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Everything posted by neilelmhr

  1. I agree, it doesn't get any better than this. This was undoubtedly one of the best bios I've ever seen of Flynn and it helped tremendously to have Patrice Wymore, Nora Eddington, Olivia de Havilland and others talking about him and revealing so much. He obviously had their respect, despite his flaws, and for once his acting ability was clearly defined by the film clips themselves. Like many of us feel, he was a vastly underrated actor merely because he looked best of all in adventure films wielding a sword! UNCERTAIN GLORY with Flynn and Paul Lukas looked like an interesting film. Have ne
  2. One of my favorite blunders: In DEVOTION, just before Ida Lupino's death scene, Olivia de Havilland enters the bedroom of her dying sister. As she moves into the room, a crewman's hand can be seen reaching out to close the door behind her. Just noticed one from ROBIN HOOD (aside from the grey car that appears for a split second in a background shot of the forest), where Errol Flynn during his escape cuts the rope attached to a wheel to let the gate draw close. In a previous shot you can see the rope is hanging straight down from the top of the wall. A second later, it's attached to the wh
  3. Hi Deborah, Thanks for another interesting post on the subject. I just think that if someone did do a script for ETHAN FROME it would have to have some blend of humor along with all the grim facts of the story. There would have to be lighter moments to balance the whole tale, as in DARK VICTORY. It would be a very tricky assignment to pull off. It's really too bad Bette didn't insist on getting her way this time. It would have given Max Steiner a field day! And Bette, with her New England background, would have been perfect. I seem to recall Sterling Hayden being mentioned for the male
  4. Hi Deborah, Yes, there was quite a good response to the George Brent article and the backstage incident was touching. Actually, he was only four years older than Bette. Fascinating tidbits you brought up on ETHAN FROME. That was always one of my favorite books in English lit and I knew that Warner Bros. owned the screen rights but never heard mention of Joel McCrea before. Come to think of it, he would have been an excellent Ethan and I can picture Bette in the role of the bitter wife. The young woman could have been played by Olivia. Too bad nothing ever came of the project. I lov
  5. Very interesting, Larry. Had no idea either one of those ladies would dislike Olivia enough to comment on it as they did. Sounds uncharacteristic of someone like Agnes who wasn't exactly above stealing scenes herself! The film you mentioned to Mary Astor was THE ADVENTURERS and it was, indeed, pretty awful. And I agree with your comments on the performances in CHARLOTTE. In fact, many have said the same thing re the "hamminess" of Moorehead's slatternly Velma--although I have to admit I rather enjoyed her anyway. Yes, Olivia ended up getting the best notices among the female stars. I q
  6. Larry, it's only that I question your source for this information, since I'm a writer myself and always have to make sure I do all the reference work before coming up with statements of fact. I just wrote an article on Olivia for FILMS OF THE GOLDEN AGE and in all my reference work found no mention of your backstage info on CHARLOTTE. I'm not saying it's not true. Just wondering what your source was. And Deborah: Thanks for mentioning the Bette Davis/George Brent backstage incident. I wrote that article for CLASSIC IMAGES on Brent and she reported it herself in the Whitney Stine book:
  7. Sorry, Larry, but your take on Mary Astor and Agnes Moorehead disliking de Havilland just doesn't ring true. If so, why did Agnes Moorehead claim that Bette and Olivia deserved Oscar nominations? And in Olivia's one scene with Mary Astor, it was Olivia who quietly underplayed the few moments she had with Astor, in no way attempting to "steal" the scene from her. Moorehead was in one of de Havilland's earlier films too, GOVERNMENT GIRL, as a snooty Washington hostess. I believe they got along just fine. BTW, I thought Mary Astor was great in CHARLOTTE. That scene with Cecil Kellaway whe
  8. While I've always enjoyed certain performances of both Bette and Joan, I must admit that after reading all these posts it only reinforces what I've always thought about Davis--that in real life, she was quite a b****. The stories of her rudeness to female co-stars are legend (Lillian Gish, Helen Hayes, Faye Dunaway, Susan Hayward, Celeste Holm). The only actress she seemed to get along with was Olivia de Havilland and that was only during their third film together--IN THIS OUR LIFE. She intimidated Olivia during the first two, refusing to even say good morning to her during ELIZ. AND ESSEX
  9. therealfuster: I'm a big Flynn fan and that handsome photo of him on the NOW PLAYING cover convinced me in a mini-second that he would have made a great James Bond. That sort of role was right up his alley--smart comebacks, toying with beautiful women, enjoying every second of life to the fullest, and all the physical agility and stunts the role required with his own brand of flair and debonair charm. He would have been a superb James Bond!! And nobody looked better in a tux. Neil
  10. Hogwash is right. And how's this for irony? PREMIERE magazine just gave Olivia de Havilland what they called a "Legend Award" and presented it to her in person last August. So who did they leave off the list? You got it. The usual suspects are missing: OLIVIA de HAVILLAND, LANA TURNER, JENNIFER JONES, MARLENE DIETRICH, JOAN FONTAINE, CLAUDETTE COLBERT, IRENE DUNNE. I guess somebody had to make room for Will Smith.
