hlywdkjk

*"I found a site that had the Dishonored Lady poster, but I'm having a harder time with the French version of the Secrets of the Incas-any suggestions?"* - Minya Hi Minya - I wouldn't know where to go to buy any of these poster images. I've never tried to acquire one. Sorry I can't help ya with that. I wish I could. But I am pleased you found a *Dishonored Lady* to add to collection of "vampy dames". (I just read a synopsis of the film. Did you know Lamarr and co-starr John Loder were married when they made the film.) Kyle In Hollywood

Monday April 14^th^ To "honor" (sort of) tonight's Guest Programmer Alex Trebek. (thanks to "BackAlleyNoir") Message was edited by: hlywdkjk

*"I'm guessing it's Grace..."* I'm guessing you see Grace everywhere. I also guess you haven't seen the promo running on TCM for the DVD release for *The Major And The Minor* either. *"Well, let's not go overboard. Kyle is sort of honorable."* I think I was just thrown overboard. Kyle In Hollywood

*"An obituary is one thing but come on."* - darvo2 I didn't mean to imply that TCM's posting of an obituary was "enough" of a memorial for the passing of Bob Hope. Primarily, I was only linking to that article to help explain the how the timing of his death worked against TCM being able to plan an appropriate film memorial for Bob Hope. Hope's passing so near the beginning of the "Summer Under The Stars" event left just three days to try to assemble a film tribute. As others have pointed out, I don't think TCM had the television rights to the many of his films in 2003. I think it was 2004 when TCM began playing all the "Road" pictures and the other comedies he made at Paramount. From what I have read, when TCM approaches other studios (studios outside of the Time/Warner family) for access to their film libraries and negotiates for films to show on TCM., the agreements are (typically) for specific films and only for a certain length of time. TCM doesn't get access to any or every film at a particular studio. So, while TCM was playing many Paramount films in 2003 it couldn't quickly plan to show a slate of Bob Hope films on a day's notice AND get it on the schedule before the end of July if it didn't have a lease agreement already in place. It would be great if TCM had a "Netflix"-like agrement with every studio in Hollywood allowing them to order up any film in the studios' libraries at anytime and then "keep" it for as long as they like. But, unforunately, it doesn't work that way. It took 14 years of "begging" (if Robert Osborne is to be believed) before 20^th^ Century Fox would _allow_ TCM to present *All About Eve* on its channel. And it is such a short-term lease that *All About Eve* won't be available for a reprise showing later this year as part of the Essentials series. Yet, I am beginning to believe that there are fewer and fewer films which TCM can't have access to if it wants - if it plans for far enough in advance - and as long as the studios are willing to lease the films to TCM . I know not to expect to see *The Ten Commandments* or *It's A Wonderful Life* on TCM in my lifetime. But any other good or great movie? Sure! Sooner or later it will be on TCM. Heck. There have been so many "new" acquisitions on TCM lately, I am starting to believe that the channel could even get their hands on *Porgy And Bess* or Fredric March's *Death Of A Salesman* if it wanted to. That's what happens when I get to see *Wings*, *All About Eve* and *How Green Was My Valley* on TCM all within a few months of each other. I think the programming dept. at TCM is full of "Annie Sullivans" working miracles every month. Kyle In Hollywood

Sunday April 13^th^

*"Your poster selections continue to impress me. The "Night of the Hunter" and "Touch of Evil" make for a formidable one-two punch. I loved the Hedy poster, too."* - FrankGrimes God, I _have_ been good to you lately, haven't I? And tomorrow will be no exception. I think I'll have to make some changes about that toward the end of the month. Can't have ya happy _all_ the time. Kyle In Hollywood

