yanceycravat
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Posts posted by yanceycravat
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49 minutes ago, Peebs said:
Having just watched a movie I recorded, I wonder if Ben is looking down and off to the side in part to read the script for his intro? He may not have the usual set up at home . This combined with his natural mannerisms to look down and left might account for it being more frequent or noticeable. Just a thought...
Someone else posted that but I don't think so. None of the other hosts seem to be looking away. If they were doing it as well I'd agree. I would imagine TCM would set him as best they could under the circumstances.
Just an odd tick of his that I noticed. Mine is examining TCM intros as if they were the Zapruder film! 🙄
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2 hours ago, BingFan said:
I may have missed a stray alternate take here or there (simply because I didn't know about it)
There are many session tracks available out there and can be found on eBay from time to time. Two great CD's that showcase Sinatra's Capitol sessions are From The Vault and From The Vault 2.
I have also collected the entire Bing Crosby output on Jonzo, Sepia and Bing Crosby Enterprises.
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A little less humor in the world today.
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From the New York Times
Carl Reiner, Multifaceted Master of Comedy, Is Dead at 98
From the New York Times
Carl Reiner, who as performer, writer and director earned a place in comedy history several times over, died Monday night at home in Beverly Hills. He was 98.
© Ric Francis/Associated Press Mr. Reiner in 2002. He was awarded the Mark Twain Prize for American Humor by the Kennedy Center in 2000.
His death was confirmed by his daughter, Annie Reiner.
Mr. Reiner first attracted national attention in 1950 as Sid Caesar’s multitalented second banana on the television variety show “Your Show of Shows,” for which he was also a writer. A decade later he created “The Dick Van Dyke Show,” one of the most celebrated situation comedies in television history, and teamed with Mel Brooks on the hugely successful “2000 Year Old Man” records. His novel “Enter Laughing” became both a hit Broadway play and the first of many movies he would direct; among the others were four of Steve Martin’s early starring vehicles.
He won praise as an actor as well, with memorable roles in films like “The Russians Are Coming, the Russians Are Coming” and, more recently, “Ocean’s Eleven” and its sequels. But he spent most of his career just slightly out of the spotlight, letting others get the laughs.
His contributions were recognized by his peers, by comedy aficionados and, in 2000, by the Kennedy Center, which awarded him the Mark Twain Prize for American Humor. He was the third recipient, after Richard Pryor and Jonathan Winters.
In his performances with Mr. Brooks and before that with Mr. Caesar, Mr. Reiner specialized in portraying the voice of sanity, a calm presence in a chaotic universe. But despite his claim to the contrary, he was never “just the straight man.”
“He was a comedian himself, and he truly understood and still understands comedy,” Mr. Caesar said of Mr. Reiner in his book “Caesar’s Hours” (2003), written with Eddy Friedfeld. “Most people still don’t realize the importance of a straight man in comedy, or how difficult that role is. Carl had to make his timing my timing.”
Mr. Reiner was, Mr. Caesar added, “the best straight man I’ve ever worked with.”
As part of a stellar supporting cast that also included Imogene Coca and Howard Morris, Mr. Reiner proved his versatility week after week on “Your Show of Shows,” which ran from 1950 to 1954 on NBC and established the template for sketch comedy on television. He played everything from a harried commuter to a frenzied rock ’n’ roller to an unctuous quiz-show host. But he is probably best remembered as an interviewer, solemnly posing questions to a mad professor, a spaced-out jazz musician or some other over-the-top character played by Mr. Caesar, and adding to the humor simply by being serious.
Mr. Reiner contributed behind the scenes as well. He took part in the frenzied writing sessions that shaped the show, bouncing jokes off the walls of the writers’ room with the likes of Mr. Brooks and Neil Simon.
“I became a writer because of that room,” he recalled. “I’d say something and somebody would yell: ‘What do you know? You’re not a writer.’ So I became a writer.”
He characterized his later career moves with similar self-effacing humor in an NPR interview: “I acted like a director. I acted like a producer. I sat in front of a typewriter and acted like a novelist.”
