TopBilled

You make a good point about Wyman's technique in this picture. I do think it's a great film. But, and I know I won't be popular saying this, I dislike Greg Peck's work here. I think he's doing a tongue-in-cheek satire and it goes against the integrity and honesty that Wyman and Jarman are infusing in their roles. It is clear to me that Peck does not particularly like the character he's playing, and that it's a joke of a role to him. I think that if Warners had hired Fred MacMurray who was starting to freelance around this time, the father would've come across more sincerely. Even if they had offered the role to Preston Foster, who does a convincing job as dad in the FLICKA films at Fox, that would've been an improvement. Don't get me wrong, I think Greg Peck is great, but not in this film. It takes all my concentration on Wyman and Jarman to erase the smug performance that Peck offers.

Right, it would probably seem tame by current standards. LOL

One thing we need to look at in a discussion of this nature is the fact that audiences and Oscar voters preferred certain kinds of stories. Sometimes they seem to have been rewarding the story or the character, just as much as the performer. For instance, some people today look askance at Olivia's win for TO EACH HIS OWN. But her award is not surprising when you see that folks back then favored stories featuring sacrificial mothers. It was considered supreme drama and a major achievement for an actress to convey this type of role that gained audience sympathies. Barbara Stanwyck was Oscar-nominated for STELLA DALLAS; Mary Astor won a supporting award for a long-suffering mother in THE GREAT LIE; Joan Crawford won for a mother who deals with more than her share of tragedy as MILDRED PIERCE; Irene Dunne was nominated for her hard-working, always-sacrificing mother in I REMEMBER MAMA; and don't forget Jane Wyman in JOHNNY BELINDA. They did not seem to like awarding performances where the character was not redeemed by the closing credits. Margaret Wycherly is fabulous in WHITE HEAT and so is James Cagney. Neither of them received nominations, which seems unfathomable. The technical virtuosity of these two performers seems award worthy to many contemporary viewers. They would definitely not have nominated Charlize for MONSTER...can you imagine if MONSTER had been made then, and if an actress had been bold enough to attempt it? Even if the production code issues had been overcome, it would not have been warmly embraced by the Oscar crowd.

I feel that A CANTERBURY TALE is their best film. THE LIFE AND DEATH OF COLONEL BLIMP is a close second for me. I expected more from I KNOW WHERE I'M GOING!...I liked it and found it charming, but it falls flat, because there is no real plot contrivance to move it forward (she is on her way to meet her future husband, that is all). In A CANTERBURY TALE, which is very pastoral, there is a crime subplot that advances the story, so it doesn't get too listless and static. I KNOW WHERE I'M GOING! does not seem to be "going" anywhere, except to its predictable conclusion that the couple become lovers. In a modern film, that would've happened within the first twenty minutes, then there would've been an obligatory sex scene, then...you get the idea. LOL

I just checked wiki. I guess I was wrong...I must've been thinking about GOOD NEWS (1930). The wiki page states that only the soundtrack survives from the talkie version of NO, NO NANETTE (1930). Bummer. Why doesn't someone take the soundtrack and just animate it, make a new version with what exists.

Yes, I think CONVENTION CITY, along with the missing footage of THE MAGNIFICENT AMBERSONS, is irrevocably gone. It may not have even been that great of a film, but its disappearance act and the circumstances surrounding the junking of it by Warners have given it legendary cult status.

Here's the list of Best Supporting Actress Oscars during the same decade... 1940...*Jane Darwell*...THE GRAPES OF WRATH (Social Message Drama) 1941...*Mary Astor*...THE GREAT LIE (Melodrama) 1942...*Teresa Wright*...MRS. MINIVER (War Film/Melodrama) 1943...*Katina Paxinou*...FOR WHOM THE BELL TOLLS (War Film/Melodrama) 1944...*Ethel Barrymore*...NONE BUT THE LONELY HEART (Drama) 1945...*Anne Revere*...NATIONAL VELVET (Youth Drama) 1946...*Anne Baxter*...THE RAZOR'S EDGE (Melodrama) 1947...*Celeste Holm*...GENTLEMAN'S AGREEMENT (Social Message Drama) 1948...*Claire Trevor*...KEY LARGO (Film Noir/Gangster) 1949...*Mercedes McCambridge*...ALL THE KING'S MEN (Political Drama) Special mention should be given to *Judith Anderson* for REBECCA; *Agnes Moorhead* for a blistering performance in THE MAGNIFICENT AMBERSONS; and *Barbara Bel Geddes* in I REMEMBER MAMA.

Speaking of Jane Frazee, I just noticed she is scheduled again on July 15. She appears in Columbia's COWBOY CANTEEN.

