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Another TCM Programming Challenge

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Thanks for the kind words, GM. However, I am such a novice at anything requiring any kind of computer skills. I just created everything from scratch using Microsoft Word. I don't have any Photoshop programs or anything, otherwise I would like to have had the "Now Playing" words be behind their heads in order to make them stand out. Ah, well, I had fun doing it.

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filmlover, awesome image! You know, for a second I really thought yours was a real Now Playing guide and I was like, "How did he get a guide for May 2007?" Ha. You chose really good fonts as well.


Kyle, oobleckboy and JackBurley, as always you guys are helpful. I wish I knew that was on "The Women" dvd, cause I just bought some dvd's off Amazon yesterday and would have added it to my cart. I love the suppliments on the Warner dvd's. The people who put them together do good work!

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Hello All -


With two full weeks left for submissions to this Challenge, we already have five outstanding examples of creative thinking by some of our favorite board members. And I am still anticipating to hear from a few others before the close of October 8th. In the meantime, check out what has already been put forth by these Challengers and their Guest Programmers.


MattHelm's Schedule with Guest Programmer "jarhfive".


allieharding's Schedule with Guest Programmer "timelessjoancrawford".


sugarpuss' Schedule with Guest Programmer "mrsl".


movieman1957's Schedule with Guest Programmer "inglis".


filmlover's Schedule with Guest Programmer GarboManiac


My, you are a talented and witty lot - all ten of you!


If you are intrigued and inspired by the above, I'd love to have a schedule from you too in "Another TCM Programming Challenge".


There are more relaxed guidelines

this time around to help make getting started a bit easier.


And there are Reference Materials available to aid in your research.


Kyle In Hollywood


(and a big THANK YOU to JonParker and oobleckboy for the guidance on masking url's with text on these boards. By Jove, I think I got it!)

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It is the first of October and the final days to post a schedule in "Another TCM Programming Challenge".


While a few of our friends have had to put aside finishing their Challenge Schedules for personal reasons, I believe there are still a couple of exciting weeks of programming to be posted by our fellow Board Members. I am looking forward to seeing them.


If you are in the process of completing a week of TCM Programming for the Challenge, you have until the end of the day next Sunday (Midnight, October 8th) to post it to this thread. As always, I and the others around here are available to assist with anyone's Challenge questions or other issues that may be hindering anyone in completing a their Challenge week.


So, keep those schedules coming.


Kyle In Hollywood

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I know midnight on Sunday, Oct. 8th is looming but I will get my challenge in though probably just under the wire- why break with tradition at this point!

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lzcutter -

Happy to hear you are determined to get a week into this Challenge. (What kind of Challenge would it be without your participation?) Looking forward to seeing it.


Kyle In Hollywood


(After just three Challenges and we already have "traditions"! Who'd a thunk?)

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It may be just a bit egotistical on my part to even think so, but I am wondering if it is at all possible that my all-day tribute to unsung director George Sidney that I placed in either the first or second Challenge a few months ago could have anything at all to do with the birthday tribute they did to him yesterday? Could be a coincidence but it would be great if it at least made them think of it due to the Challenge.

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filmlover -


I don't know if it is egotistical to find some of your past Challenge ideas on the October TCM schedule. Just last night I gave the October schedule a good look for the first time and a few things popped out of the listings for special notice. (And October is probably the first month for TCM to fully program since we completed the last Challenge in May/June.)


Ann Sheridan (your Star Of The Month) is all over this schedule and there are many unique films from all the participant''s May Challenge that seem to have been pulled off the shelf to be shown on TCM this month. (Films that haven't been in high rotation lately).


- "The Animal Kingdom"

- "Without Love"

- "The Big Street"

- "A Family Affair"

- "The Great Man Votes"

-"Sing Your Worries Away"

- "All The Brothers Were Valiant"

- "The Testament Of Dr. Mabuse"

- "I Married A Witch"

(I am sure there are more that I haven't been able to pin down.)


Coincidence? Wishful Thinking? Are we just prescient in our film choices. Or has "someone" printed out our schedules and have then for quick reference on their desk?




Kyle In Hollywood

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Why wouldn't you think you might have at least planted the idea. There was a change to the forum that I may have helped with when they included all "The Essentials" on the main forum page. That, maybe with others, was an idea I threw out and a week later there they were. The timing was there so that I even if it wasn't my idea I'll play that I had a part.


Anyway, with schedules that you've done, why not?

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Two of my movies that I used in my first challenge are on today.


