RAMBLES Part II

[MissGoddess]

I think that was Fred Astaire who was with Robert Wagner in "It Takes a Thief". I've actually never seen that show.

[Bronxgirl48]

I never knew Fred guest-starred on that show. I suppose I should look up Doug on the imdb board and find out what if anything he did on television. I also think Charles Boyer and David Niven played gentleman crooks on a program, with something like "Rogue" in the title...

[fredbaetz]

Fred Astaire had a recurring role on "It Takes A Thief" playing Alexander Mundy's { Robert Wagner} father Alistair Mundy... Charler Boyer and David Nived co owners of 4 Star Productions starred in "The Rogues" as con men along with Gig Young fleecing baddies out of their money for a price. It only lasted one season....

[JackFavell]

I really loved It Takes a Thief, and the box set just came out. Now to go back and find out if it was as good as I remember it when I was a kid. Fred was a gentleman thief, very much in the style of Doug Jr. but he only did a few of the shows. Mostly it was RJ.

 

I only just found out about The Rogues, my dad mentioned it to me, so I looked it up on youtube. It starred Gig Young, Charles Boyer, David Niven and Robert Coote! Even if it was terrible, that cast is worth watching.

 

I forgot Captain January. Kibbee's good in that one. I think I got him mixed up with Victor Moore. Some of the pre-code supporting actors are scary to me. But Kibbee is aces in Jimmy Dolan and Union Depot. And yes, I think Joan is menaced by that weird guy in glasses.

 

Edited by: JackFavell on Oct 15, 2011 8:48 AM

[Bronxgirl48]

You and Miss Goddess are jogging my memory on "It Takes A Thief". RJ played Alexander Mundy (they always have these quaint names that nobody has in real life) and Fred was his father. Interesting, I looked up the show on Wiki, and it says Roland Kibbee was the creator. I wonder if he was any relation to Guy, lol. (I used to get Guy and Victor Moore confused when I was very young)

 

I vaguely remember "The Rogues". Completing a classy cast, I think Gladys Cooper was also on board, as someone's mother. (probably Robert Coote's, ha!)

[Bronxgirl48]

Thanks, fred! "It Takes A Thief" and "The Rogues" were just blips to me; they came and went. In 1968 I was more into "The Man From Uncle" and, heaven help me, "The Girl From Uncle", lol.

 

Hey, did you see BWANA DEVIL? Robert Stack's frustration with the "man-eating" lions is hilarious!

[Bronxgirl48]

Wait, let me correct myself. "The Rogues" was earlier, 1964 I think. "It Takes A Thief" aired in '68. In 1964 I was very into "Bewitched".

 

But to get back to BWANA DEVIL, lol, if anybody else saw it, please let me know if Angus's story is actually true, or, uh, just a fish tale.

[fredbaetz]

"Bwana Devil" was based on a true story. It was remade in 1996 with Val Kilmer in the lead role co starring Michael Douglas, as "The Ghost and the Darkness". Both films were loosely based on the book "The Man Eaters of Tsavo" written by Col. John Patterson { the Kilmer/Stack characters} who did kill the lions. The actual man eaters are on display in the Chicago Field Museum of Natural History"......

[Bronxgirl48]

But was Nigel's story about a fish called the, what was it? ski-dunk or something, lol, is there such a creature? He said it lives in the boiling waters off some island, and lands on shore with seaweed in its mouth, so it's already cooked and flavored, ha! Sounds like something Mark Twain would invent.

[Bronxgirl48]

Came in on this line of dialogue from THE BIG TREES:

 

Kirk: "I've met all kinds of women but none who wanted me to come up and look at her trees".

 

Oh, well, every star has his or her clunker.

[Bronxgirl48]

I do remember reading that MR. LUCKY was Cary's personal favorite. (he also looks tremendously appealing in that pea coat)

 

How would you describe the film's tone? There's a dark, haunting, somber quality in keeping with the "mystery" of Joe as well as the grave state of the world at that time, along with a wary optimism and a warm, relaxed, elegant romanticism. The use of light and shadow is so beautifully effective, I think, in conveying states of emotion. At first I thought that society Dot was indeed slumming, 'He's the first man I've ever been afraid of" but the recounting of her rougish family tree tells you that she responds to outsiders and renegades, lol. I'm more touched by silent Cary on the staircase than his rather petulant Dickensian childhood recollections, which sound a bit whiny, I'm sorry, lol. It's the kind of feel-sorry-for-me speech that John Garfield did so well.

