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Since Sue Sue's other thread has some issues with access, I've started another thread to post about the fun at this year's *TCM FILM FEST 2012*.



Kim Novak is having her cake, and greeting, too!

Robert Osborne and Kim Novak at Turner Classic Movie's 18th birthday party.

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On Wednesday afternoon, there was a definite buzz in the lobby of the Hollywood Roosevelt Hotel as Robert Wagner was being interviewed by Robert Osborne, who said that he had known Robert Wagner for many years, and that he was one of the nicest men he had ever met.


Photo Courtesy of Sue Sue


And they both were adorable! The topic of passholder conversation

revealed that everyone thought they looked marvelous, and classy.


What else would we say about men representing, discussing, and supporting Turner Classic Movies?



Photo Courtesy of Sue Sue


Robert Wagner took time out from his guest duties to sign autographs for eager fans.

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What struck me most about the Wagner/Osborne conversations last weekend were how much they enjoyed each other's company. And how they joked with one another. It was like they were channeling Hope and Crosby. In fact, TCM should just put the two of them on "The Road To Hollywood" next year. Just make sure to film it. I think there is a fun road-trip documentary to be found there.


Kyle In Hollywood


Edited by: hlywdkjk on Apr 19, 2012 10:20 AM

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Yes Sue,Sue, the resemblance between Osborne and Wagner is uncanny!. By the by, would you be a "dahling" and tell me again how to get the instructions on posting photos? The west may have been won, but so far I'm losing the picture battle! Please help!


Cinecrazy (Mike) DC

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Photo courtesy of Turner Classic Movies Festival 2012 Photo Gallery


The third annual Turner Classic Movies Film Festival held in Los Angeles at the historic Hollywood Hotel was the place to see and be seen this past week. Festival passholders from as far away as India, Scotland, and Nova Scotia, as well as 49 of the contiguous United States were well represented, as well as many Houstonians who were also swept up in filmdom fervor. The popular film channel also celebrated its 18th birthday with hosts Robert Osborne, Ben Mankiewicz, film favorites Robert Wagner, Peggy Cummins, Margaret O’Brien, Kim Novak and many others attending the festivities with hundreds of TCM Film Festival 2012 passholders dressed in their finery.



Photo courtesy of the Audrey Hepburn Children's Fund and TCM Film Festival 2012 Photo Gallery


Early festival goers were able to catch a glimpse of Hollywood’s “Dress of the Century,” the Audrey Hepburn inspired Givenchy creation for the 1954 film *Sabrina* . The lovely gown was on loan for the festival from the Audrey Hepburn’s Children’s Fund, and was a popular exhibit in the heart of Club TCM, a gathering place for passholders and panel discussions, situated in the “Blossom Room,” the sight of the first Oscar ceremony in 1929.


Even before the first official event of the festival began at 1 p.m.on Thursday, April 12, glitterati were circling the famous pool and its environs. On Tuesday evening, an after- screening cocktail party for crew and fans of *Waiting for Lightening* , a documentary film seven years in the making, was held by the Hollywood Roosevelt pool bar, where Marilyn Monroe modeled for photographers early in her career. Oscar-nominated Emmy winning sound mixer Deb Adair, whose last film was *Moneyball* with Brad Pitt, was in attendance at the *Waiting For Lightening* premiere with her husband Al, an L.A.P.D. officer who has collaborated with crime novelist Joseph Wambaugh on several of his award-winning detective novels.



Deb Adair and Brad Pitt at the final wrap party for *Moneyball* (Photo Courtesy of Deb Adair)


Ms. Adair revealed that her work as a sound mixer allows her the privilege of collaborating with directors so that she can “make films come to life with sound” because “sound is half the experience of going to a movie.”


Rob Dyrdek from MTV’s *Ridiculousness* was also spotted at the poolside party Tuesday night.


Check out the TCM FILM FEST 2012 PHOTO GALLERY at:


Visit the Audrey Hepburn Children’s Fund website at :



More Later...

But in the meanwhile, don't forget to have fun!

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As soon as I had arrived at the Hollywood Roosevelt, I unpacked after the unusually smooth check-in process, enjoyed a long, tall glass of iced tea, and felt the call of the styled.


I headed for the elevator, and felt I truly hit terra firma when I landed in the lobby and was swept up in the hustle and bustle of preparations for the festival. Club TCM was still being tweaked and polished, but the Givenchy juggernaut was pressing me on. The doors were flung wide open, and I stepped in.