Gaby (1956) *** (Rated NR)

(The effects of war on ordinary people in London) (Not on DVD or VHS)


Gaby is a ballet dancer in 1944 London who happens to bump into a corporal Greg while rushing to catch the bus. Greg is mesmerized by Gaby and goes to the ballet to see her on stage, but Gaby is French and wants nothing to do with Greg. But he persists and by the end of the day, she agrees to marry. But before they can marry, there is a mountain of red tape and Greg ships out while promising to marry Gaby on his return. When she hears that he has been killed, she makes herself available to anyone who would want her.


Cast: Leslie Caron, John Kerr, Cedric Hardwicke, Taina Elg, Margalo Gillmore, Scott Marlowe, Ian Wolfe, Joe DiReda, Joseph Corey, James Best, Lisa Montell, Ruta Lee, Narda Onyx.

Director: Curtis Bernhardt.

Producer: Edwin H. Knopf.


This is where Leslie Caron really gets to show what talent she has as an actress. Many of her other films are cartoonish but this one has the kind of meat that every actress hopes for. What can I say, I just love this movie.


Our Mother's House (1967) *** (Rated NR)

(Not on DVD or VHS)


When their deeply religious mother dies, the seven Hook children bury her in the garden and continue life as normal. Then their absent father , Charlie, reappears.


Cast: Dirk Bogarde, Margaret Brooks, Pamela Franklin, Louis Sheldon Williams, John Gugolka, Mark Lester, Sarah Nicholls, Gustav Henry, Parnham Wallace, Yootha Joyce, Claire Davidson, Annette Carell, Gerald Sim, Edina Ronay.

Director: Jack Clayton.


I have never seen this movie so I am waiting to enjoy it for the first time.

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I'm not sure if it's egotistical to mention this, but the other night before the Bette Davis interview, they actually showed the Bette Davis War Bonds short that I scheduled in my programming challenge (I managed to tape it, because it was listed in the shorts schedule this time!) I know a week or two ago, they showed the Hollywood Style one as well.


I know the person that programs the shorts is different from the tcmprogrammr, but I am extremely grateful and happy that they included these in the lineup. I'm not sure if my schedule had any influence or if it was just a coincidence though.


allieharding, how did you like "Our Mother's House"? I love the MGM British movies, so I really enjoyed it, although for some reason I kept getting a Children of the Damned feel from all those kids.

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First off, I bought some bad media at Circuit City which really disgusts me so everything went bad on recording both movies. I immediately went online to supermediastore.com and bought 200 Taiyo Yuden 8X DVD-R Media Silver Thermal Lacquer (Premium Line) media so that this never happens again.


After getting my recorder rebooted after failing from the bad media I was able to record 1 and a half hours of Our Mothers House. Phoebe Nicholls who had to get her hair cut off was in Brideshead Revisited and seeing Pamela Franklin as a child was interesting. Seeing how children can get messed up by a over religious mother was really telling on how people can go so far over the deep end.


I just know that TCM will never show these two movies again for many years to come so all in all it was a bad day recording wise.

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There is only a few hours left for posting schedules for "Another TCM Programming Challenge". The deadline for posting a schedule is Midnight tomorrow evening - Sunday. I hope a few more friends of ours are going to surprise us with a week of programming for TCM. We are eager to see them.


And then we will vote on our favorite schedule to pick who will have the opportunity to organize and moderate the next TCM Programming Challenge. But let's not put the cart in front of the horse.


Hopefully the next 24 hours will yeild even more riches for everyone to admire and envy.


Kyle In Hollywood

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Well, with barely 23 hours to spare (hey, at least its almost a day early this time!), here's my schedule for your consideration:


SUNDAY, July 22nd


Daredevils at Work

6:00 AM Safety Last ( Pathe ,1923) Harold Lloyd, Mildred Davis, Bill Strother

Directed by Fred C Newmeyer and Sam Taylor/ 73 mins

7:30 AM Steamboat Bill, Jr (UA, 1928) Buster Keaton, Tom McGuire, Marion Byron; Directed by Charles Reisner/ 71 mins

9:00 AM The Winning of Barbara Worth (UA, 1926), Ronald Coleman. Vilma Banky, GaryCooper; Directed by Henry King/ 89 mins


The Women Who Made the Movies

10:30 AM Camille (MGM, 1921) Rudolph Valentino, Alla Nazimova, Patsy Ruth Miller; Written by June Mathis/Directed by Ray Smallwood/ 70 mins

11:45 AM Sparrows (UA, 1926) Mary Pickford, Roy Stewart, Mary Louise Miller; Produced by Mary Pickford/Directed by William Beaudine/ 107 mins