Mr. Reiner’s association with Mr. Caesar encompassed three different series: After “Your Show of Shows” the two worked together on “Caesar’s Hour,” which had a three-year run on NBC, and “Sid Caesar Invites You,” a failed attempt to recapture the “Show of Shows” spirit that lasted less than one season on ABC in 1958.
The Party Piece
The next phase of Mr. Reiner’s career found him again in the role of deadpan interviewer. This time the interviewee was Mr. Brooks.
“The 2000 Year Old Man” began as an act Mr. Reiner and Mr. Brooks performed for friends at parties. When they put in on record, it became a phenomenon. There were ultimately five “2000 Year Old Man” albums, one of which won a Grammy and all of which are treasured by comedians and comedy fans.
Mr. Brooks was the star of the largely improvised routines, reflecting on what it was like to be two millenniums old (none of his thousands of children ever visited) and reminiscing about historical figures like Sigmund Freud (“He was a good basketball player; very few people know that”) and Shakespeare (“He had the worst penmanship I ever saw in my life”). But it was Mr. Reiner who came up with the questions that lit Mr. Brooks’s comedic fuse.
Indeed, it was Mr. Reiner who spontaneously started the ball rolling one day during a quiet moment in the Caesar writers’ room. “I turned to Mel and I said, ‘Here’s a man who was actually seen at the crucifixion 2,000 years ago,’” he told The New York Times in 2009, “and his first words were ‘Oh, boy.’”
“I always knew if I threw a question to Mel he could come up with something,” Mr. Reiner said. “I learned a long time ago that if you can corner a genius comedy brain in panic, you’re going to get something extraordinary.”
As Mr. Brooks put it, “I would dig myself into a hole, and Carl would not let me climb out.”
In 1960, the same year he and Mr. Brooks made their first album, Mr. Reiner wrote and starred in a pilot for a TV series, based on his own life, about a writer who works in New York for a larger-than-life, difficult-to-please comedian.
The show, “Head of the Family,” was not picked up. It became a series only when it was recast with Dick Van Dyke as the central character.
The workplace scenes in “The Dick Van Dyke Show” — featuring Morey Amsterdam and Rose Marie as Mr. Van Dyke’s fellow writers, with Mr. Reiner making occasional appearances as their boss — were inspired by Mr. Reiner’s time with Sid Caesar (although Mr. Reiner insisted that his character was only partly based on Mr. Caesar). The domestic scenes, with Mary Tyler Moore as Mr. Van Dyke’s wife, were set in New Rochelle, N.Y., where Mr. Reiner lived at the time, and Ms. Moore’s character was modeled on his wife, Estelle. Mr. Reiner later attributed the show’s success to the choice of “somebody with more talent to play me.”
Seen on CBS from 1961 until 1966, “The Dick Van Dyke Show” won a total of 15 Primetime Emmy Awards for its cast and crew, five of them for Mr. Reiner as writer and producer. (He won nine Emmys in his career, including two for his on-camera work on “Caesar’s Hour,” one as a writer on a 1967 special that reunited the “Show of Shows” cast and one for a guest appearance, as Alan Brady, on an episode of the sitcom “Mad About You” in 1995.) It is widely regarded as one of the greatest sitcoms of all time.
Someone else once again played Mr. Reiner, or a character very much like him, on Broadway and in the movies. “Enter Laughing,” his autobiographical novel about a stage-struck delivery boy from the Bronx who decides to become an actor, was published in 1958 and adapted for the stage by Joseph Stein, another former member of the Caesar writing staff. With Alan Arkin in the lead role, it opened in 1963 and ran for more than 400 performances.
When “Enter Laughing” was sold to Hollywood, Mr. Reiner shared screenwriting credit with Mr. Stein for the 1967 film adaptation, starring Reni Santoni. It was Mr. Reiner’s third produced screenplay, after “The Thrill of It All” (1963) and “The Art of Love” (1965). More important, it was the first film he directed.
That same year he made his Broadway debut as a writer and director with “Something Different,” the story of a playwright suffering from writer’s block. It received generally good reviews (Walter Kerr of The New York Times praised Mr. Reiner’s “nifty habit of approaching a gag at high speed, passing it on the outside, and then noticing where it went in the rearview mirror”) and had a respectable three-month run. By that time, however, Mr. Reiner’s focus had shifted westward.
