer's artistic and cultural sensibilities are very much present in MGM's studio era product. For these auteur theorists to overlook the main bosses is reckless and inaccurate.

Sorry, Arturo, but I have to respond to this one. Using the fourth definition for 'defect' at dictionary.com ... to desert a cause, country, etc., especially in order to adopt another She did desert her home country and she did desert the United States. She did adopt a new culture (and language) in other lands. I don't remember where she went after Italy, but it was not back to the U.S. I don't think I suggested she was ever forced out for political reasons, but that she left and took up residency in a new country. I did use the word correctly. I think you are defining it in a political sense...I was not.

George Raft was quoted as saying that Mae West stole everything but the cameras in NIGHT AFTER NIGHT.

Thanks cee...I think LADY WITH RED HAIR is my favorite Miriam Hopkins performance.

I agree, Fred. I mentioned last night that TCM lost my business. I watched another movie channel in its place. I have no problem with the films, and in fact if some of these were shown in a line-up honoring George Sanders or Audie Murphy or Humphrey Bogart-- mixed in with other examples of their work-- I would go with it. But I do not like how I see this race series and the other ones that have gone before as being somewhat heavy-handed. There comes a point where you have to see programming as either didactic or constructivist. I think this series is not entirely constructivist as much as it is trying to be. Also, I see a double standard. TCM is still showing these films and using them to attract viewers. Long after this series has aired, these films will still be in rotation. So I don't see anything happening as a result of this series. There will be no programming changes and the titles will still be aired and sold commercially. The person who said that these films were made to turn a profit was partially right. They were also made as propaganda. But they did bring money into the box office, and they will still make coin for the holders of the copyrights now and in the future.

Agee on Film is one of the bibles I read religiously, over and over again.

That's a good question. But I think it could potentially work against an actor. I don't think the Swedes were too happy when Ingrid defected to America. Then, she defected again to Italy. LOL

Hi Terry, I think it's best if you let me be the judge on whether I am mis-remembering anything. LOL The Globes were seen an indicator of how Academy voters might cast their ballots. Even back then, the SAG and WGA recipients gave insights about industry favorites. Furthermore, when you say you have gone back and looked in the archives, what archives? When you make a claim of that nature, you should probably indicate the actual source. Thanks.

Thanks everyone for the great comments. I have to say that I re-watched NIGHT AFTER NIGHT. I just thoroughly enjoyed this film today, the entire cast is fabulous. West is definitely inserted for comic relief, but all the players, including her, are given some very good roles with excellent opportunities for characterization. *Alison Skipworth* is particularly noteworthy, especially when she and West hook-up. In fact, they remind me of *Jean Harlow* and *Marie Dressler* together! Highly recommend this title if you have not seen it yet.

My understanding from the slight research I did on these, is that ADVENTURE IN IRAQ is a B-film and THE GREEN GODDESS was more of an A-film. Am I right about that? If so, then the quality of the production and certainly the quality of the acting is going to vary significantly.