1:30 PM Without Lying Down: Francis Marion and the Power of Women

(TCM Original Documentary, 2000) / 75 mins


They Made a Difference

3:00 PM The Iron Horse (Fox,1924), George O?Brien, Madge Bellamy, Francis Powers; Directed by John Ford/ 133 mins

5:15 PM Way Down East (UA, 1920) Lillian Gish, Richard Barthelmess; Directed by DW Griffith/ 175 mins

8:15 PM The Essentials: The Big Parade (MGM, 1925) John Gilbert, Renee Adoree; Directed by King Vidor/ 130 mins


Silent Sunday Nights: When Movie Making was Fun:

10:30 PM The Three Musketeers (UA, 1921) Douglas Fairbanks, Eugene Pallette;Directed by Fred Niblo/ 119 mins

12:30 AM The Iron Mask (UA, 1929) Douglas Fairbanks, Marguerite De Le Motte, Dorothy De Revere/ Directed by Alan Dwan/ 103 mins


TCM Imports

Europe Looks at Hollywood

2:00 AM Good Morning Babylon (Vestron, 1987) Vincent Spano, Greta Scacchi; Directed by Paolo and Vittorio Taviani/ 117mins Premiere


Film 101: Appreciating our Past:

4:00 AM Reel Models: The First Women of Film (TCM, 2000) Original Documentary/ 60 mins

5:00 AM The Men Who Made the Movies: Howard Hawks (WB) Directed by Richard Schickel/ 60 mins


Monday, July 23rd


Breaking the Sound Barrier:

Hollywood Learns to Talk

6:00 AM The Jazz Singer (WB, 1927) Al Jolson,Mary McAvoy, Warren Oland, Eugenie Besserer/ Directed by Alan Crosland/ 88 mins

7:30 AM Blondie of the Follies (MGM, 1932) Marion Davies, Robert Montgomery, Billie Dove/ Directed by Edmund Goulding/ 91 mins

9:05 AM The Runaway Bride (RKO, 1930), Mary Astor, Lloyd Hughes, Paul Hurst/Directed by Donald Crisp/ 69 mins


Try to Sing, Try to Dance (But don?t get too far from the microphone!)

10:15 AM Broadway to Hollywood (MGM, 1933) Alice Brady, Frank Morgan, Jackie Cooper, Directed by Willard Mack/ (85 mins)


Directors Who Freed the Talkies:

11:45 AM Chinatown Nights , (WB, 1929) Florence Vidor, Wallace Berry, Warren Oland,/ Directed by William Wellman/ 83 mins

1:15 PM Man to Man (WB, 1930) Phillip Holmes, Lucille Powers, Robert Emmett O?Connor; Directed by Allan Dwan/ 68 mins

2:30 PM Going Hollywood (MGM, 1933) Marian Davies, Bing Crosby, Fifi D?Orsay;Directed by Raoul Walsh/ 84 mins

4:00 PM The Men Who Made the Movies: King Vidor (WB) Documentary/ Directed by Richard Schickel / 60 mins


Singing and Dancing with Style and Grace

5:00 PM Swing Time (RKO, 1934) Fred Astaire, Ginger Rogers, Alice Brady; Directed by Mark Sandrich / 107 mins

6:45 PM Musicals Great Musicals (TCM, 1996) Documentary; Directed by David Thompson / 75 mins


Star of the Month: John Gilbert Talks

8:00 PM Redemption (MGM, 1930)John Gilbert, Renee Adore, Conrad Nagel, Eleanor Broadman/Directed by Fred Niblo/ 75 mins

6:30 PM West of Broadway (MGM, 1931) John Gilbert, Madge Evans, Ralph Bellamy, Hedda Hopper/ Directed by Harry Beaumont/ 68 mins

7:45 PM Queen Christina (MGM, 1933) John Gilbert, Greta Garbo, Lewis Stone, Reginald Owen; Directed by Rouben Mamoulian/ 97 mins

9:30 PM My Father, John Gilbert (TCM, 2002) Documentary on the life and work of John Gilbert by his daughter/ 90 mins


As We Knew It: The Early Days of Filmmaking

Hollywood: A Celebration of American Silent Film[/b]

11:00 PM Hollywood:The Pioneers (Thames/Time Warner, 1979) Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins

12:00 AM Hollywood:In the Beginning (Thames/Time Warner, 1979) Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins

1:00 AM Hollywood:Single Beds and Double Standards (Thames/Time Warner, 1979) Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins

2:00 AM Hollywood:Hollywood Goes to War (Thames/Time Warner, 1979) Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins

