LornaHansonForbes

I remember this story from INSIDE OSCAR. I also remember reading Bergman "got into it" with a reporter backstage over a question related to the matter and got really mad and walked off.... seems rather un-Bergmanlike.

Actually, it's more like 30/31 years (1974/5- 2015) but yes, she is still alive- actually something like the seventh or eight oldest living Oscar nominee. Her filmography is a mix of Italian and obscure American films, with not a lot of output after 1980.... I also knew her from her supporting role as a Lesbian production assistant from the 1968 flaming, hazardous-material-hauling trainwreck THE LEGEND OF LYLAH CLARE...she- like Peter Finch- maintains a bizarre sort of dignity by remaining 100% commited to the outlandish dialogue and whackadoo scenarios.

THIEVES HIGHWAY (1949) ...and I was kind of underwhelmed. it's got to be the only film noir in which apples are a major plot point. Valentina Cortese was fun though. She's always worth eatching.

I went to the JAWS and I liked it. & I would definitely have going to see INDEMNITY but was not able to. They only have one showing one time in my local theater.

A GREASE 2/ STAYIN' ALIVE double bill would be the greatest thing humanity has ever seen. they would just have to end by literally burning the theatre to the ground afterwards.

TURNABOUT is actually pretty fun (once it gets going), but it has been on a lot lately. I am SO SICK of both TOPPER films though.

FANNY (1961) is a very charming film that I like a lot, but a big fault in it is an example of exactly what you speak- the actress playing Leslie Caron's mother is quite obviously dubbed, whether her lip movements are off I can't remember, but the sound of her dialogue being delivered is louder and clearer than that of every actor she is on screen with, even someone without a lot of knowledge about ADR and filmmaking can tell something isn't right.

I know how I'd feel: awesome. I get to show up, looking like hell, in terrible shape, no make-up, no wardrobe fitting, no waiting for lights and shots to be set-up, then I sit in an air-conditioned room for a few hours getting paid to talk into a mic. Throw in an edible arrangement and a veggie tray and I might just take on a whole new career doing dubbing work.

I remember the PRIVATE SCREENING Osborne did with Angela Lansbury, and he brought up the fact that she'd dubbed Thulin in FOUR HORSEMEN... She actually seemed a little reluctant to talk about it (more out of fear of embarassing the actress) but admitted that it was indeed her. Hey man, a gig's a gig, and you could work a helluva lot harder than dubbing.

Usually I sleep all the way through the night, but for some reason I woke up at 4:30 this morning, so I turned on THE NIGHT DIGGER/ THE ROAD BUILDER and stuck with it all the way to the end. It was every bit as good as I recalled, hope some others of you caught it last night or DVR'd it at least.

It kind of looks like she was wearing ear muffs and Zachary Carson was all "look we need to talk, can you take those things off?" And she just sort of slid them down the back of her head somehow.

I believe this is the film with the Swedish (?) actress in the lead whose accent (acting?) was so bad, she was completely dubbed by ANGELA LANSBURY.

It is SO good. Dahl wrote some other adult short stories, but I think this was his only screenplay, and it is excellent. it really deserves to be mentioned with the rest of his triumphs.

removed the "spoiler", although if I remember correctly, it's revealed pretty early on. make sure to set your DVR's for " the night digger"/ "road builder" at 4:00 am tonite then.

THE ROAD BUILDER aka THE NIGHT DIGGER is TERRIFIC. I am sorry I missed it as I have only seen it once. It is a neo gothic suspense thriller where Patricia Neal plays a middle-aged spinster caring for her blind mother in a decaying Mansion in the English countryside. Nicholas Clay - who is smoking hot and shows his butt - moves in and becomes their handyman, but is secretly quite a dangerous person. .... I hope you recorded it. I cannot recommend this movie highly enough.

a m a n a l o n a man alone, against the world doesn't stand a chance. A man alone, against the world, doesn't stand a chance. A man alone, against the world, doesn't stand a chance. A man alone, against the world, doesn'tstand a chance. A man alone,against the world doesn't stand a chance.... John Garfield Patricia Neal and Phyllis Thaxter in The Bre aking Point.

