Mr. Gorman

HARD CONTRACT (1969)

X. BRANDS (hey, any 'X' will do!) -and- YOWLACHIE, Chief (1890-1966)

COPPER CANYON (1950-Western) Ray Milland, Hedy Lamarr -and- COWBOY (1958-Western) Glenn Ford, Jack Lemmon Two stars you just don't see in 'Western' movies. (In fact, I can't think of ANY other Westerns featuring Hedy and Jack . . . ?).

I thought "No Sad Songs For Me" was Frank Morgan's last film for some reason or other. I was wrong. 😜 It was MARGARET SULLAVAN's last film. Next: LAURENCE HARVEY

STORY OF SEABISCUIT, The (1949) Next: Suzanna Leigh, Guy Doleman, Frank Finlay

Speaking of GREGORY PECK . . . I think he just gave up on the whole 'British accent thing' with THE SEA WOLVES (1980).

We have the 1986 summer blockbuster hit TOP GUN with Tom Cruise, Kelly McGillis + a buncha kool fighter jets and "Take My Breath Away" (by BERLIN). Then we have the 1955 Western TOP GUN which does not involve Tom Cruise, Kelly McGillis, kool fighter jets, Val Kilmer, Icemen, and it don't got no hit song or double negatives! → Instead there is Sterling Hayden and he's a gunfighter (surprise!).

NIGHTMARE IN CHICAGO (1964-Tvm) is a pretty good early Altman film. I don't know how readily available it is to watch . . . but I used to have a VHS tape of it. Not a 'legal' video release -- someone had made a copy from a grainy old television airing and sent a tape to me. I watched it once and enjoyed it. Then I managed to store the tape in a damp place and it got mouldy. I should've known better; very stupid of me. But at least I got to watch it. A far cry from his later films, to be sure. Runs 80 minutes. I do like Robert Altman's 1978 ensemble comedy/drama "A WEDDING" even tho it is admittedly not a great movie. But I've seen it 4 times. (I've not seen "Nashville" before, btw). NIGHTMARE IN CHICAGO is a wintry movie that takes place in Illinois just before Christmas. Police hunt a killer who has been nicknamed "Georgie Porgie" and who preys on blondes. How to stop him before he kills again?

Having read the post above I hereby nominate the word 'tendrils' as being a gloriously underused word. I also read several posts above that there were jokes in regards to The White Whale (aka: "Moby Dick") in CUTTER'S WAY. → Did y'all know that 'Moby Dick' was reincarnated as a barnyard fowl? MOBY CHICKEN! (Legend has it Gregory Peck was trying to hunt down and chuck a spear thru "Moby Chicken" before he passed on in 2003!). 😛 NOTE: This post brought to you by the fact I couldn't stay off the 'Dark Roast' STARBUCKS ICED COFFEE early this morning. All the caffeine makes me think of weird stuff . . . 🤪 ).

♠THINGS♠ I thought it was Ethel Merman instead of Tallulah Bankhead who told Loretta to PYSSE OFFE. 😜

@JillianAtchley: My memory, such as it is, seems to recall the scene was open-ended with Gleason looking on and leaving Pirelli and the young boxer just standing there as Gleason looks toward the ring where Mountain is dancing around in a long shot. → I suspect I'll have to watch the tape again soon; the ending from the VHS does not come up on YouTube. I'd swear in the not-too-distant past the VHS ending had been uploaded to YT so everyone could see it for themself . . . but I looked for it this afternoon and couldn't find it the upload.

In CIRCLE OF TWO there's not much; Tatum gets topless briefly and Burton tells her to "get dressed". Then after Tatum says "You painted Claudia in the nude" Burton kicks a box and demands she get dressed.

Sounds like CAUSE FOR ALARM should be on the "Irritating Movies" list instead of Film Noir Movies List. @LornaH.Forbes: I suggest you watch THE MIDNIGHT MAN (1974) with Burt Lancaster and Susan Clark. It's verrrry complicated! But I think it makes more sense than "Night Moves". (I'm not saying it's a better movie, tho).

I thought Charlene Holt was born in 1928. That's the reference to her I saw on 'glamourgirlsofthesilverscreen.com'. I reckon it was '38 after all. Although I think the best way to be sure is to find out what year she graduated high school. ALSO: In regards to "The War Wagon" I reckon it's entirely possible the version of the movie featuring 'Kirk Buns' may no longer exist. Or maybe it's buried in a salt mine somewhere. Buns from anyone were not allowed on U.S. television at the time "The War Wagon" would have premiered on TV so I'll guess Universal didn't duplicate the print with Kirk Buns after its theatrical run.

