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Everything posted by Eddie_Muller

  1. Okay, seems like a good time to pop in and offer some clarification to the Noir Alley loyalists. YES—Eddie does have a life outside noir and I've even been known to engage in extended conversations that have nothing to do with movies! I don't think anybody is "stuck there forever." Hey, Noir Alley is only on once a week! I've introduced numerous non-noir films over the years at the TCM Classic Film Festival—Rebel Without a Cause, The Best Years of Our Lives, Brian's Song, The Heiress, The Party, etc. ... but TCM hired me to program and host a franchise dedicated to film noir—which, not coincid
  2. I said that POSSESSED would be presented on NOIR ALLEY "later in the year." It will air 10/1/17.
  3. Yes, I regret not having time to talk about John Dall, but he's a deep story and I didn't want to get started and not follow through. Hope I have another chance. Considering his appearance today in ROPE, it's interesting to note that both he and Farley Granger (they are both gay, I trust you all know) had really hoped that Hitchcock would cast James Mason as their mentor, since they both laughed that they could easily be attracted to him. Farley told me that Jimmy Stewart actually had no sense of the story's gay subtext. "It's like we were acting in different movies," he told me. John Dall had
  4. North American rights to GUN CRAZY are owned by Warner Bros.
  5. Actually, the issue was that once Zanuck saw the dailies he suddenly realized that Peggy was too young to play such a sexually provocative character. Zanuck feared a backlash against the studio, even though he'd made such a big deal of "discovering" Peggy for the role. John Stahl, the director, was angry about the change and Zanuck got rid of him as well. Peggy never shot a scene with Otto Preminger. She was crushed by all this—GUN CRAZY has proven to be a nice consolation. Who remembers FOREVER AMBER?
  6. Hey, GordonCole (whoever you are—not David Lynch's FBI agent from Twin Peaks, I figure) you can slag on me all you want for whatever reasons, but your comment about the actresses who choose to participate in my festivals betrays an egregious lack of understanding and compassion. Feel free to ask anyone who has ever been a guest at one of my events. To assert that I'm using them somehow for my personal "gain" is absurd and insulting, to them and to me. If you don't like me, fine. Making up specious rationales for it, and blathering such ill-informed BS, makes you look small and ignorant. Yo
  7. Just stopping in for a quick pop and to bestow my thanks and appreciation on all those at TCM who conjured this "Summer of Darkness" caper and allowed me to take the wheel for nine Friday night spins. The reaction from viewers has been terrific, and I thank all of you who took to time to send a personal note. My sincere thanks to Charlie Tabesh (who's always been my stake horse at TCM), as well as Jennifer Dorian, Shannon Clute, Scott McGee, Sean Cameron, Millie De Chirico, Pola Changnon, Rachelle Savoia, Kendell White—as well as all my friends and associates at TCM (Robert, Ben, Darcy, Genevi
  8. I colleague informed me that someone was talking s#$% about me on the TCM boards, so I was glad to see you were talking about some other guy named "Eddie Mueller," not me. Sorry this other guy makes you nervous...
  9. It's best to not look too closely for linkages between the films I present each Friday. Yes, I inaugurated the series with films set in San Francisco (with a conscious nod to Ann Sheridan), and last week all the movies were photographed by John Alton—but the King Bros. "tribute" comprised only two films, and the Alton night included a double bill of Ricardo Montalban. I really just picked 36 movies I wanted to show and then figured out the best way to schedule them for the optimum flow of intros and outros. Tonight's films all have a direct connection to World War II, but after this week the c
  10. I am a cynic because I believe everything that can go wrong will go wrong. But I'm not a pessimist because I'm looking forward to collecting all that money from betting that everything would go wrong. See? A simple distinction. Thank you, Richard, and everyone else for all the kind comments about the "Low Company, High Style" article. I'm looking forward to my "appearance" in the class.
  11. I used to have problems with the "tacked on" coda to NIGHTMARE ALLEY, believing that it cheapened a perfectly bleak out-line: "Mister, I was made for it." Fox felt the ending was too abrupt and that audiences would actively rebel against the picture's darkness if sent off into the night right there. A glimmer of hope was needed ... but over time I've come to see the ending as perfectly noir, if not as immediately devastating. After all, Stan and Molly will now recreate the exact fate that befell Zena and Pete. She knows the code and she'll find a young cohort to be in her act while rum-dun Sta
  12. My choice for Marlowe: William Holden. I can see him smoking a pipe and working out chess problems, like the Marlowe in Chandler's novels. He has the requisite virility and certainly could handle a few drinks. And when it comes to the voiceover narration ... see SUNSET BLVD, probably the best voiceover narration of all-time.
  13. Thanks to everyone in this forum for their kind words and enthusiasm re my hosting of the Friday Night Spotlight. A couple of final notes: 1) As I noted in my intro, don't watch (or read) Woolrich for logic. I tend to think of EVERYTHING he produced as the work of a fevered, paramoid brain. He wasn't a crime writer, or anything resembling a realist. To me, he wrote nightmares—and they make about as much sense as our nightmares. DEADLINE AT DAWN is more like Scorsese's AFTER HOURS or a Lynch film than a normal RKO noir. 2) I didn't really like Dick Powell at first, either. Now I think
  14. Unfortunately I didn't see They Won't Believe Me in its entirety last night, so I'll need a little help piecing together what may have been missing. One thing for certain, there are two entire scenes deleted immediately following the accidental meeting of Janice (Jane Greer) and Verna (Susan Hayward) at the nightclub. In this version, it dissolves to a shot of Larry (Robert Young) coming home with a voiceover: "A few night later, coming home late from work, I noticed a light still on..." Greta (Rita Johnson) then reveals that she knows about the reappearance of Janice, and her suspicions that
  15. After I'd chosen They Won't Believe Me as one of the Spotlight films I was surprised to learn that the version in the TCM library is only 80 minutes long. We tried to locate the 90 minute version to get it digitally transferred in time for the screening, but to no avail. I know that Warner Bros. has the original negative but hasn't yet, for various reasons, preserved it on film or digitially mastered it for DVD release. I just showed it last week in Zagreb, Croatia—a 35mm print from the Belgrade Kinoteka that is exactly the same as the version I have on DVD (we won't discuss where that came fr
  16. The Film Noir Foundation is restoring this film. We hope to have it back in circulation, on the big screen (and maybe TCM) in 2014. Truly a neglected classic of the genre. Like other films we have restored, it was independently produced and had no real protection by the distributing studio. These films slip through the cracks and it takes real detective work -- and luck -- to find enough surviving elements from which to rebuild the film. Agree that it is Liz Scott's best performance.
  17. Not sure how I gave the impression that Hammett's first name was three syllables. Still two, but with the emphasis moved from the first syllable (DASH-ell) to the second, and the pronunciation switched to a long "e" -- "Dash-EEL." Not that it truly matters, since most of his friends called him Dash. And, of course, we note for the record that his first name was Samuel, like a certain detective.
  18. {font:Arial}Greetings to the forum posters, and thanks for the comments on the Friday Night Spotlight programming regarding Noir Writers. I am compelled to reply to the observations about my making a living out of my interest in film noir; Ha! Perhaps I should post my 1099s to clear things up definitively. To be clear, the Film Noir Foundation, a 501©3 non-profit raises revenue through the theatrical exhibition of vintage films and the generous donations of noir fans around the world. There are a few (lightly) salaried positions in the FNF, but the prez is not one of them. Frankly, most of my
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