3:00 AM Hollywood:Hazard of the Game (Thames/Time Warner, 1979) Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins

4:00 AM Hollywood: (Thames/Time Warner, 1979)

Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins

5:00 AM Hollywood: (Thames/Time Warner, 1979)

Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins


TUESDAY, July 24th

6:00 AM Hollywood:A Serious Business (Thames/Time Warner, 1979) Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins

7:00 AM Hollywood:Out West (Thames/Time Warner, 1979) Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins

8:00 AM Hollywood:The Man with the Megaphone (Thames/Time Warner, 1979) Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins

9:00 AM Hollywood:Trick of the Light(Thames/Time Warner, 1979) Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins

10:00 AM Hollywood:Star Treatment (Thames/Time Warner, 1979) Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins

11:00 AM Hollywood: End of an Era (Thames/Time Warner, 1979) Directed by Kevin Brownlow, David Shepard and David Gill/ 60 mins


Pre-Codes of MGM:

12:00 PM Kongo (MGM, 1932) Walter Huston, Lupe Velez, Conrad Nagel; Directed by William J Cowen/ 84 mins

1:30 PM The Mask of Fu Manchu (MGM, 1932) Boris Karloff, Lewis Stone, Myrna Loy, Karen Morley

Directed by Charles Brabin/ 68 mins

2:45 PM Beast of the City (MGM, 1932) Walter Huston, Jean Harlow, Wallace Ford, Jean Hersholt; Directed by Charles Brabin/ 86 mins

4:15 PM Red Dust (MGM, 1932) Clark Gable, Jean Harlow, Mary Astor, Gene Raymond; Directed by Victor Fleming/ 83 mins

6:00 PM Complicated Women (TCM, 2003) Documentary / 60 mins

7:00 PM Clara Bow: Discovering the ?It? Girl (TCM, 1999) Documentary / 55 mins


Bad Girls of Cinema:

8:00 PM Mata Hari (MGM, 1931) Greta Garbo, Ramon Navarro, Lionel Barrymore; Directed by George Fitzmaurice/ 89 min

9:30 PM Morroco (paramount, 1930) Gary Cooper, Marlene Dietrich, Adolphe Menjou;Directed by Josef Von Sternberg/ 91 mins.

11:45 PM Island of Lost Men (MGM, 1939) Anna May Wong, J Carrol Naish, Anthony Quinn; Directed by Kurt Neumann/ 63 mins

1:00 AM I?m No Angel (Paramount, 1933) Mae West, Cary Grant, Edward Arnold, Libby TaylorDirected by Wesley Ruggles/ 87 mins

2:30 AM Sadie McKee (MGM, 1934) Joan Crawford, Franchot Tone, Gene Raymond, Edward Arnold; Directed by Clarence Brown / 93 mins

4:15 AM Faithless (MGM, 1932) Tallulah Bankhead, Robert Montgomery, Sterling Holloway; Directed by Harry Beaumont / 73 mins


WEDNESDAY, July 25th


Warner Bros Presents Hell on Earth:

6:00 AM The Mayor of Hell (WB, 1933) James Cagney, Madge Evans;Directed by Archie Mayo, 90 mins

7:30 AM Safe in Hell (WB, 1931 ) Dorothy MacKaill, Donald Cook, John Wray;Directed by William Wellman/ 65 mins

8:45 AM Employees Entrance (WB, 1933) Warren William, Loretta Young, Ruth Donnelly; Directed by Roy Del Ruth/ 75 mins

10:00 AM Five Star Final (WB, 1931) Edward G. Robinson, Marian Marsh, H B Warner; Directed by Mervyn LeRoy/ 89 mins

11:30 AM Female (WB, 1933) Ruth Chatterton, George Brent, Johnny Mack Brown; Directed by Michael Curtiz/ 65 mins

1:00 PM Blonde Venus(WB, 1932) Marlene Dietrich, Herbert Marshall, Cary Grant; Directed by Josef Von Sternberg/ 90 mins

2:30 PM The Mad Genius (WB, 1931) John Barrymore, Marian Marsh, Charles Butterworth; Directed by Michael Curtiz/ 81 mins

4:00 PM Barbara Stanwyck: Fire and Desire (TCM, 1991) Documentary/ 60 mins


William Haines: Boys Will Be Boys

5:00 PM Are You Listening (MGM, 1932) William Haines, Madge Evans, Anita Page; Directed by Harry Beaumont / 75 mins

6:15 PM Fast Life (MGM, 1932) William Haines, Madge Evans, Conrad Nagel; Directed by Harry Pollard / 82 mins