*"Almost my first thought, following a brief glimmer of "newer film", was why Rush Hour 2 and not Rush Hour ?"* - tobitz Here's my hypothesis on why TCM would choose *Rush Hour 2* over the original *Rush Hour* - and is based only on having seen the sequel. It is all about plot, character and the "comedy" found in the "clash of cultures" as portrayed in the film. The original *Rush Hour* brings Hong Kong detective to Los Angeles to work with a "street-wise" officer of the LAPD to find the kidnapped daughter of the Chinese consul. (Or something very close to that.) In this dramatic structure, the Hong Kong detective played by Jackie Chan is the "fish out of water" character - the "ignorant" foreigner who doesn't understand how things work in the American Big City, who doesn't speak english well and who would, in earlier eras, be called a "rube". Chris Tucker has a partner who he has to watch over continuously. (I also imagine there are more than a few digs of a sterotypical nature at Chinese and other Asians uttered by the Chris Tucker character who is unhappy being partnered with this Chinese interloper. But not having seen the film, I can only guess at that.) But in *Rush Hour 2*, the situation is reversed. The story takes place in Hong Kong and Jackie Chan is no longer the object of stereotypical comedy but the "hero" from the get-go. The film takes place on his "turf" and with his character now being the "smart" one of the pair. It is the Chris Tucker character who is now found in an unfamiliar location and in an unfamiliar culture - which is played for comedic effect. If I remember correctly, more than once "Jackie Chan" has to rescue "Chris Tucker" from some predicament or other. On the final night of the "Race In Hollywood: Asian Images in Hollywood", the desire is to present contemporary films which contain the most positive images available. Jackie Chan in *Rush Hour 2* is definitely a positive portrayal of an Asian character. But the same can't be said for his character in the first *Rush Hour* - which is often just as "hapless" as it is "heroic". I, too, found it "odd" at first that TCM would select the sequel rather than the original *Rush Hour* that started the popular franchise. If TCM could get the sequel, it certainly could have gotten the original if it wanted. So it became obvious that the sequel was chosen for a reason. And the reason had to be in regards to the portrayals of the characters in the two films. I asked myself what was "different" about the two films that would make the second film more desirable and enlightening if included in the upcoming month-long series. And the "difference" in the portrayal of the Hong Kong detective between the two films was what instantly popped into my head. I think it is important to include a Jackie Chan film on the June schedule and I have already expressed those. That TCM _may_ have put that much thought into the selection of the specific film of *Rush Hour 2* - rather than a different Jackie Chan film - be it the original *Rush Hour* or the remake of *Around The World In 80 Days* - tells me that it is _not_ about including just _any_ new movie in order to draw younger viewers. It adds to the theme of the festival in a way no other "popular" film could do. At least that is how I see it. I'll find out if my interpretation is correct in June. Kyle In Hollywood

