HoldenIsHere
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Posts posted by HoldenIsHere
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Isn't everybody obsessed with Laura? Even Bessie the Maid, it would seem.
The scene where Mark questions Bessie for the first time was on when I was getting ready to leave for work this morning.
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Tough Guy (1936) with Jackie Cooper and Joseph Calleia. It had been on TCM a while ago and I recorded it.
Well it was kind of silly fun made worthwhile by the performances of both Calleia, in familiar gangster role and the young Cooper - who gets to cry about his dog.
One has to suspend all belief in the plot. At the start Calleia is intent on rubbing out young runaway Cooper because he is a witness to a crime he has just committed. But then a common love bond develops for Cooper's dog, who happens to be Rin Tin Tin, Jr. and Calleia does a miraculous if somewhat unbelievable 180. He soon becomes a big brother to Cooper and even does battle with the other baddies to protect him.
The good thing about most of these cliche ridden oldies is that they go by quickly.
SKIPPY --- another movie about Jackie Cooper and a dog -- is scheduled to air on TCM on July 25.
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Since LAURA is airing tomorrow on TCM, I'm wondering if the "alternate ending" will be discussed in TCM's film noir class.
As I noted in the original post in this thread, the mystery about the supposed alternate ending was cleared up as far back as 1978 in Jacques Lourcelles's article in L’AVANT-SCENE.
(Lourcelles noted that the often alluded to "alternate ending" was in reality a cut portion of one scene.)
Even the DVD commentary on LAURA confuses this point.
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I haven't been able to read much of That Girl and Phil this week, but I will say that I do like the book's short chapters.
Today I was able to read Chapter 3 ("Dressing Phil"), which desribes how Marlo enlisted Desmond's help to overhaul Phil's wardrobe while Donahue was away in London recording some shows.
His entire home and work wardrobe was removed and replaced with items that Marlo found more appropriate. Desmond notes that he was pleased with the choices he made for Phil but that Marlo took all the credit since she was the "star" and he was the "help." According to Desmond, Phil went along because he wasn't concerned much about his appearance one way or the other.
One of Desmond's comments from the "First Meeting" chapter that I didn't like was his remarks about Marlo's secretary. According to Desmond, although she was "professional," the secretary lacked "certain social skills." Desmond, however, does not elaborate on what skills that she lacked. Without giving the reader any specifics, that klnd of remark comes off as a personal jab (the backhanded "professional" compliment notwithstanding).
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Here's Ron Moody with the great Georgia Brown and the original London cast of OLIVER!
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Christopher Lee was really good in Richard Lester's Musketeers movies.
I'm glad TCM is airing both THE THREE MUSKETEERS and THE FOUR MUSKETEERS as part of his tribute.
(These movies also feature a great performance by Faye Dunaway.)
Christopher Lee will also be remembered by modern audiences for his role in SLEEPY HOLLOW and as Saruman in THE LORD OF THE RINGS movie and as Count Dooku in the STAR WARS movies.
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Ray plays himself in the movie The Great Ziegfeld. He got his start working for the Ziegfeld Productions and the movie has a very brief scene that shows how he was able to move from a hired hand to a performer.
I didn't know that.
I knew that Fanny Brice played herself in the movie.
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DESMOND!!!!!!!!!!!!!!!!!
Yes I love the way he describes how Marlo wails his name.
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Well, here's the thing about those Betty Boop cartoons, and a lot of other cartoons that were made around that time (like the early Popeye ones, for instance) : I'm pretty sure they were not made for kids. They were definitely not kids' cartoons. Never mind the oblique reference to VD in Cab's song, those old BB cartoons were loaded with sexual innuendo.
And, as I'm sure you know Swithin baby, cartoons were shown in movie cinemas before the feature film (along with a newsreel and maybe a "short" .) And there were just as many, if not more, adults in the audience as children.
Correct. The Fleischer cartoons (Betty Boop, Popeye) and the early Warner Brothers cartoons were made for an adult audience.
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Magnani was terrific in Rome, Open City, Bellisima, The Fugitive Kind and Mamma Roma but nothing comes close IMHO to her performance in The Rose Tattoo. Magnifico!
Yes, her work in THE ROSE TATTOO is one of the greatest performances captured on film.
There aren't enough superlatives for it.
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If I remember.correctly, I believe Brando did not want to do Orpheus Descending (the Williams play renamed THE FUGITIVE KIND for the screen) on Broadway because he was afraid if being overshadowed by Magnani. In the end, she didn't do the stage production either.
