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Everything posted by arpirose

  1. I know who she was due to fact that KTLA CHANNEL 5 IN THE METROPOLITAN LOS ANGELES AREA PLAYED CLASSIC PARAMOUNT FILMS. Then, the Paramount films were owned by GENE AUTRY, of RUDOLPH THE RED NOSE REINDEER FAME. I was a devotee of these films. I owned a VCR so I could record whatever wanted. Shirley had a short career but she was around quite a lot in the late 30s. I do not forget people like Shirley. Better yet, in los Angeles we had the Z Channel for about 3 years. That was a legendary channel that introduced no commercial movies for the first time. They played films from all the studios. I really miss the Z CHANNEL. For the people do not know about the z channel, it was the first subscription channel on cable. When programer Jerry Harvey took over the channel in 1980, things changed. He loved movies, especially the classic ones. He always played an eclectic mix of films. I was young then, so I called the network. I requested certain films such as LINDSEY ANDERSON'S O LUCKY MAN. He was wonderful. He listened, and took notes. I couldn't believe it , that he played O LUCKY MAN ON THE STATION. I FELT SO HONORED THAT HE ACTUALLY LISTENED TO ME. one more thing, If you can catch a viewing of O LUCKY MAN, it is worth it. THE SAD PART ABOUT Jerry's life was that he killed his wife and committed suicide. He was a troubled man. There is a documentary about his life.
  2. ONE MORE THING, AFTER FOX MADE TYRONE POWER A STAR in the mid 30s.Ty Power became on of the biggest stars in Hollywood for 15 years. Henry Fonda was one of their biggest draws. The ladies included Gene tierney, Betty Grable, Alice Faye and the powerhouse Shirley Temple. They had pull and power. It is no accident that HOW GREEN WAS MY VALLEY WON FOR BEST PICTURE IN 1940. It is still a moving film.
  3. Here is take from WikIpedia regarding the STUDIO SYSTEM: You notice that they called the Big Studios the Majors. It explains that the big five were full conglomerats .They owned most of the movie theatres until they were required break them up by selling them. The studio system (which was used during a period known as the Golden Age of Hollywood) is a method of film production and distribution dominated by a small number of "major" studios in Hollywood. Although the term is still used today as a reference to the systems and output of the major studios, historically the term refers to the practice of large motion picture studios between the 1920s and 1960s of (a) producing movies primarily on their own filmmaking lots with creative personnel under often long-term contract, and (b) dominating exhibition through vertical integration, i.e., the ownership or effective control of distributors and exhibition, guaranteeing additional sales of films through manipulative booking techniques such as block booking. The studio system was challenged under the anti-trust laws in a 1948 Supreme Court ruling which sought to separate production from the distribution and exhibition and ended such practices, thereby hastening the end of the studio system. By 1954, with television competing for audience and the last of the operational links between a major production studio and theater chain broken, the historic era of the studio system was over. The period stretching from the introduction of sound to the beginning of the demise of the studio system, 1927–1948/1949, is referred to by some film historians as the Golden Age of Hollywood. The Golden Age is a purely technical distinction and not to be confused with the style in film criticism known as Classical Hollywood cinema, a style of American film which developed from 1917 to 1963 and characterizes it to this day. During the so-called Golden Age, eight companies constituted the major studios that promulgated the Hollywood studio system. Of these eight, five were fully integrated conglomerates, combining ownership of a production studio, distribution division, and substantial theater chain, and contracting with performers and filmmaking personnel: Fox Film Corporation (later 20th Century Fox), Loew’s Incorporated (owner of America's largest theater circuit and parent company to Metro-Goldwyn-Mayer), Paramount Pictures, RKO Radio Pictures, and Warner Bros. Two majors—Universal Pictures and Columbia Pictures—were similarly organized, though they never owned more than small theater circuits. The eighth of the Golden Age majors, United Artists, owned a few theaters and had access to two production facilities owned by members of its controlling partnership group, but it functioned primarily as a backer-distributor, loaning money to independent producers and releasing their films.
  4. THANKS FOR THE MEMORY won the Oscar for best song in 1938. It became Bob Hope's theme song. I liked the young Bob Hope. He was very cute and smart alecky.
  5. Here a thread for THE CLASSIC PARAMOUNT MUSICALS, WHICH WERE DIFFERENT FROM THE OTHER STUDIOS. H Is an example : the BIG BROADCAST OF 1938 with Bob Hope and Shirley Ross singing THANKS FOR THE MEMORY" You see a higher level of sophistication from Paramount that the other studios lacked.