  11. The plain facts dispute the opinion that Morgan "is the best all around actor." Dennis Morgan, however popular he may have been during the 1940s, has not a single award to his credit. No nominations, nothing. RAY MILLAND has won an Oscar for THE LOST WEEKEND, the N.Y. Film Critics Award for the same, a Golden Globe Best Actor for THE THIEF, an Emmy for RICH MAN, POOR MAN in the '70s, and appeared on Broadway with distinction. His film credits are much more distinguished than Dennis Morgan who is really known as a lightweight actor. I like Dennis Morgan, personally, but never would put
  12. I don't see any valid comparison between the two. They are totally different types. As for acting, I'd have to give the edge to RAY MILLAND--who, incidentally, was also excellent in light comedy. In fact, his rise to stardom depended more on romantic comedies than dramas. And, of course, he was at his peak of dramatic ability in THE LOST WEEKEND. DENNIS MORGAN, on the other hand, could sing a little, could act a little, and certainly was one of the handsomest men at Warner Bros. during the '40s. But he had a very limited range as an actor, dependable as he was. If we're comparing actors to
  13. Katharine Hepburn's winning streak reminds me of another "great actor" who almost always played himself on screen--JACK NICHOLSON. He had a habit of appearing in many roles in which he seemed to be playing a variation of his own well established persona. Yet, he's been awarded many Oscars for his work. He was wonderful in AS GOOD AS IT GETS but it was the same Nicholson we've seen over and over again in numerous films. And then again, there are those who feel Hepburn has been over rewarded for her work--and obviously, although I respect your opinion as a Hepburn fan, you're not one of them
  14. KATHARINE HEPBURN a great actress? Not really. A great actress ought to be able to submerge her own personality and "become" the character he/she plays. Hepburn had such a strong presence and personality that she was never able to do this. So saying, I agree with many of the posters who came to the same conclusion. When THE HEIRESS opened at Radio City Music Hall back in 1949, critic Alton Cook of the World Telegram began his review: "Ladies and gentlemen, let us rise to salute a great actress." And yet, in discussions of great actresses from the Golden Age, you always hear the sa
  15. Another little film that no one seems to talk about on this Message Board is MY LOVE CAME BACK ('40), a romantic comedy starring Olivia de Havilland as a girl violinist mistakenly believed to be the mistress of sugar daddy Charles Winninger. Jeffrey Lynn is her handsome co-star. The cast includes Jane Wyman, Eddie Albert, Spring Byington, S.Z. Sakall and Grant Mitchell. It's an entertaining little programmer (classical music vs. swing) that Olivia made after playing Melanie in GWTW. It turns up on TCM every once in awhile and is worth catching for the performances alone. Neil
  16. That's an easy choice for me. I've always thought that OLIVIA DE HAVILLAND and VIVIEN LEIGH gave two of the greatest of all time: 1. Olivia in THE SNAKE PIT ('48) and THE HEIRESS ('49). 2. Vivien in GONE WITH THE WIND ('39) and A STREETCAR NAMED DESIRE ('51). And, of course, over the years both of them gave many other remarkable performances in films too numerous to mention. Never a question to me as to their greatness in the above-mentioned roles. Among the actors, I have no immediate favorite but Cagney, Stewart,Gable and Olivier gave some mighty impressive performances i
  17. I always enjoyed watching TERESA WRIGHT emote, especially during the '40s when she appeared in so many classic films. And I sincerely believe that both she and Dana Andrews really deserved Oscar nominations for their work in THE BEST YEARS OF OUR LIVES. Although I'm glad that Hollywood honored Fredric March and Harold Russell, I thought that Andrews and Wright were equally impressive and totally convincing--especially touching in that final scene at the wedding. Neil
