LornaHansonForbes

I think I learned more about film from ALTERNATE OSCAR than any other book I've ever read.

OMG, just replace "Guide for the Film Fanatic" and "1987" with "Alternate Oscars" and "1992" and the EXACT SAME THING IS TRUE FOR ME: RIGHT DOWN TO THE TWENTY CENTS ON AMAZON PART!!!! Spooky!

"Oy, such a nice young Jewish boy...but what's with the kissing the men and the jumping off the bridge? You're gonna break your mother's heart, Robby. Why not move somewhere where you can meet a nice Jewish girl instead of kissing men and jumping off bridges?..."

I am a HUGE fan of Danny Peary's book INSIDE OSCAR, and agree with 98% of his choices, and in the 1976 section for best actress, he thinks Glynis O'Connor deserved a Best Actress nomination for this, and he has pretty high standards, so my curiosity is piqued on BILLY JOE.

There's a good film and a good story to be told somewhere inside the brightly wrapped package of HOME FROM THE HILL, it's such an odd mix of scenes and performances that work and scenes and performances that don't....I think the issues of the film are entirely in execution. Yes, Eleanor Parker plays the mother, and while I like her and think she was: A. A total movie STAR and B. A good actress, much akin to a tamer Anne Baxter... ....she very rarely seems to be cast in the sorts of roles she should be playing- to me, she is a vixen, a schemer, or a "lady who lunches"- and so often she is cast in victim or ingenue parts. She was far too HIGH GLAM in her part in HOME FROM THE HILL- and so urbane and world-weary in her presence, one gets the feeling her reaction to her husband's daliance would be to deal with it and open an account at I. Magnin: end of story.

Actually...if I recall correctly, the television set Ann-Margret is watching projectile vomits beans, champagne and something else (dog food? soap suds?) on Ann-Margret. She was, of course, nominated for the Academy Award for Best Actress in a Leading Role for this, don't know if they used this as her Oscar clip or not. Fate was kind to you with regard to missing POCKETFUL OF MIRACLES. Sue me, but I don't like Frank Capra and this is my least favorite film of his. It is dreadful, and the official entry of Bette Davis into Cryptkeeper territory.

God Bless You for this. If I were forced at gunpoint to name the funniest moment in any movie ever, it would probably be Groucho's "boogie boogie boogie" reaction to the Gypsy Hag in IL TROVATORE from NIGHT AT THE OPERA. "Boy, how would you like to feel the way she looks?"

Well, whichever the hell Luana it was in HOME FROM THE HILL, I felt sorry for her, because I'm sure she trusted Vincente Minelli (at least two actors had won Oscars under his direction at the time this film was made) and he let her down- BIG TIME, and I know it was because of this movie that she didn't get good roles from thereon. She was a likeable, pretty girl, and I don't see how the same director (Vincente Minelli) who wrung a fire-and-ice performance of the highest caliber from LANA TURNER of all people- could fail to mold Luana into something resembling an actress. He doesn't and I lay the blame at his ( no doubt pink granite, rose-petal strewn, heather lined) door step. .... Maybe Vincente was too busy allowing the camera to linger over George Peppard- who never seemed quite able to button the top three buttons on his shirt- not that I can blame either one for either act.

Oooogie BooogieOooogie!

YES! It was like you could hear the sound of a mortar falling from the sky and then exploding as she delivered her dialogue in that scene, which- if played right- is the stuff supporting nominations were made for. I cannot believe a director like Minelli allowed a performance like that to happen. (and yet, he seems to have.)

Yes and yes. And thank you. ps- My God, what kind of name is that for a movie star?! It sounds like she should be working the checkout at a local A&P.

Everyone says "I love you" Everyone says "I love you" Everyone says "I love you"But just what they say it for I never knew It's just inviting trouble for the poor sucker who says "I love you." Take a pair of rabbits who Get stuck each other and begin to w oo and pretty soon you'll find a million more rabbits who say "I love you." When the lion gets feeling frisky And begins to roar There's another lion who kn ows just what he's roaring for Evry thing that ever grew The goose and the gander and the gosling too the The duck up on the water when he feels that way too says: "QUACK! QUACK! QUACK! Everyone says "I love you" the cop ........ on the corner and theburglar too, The preacher in the pulpit and the man in the pew say "I love you." Everywhere, the whole world through The king in the palace and the peasant too The tiger in the jungle and the m onk in the zoo says "I love you." Everyone no matter who, The fo lks over 80 and the kid of two The captain and the sailor and the rest of the crew says "I love you"

Alls I know is bonjour and m e r d e. edit- apparently Le censor parlez le Francais.