 

I respect Cary because I think he really didn't try to hide his Cockney roots. Maybe he just "fell into' being the debonair. leading man, but look at how, at the peak of his success and popularity in Hollywood, he jumped at the chance to do NONE BUT THE LONELY HEART, yet audiences couldn't accept him as an Archie Leach type. They wanted "Cary Grant". He loved playing a Cockney in GUNGA DIN, and seemed to also get a good deal of enjoyment as one in SYLVIA SCARLET..

 

 

[bagladymimi]

I too thought Grant did a great job in None But The Lonely Heart. Just as in Mr. Lucky, it was interesting to watch Grant's portrayal of the shady character who decides to do the right thing.

He was a great dramatic actor - my favorite being Notorious. By the same token I loved his light side - Bringing Up Baby and The Awful Truth.

[JackFavell]

> {quote:title=Bronxgirl48 wrote:}{quote}I do remember reading that MR. LUCKY was Cary's personal favorite. (he also looks tremendously appealing in that pea coat)

 

I agree, I don't think Cary looked any more gorgeous than in those shots I posted - and he looked absolutely gorgeous all through his career. In fact, when I started looking at that simple scene, his face just kept changing and evolving, as his personality does all through the picture. I couldn't post just one to show all the thought processes he was going through.

 

 

> How would you describe the film's tone? There's a dark, haunting, somber quality in keeping with the "mystery" of Joe as well as the grave state of the world at that time, along with a wary optimism and a warm, relaxed, elegant romanticism. The use of light and shadow is so beautifully effective, I think, in conveying states of emotion.

 

There is definitely a dark tone here, but the director seems to move effortlessly from one tone to another and back again. I don't know how. I think one can't overlook the noir feeling of the film, as if Joe can't possibly escape his past, and his bad luck at picking Joe Bascopoulos for his alias. This is actually what draws me to the film over and over again, not just the romance and the comedy.

 

I thought the lighting was beautiful, a touch noir, hard in contrast, especially in certain of Cary's scenes, but then also changing as the movie progressed to warmly soft and romantic. I alos just love the use of the song "Just Give Me Something to Remember You By" to show Joe's deepening feelings.

 

Here's Joe's world, crisp and taut, straightforward and hard:

 

 

 

(Notice the dark stripe across Joe)

 

And here is Dorothy's home, more softly focused:

 

Her world is warm and inviting, with glints of light actually touching her

 

 

And here is where the two worlds come together - in the dark, and getting darker:

 

 

Here Dorothy is framed by Joe's stripes

 

 

 

 

 

Separate

 

 

 

Together

 

>At first I thought that society Dot was indeed slumming, 'He's the first man I've ever been afraid of" but the recounting of her rougish family tree tells you that she responds to outsiders and renegades, lol.

 

I think there was an element of excitement and danger that she found attractive, but Laraine Day is so convincing that I eventually buy her guileless love.

 

> I'm more touched by silent Cary on the staircase than his rather petulant Dickensian childhood recollections, which sound a bit whiny, I'm sorry, lol. It's the kind of feel-sorry-for-me speech that John Garfield did so well.

 

Ouch! I think Cary does this scene so well! He states it all so simply, it's just a fact, but there is bitterness behind it.

 

> I respect Cary because I think he really didn't try to hide his Cockney roots. Maybe he just "fell into' being the debonair. leading man, but look at how, at the peak of his success and popularity in Hollywood, he jumped at the chance to do NONE BUT THE LONELY HEART, yet audiences couldn't accept him as an Archie Leach type. They wanted "Cary Grant". He loved playing a Cockney in GUNGA DIN, and seemed to also get a good deal of enjoyment as one in SYLVIA SCARLET..