  7. WHY DID you omit the fox musicals in your films that you chose for TCM. It is a glaring omission to say the least. In your world, Fox Musicals do not count.
  8. Yes, movie audiences in the 1950s got dressed up, not down, to attend the movies. In the 1950s in general it was difficult to lure the TV audience into the movie theaters without Technicolor, cinemascope stereophonic sound and great foreign locations. The musical didn't go away - - it just had to be something that was worth the bother like a big Broadway hit adapted for movies like West Side Story, My Fair Lady, or the Music man. Ok, this is what happened to film by the mid 1950s. The DRIVE-IN flourished in suburbia. Film was catered to the YOUTH MARKET. Rock and Roll musicals, like the Alan Fried musical films flourished. ELVIS PRESLEY was becoming a big film star. The kids ate it up.They couldn't get enough.
  9. Betty Grable was very popular during the war and survived into the post-war era thanks to the affable and very talented dancer Dan Dailey, while she was a weak singer and only a passable dancer. Grable being a protege of Fred Astaire's choreographic assistant, Hermes Pan, really set her up to get her through those wartime Technicolor Fox musical extravaganzas. He choreographed them and danced with her--showing her to her best advantage. Like the extremely popular post-war TV singer Dinah Shore, Betty Grable had limited talent as a performer, but had a personality and a look that the public loved. Betty was not that bad as stated. She was funny and had charisma. She is fantastic in the NOIR CLASSIC "I WAKE UP SCREAMING". Her voice was not that bad. I have seen so many Grable films, and I think she was good. One more thing ,Gene Kelly's and Fred Astaire's singing was left to be desired, and very weak. They couldn't sing, but they got away with it. Charisse's singing was dubbed. To be honest, I prefer Don Ameche's and Grables singing over the MGM stars. The MGM barnyard were not even close to Bing Crosby for talent. One more thing, Don Ameche was truly talented.
  10. Here Here, Ginger Rogers was a fine DRAMATIC ACTRESS. In my opinion her best screen partner was JOEL MCCREA IN THE PRIMROSE PATH. She plays the character with such deep, heart breaking feeling. I love STAGE DOOR, BACHELOR MOTHER, TOM DICK AND HARRY BUT in PRIMROSE SHE IS SO FANTASTIC. I recommend people to view the film to see what a wonderful actress she really was. Whenever, she was given the opportunity, she shined. Ginger was an underrated actress whether in comedy or drama.
  11. HERE IS A DEFINITION OF screwball comedy What Is a Screwball Comedy? Though earlier films with screwball comedy elements can be pinpointed, such as the 1931 film adaptation of "The Front Page," the movie that put the genre on the map was 1934’s "It Happened One Night." Directed by industry great Frank Capra, "It Happened One Night" stars Claudette Colbert as Ellie, a runaway socialite who crosses paths with Peter (Clark Gable), a reporter who threatens to expose her whereabouts to her disapproving father. The pair go through a series of misadventures that brings them closer together, and the once-feuding pair soon fall in love. The result was a box office hit and a critical favorite. "It Happened One Night" was one of the top-grossing films of the year and won five Academy Awards, including Best Picture. In 2000, the American Film Institute named "It Happened One Night" as the eighth greatest American comedy film. After success like that, similar movies were quick to follow. Notable Screwball Comedies "Twentieth Century" (1934) After a Broadway writer (John Barrymore) worked for several years to turn a lingerie model (Carole Lombard) into a stage star, the pair have a falling out and the writer faces financial ruin. He attempts to sneak away from debtors by taking a Chicago train named the "20th Century Limited" to New York City. Naturally, his former protege is on the same train with her boyfriend. Acclaimed director Howard Hawks' film, which was based on a Broadway play produced in 1932, uses the train journey as a perfect setting for a zany comedy between two people who can't stand each other but can't escape each other in the tight spaces of the train cars. Decades later, the film was adapted into a successful stage musical, "On the Twentieth Century." "The Gay Divorcee" (1934) The musical film "The Gay Divorcee" is the first lead role pairing of dancing partners Fred Astaire and Ginger Rodgers (the duo previously appeared together in supporting roles in the previous year's "Flying Down to Rio"). Though mainly remembered for its songs (particularly Cole Porter's "Night and Day"), the storyline involves Rogers as the titular divorcee who falls in love with the charming Guy (Astaire) in a case of mistaken identity. The duo's next film, the screwball comedy musical "Top Hat," is often considered their best and is known for the song "Cheek to Cheek." "The Thin Man" (1934) This mystery film based on a Dashiell Hammett novel, but it mixes the mystery elements with domestic comedy. William Powell and Myrna Loy star as Nick and Nora Charles, a married couple who investigate the disappearance of one of Nick's former