He had already appeared in a number of Hollywood movies by the time he and his family moved to Beverly Hills in the late 1960s, and he would continue to show up onscreen occasionally. But for the next three decades, most of his work in Hollywood was done behind the scenes.
From Actor to Director and Back
Carl Reiner was born in the Bronx on March 20, 1922, to Irving Reiner, a watchmaker, and Bessie (Mathias) Reiner. After graduating from Evander Childs High School in the Bronx, he went to work as a machinist’s helper and seemed headed for a career repairing sewing machines.
Then one day his older brother, Charlie, mentioned seeing a newspaper article about a free acting class being given by the Works Progress Administration, the New Deal jobs agency. Carl tried his hand at acting, found he was good at it, hung up his machinist’s apron and joined a theater troupe. He also acted in summer stock.
During World War II, Mr. Reiner served in an Army entertainment unit that toured American bases in the South Pacific. After his discharge he joined the road company of the musical revue “Call Me Mister” as the comic lead, and within a year he was in the Broadway production.
In the 1949-50 television season he was a regular on “The Fifty-Fourth Street Revue,” a variety series, and in 1950 he was back on Broadway in “Alive and Kicking,” where he caught the eye of Max Liebman, the mastermind of “Your Show of Shows.”
Mr. Reiner married Estelle Lebost in 1943. She died in 2008.
He is survived by his sons, Rob, known for directing “When Harry Met Sally,” “A Few Good Men,” “This Is Spinal Tap” and numerous other films and for his role as Archie Bunker’s son-in-law on the groundbreaking sitcom “All in the Family,” and Lucas, a painter and filmmaker; his daughter, Annie Reiner; and five grandchildren.
Mr. Reiner’s first major box-office success as a director was “Oh, God!” (1977), starring George Burns as a very down-to-earth deity. Two years later he teamed with Steve Martin, then at the height of his fame as a comedian, for what proved to be a mutually rewarding collaboration.
Mr. Reiner first directed Mr. Martin in “The Jerk” (1979), a film largely inspired by Mr. Martin’s manic stand-up act. The critical response was lukewarm, but the movie was a box-office smash and now often shows up on lists of the best American comedies.
“The Jerk,” “Dead Men Don’t Wear Plaid” (1982), “The Man With Two Brains” (1983) and “All of Me” (1984) defined Mr. Martin’s onscreen persona as a lovable goofball and made him a movie star. They also established Mr. Reiner as an imaginative director — especially “Dead Men Don’t Wear Plaid,” a black-and-white spoof of film noir set in the 1940s, in which he integrated vintage clips featuring actors like Humphrey Bogart and Barbara Stanwyck into the action.
Mr. Reiner returned to Broadway twice after moving west, but neither visit was triumphant. In 1972 he directed “Tough to Get Help,” a comedy by Steve Gordon about a black couple working in an ostensibly liberal white household, which was savaged by the critics and closed after one performance. In 1980 he staged “The Roast,” by Jerry Belson and Garry Marshall, two writers he had worked with on “The Dick Van Dyke Show.” That play, about a group of comedians who expose their darker instincts when they gather to roast a colleague, ran for less than a week
The movies he directed after he stopped working with Mr. Martin — among them “Summer Rental” (1985), with John Candy, and “Sibling Rivalry” (1990), with Kirstie Alley and Bill Pullman — did only somewhat better. In his 70s, he decided that filmmaking demanded “just too much energy.” He gave it up after making “That Old Feeling” (1997), with Bette Midler and Dennis Farina.
But he remained active in front of the camera, notably as a crook lured out of retirement by the prospect of sharing in the loot from a Las Vegas casino robbery in Steven Soderbergh’s 2001 remake of the Frank Sinatra caper film “Ocean’s Eleven.” He reprised the role in “Ocean’s Twelve” (2004) and “Ocean’s Thirteen” (2007).
On television he had recurring roles on the sitcoms “Hot in Cleveland” and “Two and a Half Men” and guest-starred on “Parks and Recreation,” “House” and other series. He also did voice-over work for a number of cartoon shows.
