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About MikeDouglas

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    Advanced Member
  1. George Tobias was great, he was very talented and versatile. Different accents, any time period, drama, comedy. I recall in one of those WW2 "Canteen" type movies (Perhaps "Thank Your Lucky Stars") he did a song and dance with Ida Lupino and Olivia De Havilland which was really fun to watch. And after seeing him in so many other types of roles, he could sing and dance just fine. I smile everytime I see Eugene Pallette, Allen Jenkins and Mary Treen. Ann Doran seemed to be in about every third movie. I also like John Ridgely. He was in over 100 WB's movies, many during WW2. I can not think of one single thing that really stands out about him, except he was a true stock player. You could insert him into any situation, mostly contemporary, and he could do his job. No muss no fuss, just give the director what he asked, when he asked for it, and move on.
  2. I THINK the guy you are talking about is DAN SEYMOUR. One way to check is to look at the door man in CASABLANCA, the sleazy Vichy-France Police Detective in TO HAVE AND HAVE NOT, or, one of the bad guys in KEY LARGO. I think this may solve it. Dan Seymour and Victor Buono do resemble.
  3. BLACK NARCISSUS 1947 Music by Brian Easdale
  4. To FredCDobbs I remember alot of what you are reporting, but I can tell I must be a few years younger. Living along the Mississippi, I saw plenty Steamboats, most were workboats, but some were for pleasure cruising. Unless my memory has failed, the Delta Queen had more of a silver, or metallic finish to it. I saw many a wooden cotton wagon, with the bales loaded way high, and people riding on top. Didn't see them AT the cotton gin, but on the way. We drove past many a chain gang, but just can't recall if they were in stripes. The two things I have the most vivid recollections of were the Revival Tents (which were striped) late in the evening and the MOST BEAUTIFUL sounds coming out of them. The traffic would be heavy around the tent, so I had a chance to listen for a few moments. Lastly, what I recall the most, was riding down the highway during the oppressive heat of a summer day, and seeing so many people out in the cotton fields. Most were wearing wide-brimmed straw hats to help keep that hot sun off...a little bit. And then the house after house after house etc etc etc, a seemingly endless line of what were more shacks than houses. It was all real eye-opener for a little kid.
  5. I am against censorship and this includes BOAN. As long as this film is shown in some sort of context. To me that is exactly what TCM is trying to do. Give BOAN its Historical Context. This is 3 May, and we have the rest of the month to watch and discuss these films. Historian Don Bogle, as I understand it, will be discussing and will be along with us to discuss and teach. BOAN is like any other famous OR INFAMOUS, Historical Document. We can see with our own eyes and hear with our own ears. And we can learn from it, and teach about it. It has to exist in order to do this. It has to be rolled out and shown once in awhile to do this. IN PROPER CONTEXT. GOOD FOR TCM. It reminds me of going to some famous museum and looking at the different historical artifacts. What good is an empty museum. Just as there are beautiful works of art in museums, there are also the Hateful artifacts. In my opinion a Nazi Flag belongs in a Musuem so we won't forget what it stood for, and how it came to exist. So we can learn and teach. The same goes with this most UGLY fILM, and as the month continues, we'll see more...IN CONTEXT.
  6. TO FREDCDOBBS We have finally made it to May, I am as curious as a cat. Curious about the films themselves, and curious as to what the people who TCM invited to speak about these films have to say about them, before and after. I am also curious how people will react to what they say....agree or disagree with them. By the way Dobbsy, do you think racism existed in the "South" before Hollywood was invented?
  7. TO FREDCDOBBS Dobbsy, why didn't you complete the paragraph that you mentioned about Lena Horne? When it comes to that bubble bath scene, if the Hays Code killed it, ok. But you didn't seem to finish reading the papragraph, and in it is the point I was making. You said; "Minnelli originally intended to introduce Horne's sexy character in a bubble bath scene but the censors refused to let him film it. Those were Hays Code Hollywood Censors, not "southern censors". You didn't finish the paragraph Dobbsy. Here, let me for you; "In most of her other films Horned played herself, and she rarely had interaction with the main stars. Instead, she would come onscreen, perform a number, and exit. THIS WAS DONE SO HER SCENES COULD BE EASILY TRIMMED IF THEY OFFENDED SOUTHERN AUDIENCES." (caps mine) If you have a problem with this article talk to the folks at the TCM Database, where I found it.
