Fausterlitz

Hint 2: they all appeared with a certain famous actor (who, like them, also had a significant career in sound films)

Only Angels Have Wings (1939) The Magnificent Ambersons (1942) The Passionate Friends (1949) Goodbye, My Fancy (1951) Ruby Gentry (1952) There's Always Tomorrow (1955) Pauline at the Beach (1983) Persuasion (1995) Grosse Pointe Blank (1997) Forgetting Sarah Marshall (2008)

The Tijuana Story (1957) Next: The Phenix City Story (1955)

no u Violet Venable (Suddenly, Last Summer)

Citizen Kane -- scandal ruins his electoral chances Meet John Doe -- the crowd turns on him for selling out The Caine Mutiny -- Queeg's insanity is exposed at trial

Thanks, Terrence, and no worries! I often ask questions that have more than one component myself, so I didn't think you were being "picky." 🙂 -------------------------- Next: Reginald Denny Frank Morgan William Powell Conrad Veidt Roland Young hint: silents

Seriously? It's the filmmakers themselves who were involuntarily segregated during the entire "classic" era, and even in the 70s and 80s were largely obligated to work outside the mainstream. Their work was of necessity directed primarily at a black audience, which inevitably limited its exposure, and thus its ability to be considered an integral part of standard film history. She's not the one "segregating" anything. On the contrary, she's trying to integrate these films back into mainstream consciousness. More to the point, this subject matter is her particular area of expertise and has formed the primary basis of her life's work. Would you be saying the same thing if Eddie Muller had won a MacArthur fellowship to explore and encourage the appreciation and understanding of film noir? The films she's interested in have been much less thoroughly studied than those (even less so than many mediocre films noirs). So why, exactly, shouldn't she focus on them? As the MacArthur link says, her work "fills critical gaps in the history of American media." Also, your presumption that the mere act of focusing on these films is tantamount to wallowing in and thus perpetuating racial animus is not borne out by any evidence. If you've ever seen the TCM short film about the history of blackface, for example, you'll note that her approach to the topic is remarkably objective and clear-headed: she understands it in a larger historical context and argues strenuously against any efforts to censor such material. As the saying goes, "the only way out is through." (This also applies to your admirable goal of a post-racial society, by the way.) 🙂

Andie MacDowell was in St. Elmo's Fire (1985) with Martin Balsam, who was in Hombre (1967) with Paul Newman. Next: Phoebe Cates

OK...they all played Barbara Stanwyck's husband in at least one movie (for Robinson and Boles it's only the second of their two films with her)

Play It Again, Sam (1972) -- San Francisco Museum of (Modern) Art Ferris Bueller's Day Off (1986) -- Chicago Art Institute The International (2009) -- Guggenheim Museum Mr. Turner (2014) -- Royal Academy of Arts (recreated at Wentworth Woodhouse)

They all co-starred with Barbara Stanwyck? Fonda: The Mad Miss Manton (1938), The Lady Eve (1941), You Belong to Me (1941) Douglas: The Strange Love of Martha Ivers (1946) Lancaster: Sorry, Wrong Number (1948) Robinson: Double Indemnity (1944), The Violent Men (1955) Boles: A Message to Garcia (1936), Stella Dallas (1937)

That's it, Peebs! And the depressing thing is I had to think pretty hard to come up even with those examples, so there probably aren't very many of them, at least not during the studio era. Maybe you can think of some others. Nice work as always, + it's your turn again. 🙂

Hi Jim, if you click on any film title listed in their respective Wikipedia filmographies, a box appears that shows the first few sentences of the Wiki article about that film. The first sentence almost always indicates the genre of the film (mystery, crime, comedy, etc.) Both actors appeared in many non-horror films + roles over the years. A few examples for each: Chaney: Oliver Twist (1922), The Blackbird (1926), Tell it to the Marines (1926), Mr. Wu (1927), Mockery (1927), While the City Sleeps (1928) Lugosi: International House (1932), The Mysterious Mr. Wong (1934), The Best Man Wins (1935), Postal Inspector (1936), Ninotchka (1939), You'll Find Out (1940) 🙂

Well, you're in the ballpark, Peebs, but it's more specific than that. Hint: ebony and ivory

Sherlock Jr. (1924)

Michael York Next: E. M.

Thanks, Peebs! I wasn't sure about The Family Way, but deduced it from this photo: ------------------------------------------------------------------ Next: The Little Colonel (1935) The Pirate (1948) The Band Wagon (1953) White Nights (1985) Save the Last Dance (2001)

Here's a list of the most common ones for Windows: https://support.microsoft.com/en-us/office/keyboard-shortcuts-to-add-language-accent-marks-in-word-3801b103-6a8d-42a5-b8ba-fdc3774cfc76 And for Mac OS X: https://www.reed.edu/cis/help/diacritics.html

On a Mac, an "acute accent" or accent-aigu (as in John le Carré or René Clair) is option-e + whichever letter needs the accent. (In other words, hold down the option key and the letter e; then release and type the relevant letter, which in French will be an e--in other languages, e.g. Spanish, it can occur over various vowels) Accent-grave (as in Agnès Varda or là-bas) is option + ` (button to the left of numeral 1), then type whichever letter needs the accent

Scenes take place in a record shop?

The Wizard of Oz (1939) -- house spinning The Great Ziegfeld (1936) -- rotating set Royal Wedding (1951) -- dancing on the ceiling (he eventually completes a counter-clockwise, 360-degree journey) Monte Carlo (1930) -- roulette wheel (see also Casablanca, California Split, Croupier) Psycho (1960) -- whirlpool (also many films titled Whirlpool) Batman TV series -- camera spins for scene transitions (see also "Girl Hunt" ballet in The Band Wagon, whenever Fred Astaire is knocked out by bad guys) Seabiscuit (2003) -- horse racing Prefontaine (1997) -- human racing 2001: A Space Odyssey (1968) -- infinite jogging Marooned (1969) -- trapped in orbit

Yes, right again, Peebs! I've run out of quiz ideas myself, but hopefully you have something else lined up... 🙂

Thanks, Peebs! I believe Merle Oberon also had some Eurasian (but not specifically Indian) ancestry via her mother. Next: Cecil Kellaway Basil Rathbone Glynis Johns Juliet Prowse Janet Suzman

They were all born in India?

One Week (1920) -- spinning house A Damsel in Distress (1937) -- spinning tube, spinning floor Shall We Dance (1937) -- roller skates, circular ring I Love Melvin (1953) -- more roller skates in a circle The Four Hundred Blows (1959) -- spinning amusement park ride My Sister Eileen (1942/1955) -- conga line West Side Story (1961) -- dance at the gym ("'round she goes, and where she stops, nobody knows") 8-1/2 (1963) -- final scene The Third Man (1949) -- ferris wheel Superman (1978) -- turning back time