 

He was drawn to the carny/vaudeville side of himself even as he tried to leave it all behind. Everything I've read about his personal life says that he tried to escape that early poverty stricken life, and that the person he had been was buried deep inside. To retaliate against that youthful scarring, he became the dapper, well groomed, classy fellow we associate with Grant on the whole.

 

And as I said before, I love all his Cockney characters, and the ones that have a little more bite to them. I really like Sylvia Scarlett, partly because of Cary's rather slimy "bloke". It's a lot of fun watching him do his vaudeville schtick.

 

_BagLadyMimi,_ I am a huge fan of *None But the Lonely Heart.* I think Cary was absolutely first rate in it, and to pair him with Ethel, well, their scenes are beautifully understated. Cary is very dark, but I think it's time this movie got a new review. I think it's a great film.

 

Edited by: JackFavell on Oct 16, 2011 2:31 PM

[bagladymimi]

I could stare at Cary Grant 24 hours a day and still see things that I have never seen before. I think he was by far the most handsome, charasmatic actor to ever be seen on film. Obviously, I am very prejudiced about him, but I also think he was a fantastic actor.

[CineMaven]

*SUZANNE PLESHETTE, JAMES FRANCISCUS and EVA GABOR in "YOUNGBLOOD HAWKE" (1964)*

 

Have you ever seen a dream walking?

 

Well I have.

 

 

Have you ever seen a male soap opera?

 

 

Well I have.

 

 

*TEXT MESSAGE CONVERSATION:*

 

 

*FRIEND: Are you watching the Martin Luther King dedication?*

 

 

 

*C-MAVEN: Naaah, I'm watching a sudsy old soap opera on TCM?*

 

 

*FRIEND: Don't you want to see Obama?*

 

 

*C-MAVEN: Hey, I haven't seen "Youngblood Hawke" in 40 years.*

 

 

*FRIEND: LOL!*

 

 

*C-MAVEN: I'm a movie buff.*

 

 

...And I was a happy camper, too. "*YOUNGBLOOD HAWKE"* was on Sunday morning. I saw it so long ago, I remembered none of it, but enjoyed all of it. Wow! They stuffed a lifetime of events in two and a half hours. And yes, it was a male soap opera. To steal paraphrase Frank Grimes, the film has a male subject, but the film has a female presentation. The gorgeous James Franciscus plays Youngblood Hawke and I swear he was filmed like any other blonde bombshell.

 

 

*JAMES FRANCISCUS.*

 

 

Such a focus on him. He is the focus...the object of desire. But it's not quite with the same focus you'd look at Mitchum, Ryan, Peck or Matthew McIckyhay. (That’s for you, Jackaaay but we’ll leave him off that list, though I do think he could pay a modern day "HUD" ). At first I missed the Sirkian-saturated technicolor of a true soap opera, but I very quickly changed my mind; that might turn him into a pin-up...a thinking woman's Troy Donahue. (And who wants that? Besides, NYC sometimes looks better in black & white). By Delmer Daves making Franciscus the object of our gaze, it's like looking at Gene Tierney or Jeanne Crain. Or Esther Williams. Everything’s inverted as Franciscus plays Youngblood Hawke, a blonde babe in the woods in the big bad city of 1960’s New York. He's the hot new sensation in the publishing world and two sexy sharks with husky voices swim around him. Sharks not sexy? Ha! Au contraire when they're in the guise of... *SUZANNE PLESHETTE*, story editor: ( smart as a whip, maternally patient...but interested ) and *GENEVIEVE PAGE*, patron of the arts: ( sophisticated, damaged...and insatiably devouring ).

 

 

Well, if a guy's gotta go...

 

 

Maybe the sets were Hollywood, but the beautiful cinematography films *1964 New York City.* Oooh, that black and white is as clean and a sharp as an Autumn day. I recognized a couple of New York sights...the main one being the promenade of Brooklyn Heights. I recognized the entrance they went through and the little lip of the promenade they were standing on. I squealed when I heard the rent for his little East River garret was *$60.00.* I would kill for that apartment in Brooklyn Heights. The rent now in that very same spot, is probably a good $3,500. And that would be on the cheap side. The music is by Max Steiner...big and bombastic!! It presents itself and every situation it underscores. (Korngold ain't got nuthin' on him!) The movie is peopled with a great supporting class and character types, including: John Dehner, Lee Bowman (finally something I like him in), Eva Gabor, Mildred Dunnock, Don Porter, Werner Klemperer, Edward Andrews and the great Mary Astor as sharks, vamps, butterflies, bimboes and career girls and grande dames.