*"So now we are going to be insulted for liking old and classic films?"* - FredCDobss You can watch "classic films" on TCM for whatever reason you choose. In the past you have eluded to the idea of watching TCM for what I would call its "comfort quotient". And if I took another 30 minutes I could probably find the post(s) where you express that. Be that as it may, your example of *Rush Hour 2* as being part of the "cross-platform" promotions of the Turner Networks is way off-base. If you want to know how these promotions are being designed, check out below what was done just this past week surrounding the showing of *King Kong* on TCM. This is the type of intertwined programming event that is planned in the new "Turner Netwirk Universe". And I bet very few people here even were aware that TCM was being "exploited" in this manner this week. +(I don't know if TNT or TBS have plans to also program films or shows to coincide with the June "Race In Hollywood" event on TCM but I doubt that they are.) ----------- http://www.turnerinfo.com/newsitem.aspx?P=TCM&CID01=afcccc6e-b094-4ada-bf63-75661d6020b0 *TBS, TNT and Turner Classic Movies to Celebrate 75th Anniversary of KING KONG in April* TNT and TBS to Simulcast Network Television Premiere of Peter Jackson’s Blockbuster Remake, Starring Naomi Watts, Jack Black and Adrien Brody TCM to Present Classic 1933 Original, Starring Fay Wray, Robert Armstrong and Bruce Cabot TBS, TNT and Turner Classic Movies (TCM) are teaming up to celebrate the 75th anniversary of Hollywood’s tallest, darkest leading man: KING KONG. The celebration will begin Monday, April 7, at 8 p.m. (ET), when TCM presents the original 1933 classic, which stars Fay Wray, Robert Armstrong and Bruce Cabot. Then on Friday, April 11, at 8 p.m. (ET/PT), TNT and TBS will simulcast director Peter Jackson’s Oscar?-winning 2005 remake, starring Naomi Watts, Jack Black and Adrien Brody. “KING KONG is an excellent example of how having a portfolio of networks like ours provides outstanding programming opportunities,” said Ken Schwab, senior vice president of programming for TBS and TNT. Charles Tabesh, senior vice president of programming for TCM, added, “Through our celebration of KING KONG’s 75th anniversary, we will be able to bring the past and present together in a way no other company can do.” In addition to the April 11 simulcast of Jackson’s acclaimed blockbuster, TNT will present encores of the film Saturday, April 12, and Sunday, April 13, at 8 p.m. (ET/PT). TCM will follow its April 7 presentation of the original 1933 version of KING KONG with four other movie classics celebrating their 75th anniversary: Dinner at Eight at 10 p.m., Little Women at midnight, 42nd Street at 2 a.m. and Queen Christina at 3:45 a.m. As a build-up to the network television premiere of Jackson’s film, fans of his The Lord of the Rings trilogy can catch all three of those Oscar-winning films on TNT the weekend prior to KING KONG, with The Lord of the Rings: The Fellowship of the Ring airing Friday, April 4, at 8 p.m.; The Lord of the Rings: The Two Towers airing Saturday, April 5, at 8 p.m.; and The Lord of the Rings: The Return of the King airing Sunday, April 6, at 8 p.m. KING KONG tells the story of Carl Denham, a maverick filmmaker determined to capture on film images that have never been seen by civilization. He and his stalwart crew hire a boat and head to the remote Skull Island, where they encounter natives worshipping a mysterious god. After the natives capture Ann Darrow, Denham’s leading lady, and offer her as a sacrifice, the reality of their god becomes apparent: it is a giant gorilla they call Kong. Kong, who is struck by Ann’s beauty, takes her back to his lair, fighting off numerous prehistoric beasts who would like to make a meal of her. Denham and his crew, meanwhile, set out to get her back alive and capture Kong to take him back to New York. Once in the Big Apple, Kong breaks free, finds Ann and climbs to the top of the Empire State Building, where he faces the bullets of fighter planes buzzing overhead. Bleeding and alone in a world he doesn’t understand, Kong looks to Ann for comfort. But even her beauty and affection cannot save him. He tumbles off the building to his tragic death on the streets below. As a crowd gathers, Denham provides newspaper reporters with their perfect headline: “’Twas beauty killed the beast.” KING KONG began as the brainchild of director Merian C. Cooper, who came up with the idea while he was shooting wild-animal footage for the movie The Four Feathers. His original plan for KING KONG was to use a real gorilla made larger through the use of trick photography. When he saw some model animation that Willis O’Brien had put together for an abandoned dinosaur project, he realized the special-effects wizard was the perfect person to bring his giant gorilla to life. O’Brien’s work on the film took special effects to an entirely new level, paving the road for a number of subsequent classic films, including several created by Ray Harryhausen, who learned his craft working under O’Brien. RKO released KING KONG in New York in 1933. At the time, it was the only film that had ever played by Radio City Music Hall and the RKO Roxy simultaneously. Audiences and critics were amazed, and KING KONG went on to make more than $1.7 million at the height of the Depression, single-handedly saving RKO from bankruptcy. Unfortunately, the studio mangled the prints in later releases, removing several sequences that were deemed too graphic or too suggestive for audiences. It was not until the 1960s that many of these scenes were restored. In 1976, producer Dino De Laurentiis created a new version of KING KONG that featured make-up artist Rick Baker in a gorilla suit, along with a few sequences with a massively expensive mechanical Kong made by Carlo Rambaldi. The film was dismissed by critics, but managed to become a blockbuster and earn an Oscar for its visual effects. Nearly three decades later, filmmaker Peter Jackson, hot off of his extraordinary feat of making The Lord of the Rings trilogy, decided to try for his own remake. He was determined to do everything right that De Laurentiis had done so very wrong. Jackson didn’t want to just remake the 1933 classic; he wanted to pay loving homage to it. To do so, he teamed up with writers Fran Walsh and Philippa Boyens, who had helped make his Tolkien trilogy such a critical and financial success. And he called upon the same special-effects and design teams that brought Middle Earth to life. Jackson’s film was released in 2005 to enormous critical praise and blockbuster crowds. Like the 1933 original, Jackson’s film took special effects to a new level, using computer animation and performance elements by Andy Serkis (Gollum in The Lord of the Rings) to make Kong to astonishingly realistic. The results were three Oscars (Best Visual Effects, Best Sound and Best Sound Effects Editing) and a domestic gross of more than $200 million. Turner Classic Movies, currently seen in more than 75 million homes, is a 24-hour cable network from Turner Broadcasting System, Inc., a Time Warner company. TCM presents the greatest motion pictures of all time from the largest film library in the world, the combined Time Warner and Turner film libraries, from the 1920s through the 1990s, uncut and commercial-free. The network also offers critically acclaimed original documentaries and specials, including the Martin Scorsese Presents: Val Lewton—The Man in the Shadows, the Emmy?-winning Stardust: The Bette Davis Story and the Emmy-nominated Brando. More information is available at tcm.com. Turner Network Television (TNT), television’s destination for drama and one of cable’s top-rated networks, offers original movies and series, including the acclaimed and highly popular detective drama The Closer, starring Kyra Sedgwick; Saving Grace, starring Holly Hunter; Raising the Bar (working title), starring Mark-Paul Gosselaar, Gloria Reuben and Jane Kaczmarek; and Leverage, starring Timothy Hutton. TNT is also home to powerful one-hour dramas, such as Bones, Cold Case, Law & Order, Without a Trace, ER and Charmed; broadcast premiere movies; compelling prime-time specials, such as the Screen Actors Guild Awards?; and championship sports coverage, including NASCAR and the NBA. TNT is available in high-definition. TBS, a division of Turner Broadcasting System, Inc., is television’s top-rated comedy network. It serves as home to such original comedy series as My Boys, The Bill Engvall Show, Tyler Perry’s House of Payne, 10 Items or Less and Frank TV; hot contemporary comedies like The Office, My Name is Earl, Sex and the City, Everybody Loves Raymond, Family Guy, King of Queens, Seinfeld and Friends; specials like Funniest Commercials of the Year; special events, such as The Comedy Festival in Las Vegas and Just For Laughs: A Very Funny Festival in Chicago; blockbuster movies; and hosted movie showcases. Turner Broadcasting System, Inc., a Time Warner company, creates and programs branded news, entertainment, animation and young adult media environments on television and other platforms for consumers around the world.