All was unusually quiet, but a man was feverishly reviewing notes at a table just to the right as I entered. I quietly interrupted his reverie, and enquired if I might move closer to the warm glow that would eventually draw every mover and shaker to sift through the crush of the party central crowd.



The glass case was almost humming with electricity as I grew closer to one of the most beautiful gowns ever seen on film, and ever worn by Audrey Hepburn. I felt my pulse quicken as each step I made drew me closer to the dress that would mesmerize me and every other passholder bold enough to venture near.



I heard myself gasp as I stood before that lovely creation, and it held me in suspended animation for a moment that I hope will never dissolve from my memory.



As I glanced at the lovely appliqued buds in the flowers varying in shades of black and grey, my eyes slowly fell to the floor of the luminous glass case, and I saw something that I never expected to see. I had never noticed it in the photos, and certainly never realized it was there when I viewed *Sabrina,* but the 3- inch black ruffle surrounding the hem of the garment was like a ruffly strand of icing on the cake.



In the film, when Audrey is standing on the grass as she makes that breathtaking entrance, the little black ruffle is obviously overstaged by the understated elegance of Audrey. Entranced by the entirety of seeing the gown in person, and being surprised by its delicacy of its creation, finding and realizing the ruffle had been there all the time so surprised me, I heard myself say "oh, how lovely," but no one really heard me.



Every time since that first glance at Givenchy inspiration, I would always gravitate to the shrine no matter how many times I breezed through Club TCM, and I wasn't the only passholder astonished at some aspect of its spectrum of loveliness. Several times I heard visitors gasp and say, "Why, I didn't know it had a ruffle on the hem!"



Someone heard me after all. Maybe it was Audrey.




Audrey Hepburn and William Holden in a publicity still from *Sabrina*


*The dress was personally chosen by Miss Hepburn from Givenchy's 1953 collection.*

*For more about that lovely silk organdy overlay or the deliacy of the applique,*

*follow this link to the dress diary from Sunday Couture at :*




Up next: How I met Deb and Al

Don't forget to have fun!

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  • 2 weeks later...

Thank you, Bronxgirl, for the kind comments. :)


































































































































































































































































































































































































































































































































































































































































































































































































Last night on TCM...



Tuesday evening's screening of *Gun Crazy* on TCM was a delight, and Robert Osborne's introduction included comments that I heartily agree with. When Peggy Cummins attended the Turner Classic Movies Festival 2012, Mr. Osborne stated that she was "beautiful, trim, and a great guest." And I completely concur.


Ms. Cummins was amiable and well-liked, often signed autographs, and even attended the final party at Club TCM, sitting with Eddie Muller in one of those sexy little red booths where folks can truly schmooze. Also seated with Muller and Cummins was Eunice Gayson, the first Bond girl, who appeared at the festival screening of *Dr. No.*

































































































































































































































































































































































































































































































































































































































































































































































































Muller was busy extolling the virtues of one of the loveliest prints at the festival, *Cry Danger*, and his co-host for that introduction was none other than the lovely Rhonda Fleming who revealed several personal behind-the-scenes moments that added to the exciting, but tense scenes in the film, and which also starred the multi-talented Dick Powell. Unfortunately, Ms. Fleming did not attend the Club TCM celebration.

































































































































































































































































































































































































































































































































































































































































































































































































Muller, an enthsiastic guest and director of the Film Noir Foundation, was impressed with the clarity of the print of *Cry Danger* and proclaimed it one of the best prints of all the fillms that he screened at the third annual Turner Classic Movies Film Festival.

































































































































































































































































































































































































































































































































































































































































































































































































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Mr. Osborne also claimed that *Gun Crazy* was one of the most popular screenings at the festival, and I hope that my earlier column helped to contribute to that film noir fervor.































































































































































































































































































































































































































































































































































































































































































































































































I was lucky enough to visit for a while with Ms. Cummins, and she was friendly, and enjoying every moment of her visit to L.A. I am glad I was able to see her one last time at the always poignant farewell party at Club TCM. A very lovely lady, and I felt privileged to have met her. Ms. Cummins flew home to London on Tuesday.

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At the Turner Classic Film Festival 2012 in April at the Hollywood

Roosevelt Hotel, authors Shannon Clute and Richard Edwards were

interviewed at a passholders event about their latest collaborative

work, *The Maltese Touch of Evil* (Dartmouth College, 2011), which is a

thoroughly up-to-date reference work for all readers who love to ponder

the spectrum of film noir, and is a literate and highly documented

source for fans of movies like *Gun Crazy* , *The Maltese Falcon* ,

*The* *Grifters* , *The Killers* , and the iconic *Out of The Past*.