As much as I love the movie, I love the trailer even more; and as many times as I have watched the movie, I've watched the trailer even more. ps- that is an ambitious double-chignon Joan is working from behind.

It was a last-minute substitution for a botched tribute to GUNGA DIN that I scrapped. I read this some time ago in the trivia section for INDISCRETION OF AN AMERICAN WIFE aka TERMINAL STATION and was like, "Hmmm, the world needs to know this." ps- how would you like to be the plumber who got called in to fix that ?

Bright Leaf (1950) Most of it, I've seen parts before, but not most of it. It wasn't really bad, it told the story, and it moved (as all Curtiz films do.) And it was surprisingly frank in its look at small town life (I'm drawn to portraits of such in older films.) Really pulled no punches (and made no judgments) about the fact that Bacall's character runs a bordello. Makes an interesting, but much less fun, companion to FLAMINGO ROAD, in fact it seems like some of the same sets are used (I think the facade of the home where Cooper lives with Patricia Neal that burns down eventually is the home Crawford moves into after hitting paydirt with David Brian.) Gladys George is criminally wasted in what I think is only one scene, her role here is even briefer than hers in FLAMINGO ROAD. She was such a wonderful actress, but I am starting to wonder if her increasingly minimal screen appearances as the forties progressed were due to some issues in her private life or bad health (she died pretty soon after this movie.) Ultimately, it was a shame that a movie that featured Young Bacall as a Madame and young Patricia Neal as a scheming, heartless, ****/Goddess Southern Belle and had Jack Carson and Gladys George in it too, choose to devote most of it's screen time to Zombie Gary Cooper, who sleepwalked right through to the credits, occasionally mumbling out "braaaaaaaains" as he shuffled along.

Class Act noun, Informal. 1. Something or someone regarded as outstanding or elegant in quality or performance. 2. see also:

fun HOLLYWOOD trivia fact of the day: According to Judith M. Kass in 'The Films of Montgomery Clift', Jennifer Jones developed a crush on Montgomery Clift, but when she found out that he was not inclined toward women, "she reportedly became so overwrought that she stuffed a mink jacket down the toilet of a portable dressing room."

Dem some Mom Jeans, Robby.

I can forgive his not being nominated for OUT OF THE PAST, even though he is better in that film that four of the five eventual nominees, because that was a little RKO film that came and went under the radar and had he actually gotten a nomination it would have caused an utter furor at the time (hard to believe given how weak the performance that won that year is in retrospect.) And again, I get his non-nomination for NIGHT OF THE HUNTER because that film was also one that- so I have read- did not cause a big wake at the time . But to me, the unfathomable omission of Mitchum by L'Academie was when he was not nominated for HEAVEN KNOWS, MR. ALLISON, because he is EXCELLENT in that film, which is a sprawling visual presentation of a very intimate little story featuring pretty much him and Deborah Kerr and some lovely scenery. She got nominated, he didn't....and I think she's great in the film, but he is even better and a far bigger presence than Alec Guinness in RIVER KWAI (whose role is really supporting) and waaaaaaaaaay better than Franciosa in HATFUL OF RAIN. I'm hard-pressed to think of better work than anyone in a true lead in 1957.

I don't know if Osborne mentioned this or not, but I was surprised to discover that Robert Mitchum won the National Board of Review Award for Best Actor for HOME FROM THE HILL and THE SUNDOWNERS, and George Peppard won the National Board of Review Award for Best Supporting Actor for HFtH. both were very rare cases of National Board of Review winners who did not go on to get Oscar nominated for their role.

Bumping up the thread shamelessly because it's Groucho's day, and was thinking maybe Dargo had missed the post below.