I forgot to mention the title of the song vocalized by Lou Rawls in WELCOME TO ARROW BEACH. It's "Who Can Tell Us Why". My bad!

@37kitties: The IMDb probably has a better description of the Columbia VHS ending under their 'Alternate Versions' thread than I could offer up here . . . but here goes! There's a scene with Jackie Gleason that runs a minute where Stanley Adams walks up to him with a young, up-and-coming boxer. Gleason then tells the young boxer, with a world-weary tone after all Maish has been through, to "Go Home" and that there are so many more losers than winners in this business and implying that this young boxer will more likely end up like Mountain Rivera ( who's now humiliating himself in the ring) than a distinguished boxing champion. I'll also note that, if you go to the IMDb and read through the 'Trivia' and 'Alternate Version' section there is conflicting information about how long the original theatrical release ran. Was it 87 minutes? Or 96 minutes? I honestly don't know as I never saw "Requiem for a Heavyweight" in theaters. (I wasn't born until 1973). However, the ending on the VHS tape is apparently unique to the videocassette release from what I've read and seen on TCM. → I just don't remember seeing that final minute-long sequence with Jackie Gleason telling the young boxer to "Go Home" on the print shown on TCM. I concede it's possible I could have looked right past it as it's only a minute long, but that's as accurate as I can remember offhand about the ending on the Columbia VHS tape.

Since I like LAURENCE HARVEY I shall mention his last film: WELCOME TO ARROW BEACH (1974). He plays a Korean War veteran who may -- or may not -- have lost his taste for human flesh. He starred and directed this early movie about the effects of 'PTSD' on returning soldiers. Admittedly the plane crash flashbacks with him and his crew are •really• low-budget . . . Laurence didn't have a big pile of $dough$ at his disposal while making the movie +plus+ he was already fighting stomach cancer which killed him before the film could be released. (Apparently he was endeavouring to edit "Welcome to Arrow Beach" from his deathbed; phoning in instructions before he died on Nov. 25, 1973). WHAT YOU GET: As a viewer, if you are fortunate enough to see an un-cut version of "Welcome to Arrow Beach", you are treated to Lou Rawls singing a song with groovy lyrics like "We're all born to Die" over the opening and closing credits. John Ireland standing up for 'Law and Order'. A guy in a full-body cast waving his hand around because it's FUN! And all kinds of other nuances like David Macklin reminding Meg Foster the places a girl could inject herself defy the imagination! 😲 ***SPOILERS*** You also get Laurence carving up Gloria LeRoy in slow-motion for his 'meat rack' in the cellar. She models; he /chops/! TCM CAN borrow my U.S. Magnetic Video Corporation VHS release from 1979 to make a DVD copy of "Arrow Beach" for airing on Turner Classic as long as they promise to return it. Runs 99 minutes in its proper length; there seem to be some 85-minute versions out there which apparently reduce the cannibalism angle to nothing. Boo! Hiss! on those shortened editions. They're utterly worthless.

In regards to the 1962 film version of REQUIEM FOR A HEAVYWEIGHT . . . There is a version of this film released by COLUMBIA on VHS (I've got it an' I've watched it) which has a different ending than the version shown on TCM. I don't know for sure which version y'all are referring to, but I'm *assuming* it's the version shown on TCM and not the Columbia tape . . . but I can't be 100% sure now can I? 🙃

Yeah, but ya just gotta mention LUST FOR LIFE! Painting and painters, eh? AGE OF CONSENT (1969) with a good cast. CIRCLE OF TWO (1980) with Tatum O'Neal inspiring disaffected artist Richard Burton to resume painting. ALL THE VERMEERS IN NEW YORK (1990) has a lot of paintings in the periphery of the film. Especially the paintings of some guy named 'Vermeer'. 😄 (P.S. @Two Keets: I love parakeets, cockatiels and all kinds of birbs. Gib your smol feathered pals an xtra scritch or two for me). )

I've never liked the '56 version of THE MAN WHO KNEW TOO MUCH in comparison with the meagre-budgeted '34 original. What Hitchcock was able to do in 75 minutes in 1934 took 120 minutes in 1956 and, to me, was unnecessarily l-o-n-g. I could understand the 1956 version being longer than 1 hr 15m; I don't know of any major studio films in '56 that were so short . . . but 90-95 minutes would have been quite enough. Instead, it's 2 hours and it drags in Albert Hall not to mention the kid isn't all that interesting. It was a girl in the '34 and a boy in the '56 and the girl was more interesting. I actually cared that she was rescued. → Plus, that song -- you KNOW the one -- didn't clutter up the proceedings in 1934 like it did in '56. That a definite +plus+ for the low-budget original not having that infernal song as part of the plot. To my mind, ANY technical shortcomings in '34 are negated by not having to pay heed to "Que Sera Sera". And, besides, with Peter Lorre as the main villain in the earlier version it's much more fun to watch. 'nuff said.