Mr. Reiner wrote a number of books in addition to “Enter Laughing,” including novels, children’s books and several memoirs, among them “My Anecdotal Life” (2003), “I Remember Me” (2013) and “Too Busy to Die” (2017). In 2017 he was prominently featured in “If You’re Not in the Obit, Eat Breakfast,” a documentary about people who remained active into their 90s. And in his last years he maintained an active Twitter account, which he used primarily for political commentary.
Toward the end of “I Remember Me,” Mr. Reiner said a friend of his had recently asked if he had thought about retiring. Noting that his role on “Hot in Cleveland” gave him “the opportunity to kiss Betty White — thrice — and on the lips,” he offered a succinct response:
“Retire? I may be old, but I am not crazy!”
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On 6/28/2020 at 2:21 PM, Sepiatone said:
I never thought Sinatra ever DID Disco! 
5 hours ago, BingFan said:Yes, Sinatra did come to like George Harrison's "Something" quite a bit, recording it in the studio not once but twice.
Sepia - Frank Sinatra did record two Disco numbers back in the day!!! True. They were recorded in 1977. See below. They were included in the massive 20 CD "Suitcase" retrospective.
Night and Day
All or Nothing at All
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BingFan - I never considered myself much of a Sinatra fan until I saw him live at Resorts International in Atlantic City. When he sang SOMETHING he pulled up a music stand and I thought, "Wow he doesn't know the words!" Then I heard him sing it, I was a fan ever since. I have gone on to collect every single take that's available of every song he ever recorded!
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2 hours ago, cmovieviewer said:
Eddie Muller was joking with Ben about his tendency to end his intros with emphasis on the word “From” (then take a beat) (and then the film year and film title), so we can add that to the drinking game as well.
Yes, that definitely is another "tick". I've noticed that one for some time now.
I guess it's finally happened. I've officially watched too much TCM.
When I'm paying more attention to the hosts ticks than I am their spoken introductions something's gone wrong!
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Haven't been aware of that but I will be from here on out.
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Rules are very simple...
1) Pour a nice glass of your favorite TCM Wine Club selection for you and your friends.
2) During the wraparounds every time Ben looks, nods or glances to his left take a sip.
You might find you'll enjoy the movie more than ever.
Do NOT play this game alone. I am NOT advocating irresponsible drinking. PLEASE DRINK RESPONSIBLY!!!
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9 hours ago, David Guercio said:
If I remember right? Laurel And Hardy actually started out as a silent film comedy duo right and then they went to movies with sound or were they always a silent film comedy duo?
While they both started out in silent films they were not paired as a comedy team until they went to work for Hal Roach. Even then their paring was a gradual occurrence.
They did appear in the same silent, LUCKY DOG (1921). That was just happenstance with no eye on their future collaboration.
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Maybe TCM will have a night of his films.
Sweet Hereafter should be shown on TCM. Dare I say, as an Essential?
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On 5/28/2020 at 9:16 AM, cmovieviewer said:
Jun 20 - Tom and Jerry: Garden Gopher (1950)
Kind of late notice but for the record... Garden Gopher is not a Tom and Jerry. It's a "Spike".
Not a premiere as it aired during the hey day of Cartoon Alley.
Cartoon Alley - 037 (Spike)
Counterfeit Cat, The (1949)
Ventriloquist Cat (1950)
Garden Gopher (1950) -
1 hour ago, Det Jim McLeod said:
Excellent actor, he was good in anything he did. The Sweet Hereafter is the first one I thought of, a wonderfully subtle performance.
Same here. You are absolutely right.
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Ian Holm, Shakespearean Actor Who Played Bilbo Baggins, Dies at 88
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From Variety
Ian Holm, Shakespearean Actor Who Played Bilbo Baggins, Dies at 88Ian Holm, the classically trained Shakespearean actor best known to film audiences for his performances in films including the “Lord of the Rings” and “Hobbit” movies, “Chariots of Fire” and “Alien,” has died. He was 88.
A rep for the actor has said Holm died in hospital on Friday morning. The actor had been battling Parkinson’s Disease for a number of years. However, as recently as January, Holm appeared in person to collect the Newport Beach Film Festival’s Icon Award in London.
