HoldenIsHere

My first choices would be Geraldine Page and Marlon Brando. Page and Brando are the best examples of film and stage actors trained in American interpretations of the techniques of Stanislavski, commonly referred to by the general public as "method" acting. (Brando actually hated this term because of its association with Lee Strasberg, whom Brando and his self-acknowledged mentor Stella Adler disdained). Page continued to work on the stage after she began making movies (she actually worked more on the stage) while Brando's last appearance in a stage play was in 1953. While both Page and Brando are considered to be "naturalistic" actors (in contrast to the "classic Hollywood" style), both of them were masters of their craft, able to use their considerable talent, skills and instincts to create real human beings in fictional circumstances.

I'd love to hear your thoughts on the book, LHF, so I hope you either buy the book or get it from the library. Desmond Atholl (the former Thomas-Donahue majordomo who wrote That Girl and Phil) does acknowledge in Chapter 1 ("First Meeting") that Marlo Thomas was a very geneous employer, paying her staff "well above the market rate." I love this bit from the book jacket flap: "Desmond Atholl, every milionaire's dream of a household steward, proves that he's also a born storyteller with this sidesplitting account of how he somehow managed to satisfy every whim of the demanding lady of the house with a lot of hard work and little bit of luck (a word that rhymes with Marlo's favorite expletive)."

No, I can't believe how any reviewer could give GOSFORD PARK a grade of F. The EW reviewers must have been looking for a traditional murder mystery but what were they expecting from a Robert Altman movie? He made a career taking on various genres and subverting them.

Although I'm not participating in the TCM film noir class, I'm glad that TCM is offering it. Ball State University has an an excellent Film and Media Studies program (I have a friend who did her undergraduate work there) so I think that the course will be a worthwhile experience for those who are participating.

Was it to the strains of a zither or of a kazoo?

Thanks for the heads up on this one, slaytonf. This movie was not on my radar.

I would love for TCM to spotlight the work of Robert Aldrich. Maybe they could call it the "The Good, The Bad and The Lylah." I also enjoy movies that are ostensibly in one genre but that trascend that genre to become really something else entirely. One of the best examples I can think of is Robert Altman's GOSFORD PARK, which is ostensibly a murder mystery but the whodunit aspect is not the primary focus of the movie. In fact, the detective in the movie never learns the identity of the murderer (although the identity is revealed to the audience).

The copy I have from the library is a hard cover edition. I picked it up yesterday. I had to really suppress a big smile when the person from the circulation desk brought it to me. I'm not sure I was that successful. And, let's not forget that it was I (Holden) who first mentioned this book in this thread. The front flap of the book jacket alludes to some of the "episodes" detailed in the book: "The Missing Designer Gown" or "Marlo Acts Like A K-Mart Shopper At A Blue Light Special" "The Thankgsgiving Marlo Sent The Turkey Into Orbit" "The Case of The Not-White-Enough Tulips" "The Great Shoe Countdown: Imelda Marcos Meets Her Match" The back of the book jacket details the "The Many Faces of That Girl": That Cookie Monster That Lady of the House That Employer

http://www.youtube.com/watch?v=fxkUR0ZCR2g Please forgive me, LHF, but Lylah has taken control . . . "Molly Luther, the Wicked Witch of the West! You throw water on her and she shrivels, she meeeeeelts! Ha ha ha ha ha! Imagine that! She really melts! And all that’s left is a little phony flower and a dried up, disappointed FRRRRREAK!”

HA HA!

Ah, yes, but I must admit I love those excesses.

Yes, TikiSoo, Ava Garner's account of Artie Shaw's emotional abuse really stuck with me from the interviews I've read especially her remark that she could deal with George C. Scott's physical easier than the psychological trauma inflicted on her by Artie Shaw. I'm glad I'm not familiar with Artie Shaw's work so I dont have be disappointed in learning these things about him.

I just checked the Fathom events website and was happy to see that the movie will be playing in 3 theaters in the city and in a few suburban theaters in my area. I am excited to see this movie on the "big screen."

I second the recommendation for GENTLEMAN JIM. It is a a good movie (with a great performance by Errol Flynn) that deserves much more recognition.

Yes, Aldrich's work definitely covers the spectrum. As you probably know from my postings here. THE LEGEND OF LYLAH CLARE is a favorite of mine despite the movie's flaws and what some would label its excesses.

THRONE OF BLOOD aired last month too.

The BOMBA movies are trashed in the Maltin reviews (and okay by a lot of people), but I think they're fun in a kitschy way.

Yes, Agnes Moorehead, was wonderful in THE MAGNIFICENT AMBERSONS as was Tim Holt. PS. It's okay that you don't like HUSH HUSH SWEET CHARLOTTE.

I still haven't watched the 1950s version of SO BIG yet. I'll keep my eyes and ears open for the TV-PG worthy content.

This would also be a good idea for Friday Night Spotlight.

Oh, yes, the stone falling on Olivia de Havilland is a highlight of the movie. There are so many highlights though. It's nice to see de Havilland as a "bad" character.

There's a piece that airs on TCM where Orson Welles's daughter talks about enjoying seeing her father in THE THIRD MAN because he has his own nose.

That is an interesting concept having Mercutio being so much older than Romeo. I'm not sure if the text mentions them being contemporaries but I presumed they were (with Mercutio perhaps a bit older). I love Derek Jacobi's turn as a bad Shakespearean actor on FRASIER.