acquaintances. The humorous interplay between the husband and wife proved to be so popular that "The Thin Man" was followed by five sequels. "My Man Godfrey" (1936) Be careful when hiring a butler because you might just fall in love with him. That's what happens in My Man Godfrey, which features Carole Lombard as a New York City socialite who hires a kindhearted but assertive homeless man, Godfrey (William Powell), to serve as her family's butler. Much of the humor of the movie derives from the class differences and the love-hate relationship between the two leads. "The Awful Truth" (1937) In "The Awful Truth," a divorcing couple (played by Irene Dunne and Cary Grant) not only want to separate, but attempt to ruin each other's rebound relationships before realizing that they're still in love with one another. The movie established Grant's standard affable character that he would best be known for. Director Leo McCarey won the Best Director Oscar for this movie. "Bringing Up Baby" (1938) Screwball comedy standouts Cary Grant and Howard Hawks united on this film, with Grant starring opposite fellow Hollywood legend Katharine Hepburn. Grant stars as David, a paleontologist, and Hepburn as a free-spirited woman named Susan. They meet the day before Grant's character's wedding to another woman and end up babysitting a leopard (the titular Baby) together before unleashing total chaos at a frenetic pace, which includes both of them landing in prison at one point! "His Girl Friday" (1940) Director Howard Hawks' "His Girl Friday" is a remake of 1931's "The Front Page" starring Cary Grant and Rosalind Russell as news reporters and ex-spouses whose romance rekindles when they work together on a major story. The film is famous for its rapid-fire dialogue and over-the-top plot twists. Decline and Later Influence By 1943, the screwball comedy had fallen out of fashion. With the United States now fully engaged in World War II, many Hollywood films at that point instead focused on themes and stories related to the war. Nonetheless, the genre has remained incredibly influential and classic elements of screwball comedies can be seen in virtually any relationship comedy movie released since, including the "romantic comedy" genre that peaked in popularity in the 1980s and 1990s (particularly movies that include elements like "meet cute" scenes) and domestic sitcoms on television. Some notable later films that include elements of the screwball comedy are "The Seven Year Itch" (1955), "Some Like It Hot" (1959), "A Fish Called Wanda" (1988), "Flirting with Disaster" (1996), and "Intolerable Cruelty" (2003).
  12. What possible reasons might there be for the changes in roles between men and women depicted in these screwball comedy musicals that distinguish themselves from earlier musicals in the 1930s? The AStaire- Rogers Musicals are not SCREWBALL COMEDIES, but they are akin to ROMANTIC COMEDIES OF THAT ERA. You must distinguish a SCREWBALL COMEDY FROM A ROMANTIC COMEDY. A SCrewball Comedy Is BRINGING UP BABY, THE AWFUL TRUTH, MY MAN GODFREY, THE 20TH CENTURY, HIS GIRL FRIDAY, THE LADY EVE, OR ANYTHING DIRECTED BY PRESTON STURGES. HINT, CAROLE LOMBARD WAS THE QUEEN OF SCREWBALL COMEDY.
  13. Perhaps we should start a new thread, given the salute to musicals this month, and it can continue afterward for any musical anyone wants to write about. I regret not being able to see and re-visit more of the musicals already shown. I have mixed feelings about our academic guide, Vanessa Theme Ament, based on her comments at this year's TCM Film Festival about Silk Stockings. She is bright, pleasant, and well-spoken, and clearly enjoys musicals. However, she began her discussion with the only bit of political correctness I've heard in nine years of attending the festival: she commented negatively on the satire of the Soviet Union in Silk Stockings. In her words, "All societies have their good points and bad points." (I suppose we should remember to say this the next time someone comments negatively on the Taliban denying females an education.) However, Ms. Theme Ament must be as divided as Ninotchka herself, for she said that her favorite musical number in the film is Cyd Charisse's dance where she brings out her hidden French lingerie. If you ever get the chance to see Silk Stockings on the big screen, don't miss it. If you think Cyd's legs are impressive on your TV, you should see them in 70mm. The sets and costumes are perfection. Ms. Theme Ament pointed out that Cyd Charisse is mostly dressed in tans and whites, so that Janis Paige gets the bright, gaudy colors. Honestly, am not a fan of Cyd Charisse. She may have been a fantastic dancer. Her acting skills are much to be desired. The studio used her in two Noir films, with fantastic actors such as VAN HEFLIN, JAMES MASON, BARBARA STANWYCK, in EAST SIDE,WEST SIDE; RICHARD BASEHART, AUDREY TOTTER AND BARRY SULLIVAN IN TENSION (1949) to hone her acting skills. She never learned how to act. That is why after the musical genre died down due cost overruns, her career died a quick death. 1957 was her last good year. By 58, the accountants took over Metro; and people like Charisse and Robert Taylor were let go of their contracts.