Holm, who was celebrated for interpretations of most of the Shakespeare canon, including a towering “King Lear,” also excelled onstage in the original production of Harold Pinter’s “The Homecoming,” which he also brought to Broadway. He began working in films only midway through his career, debuting with an adaptation of his stage performance in “A Midsummer Night’s Dream” in 1968.
In later years, however, he worked increasingly in movies and more selectively onstage, appearing in high-profile films such as “Alien,” “The Fifth Element,” “Lord of the Rings” pics “The Fellowship of the Ring” and “The Return of the King” and “Hobbit” movies “An Unexpected Journey” and “The Battle of the Five Armies.”
But his finest work was contained in independently made productions like Oscar best picture winner “Chariots of Fire,” which brought him a nomination as best supporting actor in 1982; “The Madness of King George”; “Joe Gould’s Secret”; “Big Night”; and “The Sweet Hereafter.”
He also worked regularly on British television series such as “The Borrowers,” “Bells,” “Mr. and Mrs. Edgehill,” “We the Accused” and “Game Set and Match.”
Holm was remarkably versatile and, despite his short stature, rarely limited in his selection of roles. He was very much an actor’s actor, too chameleon-like to have a strong star impact. In 1998, he received his knighthood from Queen Elizabeth II for his contribution to drama.
Holm had been working as an actor for decades when he first achieved mainstream notice for his work as an android in 1979’s “Alien” and as the Olympic trainer Sam Mussabini in 1981’s “Chariots of Fire.”
Over the next decade the roles became larger and more distinctive, including Napoleon in “Time Bandits,” Polonius in Zeffirelli’s “Hamlet” alongside Mel Gibson, Captain Fluellen in Kenneth Branagh’s “Henry V,” as well as turns in “Dreamchild,” “Brazil,” “Greystoke: The Legend of Tarzan, Lord of the Apes,” “Wetherby,” “Dance With a Stranger” and Woody Allen’s “Another Woman.”
During the ’90s he had meaty starring roles in Steven Soderbergh’s “Kafka” and David Cronenberg’s “Naked Lunch” as well as in Nicholas Hytner’s “The Madness of King George,” Branagh’s “Frankenstein” and “The Fifth Element.”
Holm turned in several outstanding performances in top independent movies including Stanley Tucci’s “Big Night” and “Joe Gould’s Secret” and, especially, in Atom Egoyan’s “The Sweet Hereafter,” where his performance as the pained lawyer futilely seeking redress in the wake of a Canadian town’s tragedy was “bottomless with its subtlety,” Roger Ebert said.
He worked for Cronenberg again but was wasted in “eXistenZ.”
The actor, who cut his teeth in the theater, still did stagework occasionally. Holm starred as Astrov in “Uncle Vanya” in 1979 and as King Lear in 1997. The latter brought him an Olivier award as best actor, and he repeated both performances on television, winning an Emmy for “Lear” in 1999. In 1993, he starred in a production of Pinter’s “Moonlight” onstage with wife Penelope Wilton.
He returned to the role of Napoleon in 2001 film “The Emperor’s Clothes.” (He had first played Bonaparte in the 1972 TV series “Napoleon and Me,” then comically in “Time Bandits.”) In a generally negative review of the film, the New York Times said, “In a sly, deadpan performance, Mr. Holm does his best to realize the movie’s gentle comic vision.”
In his 70s Holm continued to show up in high-profile films — none more high profile than the “Lord of the Rings” movies, in which he played Bilbo Baggins. He was a sadistic doctor in the Hughes brothers’ “From Hell,” with Johnny Depp, and played meteorologists in Roland Emmerich’s disaster epic “The Day After Tomorrow” and Martin Scorsese’s “The Aviator.”
But he was also one of the starring voices in the stylish animated film noir sci-fier “Renaissance” and the delightful animated feature “Ratatouille.” Holm made some other interesting choices in the 2000s, appearing in the indie comedy “Strangers With Candy”; as an outrageous psychoanalyst in “The Treatment”; and as David Ben Gurion, the first president of Israel, in Elie Chouraqui’s “O Jerusalem.”