  18. Thanks, Michelle, glad you liked the article. Although I loved Gene Tierney in LEAVE HER TO HEAVEN, I think she was even more authentic in THE RAZOR'S EDGE, especially during that final confrontation with Tyrone Power where the truth comes out about her involvement in Sophie's death. I thought she and Clifton Webb gave the two most impressive performances in the whole film. Don't have the LEAVE HER TO HEAVEN DVD yet, but intend to get it soon. It's a treat for the technicolor photography and general excellence of the whole cast. Neil
  19. Speaking of Rosza, I think QUO VADIS and BEN-HUR are his greatest...but any film that he bestows a film score on is worth hearing. Even his film noir scores are enjoyable. THE LAST EMBRACE featured a stunning score that came later in his career. QUO VADIS is fascinating with its many themes and the impressive March of the Charioteers. BEN-HUR is probably even more complex in its varied romantic and religious themes. Rosza, Korngold, Steiner and Waxman are my four favorites from the Golden Age. Among the more contemporary composers, John Williams, Jerry Goldsmith and John Barry are oth
  20. Thanks, Michelle. As a matter of fact, I wrote the article and was hoping you'd seen it. I've had a number of articles published by Classic Images and Films of the Golden Age magazine. Looking forward to hearing more about your book. Neil
  21. Ginger's co-star in ROMANCE IN MANHATTAN was Francis Lederer, well-known leading man of the '30s. Last I heard he was still alive at a ripe old age in his late 90s. I'd have to look it up at IMDb--don't know whether he's still with us. Last role I saw him in, he played a prince, Olivia de Havilland's suitor in THE AMBASSADOR'S DAUGHTER ('56).
  22. To panellacjunocom: Are you sure MY COUSIN RACHEL ('52) is in the TCM library? Seems to be shown exclusively on the Fox Movie Channel these days. As a matter of fact, it's on their schedule tonight at 8:00 p.m. Great performances by de Havilland and Richard Burton, making his American film debut and nominated for supporting role Oscar. Film received four nominations and de Havilland was nominated for Best Actress Golden Globe. Nice gothic romance from Daphne duMaurier novel.
  23. Yes, CAPTAIN FROM CASTILLE is a great score. The love theme for Catana (Jean Peters) has a nice pseudo-Spanish flavor to it and, of course, the triumphant March is spectacular. It's probably the highlight of the whole score. Mine is a dual cassette that has CAPTAIN FROM CASTILLE and THE SNAKE PIT on it, both Oscar nominated scores by Alfred Newman. THE SNAKE PIT is a very dramatic score (with shrieking violins for the electric shock treatment scene), quite complex, and in it Newman borrows the love theme from PRINCE OF FOXES for the scene where Virginia (Olivia de Havilland) is saying good
  24. I, too, enjoy playing film scores on CD while I'm at the computer. Among my faves (some of which were not easy to obtain through Marco Polo and other imports): CAPTAIN FROM CASTILLE/THE SNAKE PIT (Alfred Newman) DEVOTION (my favorite Erich Wolfgang Korngold score) PEYTON PLACE (Franz Waxman) ALL ABOUT EVE/JANE EYRE (Bernard Herrmann) THE ADV. OF ROBIN HOOD (Korngold) PRINCE OF FOXES (Alfred Newman) SONG OF BERNADETTE (Newman) FOREVER AMBER (David Raksin) ALL ABOUT EVE/LEAVE HER TO HEAVEN (Newman) BTW, my screen name is new but my former name was tflight9.
  25. MY TOP 5 PICKS for should have won Oscars: ACTORS: 1. Clark Gable in GONE WITH THE WIND 2. Charles Boyer in GASLIGHT 3. James Cagney in LOVE ME OR LEAVE ME 4. Ralph Richardson in THE HEIRESS (leading, not supporting) 5. Laurence Olivier in REBECCA ACTRESSES: 1. Olivia de Havilland in THE SNAKE PIT 2. Judy Garland in A STAR IS BORN 3. Deborah Kerr in BLACK NARCISSUS 4. Janet Leigh in PSYCHO (leading, not supporting) 5. Ida Lupino in THE HARD WAY As for another, Joan Fontaine deserved at least an Oscar nomination for LETTER FROM AN UNKNOWN WOMAN, but up against the other '4
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