 

 

What is Youngblood up against? Love at first sight and lust at first sight. A typical choice and friendly nemeses in films. Genevieve Page has a great voice, like Hildegarde. She's got a glamorous wardrobe and wears it damn well. She knows the right people and can help his career. But she's also saddled with a husband and three kids: two little girls curtsying like twin fairies in "Godzilla" (or is that "Mothra"?) and a sickly son who looks like he won't survive a rousing game of stickball on the streets of Sutton Place, much less the military school he's being sent to. (Hollywood Child Actors! Bah! There oughta be a law. Nothing real like young Desmond Tester in "Sabotage"). Page's husband is played by sad-sack, second-stringer, Kent Smith. Just seeing him is such a short hand. You know he's not making Page happy. She's a girl with baggage and no guy wants that.

 

 

Then there's Pleshette with her blazing eyes and dark beauty. She looks very sultry here in a good clean way. She’s a career girl. Smart. Knows the ropes. She gets a ringing endorsement from Youngblood's mother (played by Elizabeth Taylor's "BUTTERFIELD 8" mother Mildred Dunnock) when she tells Pleshette: *"**You seem too pretty to have so much brains."* HA! And Pleshette's character went to Stanford. What a waste, ey Mom? Pleshette can help Youngblood with his career. More accurately, she can help him become a better writer. Oh she wants him alright. We see this the very first time she sees him. But she hangs back a bit. Darn it...if only Youngblood would make the first move like a fella's supposed to. Why won't he step up to the plate? ('Cuz Page already has him by the bat). Pleshette's boss waits in the wings to scoop her up. He's very kind and very handsome (played by Mark Miller of "Please Don't Eat the Daisies" fame and the handsomest tv father of the 60’s). But she's a career girl: *"**I'm proud of the help I can give a fine writer, but my life is my own!!"* Yet still...it’s Youngblood that makes Suzanne’s typewriter go pitter patter. She tells him: *"My emotions are becoming a little too obvious. I can't continue to work with you. Night after night."* Reasonable. Sensible. Quietly sexy. A big come-on.

 

 

Being a red-blooded American male, there’s no doubt which moth Youngblood's attracted to. He picks the gal with the baggage. Well...I hope it's at least Louis Vuitton.

 

 

Much swirls around the "hawke" in this movie. Feted by the hoi polloi, dropped by a publisher, breach of contract, suicide, pneumonia, lawsuits, being catnip to women, Pulitzer nominations...and his mother entering his room without knocking. Whew!! It’s a never ending series of events, Steiner musical cues and sophisticated 60's Mad Men banter in "Youngblood Hawke." Franciscus did a good job as the lead. He emoted convincingly, is born to a tuxedo, and can dive into a pool as good as Greg Lougainis. I ate it up hook, line and sinker!!!

 

 

I think I'll relive some of the movie by going down to Brooklyn Heights on this cloudy 21st century New York day...and walk the Brooklyn Promenade. I'll look for the ghosts of James Franciscus and Suzanne Pleshette...and maybe show you some pictures of what the promenade looks like today.

 

 

*"CinemAva, I guess I need to bump Madame de... up in my queue."* - *MISS GODDESS.*

 

 

Ready when you are Miss DeMille Ford.

[MissGoddess]

Drat I wish I'd received your reminder sooner...I was unconscious until about 1 in the afternoon on Sunday (didn't get to sleep until 6 am). I have never seen this movie and I think it sounds like great fun from your description.

 

I don't think I've ever seen Franciscus in a movie.

 

This made me laugh:

 

Feted by the hoi polloi, dropped by a publisher, breach of contract, suicide, pneumonia, lawsuits, being catnip to women, Pulitzer nominations...and his mother entering his room without knocking.