Yes, Williams wrote the role the role of Lady in Orpheus Descending for Anna Magnani, but she wasn't secure enough about her English to agree to a live production on stage.
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So any reactions from book club members? (THAT Girl and Phil) Are you reading it?
I've only read the introductions and the first 2 chapters so far ("The First Meeting" and the chapter about the futile and EXPENSIVE quest for the pure white tulips (since cream/off-white tulips were apparently gosh and/or passé).
In the first meeting chapter, it was interesting that Desmond didn't wear his fur coat for fear of possibly offending Marlo's sensibilities, but his cashmere ended up being "devoured" (Desmond's word) by the animal skins in the Thomas-Donahue closet.
As to the question about Phil Donahue's clinical background. The book describes that he was a reporter/broadcaster from the Midwest, not a psychologist. He started his talk show at a station in Dayton OH then moved to the larger Chicago market where his show eventually became nationally syndicated. The show eventually moved its operations to New York.
(The book doesn't mention this ----or hasn't so far---- but I think Oprah Winfrey's popularity was a factor that drove Donahue out of Chicago. Visitors were flocking to her tapings rather than to his.)
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Thanks for sharing.that Holden. What an amazing actress,.and awesome.performance. Thoroughly deserved the Oscar imho.
Yes, Anna Magnani was brilliant in THE ROSE TATTOO and also in another Tennessee Williams's adaptation THE FUGITIVE KIND (which co-starred Marlon Brando).
Magnani is probably the only actor who could "steal a scene" from Brando.
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Any thread that does not contain a reference to Tor Johnson is a thread worth saving and cherishing.
But you realize that the post that was being commented on does actualy contain a reference to . . . oh never mind . . .
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I love the BARBARELLA and O LUCKY MAN! clips in the promo.
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I have always gone with THAT Girl. In the series intro, both are emphasized.. though I feel GIRL may have been so in order to facilitate the melody of the show's theme song. So I'm sticking with THAT Girl.
I always preferred the THAT GIRL openings that were instrumental (without lyrics).
I think the lyrics were added for the final season.
Lyrics were also added to ROSEANNE theme for the final season.
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What is the clip at 1:27 from?
It's a black-and-white clip of a guy throwing dice.
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do you remember how Marlo recorded that TCM tribute to Loretta Young when she was the SOTM a year or so ago?
remember how close to the end she mentioned Loretta loaned her "her personal dresser Wurley to do my clothes for THAT GIRL"?
Poor guy! I wonder if she just shipped him UPS.
One thing about Marlo Thomas's tribute to Loretta Young that stood out to me was that Marlo referred to her TV series as THAT GIRL (with the stress on the word "girl").
I always refer to the series as THAT GIRL (stressing the word "that").
What word do you guys stress?
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And these clearly not Czech actors speak in heavy American slang too. Seriously. It's like watching The Dead End Kids do THE BROTHERS KARAMAZOV off-Broadway.
That sounds intriguing to me.
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Thanks LHF for making me never waste my time watching this movie
THE LEGEND OF LYLAH CLARE is good, campy fun, TikiSoo.
If you enjoy camp, you should check it out.
Just be ready for the crying clowns.
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Ok,this films ending really creeps me out. It's the most eerie and ironic thing ever. You have 2 of the biggest Hollywood stars in Monroe and Gable,essentially playing out their own end perfectly on screen. The 2 wild mustangs running free in the desert,are symbolic of themselves riding off the screen,and she asks that line of .."How do you find your way back home in the dark?",and the Twilight Zonish music fading out on that star... as if fate,and themselves knew this was the end for them. I can't imagine what Arthur Miller must have thought going over the script later on,knowing that was the last time either of them was on the big screen,with Gable dying shortly after,and Monroe in '62. That had to trouble him a little I would think. I have a hard time watching this film,because I can tell these people (Monty Clift included) are really hurting,and playing out that stuff on screen. The whole thing just has an ominous feel to it from start to finish,and no matter how many times I view it,it stil makes me unsettled.
Yes, knowing how events played out the ending of THE MISFITS is very eerie.
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Here's a great fan-created trailer/clip montage for THE RECKLESS MOMENT:
September 2015 SCHEDULE NOW AVAILABLE
in General Discussions
Posted
Hopefully TCM's schedule for September 2015 will be available online soon.
Does anyone have any guesses (or hopes) about who the Star of The Month will be for September 2015?