1940...*Ginger Rogers*...KITTY FOYLE (Melodrama) 1941...*Joan Fontaine*...SUSPICION (Psychological Thriller) 1942...*Greer Garson*...MRS. MINIVER (War Film/Melodrama) 1943...*Jennifer Jones*...SONG OF BERNADETTE (Religious Drama) 1944...*Ingrid Bergman*..GASLIGHT (Psychological Thriller) 1945...*Joan Crawford*...MILDRED PIERCE (Film Noir/Melodrama) 1946..*.Olivia de Havilland*...TO EACH HIS OWN (Melodrama) 1947...*Loretta Young*...THE FARMER'S DAUGHTER (Political Satire) 1948...*Jane Wyman*...JOHNNY BELINDA (Social Message Drama) 1949...*Olivia de Havilland*...THE HEIRESS (Melodrama) Olivia was honored twice, as everyone knows. It seems that the juiciest parts for the ladies were in melodramas or thrillers (women-in-peril stories). Special mention should be given to *Gene Tierney* who truly had the best role of her career in 1945's LEAVE HER TO HEAVEN.

I remember seeing another thread similar in nature to this topic. If someone knows what it was called, please post the link.

I agree. I really like MY SON JOHN. It's interesting to see a film that is not liberal and is not afraid to espouse its conservative viewpoint, even if it seems dated now. It stands in stark contrast to a film like HIGH NOON, which uses a traditional genre but subverts its story with liberal propaganda. MY SON JOHN is very direct in its dealing with the Red Scare, and I laud McCarey for having the guts to do it. And that cast, the entire cast is fabulous.

Pat Hitchcock worked with her father in several of his films, plus she turned up on his television program in more prominent parts.

Thanks. I did wonder if any were lost films. I believe NO, NO NANETTE (1930) is only partially lost. Just the Technicolor sequence at the end is missing. The rest of the film is said to survive and may have received a showing on TCM, before I started watching. Anyone ever see it?

He's also in the original RANSOM! with Glenn Ford and Donna Reed. The first time I realized he was a dramatic actor was when I saw him in Martin Ritt's NUTS with Barbra Streisand. Excellent and so multi-talented.

New Sony releases: - THE FULLER BRUSH GIRL (1950) - Lucille Ball, Eddie Albert, Carl Benton Reid - HER HUSBAND'S AFFAIRS (1947) - Franchot Tone, Lucille Ball, Edward Everett Horton - THE MAGIC CARPET (1951) - Lucille Ball, John Agar, Patricia Medina, George Tobias, Raymond Burr - MISS GRANT TAKES RICHMOND (1949) - William Holden, Lucille Ball, Janis Carter, James Gleason, Gloria Henry - TELL IT TO THE JUDGE (1949) - Rosalind Russell, Robert Cummings, Gig Young - HANDS ACROSS THE ROCKIES (1941) - Bill Elliott, Dub Taylor

New MGM releases: - CURSE OF THE FACELESS MAN (1958) - Richard Anderson, Elaine Edwards, Adele Mara - DOWN THREE DARK STREETS (1954) - Broderick Crawford, Ruth Roman, Martha Hyer - GUN DUEL IN DURANGO (1957) - George Montgomery, Ann Robinson, Steve Brodie - THE HALLIDAY BRAND (1957) - Joseph Cotten, Viveca Lindfors, Betsy Blair, Ward Bond - HOT CARS (1956) - John Bromfield, Carol Shannon, Joi Lansing - JOHNNY COOL (1963) - Henry Silva, Elizabeth Montgomery, Richard Anderson, Jim Backus, Joey Bishop - THE KILLER IS LOOSE (1956) - Joseph Cotten, Rhonda Fleming, Wendell Corey - QUINCANNON, FRONTIER SCOUT (1956) - Tony Martin, Peggie Castle, John Bromfield - RETURN TO TREASURE ISLAND (1954) - Tab Hunter, Dawn Addams