 

I'm not sure the last thing is what would send most people over the edge.

 

Here's hoping TCM shows it again at a more civilized hour for us insomniacs.

[CineMaven]

This made me laugh:

 

"Feted by the hoi polloi, dropped by a publisher, breach of contract, suicide, pneumonia, lawsuits, being catnip to women, Pulitzer nominations...and his mother entering his room without knocking."

 

I'm not sure the last thing is what would send most people over the edge.

 

Haaaaaaaaaaaa!! Wow.

 

I'm sorry you missed the movie. (It was a hoot!) Sorrier still about the imsomnia. Go over to Rohanaka's new food thread. Maybe she has a recipe for a nice non-alcoholic hot toddy for you.

[JackFavell]

Maven, I LOVED *Youngblood Hawke*. This one is right up there or maybe even surpassing *Peyton Place* as my favorite potboiler (I had to explain the word potboiler to hubby, who is very literal, growing up with German parents).

 

The cinematography was superb. it was the most beautiful potboiler I've ever seen, and that included Sirk's colorful extravaganzas. Class. This movie had class, even while it was digging around in the dirt. Too bad we had to spend so much time inside. which wasn't bad either.

 

OK. First off, I want Frieda Winter's(what an exceptionally good name for this character) home - the frenchy one with acres of space and dripping with expensive artwork? The sets were to die for - even the 60 dollar a month hole was stylish, and looked like my sister's 1000 dollar apartment when she moved to NYC years and years ago.

 

I really liked Page, she was a surprise. She totally captured my interest, and I felt sorry for her, even though it was obvious she was no good for Youngblood (His real name is Arthur????). She also had the BEST dress in the whole movie. I wish I could post a picture of it. It was black, had a straight across-boatneck-Givenchy-Audrey Hepburn neckline with no sleeves, a plunging back, triangulated to the tightly fitted waist with a straight pencil line in the front to fall just above the ankles, and with these three ....billows in the back of the skirt that opened it to make it possible for her to walk. It was drop dead design GORGEOUS. As were all the costumes.

 

James Franciscus was also a surprise - he was GOOD! I never felt he was overreaching or out of character, and I liked him, plus he was as gorgeous as Richard Chamberlain but with blonde hair and that cute accent. Adorable, but a good actor.

 

Suzanne was no surprise, she was just herself, wonderful, but I did wish she had more of a role. She was dynamic and beautiful, and has that smoky voice that almost purrs. I love her, and I thought her best moment was when Youngblood asked her down to his pool house in Florida or Palm Springs (?) and she arrived, only to find that Genevieve Page had shown up already, and outmaneuvered her by playing house with him. Her bombshell, telling YH that her steady boss had proposed, had such a profound affect on YH that he couldn't take his eyes off her for the rest of the meal that she indelicately stayed to eat! I just loved it!

 

That boss of hers was a gem - I don;t' know too many sixties actors, but I really liked this guy!

 

I also enjoyed seeing Mary Astor, who had far too little to do - though her last scene when the play folded was done so graciously I wanted the movie to go on and follow her instead of YH.

 

My favorite after Mary was definitely Edward Andrews, who made a career out of playing uncomfortably slimy individuals and businessmen... this time playing that lowest of the low, a critic. I found his performance really full - he was so evil minded in that first scene, but later, I actually felt he had some principles. In the scene where he lambasted YH's new play... he was somehow cutting and dignified at the same time, and you got the impression that in this most devastating of all the scenes, he was doing YH a favor by telling him the truth, which no one else would do.

 

John Dehner gave a really awful performance, I thought, but in keeping with the potboiler nature of the story. I don't think I've ever seen him do this before, but then his character was supposed to be so over the top and ridiculous, he only did what was called for.

 

Mildred Dunnock was exceptional, as was John Emery, who I would have run off with at the drop of a hat. He was very John Barrymore, if you ask me. What an old charmer.

 

I watched straight through and had a blast. Movies like this are food for a girl's soul - all those gowns and chic apartments and lovers.... And it was kind of weird watching this publishing world, and then watching the one in *Sex and the Single Girl* later on in the afternoon!