He returned to the role of Bilbo Baggins for two “Hobbit” films, “An Unexpected Journey” and “The Battle of the Five Armies.”
Ian Holm Cuthbert was born in Goodmayes, England, and entered the Royal Academy of Dramatic Art in 1950, leaving in 1953 to do his military service.
The following year he joined the Royal Shakespeare Company at Stratford-on-Avon and made his debut as a spear carrier in “Othello.” Holm made his West End debut in 1956’s “Love Affair” and toured Europe with Laurence Olivier in “Titus Andronicus,” rejoining the RSC in 1957 and breaking out in 1959 with his celebrated Puck in “A Midsummer Night’s Dream” and as the Fool in “King Lear.” He remained with the RSC until 1967, appearing in starring roles in “The Tempest” (as Ariel), “Richard III,” “Henry V” and “Henry IV, Part 1” and “Part 2.”
In 1965 he appeared to great acclaim as Lenny in the original production of Pinter’s “The Homecoming”; he won a Tony when he repeated the role on Broadway in 1967 and played the role again in Pinter’s 1973 big-screen adaptation.
In 1968 he made his film debut in “The Bofors Gun,” a British film that brought him a BAFTA Award for supporting actor. Thereafter, he appeared more regularly in movies and on television than onstage.
Over the next few years, he had supporting roles in “A Midsummer Night’s Dream,” “The Fixer,” “Oh! What a Lovely War,” “Nicholas and Alexandra” and as King John in “Robin and Marian.” Other assignments included “Young Winston,” “Juggernaut,” “Shout at the Devil” and, for television, “Les Miserables,” “The Man in the Iron Mask,” “All Quiet on the Western Front” and “Jesus of Nazareth.” For the American miniseries “Holocaust” and “Inside the Third Reich,” he played Heinrich **** and Joseph Goebbels, respectively.
He won a second Emmy in 2001 for his roguish work opposite Judi Dench in HBO telepic “The Last of the Blonde Bombshells.” With wife Wilton he appeared in “The Borrowers” and “The Return of the Borrowers” for Brit TV, and he was one of an all-star cast of voices that contributed to the live-action version of “Animal Farm” that aired on TNT in the U.S.
Holm also did a considerable amount of voiceover and narration work. He narrated the documentaries “Stalin,” “Elizabeth R: A Year in the Life of the Queen” and “Hiroshima: The Decision to Drop the Bomb”; “The Seas of Zanzibar” and “Skin Deep,” both for the Discovery Channel; and “Holocaust on Trial” for PBS.
Holm was married four times, first to Lynn Mary Shaw. His second wife was film still photographer Sophie Baker. Their marriage ended in 1986. Holm married Wilton in 1991, and divorced in 2001.
He is survived by his fourth wife, artist Sophie de Stempel, whom he married in 2003; three daughters, Jessica, Sarah-Jane, who did some film acting, and Melissa, a casting director; and two sons, Barnaby, who acted as a child, and Harry, a filmmaker who makes music videos.
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9 hours ago, Mr. Gorman said:
Notable gymnast Kurt Thomas, star of the cult-y 1985 potboiler GYMKATA, died June 5 at age 64 due to complications resulting from a stroke he suffered on May 24. I think TCM has aired "Gymkata" before, btw.
Yes, they have!
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Welcome Home Bsmooth! Pull up a chair and enjoy the show!
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I'm surprised I didn't notice this either. I have noticed that some of the movies seemed to be on almost immediately after the previous one.
It may be a result of the pandemic at home intros. They can't be edited and so the timing is out the window.
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Cary Grant was not in the film. Tony Curtis did an imitation of him while playing the rich playboy to attract Marilyn Monroe.
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6 hours ago, JBrickas said:
There is one for Edward S. Brophy.
Correct. I have a recording of it. Now added to the list! Many thanks.
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"Eddie Haskell's" unctuous behavior defined a generation.
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2 hours ago, TopBilled said:
I think his picks did show a "bias" for Fox films... And that was fine with me, since I also like the classics from 20th Century Fox.
Fox certainly had a style all their own. Though when think of Fox I don't necessarily associate them with a particular genre like I do other studios. What do you think?