I think a few of these are scheduled for broadcast on TCM in the coming months, but many are still missing in action...and not all are yet out through the Warner Archives. -30- ADVENTUROUS BLONDE, THE ALIAS THE DOCTOR ANGELS WASH THEIR FACES, THE APRIL SHOWERS ARRANGEMENT, THE BACK PAY BAD MAN, THE (1930) BARGAIN, THE BEDSIDE BIG BUSINESS GIRL BIG SHAKEDOWN, THE BIG SHOT, THE BLONDES AT WORK BLONDIE JOHNSON BLOWING WILD BODY DISAPPEARS, THE BRAINSTORM (1965) BRAMBLE BUSH, THE BRIDE OF THE REGIMENT BRIDES ARE LIKE THAT BRIGHT LIGHTS (1930) BUGLES IN THE AFTERNOON BUREAU OF MISSING PERSONS BUSSES ROAR CABIN IN THE COTTON, THE CALLING ALL HUSBANDS CASE OF THE LUCKY LEGS, THE CASE OF THE VELVET CLAWS, THE CENTRAL AIRPORT CENTRAL PARK CHANCES CHILD IS BORN, A CLAUDELLE INGLISH CODE OF THE SECRET SERVICE COLLEGE LOVERS COME FILL THE CUP COMPROMISED CONSPIRATORS, THE CONSTANT NYMPH, THE COSA NOSTRA, AN ARCH ENEMY OF THE FBI COWBOY QUARTERBACK, THE CRASH, THE CROWDED SKY, THE CRY IN THE NIGHT, A DANCE CHARLIE DANCE DAREDEVIL DRIVERS DARK HAZARD DARK HORSE, THE DAWN PATROL, THE (1930) DIAMOND QUEEN DOCTOR X DRAGNET DRAGON MURDER CASE, THE EMPLOYEES ENTRANCE EMPTY HOLSTERS ENCHANTED ISLAND ESCAPE FROM CRIME FAMOUS FERGUSON CASE, THE FASHIONS OF 1934 FATHER'S SON FINGER POINTS, THE FIREMAN, SAVE MY CHILD FLIGHT ANGELS FLIRTATION WALK FLIRTING WIDOW, THE FLY-AWAY BABY FOG OVER FRISCO FROM THE EARTH TO THE MOON FUGITIVE FROM JUSTICE, A FURIES, THE (1930) GENTLEMEN ARE BORN GIRL FROM TENTH AVENUE, THE GIRL MISSING GIRL OF THE GOLDEN WEST, THE (1930) GIRL OF THE NIGHT GO INTO YOUR DANCE GOING PLACES GOING WILD GOLDEN ARROW, THE GOODBYE AGAIN (1933) GORILLA, THE (1930) GRAND SLAM GUNS OF DARKNESS GUNS OF THE PECOS GUNS OF THE TIMBERLAND HAMLET (1964) HAPPINESS AHEAD HATCHET MAN, THE HAVANA WINDOWS HELL ON FRISCO BAY HER HUSBAND'S SECRETARY HER MAJESTY, LOVE HERE COMES HAPPINESS HIGH PRESSURE HIGHWAY 301 HIGHWAY WEST HONOR OF THE FAMILY HOT HEIRESS, THE I AM A THIEF I LIKE YOUR NERVE I LOVED A WOMAN I MARRIED A DOCTOR I SELL ANYTHING IMMORTAL BRUSH, THE IN THE NEXT ROOM INDIANAPOLIS SPEEDWAY IT'S TOUGH TO BE FAMOUS JANIE JANIE GETS MARRIED JOURNAL OF A CRIME KID FROM KOKOMO, THE KID NIGHTINGALE KISMET (1930) KISS ME AGAIN LADY WHO DARED, THE LASH, THE LAWYER MAN LIFE BEGINS LILIES OF THE FIELD (1930) LILLY TURNER LITTLE MISS NOBODY LOCAL BOY MAKES GOOD LOVE AND LEARN LOVE IS A RACKET MAD EMPRESS, THE MAD GENIUS, THE MAN OF IRON MAN TO MAN MAN WANTED MAN WHO DARED, THE MAN WHO TALKED TOO MUCH, THE MANDALAY MARJORIE MORNINGSTAR MARRY THE GIRL MASK OF DIMITRIOS, THE MASSACRE (1934) MATCH KING, THE MAYBE IT'S LOVE MCCONNELL STORY, THE MEN OF THE SKY MERRY FRINKS, THE MERRY WIVES OF RENO MIND READER, THE MISS PINKERTON MISSING WITNESSES MOBY DICK (1930) MONEY AND THE WOMAN MOTHERS CRY MR. CHUMP MR. DODD TAKES THE AIR MR. QUINCEY OF MONTE CARLO MURDER BY AN ARISTOCRAT MURDER IN THE BIG HOUSE MURDER IN THE CLOUDS MURDER OF DR. HARRIGAN, THE MURDER WILL OUT NAKED RUNNER, THE NAUGHTY CINDERELLA NAUGHTY FLIRT, THE NEW YORK CONFIDENTIAL NINE LIVES ARE NOT ENOUGH NO PLACE TO GO NO, NO, NANETTE (1930) NONE BUT THE BRAVE NOTORIOUS AFFAIR, A NUMBERED MEN OIL FOR THE LAMPS OF CHINA ONCE A DOCTOR ONE NIGHT AT SUSIE'S OTHER TOMORROW, THE OUT OF THE PAST (1933) PARACHUTE JUMPER PARIS DOES STRANGE THINGS PARTY HUSBAND PATIENT IN ROOM 18, THE PENROD AND SAM PLAYING AROUND PLUNDER OF THE SUN PRIVATE DETECTIVE PRIVATE DETECTIVE 62 PUBLIC WEDDING RECKLESS HOUR, THE RED HOT TIRES REGISTERED NURSE RETURN OF DR. X RETURN OF THE TERROR RIGHT OF WAY, THE ROAD GANG ROAD TO PARADISE ROPE RULING VOICE, THE SAFE IN HELL SANTIAGO SH! THE OCTOPUS SHE HAD TO SAY YES SHE LOVED A FIREMAN SIDE STREETS (1934) SILVER DOLLAR SINGING KID, THE SMART BLONDE SNOWED UNDER SON OF THE GODS SONG OF THE FLAME, THE SPRING IS HERE SPY SHIP ST. LOUIS KID, THE STOLEN NECKLACE, THE STRANGE LADY IN TOWN STRANGE LOVE OF MOLLY LOUVAIN, THE STRICTLY MODERN SUBMARINE D-1 SUNNY SWEEPSTAKES WINNER SWEET ADELINE SWEET MAMA SWEETHEARTS AND WIVES THAT MAN'S HERE AGAIN THEY CALL IT SIN THIEVES FALLOUT THREE MEN ON A HORSE THREE ON A MATCH TIGER SHARK TIME, THE PLACE AND THE GIRL, THE TOO YOUNG TO MARRY TOP SPEED TORCHY BLANE GETS HER MAN TORCHY BLANE IN CHINATOWN TORCHY BLANE IN PANAMA TORCHY BLANE PLAYING WITH DYNAMITE TORCHY RUNS FOR MAYOR TOVARICH TRACK OF THE CAT TRAVELING SALESLADY (1935) TROG TRUTH ABOUT YOUTH, THE TWO AGAINST THE WORLD TWO ON A GUILLOTINE TWO SECONDS UNCHAINED UNION DEPOT VERY HONORABLE GUY, A VOLTAIRE WALLFLOWER WAY OF ALL MEN, THE WE ARE NOT ALONE WEEKEND MARRIAGE WHILE THE PATIENT SLEPT WHITE BANNERS WIDOW FROM CHICAGO, THE WOMAN FROM MONTE CARLO, THE WOMAN HUNGRY WOMAN IN RED, THE WOMEN ARE LIKE THAT WONDER BAR YELLOWSTONE KELLY YES, MY DARLING DAUGHTER YOU SAID A MOUTHFUL YOUNG GIRLS OF ROCHEFORT, THE YOUNGBLOOD HAWKE