*"TCM is not a university. We are not enrolled in a film class. We pay for TCM so we can see old and classic movies."* Then why bother having Robert Osborne perform informative and insightful introductions to the films if not to provide a historical or cultural insight relevant to the film being presentd? Or why bother producing and presenting documentaries on the cultural importance of films from the sexually permissive (early) 1930s or the sexually repressed 1950s? Or on such esoteric subjects as Cold War Era science fiction or film-geek icon Val Lewton if not to be "educational"? Or why bother giving over two-hours each week to the "TCM Imports" series of films that are unrepresentative of - and irrelevant to - an American television audience unless there is something valuable to be learned about other cultures from seeing these films? I am thankful the channel believes I - and others too - have a brain that wishes to be stmulated, challenged and expanded through events such as these and through the upcoming "Race In Hollywood: Asians Images In Film" - and that includes the selection of *Rush Hour 2*. Believe me, it was a deliberate choice to select *Rush Hour 2* for inclusion in the June line-up rather than the original *Rush Hour* film. I can already see that even though it might not be apparent to others. It was a very enlightened decision on their part. It goes beyond it being just a "Jackie Chan movie". I don't begrudge you your desire to "live in the past" (or "re-live your past") through the films on TCM. I'll even accept your wish to disengage your brain while watching TCM and not have to "learn" something. But if TCM approached their programming solely for the nostalgia factor invcolved, it will die from lack of moving forward - like a wooly mammoth caught in the La Brea Tarpits. TCM as a cable channel will become a fossil whose only value is to be studied as part of the history of cable television. Happily, it appears the TCM isn't ready to become an historical artifact itself just yet. Kyle In Hollywood

Bob Hope passed away late on a Sunday night - July 27th, 2003. The TCM obituary can be found here - http://www.tcm.com/movienews/index/?cid=33227 If a tribute was absent from the TCM schedule that July, it likely was the result of time constraints due to his passing during the last week of that month. Beginning August 1^st^, TCM was commited to their annual "Summer Under The Stars" schedule devoting 24-hours to a single star. There is no flexibility to the August schedule in which to incorporate a "mini-festival" tribute to a recently deceased Hollywood legend - even one of the stature of Bob Hope. Though not timely as a "tribute", TCM did include Bob Hope in the line-up of the 2004 "Summer Under The Stars" event the following year. http://www.tcm.com/thismonth/article?cid=79895 Kyle In Hollywood

Good Morning Minya. Thanks for the kind words on the Heston posters. I thought about including a *Ben-Hur* poster - but none of them (that I have seen) incorporate Heston into the image. Most are variations on the Big Block letters as if made from stone reading "Ben-Hur".. So I chose posters that have representaions of Heston in the image - even though none of those films (sadly) were included in TCM's line-up last night. And go ahead and covet Robert Mitchum - just don't ask him to "kiss you, hold you or call you his wife". Kyle In Hollywood