DirecTv lost the feed of BLOOD SIMPLE where I live. Rural GA, USA. My TV screen said there was a technical problem and DirecTv was working on restoring the feed. After a few minutes I just turned my TV off and did something else for a while.

@Moe Howard: No, actual Kirk Buns where the scene cuts away instead of seeing Kirk walk away from the camera without the long-johns on.

I have a morbid streak. I think of movies released in the 1970s where the main cast has mostly all gone to the Great Beyond. Like BREAKHEART PASS (1976). The main cast is all gone. Only bit players from it are still around -- one of which is Sally Kirkland who had a tiny part at the beginning. Most of the 'important' folk listed on the opening credits are all gone, too, such as: TOM GRIES - Director ALISTAIR MacLEAN - Writer LUCIEN BALLARD - Cinematographer ELLIOTT KASTNER - Producer JERRY GOLDSMITH - Music There's also SILVER STREAK (1976) and COTTON COMES TO HARLEM (1970) with the main cast mostly all gone. The very attractive Judy Pace from "Cotton Comes to Harlem" is still alive, I do believe, but she's pretty much alone in that regard. The two All-Star Comedies: MURDER BY DEATH (1976) and THE CHEAP DETECTIVE (1978). The main casts of those are mostly all deceased. So is Robert Moore, the director of both.

I've never seen IRREVERSIBLE; I have no plans to do so. I won't Lie and say I'll watch it. I've only read about it and heard about from those who've seen it. Just the way it sounds to me is like a '70s or '80s exploitation movie trying to be more 'important' and 'say something'. Could it be that IRREVERSIBLE is simply self-important twaddle that's fundamentally dishonest? Trying to be some kind of a 'serious' movie and fool viewers into thinking it's something more than a plain ol' graphic exploitation film starring a very attractive leading lady? I don't know . . . but the impressions I have of the movie after reading about it and chatting with some folks who've seen it has left me thinking I'll just stick with honest-to-God exploitation movies that are made to make a buck and be sleazy without any underlying pretensions of making a serious statement about Society ( or some sh!t like that). In regards to EL DORADO I view it as "Rio Bravo With Older People"; the stars are now older and less mobile! I like EL DORADO better than RIO BRAVO. (I think Charlene Holt was only 21 years younger than John Wayne, tho, and not 31). I like THE WAR WAGON, too, but I only watch it on my 1983-issue VHS tape. It's not in W/S, as you'd expect, but I don't need Hi•Def to watch a 1967 Western and see all the shortcomings in regards to the 'backgrounds'. I'm surprised at how well that old tape plays. → Even has the 'Visit Universal Studios' promo at the end with the picture of the old-time tram car. If anyone reading this has watched old MCA or MCA/Universal tapes you'll know the promo I'm referring to. (ALSO: Note there are no Kirk Buns on display on the 1st VHS release of "War Wagon". You can tell where you'd see the 'Kirk Buns' on display but the scene cuts out right as Kirk is walking away sans robe). @EricJ: In regards to late-70s "time capsules", well, shucks, I've got a list of those you can look for if you fancy some 'nostagia trips' to go along with your recent viewing of "Thank God It's Friday". 😀 Here's a few: RECORD CITY (1978), SKATETOWN U.S.A. (1979), ROLLER BOOGIE (1979), NOCTURNA (1978) →Dig the cartoon bats, VAN NUYS BLVD. (1979), MALIBU BEACH (1978), MALIBU HIGH (1979), THE VAN (1976), SUPERVAN (1977), DISCO FEVER (1978), SWAP MEET (1979), SUNSET COVE (1978), THE POM-POM GIRLS (1976), CHEERING SECTION (1977), SUMMER SCHOOL (1977) [aka: "Mag Wheels"], GUMS (1976), THE CARHOPS (1975), STARHOPS (1978) and GRAD NIGHT (1980).

In regards to NIGHT MOVES that's one of those movies that leaves the viewer to decide what exactly is going on at the end. Heck, the ending could make sense and that's all that matters!