Ode to Billy Joe is a 1976 film with a screenplay by Herman Raucher, inspired by the 1967 hit song by Bobbie Gentry, titled "Ode to Billie Joe" (note difference in spelling). The film was directed and produced by Max Baer, Jr. (of The Beverly Hillbillies fame) and stars Robby Benson and Glynnis O'Connor. Made for $1.1 million, it grossed $27 million at the box office, plus earnings in excess of $2.65 million in the foreign market, $4.75 million from television, and $2.5 million from video.[citation needed] this is one I would be interested in seeing. I've heard Glynnis O'Connor is great in it.

I watched a lot of HOME FROM THE HILL last night. It was a film I didn't even know about before it was on the schedule yesterday, so to fill in some of you- it's a VINCENTE MINELLI film with Robert Mitchum and Eleanor Parker and was the film debut of George Hamilton and George Peppard. Sort of a lovely-to-look-at hyperstylized mess of a movie- and a loooong one too (two and a half hours to tell a pretty bare bones story.) Some fluid camera work helps alleviate the boredom (especially a boar hunting scene.) I think Minelli, having brought home so many Oscars for GIGI a year before, was allowed to indulge even more then usual. Mitchum and Parker- the leads- are honestly not in it all that much to where they honestly were supporting roles that would've been better played by older character actors (I was surprised to see the film was originally to be a vehicle for Bette Davis and Gable!) and the meat of the story is left to be handled by George Peppard (who may have been good and may have been bad, I don't know, so hypnotized was I by his hardcore sexiness) and George Hamilton (whose acting was so bad, his looks could not save it) and a young lady whose name I cannot recall, and who I had never seen in anything else ever, as the woman torn betwixt them. I think it is safe to assert I did not recall her because she did not make many movies after HOME FROM THE HILL and this was due in some good part to the fact that she beats George Hamilton to the finish to take the gold for bad acting by a good three minutes. She's awful. I don't know what it was with Minelli, but the acting in some of his films in the fifties stinks- (also thinking of John Kerr in TEA AND SYMPATHY and John Kerr and everyone else in THE COBWEB.)

I thought Jethro wanted to be a rock star.

....and if I may add, while REBECCA and SUSPICION have their faults, Fontaunes performances in each are impeccable.

Have you seen LETTER FROM AN UNKNOWN WOMAN? JANE EYRE is also a good one. IVY is obscure, and a little silly, but shes good.

I agree with what everyone is saying about Olivia in THE SNAKE PIT, but I have to add the 1948 was an incredible year for the de Haviland sisters. Joan Fontaine does not often get enough credit for LETTER FROM AN UNKNoWN WOMAN, because it was not successful at the time, and she didn't even manage to get nominated for it, but she's fantastic. Every bit as good as a OLivia and they are- without question in my mind- the TWO best performances of the year, vastly superior to Jane Wyman in JOHNNY BELINDA.

she got divorced in 1952. I remember reading in " inside Oscar" that immediately after she won her second best actress award for "the heiress", her husband at the time made a big stink because her agency took out a congratulatory tradepaper ad and did not thank her as "Miss" Olivia de Haviland. He apparently encouraged her to leave, and her career never reached the heights it did in the mid forties again.

Did it give details?

*(I again note that if some of you are viewing these on phone screens, they are going to be an awful mess.) EDIT- Unless you turn the phone and view it horizontally I just discovered!

Don't talk to me about self-respect. That's something you tell yourself you got when you got nothing else. The only thing that counts is that stuff you take to the bank, that filthy buck that everybody sneers at, but slugs to get. The world isn't for nice guys. You've gotto kick and punch and belt your way up because nobody's going to give you a lift. You've got to do it yourself,cuz nobody cares about us except ourselves. Nothing's cheap,when you pay the price she'spaying!The private lady of a very public enemy! A womanwho crossed the paths of many men!You're look ingfortrouble,arent you? That Forbes Woman again! Joan Crawford in THE DAMNED don't cry! A WARNER BROS. picture