  14. I posted a thread from the FOX MUSICALS on the general thread. I left some videos on it, as well as a VIDEO from WOODY ALLEN'S RADIO DAYS, where he uses Carmen Miranda singing SOUTH AMERICAN WAY as a homage to the FOX MUSICALS.
  15. https://classicfilmguru.wordpress.com/2013/08/14/top-box-office-stars-1940-to-1949-part-2/ Here are the rankings for the top 10 box office stars of the 1940s. Betty Grable was in top ten since 1942, including being number #1 in 1943. There should have been moe thought in choosIng films for the "MAD ABOUT MUSICALS SERIES. The GI's loved her. Here is the pin-up picture that the GI'S loved.
  16. Robert Mitchum in THE NIGHT OF THE HUNTER. He plays evil so convincingly by scaring the children.. He should have received an OSCAR nomination. However, the acedamy frowned upon rewarding such evil characterizations on screen.
  17. There is a passing reference to The 20th Century Fox Musicals. The only one they are showing is MOON OVER MIAMI. Fox dominated musicals during the 40s. BETTY GRABLE was one biggest stars during the 40s. Sadly, the network does not acknowledge her contribution to musicals. She was the pin-up girl for the troops during the war. Bettey Grable was in top 5 for most of the 1940s and she was number one in 1943. Here are the rankings for the 1940s. HERE IS A TREAT FOR YOU GUYS. THIS IS A COMPOSITE FOR WOODY ALLEN'S RADIO DAYS, WHERE he uses South American way at the end of the film. Watch his cousin Ruthie doing the carmen Miranda imitation. It is too funny for words. HERE IS THE VIEW OF THE ICONIC SOUTH AMERICAN WAY FROM DOWN ARGENTINE WAY FROM FOX.
  18. Guys, please check the Dick Cavett's interview with Bette Davis. You can can view it on You Tube. She had the utmost respect for Ms. Hepburn. Probably in part , that they were both from New England and shared the same work ethic. Here is the interview with Ms. Davis. www.youtube.com/watch?v=saIXplpQyak
  19. I am sorry but I made a big typo this morning about the Gold Diggers movie. It should be "Gold Diggers of 1933. Aside from the Busby Berkeley musical numbers; there is a hilarious, over the top, performance by Aline MacMahon as Trixie. I always, loved this movie. I even had the Busby Berkeley book, from 1973, which got lost in a move. It was a wonderful book for collectors.
  20. Hi; I am too big fan of the Janus films. Especially, I love Cocteraus Beauty and the Beast or in French Belle et Bette. It is one of the most stunning films of the late 1940s. It was done in a skeleton budget due to the fact that France was recovering from the after effects of WWll. It is an Surreal adventure with moving objects throughout the films. Magical effects that make this fairy tale special. By the way, as a side note, Cocteau modeled the face of the beast from his beloved Persian Cat. it is still magical whenever i view it.
  21. As I was watching "Gold Diggers of 1938", I became more curious about the career of Joan Blondell. First of all, she was a wonderful comedienne and actress whose career never made it to big stardom. She had three rough marriages. But, she worked through her personal issues to become one of the most respected character actresses of all time. About "Convention City": it was so scandalous, that Jack Warner ordered the burning of all copies and negatives. According to legend, there were tasteless jokes about prostitution, drunkenness, and more. This film caused an such outcry with the mostly conservative public at the time. As a result, the Hays Code was formed. There are no known prints of this film. Jack Warner truly destroyed any future viewings of Convention City. Hence, it is lost forever. http://www.missamerica1933.com/contestants/conventioncity.html. This is a mini article about the film.
  22. I say no to colorization. Black and white cinema is an art form done with special lighting and techniques. The images would be lost in translation. Color films are done with different photographic techniques and lighting. Take an example of black and white photography. It too is an art form. For example, it would be sacrilege to COLORIZE ANSEL ADAMS PHOTOGRAPHS.
  23. Please check out the most recent Google Doodle, honoring iconic cinematographer James Wong Howe. Mr. Howe was one of the pivotal cinematographers in classic Hollywood. He did most of his work at Warners Bros., but worked in other studios as well.
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