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RO was a big fan of 20th Century Fox films. His top pick was LAURA (1944). Anything with Gene Tierney. Another of his all-time favorite films, believe it or not, was SPINAL TAP (1984).
BTW - Bob's Picks were not necessarily favorite films of his. They were films he thought we should see, or simply ones that hadn't aired on TCM in a while.
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So far I've seen two of them. THE SILVER CORD and ONCE TO EVERY WOMAN.
Of the two The Silver Cord was better. A great cast giving strong performances. A good script by Jane Murfin based on a successful play by Sidney Howard gives Laura Hope Crews the best part of her career. Crews had played the part on stage as well. Great to see early Joel McCrea. He and Frances Dee met on this film and they later married. Sustaining one of the longest marriage in his Hollywood history. Irene Dunne is the star of the film fighting to keep her husband from the clutches of his mother. Eric Linden plays McCrea's younger brother. (Sidney Howard won a posthumous Academy Award for adapting Gone With the Wind which also starred Crews as Aunt Pittypat.)
Once To Every Woman had some interesting moments but the story and script were weak. The lives of an up and coming doctor (Ralph Bellamy) and a tough head nurse (Fay Wray) intertwine at a city hospital. Walter Connolly plays the aging head of surgery who faces the realization his days of being a good surgeon are over. Lots of Melodrama. I enjoy watching Walter Connolly so this was a first for me.
Anytime I have the chance to see movies from the 1930's I have never seen before is a good time. One of my favorite things that TCM does is rescue films from obscurity. You have to understand that a bad 1930's film is better than a good movie from the present day for me. I was going in ready to have a good time either way.
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This is the only short I know which played on St. Patrick's Day
Morton Downey In "Dublin In Brass" ( 1935)
A singing Irishman graduates from a police academy and heads to New York City to join the force in this musical short film. Vitaphone Release 1869-1870.
Dir: Joseph Henabery Cast: George Watts , Morton Downey , Hugh Cameron .
BW- 22 mins,
I never thought Sinatra ever DID Disco! 
Death Takes No Holiday -- The Obituary Thread
in General Discussions
Posted
From Legacy.com
William "Billy" Hale
July 11, 1931 - June 10, 2020
Emmy Award-winning film and television director passed away in Woodland Hills, Calif.
Hale was born in Rome, Georgia to Alma and William Hale. As a college freshman, he worked as an announcer on an Atlanta television station. While watching movies on his night shift, he was inspired to become a film director. After graduating USC film school in Los Angeles, Hale's student film on the Watts Towers caught director George Stevens' eye. Stevens hired Hale to direct the second unit on The Greatest Story Ever Told, beginning a creative mentorship that propelled Hale's career.
In the mid-1960's, Hale began directing feature films and TV movies for Universal Studios. Among those films were How I Spent My Summer Vacation, which starred Robert Wagner, Peter Lawford, and Jill St. John. In a fan letter from a young Steven Spielberg praising Hale's film, Spielberg wrote, "I'd like to express how much I truly admire your masterful handling of the show. Each reel manifested itself as the work of sheer talent. I was totally beside myself in admiration of your tremendous dexterity in directing."
Other films and television shows Hale directed during that period were Journey To Shiloh, with James Caan, Michael Sarrazin, and Harrison Ford, Run For Your Life with Ben Gazzara, and numerous episodes of Night Gallery and Kojak. During the 1970's, Hale directed a string of successful television series, including The FBI, The Invaders, The Streets of San Francisco and Barnaby Jones.
He went on to direct several award-winning mini-series. Notable were Murder in Texas, Lace, People Like Us, and The Murder of Mary Phagan, winning a Peabody Award and a Primetime Emmy Award for Outstanding Limited Series (1988).
Among the many wonderful actors Hale directed were Helen Mirren, Jack Lemmon, Ava Gardner, Robert Mitchum, Eva Marie Saint, Omar Shariff, Sam Elliot, Angela Lansbury, Andy Griffith, Farah Fawcett and Michael Douglas.
Hale is survived by his wife, Trudy Hale of Virginia, and his daughter and son, Tempe and Charlie Hale of Los Angeles.
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He was a good man. It was my pleasure to have known him, if only for a short time, in the last years of his life.