 

 

Here's hoping TCM runs *Youngblood Hawke* often!

 

LOVED IT!

[JackFavell]

Oh, and I forgot my favorite part - when Frieda (Mrs. Winter) leaves Youngblood for the last time - after being caught by his mother while..... um.... you know....

 

well, she had hung her jacket on that hanger, remember? so they could be more comfortable in bed? And when she grabbed her jacket the hanger just swung there endlessly ...as he was standing in the empty room after she left.... like a ghost. Such a great director's touch.... one designed to make you really feel the empty space.

[CineMaven]

I can't wait to get settled into my favorite little Battery Park restaurant (with free wi-fi) and sit with your review!!!

 

Mrs. Hawke was lucky. She could trade stories with Mrs. Costanza's. George's domain was never the same after that. More later...

[JackFavell]

spit take!

[CineMaven]

:^0 *Haaaaaaaaaaaaa!* :^0

 

E-Z. Don't let Mrs. Hawke catch ya doin' that!

 

Now for a walk along the Promenade. A show-and-tell later.

[CineMaven]

*Maven, I LOVED Youngblood Hawke. This one is right up there or maybe even surpassing Peyton Place as my favorite potboiler (I had to explain the word potboiler to hubby, who is very literal, growing up with German parents).*

 

Oh boy, Whew! Nothing worse than raving about a movie that folks won't like. Potboiler. Perfect description. I can see how that'd get 'lost in translation. So, you overcame your mechanical difficulties. Good.

 

*The cinematography was superb. it was the most beautiful potboiler I've ever seen, and that included Sirk's colorful extravaganzas. Class. This movie had class, even while it was digging around in the dirt. Too bad we had to spend so much time inside. which wasn't bad either.*

 

Yes, the movie was classy. The studio spared no expense, especially if they went on location. I'm telling you THAT was New York City. That black and white had a sheen to it.

 

* OK. First off, I want Frieda Winter's (what an exceptionally good name for this character) home - the frenchy one with acres of space and dripping with expensive artwork? The sets were to die for - even the 60 dollar a month hole was stylish, and looked like my sister's 1000 dollar apartment when she moved to NYC years and years ago. *

 

Oooooh, you live large I see. I liked the Sutton Place apartment right near the 59th Street bridge that the actor lived in, although that little Brooklyn Heights hovel would have suit my needs as well. Your sister's rent sounds just about right...for a little hole in the wall here in NYC. Not much has changed I see.

 

*I really liked Page, she was a surprise. She totally captured my interest, and I felt sorry for her, even though it was obvious she was no good for Youngblood (His real name is Arthur????). She also had the BEST dress in the whole movie. I wish I could post a picture of it. It was black, had a straight across-boatneck-Givenchy-Audrey Hepburn neckline with no sleeves, a plunging back, triangulated to the tightly fitted waist with a straight pencil line in the front to fall just above the ankles, and with these three ....billows in the back of the skirt that opened it to make it possible for her to walk. It was drop dead design GORGEOUS. As were all the costumes.*

 

OMG! THAT DRESS!!! That dress was to die for. It was drop dead gorgeous. My jaw dropped when I saw it, and I'm no clotheshorse. The last time I had a reaction like that was looking at the dress Julia Roberts wore when she won her Academy Award. When I saw it on the red carpet...Your description astounds me. PERFECT DESCRIPTION. I could never be that descriptive about clothes other than to say skirt, pants, green blue. Girl, I see you at Vogue. Anyway, the "little black dress" that Frieda wore should be copied by some actress today with a gorgeous figure.

 

I wound up liking Genevieve Page. I went in thinking I would dislike her becuz she was the vamp that took Artie Youngblood from Suzanne Pleshette. I kept expecting to diss her. I kind of kept waiting for her to have her fill of him and then dump this Kentucky boy. Hmmm, hey...who was using whom???? He kind of took...took...took ...took...took. Didn't he? But she had a choice as well. He did ask her to marry him. She went through a believable series of emotions after Mama walked in on them. Frieda has it out with him. Yeah yeah yeah...a lot of talk...talk...talk. Just leave, just go. Naaaah, don't go...talk some more (I love it). That's what potboilers are all about. Frieda says:

 

"I suppose her seeing us like that brought back that swift attack of Christian conscience. Then wasn't it rather cheap of you to make love to me after such a...a noble decision. You renounce me like a good repentant sinner. But when that volcanic urge of yours comes back, and it will, you'll have to come to me. I won't come to you."