A compendium of Clute's and Edwards' popular podcasts enitled *Out of*

*the Past: Investigating Film Noir* , selected by Australian Broadcasting

Corporation as part of their Top of the Pods series, and years of

scholarly research, the detailed reader includes chapters detailing the

void in film noir studies, conflicting definitions of what noir means

to different focus groups, specific examples of universally accepted

standard scenes, and how noir films appeal as constrained texts.


Black and white photos specifically illustrate topics like how a "noir

childhood ain't pretty" and what a flawed charater like Walter Neff

( Fred MacMurray) in *Double* *Indemnity* can illuminate with his sweaty,

imperfect voiceover. Each entry is documented with number of the

specific podcast episode for current reference.



Both Clute and Edwards heartily agreed that film noir is a distinctly

American creation even though the process emerged from emigre

European directors like Jacques Torneur, Billy Wilder, Edward Dmytryk,

and Robert Siodmak. Clute also revealed his interest in film noir evolved

from his love of "hard-boiled" fiction..



The book signing was a popular event with noir buffs as passholders

formed a long line to have their tomes personally autographed by Clute and Edwards,

and was the second official panel offering on Thursday in the popular Club TCM,

located in the Blossom Room, the site of the first Academy Awards banquet on

May 16, 1929.

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Historian and costume designer Deborah Nadoolman Landis

( *Raiders of the Lost Ark, Animal House, Coming to America* ),

and costume designer Bob Mackie ( *The Carol Burnett Show,*

*The Sonny and Cher Show* , Cher Tour Ensembles) in his

understated best with bowtie to match, launched the second

formal film discussion on the Festival calendar on Thursday evening

at 9:30 p.m. in the Chinese Multiplex.


A gathering of Banton fans waited with anticipation in order to see

those art-deco inspired designs that might never have sprung to life if

Claudette Colbert hadn't stood her ground in her tiny little pumps and demanded

Banton and his muse as "emperor of the bangle" so Colbert could walk like

an Egyptian.


Claudette Colbert in one of her most iconic roles,*Cleopatra (1934).*






Mackie shared with audience members his recollection of the first time

he saw *Cleopatra* as a 13-year-old youth in Ingewood, California, at

a revival in the 1950's, and marveled at the slinky satin outfits from the

30's, which were much different than the molded, pointed forms of women

in foundation garments popular in the 50's.



Nadoolman Landis also revealed information about her upcoming exhibit

that she is curating for the Victoria and Albert Museum in London, and

reminded passholders that many of the costumes created by Travis

Banton were done in color. One of Colbert's gowns, appearing as a white

satin sheath onscreen, was actually rendered in a shade of mint green satin,

and both presenters agreed that many outfits completed in colorful shades like

pink and yellow often appear in various shades of gray in a black and white film.

Nadoolman Landis also lamented the lack of an in-depth biography of Travis

Banton, often seen as the stylist who transformed Marlene Dietrich's image as much

as director Josef Von Sterberg.



For more information on Deborah Nadoolman Landis' Victoria and Albert Museum Exhibit in London, follow this link:


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  • 2 weeks later...

Thank you all for your email comments concerning the last post.

Software glitches or wireless gremlins made it impossible for me

to correctly post the previous article and all the accompanying

photos, so this is an addendum adding the last two paragraphs

and final photo:


On Saturday, April 14, at the Egyptian Theatre,

Mameaholics were lined up and ready to be mesmerized again,

but this time by the lush colors, the bravado of the original

soundtrack, and the lovely depth of field we just don't see from a dvd.



Passholders buzzed with phrases from the film like "How vivid!",

"Nuts, Mr.Babcock?,""Topdrawer!","Doyoulikeginfinethenwe'llplay-

someafterdinner " and "Life is a banquet at the TCM Film Fest 2012!"




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  • 2 weeks later...

Saturday evening, April 14, was one of the events I had been looking forward to since the announcement of the full schedule. At 9:45 in the Chinese Multiplex #3, *Seconds* was going to be introduced by veteran actor Richard Anderson and historian Kari Beauchamp. 6'3" Anderson strolled onstage looking fit and tan as if he just stepped away from the clay court after his last victory volley.


The low-key, but informative introduction allowed Anderson to reveal some of his Hollywood rise to prominence as one of the most visible supporting cast players from the decline of the studio system to his berth as solid Oscar Goldman in *The Six Million Dollar Man*, and its feminist spawn, *The Bionic Woman*. The first actor to play concurrent roles in two different series on two different networks, Anderson was recommended for the role of Henry Malvine in *Dream Wife* by none other than Cary Grant as Grant's wife at the time, Betsy Drake had noticed Anderson in one of his theatrical appearances in the 1950s when Anderson was a contract player at MGM.