Someone posted that Leslie Nielsen was Canadian. As luck would have it, I caught an episode of The Virginian today on the Encore Westerns channel and guess what? He was the featured guest star, and 80% of the episode took place in Canada (he played a Canadian swindler our hero tracked down). You can find this one at Netflix. It was a season 6 episode called 'The Fortress.'

Well, at least we know that some of these Universal titles are circulating on cable.

Good news: THE BLACK CAT (1941) will air on 5 Star Max on July 17. It gets a repeat showing on Thriller Max on August 24.

In film school, we had to watch JESUS OF MONTREAL by *Denys Arcand*. Great film! In the years since, I have sadly forgotten him as a director. But thanks to your comments, I will look up his filmography. I don't think I have seen an *Atom Egoyan* film, and I know he's been popular among the art house crowd. *Ellen Page* has probably gone Hollywood at this point, but I will have to study up on her, too!

Good thread. Please let's discuss Canadian imports to Hollywood on up to the present. Yes, that would include *Michael J. Fox.* LOL One of my very favorite Canadian actors is *Victor Jory*. Superb talent. And *David Manners* originally hailed from north of our U.S. borders. A request to miss W... Could you please tell us what the Canadian film industry is like today? Are there actors that remain in Canada and are very big names up there who do not work in the U.S.? And in terms of a Canadian national cinema, who are the best known and most popular directors there?

I think that may be asking for too much. LOL The correct way to go about this would be to kindly request that TCM get more of Joan Davis' Columbia and Republic releases. I think those pictures would be much easier to obtain than items from the Universal/Paramount catalogue. She also made one or two for RKO in the 40s, and those should definitely be in the Time Warner library.

Well, I have a feeling we will no longer receive the schedule three months in advance. But considering how some people feel about TCM airing all that filler, what good will a schedule do them? LOL

clore, You sound jaded about TCM these days...