 

Frieda did get the short end, didn't she. Genevieve Page reminds me of those 1960's European girls that came over here to do movies: Elke Sommer, Camilla Sparv, Catherine Spaak, Senta Berger, Virna Lisi et al.

 

*James Franciscus was also a surprise - he was GOOD! I never felt he was overreaching or out of character, and I liked him, plus he was as gorgeous as Richard Chamberlain but with blonde hair and that cute accent. Adorable, but a good actor.*

 

I thought Franciscus was good too. He was carrying the entire movie so I was watching him. (Well, I was watching him 'cuz I loved him ever since "Mr. Novak." (I think he was married to William Wellman's daughter). Wasn't Chamberlain a blonde as well? Maybe not as blonde but I remember some ash blonde hair. When Youngblood gets the phone call about the suicide, he breaks down right in front of us. That was good.

 

*uzanne was no surprise, she was just herself, wonderful, but I did wish she had more of a role. She was dynamic and beautiful, and has that smoky voice that almost purrs. I love her, and I thought her best moment was when Youngblood asked her down to his pool house in Florida or Palm Springs (?) and she arrived, only to find that Genevieve Page had shown up already, and outmaneuvered her by playing house with him. Her bombshell, telling YH that her steady boss had proposed, had such a profound affect on YH that he couldn't take his eyes off her for the rest of the meal that she indelicately stayed to eat! I just loved it! *

 

This is no secret...I'm a big Suzanne Pleshette fan. Several male friends have told me they couldn't even see past her to 'Tippi' Hedren in "THE BIRDS." She's got such conviction to her character. I always believe her. Over at the Oasis, Sue Sue Applegate sites an Internet Archive five-part interview with Suzanne Pleshette which I highly recommend if you're a fan. If you find time between cooking and sewing a 'straight across-boatneck-Givenchy-Audrey Hepburn neckline with no sleeves, a plunging back...' check it out. And yes you're right, she didn't have much to do in this movie. (Have you ever seen "A RAGE TO LIVE"? She's got a lot to do in that movie!) Ha...outmaneuvered in the Bahamas. Good scene. Both gals were very sophisticated and 'grown-up' about liking the same man. Only in the movies...in real life I see hair pulling and nail scratching. Or maybe not. Is he worth it? Well, I don't care what Pleshette has to do in a movie.

 

That boss of hers was a gem - I don;t' know too many sixties actors, but I really liked this guy!

 

His name is Mark Miller. Did you ever see the tv show: *"PLEASE DON'T EAT THE DAISIES"* with Patricia Crowley? (His daughter is actress Penelope Ann Miller). He was handsome...and in this movie he was a good guy to go on the rebound with. He'd never hurt her...and I believe he respected Pleshette's character as a smart lady who knew her job, and could help his company.

 

< I also enjoyed seeing Mary Astor, who had far too little to do - though her last scene when the play folded was done so graciously I wanted the movie to go on and follow her instead of YH.*

Aaaah Mary...Mary. Just give her three days' work, some good lines, fly her down to Nassau and send her a paycheck. She'll elevate your project. Still love her voice.

 

*My favorite after Mary was definitely Edward Andrews, who made a career out of playing uncomfortably slimy individuals and businessmen... this time playing that lowest of the low, a critic. I found his performance really full - he was so evil minded in that first scene, but later, I actually felt he had some principles. In the scene where he lambasted YH's new play... he was somehow cutting and dignified at the same time, and you got the impression that in this most devastating of all the scenes, he was doing YH a favor by telling him the truth, which no one else would do.*

 

The only time I wasn't uncomfortable watching Edward Andrews in a movie, was as the doctor in *"SEND ME NO FLOWERS."* Other than that, I always feel he's going to molest someone. But he did his part here very well, calling on the ghost of Addison DeWitt. No doubt he's a good solid character actor.