Anderson once claimed that "when people ask me where I received my education, I tell them it was at MGM-U. The biggest lessons I learned is that acting is a talent. You can't teach it. And even if you have the talent, you have to get a part." So when the call came from Cary Grant, he was a little startled, but eventually secured one of his breakthrough roles in *Dream Wife* after appearing in scores of MGM films in the early 1950s, thanks to the intervention of the Grants, and Anderson even entertained passholders with an imitation of Grant during the explanation of his acquisition of the Henry Malvine role.



Anderson's role as Dr. Innes in *Seconds* came after his appearances in the final season of *Perry Mason* and before his guest-starring stints in such favorites as *The Man From Uncle*, *Twelve O'Clock High*, *The Big Valley*, and *Dan August,* continuing his popularity as the king of supporting roles in major film and television series. With *Seconds*, both he and Cari Beauchamp acknowledged that Rock Hudson's portrayal of Tony Wilson was one of his best moments on film.



Before the cameras rolled, Hudson spent time with John Randolph learning his mannerisms and preparing to imitate the man who would embody the character of Arthur Hamilton who chooses to relinquish his former life dedicated to what he believed was a hollow dream of unfulfilled hopes. By accepting the Faustian offer of old friend Charlie Evans, played by a post *Anatomy of a Murder*, pre- *Jaws* Murray Hamilton, Randolph's character agrees to visit the firm that promises to orchestrate his death, and resurrect him with a new face and a new identity.



Actors John Randolph, Will Geer, Nedrick Young, and Jeff Corey had all been on the Blacklist, and *Seconds* became the first film Randolph had completed in fifteen years. John Frankenheimer's direction of *Seconds*, part of what is considered his 'Trilogy of Paranoia' along with *The Manchurian Candidate* and *Seven Days in May*, was also an overt political statement as well as a psychological tale that so affected the likes of Beach Boys' Brian Wilson under the influence of psychedelic drugs that he didn't see another movie until *E.T., the Extraterrestial* premiered in 1982. Audience members seemed much more emotionally stable and appreciative of the collaborative screen efforts, and were visibly moved by scenes depicting the emotional depths of self-delusion and self-destruction.



The passholders attending Saturday's screening all seemed to enjoy Anderson's discussion, and gave him, and Cari Beauchamp, a big round of applause before he exited the stage.



Personally, Anderson's second marriage to Katharine Thalberg, daughter of Norma Shearer and Irving Thalberg, produced three daughters, and according to his website biography, he is "a sports buff, a car enthusiast," and an " insatiable traveler." He certainly looks like he has been taking very good care of himself.























































































































































































































































































































































































For more about the career and accomplishments of Cari Beauchamp, follow this link:




For more about Richard Anderson, visit his website:




Anderson's career also paralleled that of *Seconds* costar Salome Jens. More about her busy professional life in the next installment.



Don't forget to have fun!

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Thanks, dear Izcutter! Keep those cards and letters coming in...


Richard Anderson's introduction to *Seconds* also revealed that he felt Salome Jens was a wonderful actress. And viewing that film at the Turner Classic Film Festival 2012 peaked my interested in a woman whose career encompassed many film, television, and stage successes. Her face is familiar to many because of her myriad of guest starring roles in series like *Star Trek: Deep Space* *Nine*, appearing as the Female Shapeshifter, or *Melrose Place* as Joan Campbell.


She also appeared in *Tales From the Crypt*, *Falcon Crest*, *Mary Hartman, Mary Hartman,* *Medical Center*, *Stoney Burke, The Outer Limits, The Untouchables*, and one of the more unusual episodes of *Gunsmoke*, entitled "Captain Sligo," with Richard Baseheart in the title role, staple character player Royal Dano, and director William Conrad, who was the original Matt Dillon on the CBS radio show. *McMillan and Wife*, *Seconds* ' costar Rock Hudson's popular detective series, also afforded Jens the opportunity to work with Hudson again in the episode entitled " Reunion in Terror," as a character named "Boom Boom" Parkins in the 70s.



Jens' quirky, often off-beat characters did much to advance her in certain non-traditional roles, but her portrayal of Nora Marcus as the free-wheeling, grape-stomping paramour of Rock Hudson's reformed Arthur Hamilton enjoying his new found "freedom" in the up-and-coming Malibu counterculture, is one of her signature roles. As Nora Marcus, she is mysterious, passionate, and willing to lead Arthur Hamilton into all kinds of adventures, some of which occur on screen in the actual Malibu home of *Seconds* director John Frankenheimer.