*"KYLE!!!! Do you actually think that showing Rush Hour 2 is a ground breaking thing for TCM!?"* - kimpunkrock Hello, my "posi" friend. No. I don't think the showing of *Rush Hour 2* is necessarily "ground-breaking". But the devoting of eight nights in June to images of Asians in Hollywood films certainly is. I can't defend the "Rush Hour" franchise as an example of great filmmaking. Never said I could and I certainly wouldn't try. But neither can I say that about the Hope / Crosby "Road" pictures. And I think the two franchises have alot in common. I will say the "Road" pictures are important cultural and cinematic artifacts though and that everyone should make the time to see at least one or two of them. In that vein, I do think that a film made in Hollywood with an African American and an Asian in the lead roles (read: "Non-White") is an important film regardless of whether it is a good film or not. And, in that context, including a "Rush Hour" film in an event attempting to illustrate the history of Asians in Hollywood - silly entertainments though they may be - makes sense to me.. And "silly" is probably a good description of a *Rush Hour* movie or any of the "Road" pictures. Yet, just because the film is "silly", that doesn't mean the reasons for presenting *Rush Hour 2* are silly also. I think it is anything but. In fact, I think it is exceptional. Kyle In Hollywood

Saturday April 12^th^ (thanks to "BackAlleyNoir")

"Merci, mon amis 'Minya' and 'MissGoddess'." kjk

Friday April 11^th^ In recognition of tonight's tribute to Charlton Heston. (thanks to "BackAlleyNoir")

Friday April 11^th^ In recognition of tonight's tribute to Charlton Heston.

Friday April 11^th^ In recognition of tonight's tribute honoring the passing of Charlton Heston.

Friday April 11^th^ Original Posting planned for today.

*"I'm actually very giddy right now. I may do something really foolish."* - FrankGrimes If that means you're calling airlines about coming to LA for the April 18^th^ "premiere", just be sure NOT to book on American Airlines. If this week is any indication, you likely won't get here 'til Mother's Day. Kyle In Hollywood

*"If we're on New Jersey now...."* - mr6666 I vote for *Edison, The Man* (Menlo Park, New Jersey) (but for a certain Margaret O'Brien fan there's *Bad Littel Angel* (Egypt, New Jersey) ) Kyle In Hollywood

OK. Let me add to this topic too - though 'lzcutter' has done an admirable job so far. The upcoming event is not designed to present Asian films. If past festivals of this type are any guide, the focus is on images of Asians in Hollywood movies. It is to examine the types of roles and stories that utilized Asian actors (or not) since the pre-sound era up to the current decade. There are two nights devoted to the "exotic" roles of Sessue Hayakawa and Anna May Wong. There are nights devoted to the phenomena of "yellow-face" (*Tea House Of The August Moon*) and the pidgeon English of the famous B-Movie detectives. There seems to be a focus on Asian actors working in Hollywood making WWII films and the (sensitive or exploitive) subject of inter-racial romance after the war years. And TCM is going to present films of the past decade - or so - to demonstrate how the images of Asian actors on film has evolved from a mysterious anf frightening exotic to, in the case of Jackie Chan, a crowd-pleasing film hero. Say what you will about the merits of *Rush Hour 2* as a film, Jackie Chan is one of the world's biggest movie stars - thanks primarily to the "Rush Hour" franchise. Off the top of my head I can't name another Asian performer working in Hollywood films today who gets billing above the title. I think only Bruce Lee achieved that distinction before him. One other bit of trivia to help explain why *Rush Hour 2* might have been chosen to be a part of this event - *Rush Hour 2* was made by New Line Cinema - a subsidiary of Warner Bros. Pictures and part of the Time/Warner family. I suspect TCM can approach New Line / Warner Bros more easily and negotiate a reasonable fee for one of their pictures for showing on the channel than other Hollywood studios. Other studios probably aren't so inclined to rent their contemporary films to TCM - at a reasonable rate for a non-commercial station - without the added burden of issues involved with showing a very popular film letterboxed, uncut and commercial-free. The folks from TCM have told us that some studios would prefer TCM keep the "logo bug" up during the entire presentation of a film in an effort to thwart piracy. Showing *Rush Hour 2* will allow every TCM household to make a dvd copy of a film that still generates ALOT of money for the parent company. That isn't something studios take lightly - whether inside or outside the Time / Warner empire. (This also woud explain why TCM chose a *Lord Of The Rings* film to salute the last ten years of Oscar during the "31 Days..." event in February. The *Lord Of The Rings* trilogy was also made by New Line Cinema. It was probably easier to acquire that film for presentation on TCM than a contemporary film from Sony Pictures, Universal Pictures or Paramount Pictures. Or, at least there would be less resistance to letting TCM show the film in it's original format.) Once again, the month of June promises to be a landmark and ground-breaking month for TCM. Kyle In Hollywood ps - Just wondering what one calls the "Orientals" attending Occidental College here in LA? Oh, I know. Asian. Or maybe Pacific Islanders but I am not too sure about that one. kjk