 

I liked Don Porter's performance in the office trying to get YH a better contract. He reminded me of Edmond O'Brien in "THE BAREFOOT CONTESSA."

 

*Mildred Dunnock was exceptional, as was John Emery, who I would have run off with at the drop of a hat. He was very John Barrymore, if you ask me. What an old charmer.*

 

Ol' Millie wasn't no mealy mouth Mama-type here. She was a fighter. I thought of John Barrymore too. He was good. Saaaaaay, how 'bout when Emery reached around and tied YH's tuxedo tie. What did you make of that? I laughed. I've never seen that. Then to see it mirrored later by Suzanne, well.....

 

*I watched straight through and had a blast. Movies like this are food for a girl's soul - all those gowns and chic apartments and lovers.... And it was kind of weird watching this publishing world, and then watching the one in Sex and the Single Girl later on in the afternoon!*

 

*Here's hoping TCM runs Youngblood Hawke often!*

 

*LOVED IT!*

 

I'm so glad you did. GUILTY PLEASURES: GOOD FOR THE SOUL!

 

Some of the formatting of my text got messed up. This Message Board's programmers are horrible. It's like dying a death by a thousand cuts. Hopefully you can read this. I don't dare go back again!!!

[JackFavell]

Ha! Yes! I was waiting for John Emery to add a little spice with that tie fixing scene, but he played it straight. Literally. Too bad! But I liked him anyway.

 

You know what's funny? I like ALL those Britts and Maj's and Elkes and Sentas and Vivecas and Virnas. I think they all were good actresses, not just blonde bombshells or icy snow queens. I was wondering what happened to Genevieve Page, she was really really good in this movie. And she carried a huge portion of it.

 

That dress was so good, I wished I weighed only 99 pounds..... so I could make a copy of it and wear it - I don't know where, maybe vacuuming?

 

I vaguely remember Please Don't Eat the Daisies, but I was so young all I remember was the dog. There was a dog in that show, wasn't there? Like I remember Daktari for Clarence the cross-eyed lion. If you asked me who was on the show, I'm done for. I do remember Pat Crowley though, she has a very quirky face and a distinctive voice.

 

Don Porter was good, but as soon as I see him I go bleahh. He was always someone's old fogey father or business associate on TV when I was growing up. Like John Dehner. It took me years to appreciate him.

 

Edited by: JackFavell on Oct 18, 2011 10:12 AM

[Bronxgirl48]

i've had a crush on James Franciscus since "Mr. Novak". (sigh, why couldn't I have had a teacher who looked like him?) I missed YOUNGBLOOD HAWKE, but wallowed in the Zachary Scott mini-fest, lol. He'd need fattening up, but no-stache Zachary in THE SOUTHERNER could plow my field any time. I liked his relationship with Betty Field. That was one hot marriage. Even granny thought so, ha! He's charismatically feral in THE MASK OF DIMITRIOS, with a sweet, nerdily erudite Peter Lorre and a cozily familiar "By gad, sir" performance by Sydney Greenstreet. As for Faye Emerson, her forehead fascinates me -- it's got a life of its own. Did anyone see DANGER SIGNAL? It's the Warners version of SHADOW OF A DOUBT, but with some weird elements all its own -- Rosemary de Camp and Bruce Bennett play European doctors. (Rosemary looks rather elegant and is quite believable -- her scenes with Zachary are the most interesting) Unfortunately, script and direction are pretty flaccid and suspense is not sustained. Again, I just can't get past Faye Emerson's forehead. Stupid ending. Scott has a thankless role in COLT .45; and his beautiful, drawly accent is reduced to snarling words like "Shaddup!" The poor actor seems definitely in his cups, and who can blame him, what with open-mouthed Ruth Roman getting top billing alongside Randolph Scott. The kitschy, lust-in-the-dust romance between Ruth and Randy is amusingly drawn. The native Americans are given lines like "We Indians know how to make you talk." You'd think they were in a WWII film, disguised as Nazi agents, lol.

 

Edited by: Bronxgirl48 on Oct 21, 2011 7:43 PM