Her 1961 starring role in Paul Wendkos's *Angel Baby* is considered Wendkos' best directorial effort, and a cult favorite with fans of Salome Jens. Wendkos, famous for the *Gidget* franchise, *The Legend of Lizzie Borden*, starring Elizabeth Montgomery, and *A Woman Called Moses*, starring Cicely Tyson, was hard-pressed not to release *Angel Baby*, and it was "shelved" for a year to help ensure the success of a similarly plotted Columbia effort entitled *Elmer Gantry*, which propelled Shirley Jones to her Oscar win as Lulu Bains.



*Angel Baby* not only marked the debut of Ms. Jens as a woman who believes she has been selected by God to alleviate the suffering of others with her healing skills, but it also allowed a young Burt Reynolds his first film credit before his stint as "Quint" on *Gunsmoke* a year or

so later. George Hamilton, as Paul Strand, is a greedy promoter who supposedly cures Jens of her affliction, and Mercedes McCambridge is his wife who also exploits the innocent.






Salome Jens will star with Andrew Prine ( *Bandolero* , *The Miracle Worker*, *Chisum* ) in Glendale Centre Theatre's *On Golden Pond*, July 12-August 11. Jens has previously appeared in many productions, and the New York Times called her one-woman show *About Anne*, incorporating the poems and words of Anne Sexton, " a magnificent moment of theater" and states that her "rich and brilliant performance gleams in the memory." (Anyone living near Glendale, California, might want to order tickets to see Jens and Prine emote in *On Golden Pond* at 818-244-8481.)



Watching *Seconds* made me so curious about Salome Jens because I had seen her in so many movies and television classics, and I had to find out a little more about this fascinating feature player. Discussing her performance with Geraldine Page in *Barefoot in Athens*, a play about the death of Socrates, which first appeared on Broadway, and aired in 1966 on NBC, Jens claimed Page was "fierce" and always worked "on the edges." She also reveals she was "moved, moved humanly" by Page's performance. *Barefoot in Athens* also starred Peter Ustinov as Socrates. After watching the print of *Seconds* at the Turner Classic Film Festival in April, I feel that Jen's performances move viewers humanly and motivated me to find out a little more about her and her performance in *Seconds*, which helped make it a classic, cult or otherwise.



Maybe Salome Jens will be asked to appear at the Turner Classic Movies Film Festival 2013 to introduce another screening of *Seconds*, or even *Angel Baby*.

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  • 2 weeks later...

Thank you so much, Darryl!


It must be time for an international revival of *On Golden Pond* because Stephanie Powers starred in the UK production of the play this spring with Richard Johnson (Jemmy in 1965's *The Amorous Adventures of Moll Flanders,* and lately as Bernard Qualtrough in *MI-5).*


For more information, follow the link:




For an informative interview about her UK appearance in Plymouth in April, follow this link:



Any chance Stephanie Powers might visit the next TCMFF in 2013 to introduce *McClintock* with John Wayne or *Die, Die, My Darling* with Tallulah Bankhead?




And if you live in the L.A. area, don't forget about Salome Jens' performance in *On Golden Pond* in Glendale in July and August!

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  • 2 weeks later...

It's been a busy summer for Sue Sue, but I wanted to let everyone know about the upcoming guest author and actor visiting The Silver Screen Oasis next weekend...


Actor and author Denny Miller is coming!








Western fans will fondly remember Denny Miller as "Duke Shannon" from *Wagon Train* . Miller was featured in the iconic television program from 1961 to 1964, and has appeared in hundreds of other episodic television programs like *The Rockford Files* , *Magnum PI* , *Gilligan's Island*, *Dr. Quinn: Medicine Woman* , and *Lonesome Dove: The Series,* as well as appearing in *Tarzan, The Ape Man.*








The thread devoted to the Q & A with the Silver Screen Oasis visiting author and screen personality Denny Miller, author of *Didn't You Used to Be...What's His Name?* , *Toxic Waist...Get To Know Sweat*, and the upcoming *Me Tarzan, You Train!* can be found at the link below.








If you would like, you can register and post your own question there or just enjoy reading the exchanges with Mr. Denny Miller, beginning Friday, July 27th.








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If you enjoyed seeing the Aqualillies at the first Turner Classic Film Festival in 2010 with Esther Williams and Betty Garrett prior to a poolside screening of *Neptune's Daughter*, you might want to watch this CBS video airing this a.m. :



Footage from the first festival is included.


See what the Aqualilliles are up to now!

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