Hey FrankGrimes! Is this a "big deal"? From the LATimes 10April, 2008 http://www.latimes.com/features/printedition/theguide/la-gd-movies10apr10,1,5290364,print.story *City of Lights, City of Angels is a French film fest with a common touch* Excerpt- "The seven-day Francophilic event includes 27 features, 20 shorts and the April 18 world premiere of the restored 1948 Fritz Lang film noir "Secret Beyond the Door", which was partly funded by the Franco American Cultural Fund." ------------- From the "City Of Lights / City Of Angels" Festival website - http://www.colcoa.org/ *SECRET BEYOND THE DOOR* World Premiere of the restored film Film Noir/Thriller United States, 1948 In English 35mm/ 1.37:1/Black & White/Mono Sound/99 min Directed by: Fritz Lang Written by: Silvia Richards Based on a story by: Rufus King Cinematography: Stanley Cortez Editor: Arthur Hilton Music: Mikl?s R?zsa Produced by: Fritz Lang Production Company: Diana Productions With: Joan Bennett (Celia Lamphere), Michael Redgrave (Mark Lamphere), Ann Revere (Caroline Lamphere), Barbara O'Neil (Miss Robey), Natalie Schafer (Edith Potter) Fritz Lang revisits the French fairy tale of Bluebeard in this psychological thriller based on a story by Rufus King. Joan Bennett is Celia, a young heiress who marries a strange nobleman (Michael Redgrave) with a penchant for the macabre. As in the Bluebeard story, her husband keeps his dark secrets locked in a mysterious room, which she grows more and more curious to open while fearing he may be plotting to kill her. *THE RESTORATION* New polyester fine grain master positives and a new print of SECRET BEYOND THE DOOR were produced from the original nitrate picture negative, which was in good condition. Only a few replacement dupe sections had to be made from the nitrate fine grain master. Minor wear is still visible in some sequences, but wet-gate printing has eliminated most of the flaws present in the original negative. The result is a sharp print of excellent quality that showcases the black-and-white cinematography of Stanley Cortez to stunning effect. The sound was derived from the original nitrate track negative and the nitrate composite fine grain master. Restored by the UCLA Film and Television Archive, with funding provided by The Film Foundation and the Producer of COL•COA, Franco American Cultural Fund, a partnership of the Directors Guild of America, Soci?t? des Auteurs, Compositeurs et Editeurs de Musique, the Writers Guild of America, West, and the Motion Picture Association of America. *FRITZ LANG* Born in Vienna in 1890, Fritz Lang is one of the great masters of cinema. His German expressionist masterpiece Metropolis (1926) and his first talking film M (1931) have influenced generations of filmmakers. Particularly influential for Jean-Luc Godard and the cin?astes of the French Nouvelle Vague, Fritz Lang agreed to appear in Godard’s Contempt. Censured by Goebbels for The Testament of Dr. Mabuse (1932), he left Germany and settled in the United States in the 1930s. Secret Beyond the Door is one of over 20 films directed by Lang in Hollywood between 1936 and 1956. Lang died in Beverly Hills in 1976.

Thursday April 10^th^

*"I think those cropped posters look so cool! They would make a fabulous collage!"* - MissGoddess I hope you two work on that. I'd love to see what you guys come up with. Kyle In Hollywood

*"You are bad, Kyle. How could you take advantage of such a kind, trusting, loving soul? I'd never do such a thing to another."* Is that a halo you're trying to put over you're head? 'Cause from here it looks more like a noose. Kyle In Hollywood