  8. To EuropeanAmerican I am NOT a EuropeanAmerican. However, I think these movies should be protected, remastered, defended, whatever in order to protect them. I feel that way about CASABLANCA, BIRTH OF A NATION, JOE DOAKES etc etc etc. So that those that want to watch them and/or study them can. Now and in the future.
  9. To Goldensilents I wish there were more cockeyed optimists you cockeyed optimist. Vincente Minelli directed Cabin in the Sky, his directorial debut. There is an article about the making of "CABIN IN THE SKY" in the TCM database which you may be interested in reading. Ethel Waters certainly had some "say" in how things were done and said she continued to add bits here and there to her character "Petunia". It also mentions how Lena Horne did not portray herself, but a character in the film. The article tells how Lena Horne usually had to be filmed as herself, so they could more easily trim parts of her performance off so as not to offend southern audiences. I'll get out here, and let you read the article for yourself. Regards
  10. TO MATTHELM I see your point. You are right. All I am saying is that besides all the areas that are involved in people competing with people for jobs, add being a black female. And then subtract all the jobs she could apply for or be considered qualified for based on the fact she was a black female. That's it for me....I am going after some ice cream and watch "A Yank in the RAF" So Batman cheated. THE RAT.
  11. TO GOLDENSILENTS Your point about defining RACISM is VERY WELL TAKEN. The word Racism has REALLY been tossed around. I have been one of the larger tossers. What I have been taught is that racism has to do with the power of a culture exercised over a group in that culture who are considered inferior for whatever reason. That is very UNFINISHED, but it's a start. As far as the classic 1943 "Cabin in the Sky". Yes the whole cast was black but who directed the film? Who produced it? Who wrote the script? Who selected the cast. If the actors and actresses could have chosen a different story or different songs and dances...or different ways to do a scene? I don't know. Someone can say what I just said about ANY MOVIE, BUT PLEASE REMEMBER, we are talking SPECIFICALLY about "Cabin in the Sky" and it was selected by someone in power to be made with an all-black cast.
  12. To MATTHELM Now you have me mixed up. I thought it was Hattie McDaniel who said she would rather play a maid than be one. I don't think my point was moot because of the specific group we were talking about ( I thought) Black Women. Black Women did not have the POWER of choice specifically because the Racist society they lived in would not allow it. I'll take Superman anyday, although Batman has cooler toys.
  13. TO MATTHELM Hello MattHelm. I just read your post and would ask...Popular to Whom (who?). If it were Black Women who were in a position to choose which career fields to go into and they chose Maids...ok. But I would always wonder if Black Women had the POWER to choose career fields, how many would chose maids. Regards
  14. To FREDCDOBBS Is the SINGLE point you are trying to make simply...Only HOLLYWOOD made HOLLYWOOD Films that were racist? Regardless of the reason, no matter who, what, when, where or how....only HOLLYWOOD made HOLLYWOOD racist films? Because if that is all you are trying to say, then you will certainly get no disagreement from me (or anyone in my family ) on that SINGLE POINT.
  15. TO FREDCDOBBS I will mention my family and friends experiences in the South in the 1950's as long as you do not balance your posts. You have spoken of a 1950's South that YOU experienced. You want to blame Hollywood for all the racist ills in the South, even though these"ills" were in place long before Hollywood. Does Hollywood share the blame...YOU BETCHA. I have read your posts when you mention Black Doctors and Lawyers, Nurses and workers and how well everyone seemed to get along. I am not saying they didn't get along. But you never seem to get around to talking about how segregated the South was in the 1950's. You never mention if those Black Doctors and Lawyers could dine in the same restaurants, join the same clubs and have access to the same housing. I wonder where those Black Professionals received their Degrees in the 1950's? The University of Mississippi? I doubt it, maybe there was some special program, but I never heard of it. Did Black people in the South have access to the same primary and secondary schools...NO...SEGREGATION. Could Black people VOTE...not if white people didn't want them too...remember Poll Taxes? Did these things happen in the rest of the country...YES. Everything to you is Hollywoods fault. Hollywood should get their share of the blame. But you gloss over the 1950's South with a broad white wash that just compels me to try to give you some balance. ESPECIALLY AFTER WHAT MY FRIENDS AND FAMILY WENT THROUGH IN THE 1950'S IN THE SOUTH. Geez....it's not even May yet.
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