Was Ya Ever Bit by a Dead Bee? Birthday Salute: Walter Brennan (1894-1974)

8:00 PM Fugitive Lovers (MGM, 1934) Robert Montgomery, Madge Evans, Walter Brennan; Directed by Richard Boleslavsky / 78 mins

9:30 PM Northwest Passage (MGM, 1940) Spencer Tracey, Walter Brennan, Robert Young; Directed by King Vidor / 125 mins

11:45 PM The North Star (RKO, 1943) Anne Baxter, Dana Andrews, Walter Brennan; Directed by Lewis Milestone / 106 mins

1:30 AM Nobody Lives Forever (WB, 1946) John Garfield, Geraldine Fitzgerald, Walter Brennan

Directed by Jean Neglusco / 100 mins

3:15 AM Rio Bravo (WB, 1959) John Wayne, Dean Martin, Walter Brennan, Angie Dickinson; Directed by Howard Hawks / 141 mins


THURSDAY, July 26th


Character Actors: They?ve Always Had Faces


6:00 AM Marked Woman (WB, 1937) Bette Davis, Humphrey Bogart, Isabel Jewell, Allen Jenkins; Directed by Lloyd Bacon/. 96 min.

8:00 AM No More Ladies (MGM, 1935) Joan Crawford, Robert Montgomery, Edna Mae Oliver; Directed by Edward H. Griffith/ 80 mins

9:30 AM Black Fury (WB, 1935) Paul Muni, Karen Morley, Barton McLane; Directed by Michael Curtiz/ 94 mins

11:15 AM Border Town (WB, 1935) Paul Muni, Bette Davis, Eugene Palette; Directed by Archie Mayo / 90 mins

12:45 PM Gentle Annie (MGM, 1944) James Craig, Donna Reed, Marjorie Main; Directed by Andrew Marton / 81 mins

2:15 PM Wagon Master (RKO, 1950) Ben Johnson, Joanna Dru, Hank Worden; Directed by John Ford / 85 mins

3:45 PM Chained (MGM, 1934) Clark Gable, Joan Crawford, Una O?Connor; Directed by Clarence Brown / 74 mins

5:00 PM The Night is Young (MGM, 1935) Ramon Navarro, Una Merkel, Edward Everett Horton

Directed by Dudley Murphy / 82 mins

6:30 PM The Mayor of 44th Street (RKO, 1942) George Murphy, Anne Shirley, Mary Wickes; Directed by Alfred Greene / 85 mins


And with Robert Osborne tonight, my Guest Programmer: Moirafinnie6


From Stage to Screen:

8:00 PM The Phantom President (Paramount,1932) George Cohen, Claudette Colbert, Jimmy Durante

Directed by Norman Taurog / 78 mins Premiere

9:30 PM Johnny Come Lately (UA,1943), James Cagney, Miss Grace George, Marjorie Main; Directed by William K Howard / 97 mins

11:30 PM Anastasia ( Fox, 1956) Ingrid Bergman, Yul Brynner, Helen Hayes; Directed by Anatole Litvak / 105 mins

1:30 AM One Way Passage (WB,1932) William Powell, Aline MacMahon, Frank McHugh; Directed by Tay Garnett / 70 mins


Donald Crisp:

3:00 AM The Key (WB, 1934) William Powell, Edna Best, Donald Crisp; Directed by Michael Curtiz / 71 mins

4:15 AM Oil for the Lamps of China (First National, 1935) Pat O?Brien, Josephine Hutchinson, Donald Crisp

Directed by Mervyn Leroy / 97 mins


FRIDAY, July 27th


Put the Coffee On

6:00 AM The Big Heat (Columbia, 1953) Glenn Ford, Gloria Graham, Lee Marvin, Directed by Fritz Lang / 89 mins

7:30 AM In a Lonely Place (Columbia, 1950) Humphrey Bogart, Gloria Graham, Frank Lovejoy; Directed by Nicholas Ray / 95 mins


Just Add Milk: It?s Serial Time!


The Riders of Death Valley:

9:15 AM Death Marks the Trail (Universal, 1941) Buck Jones, Leo Carillo

10:30 AM The Menacing Herd (Universal, 1941) Buck Jones, Leo Carillo

11:45 AM Plunge of Peril (Universal, 1941) Buck Jones, Leo Carillo

1:00 PM Flaming Fury (Universal, 1941) Buck Jones, Leo Carillo

2:15 PM Avalanche of Doom (Universal, 1941) Buck Jones, Leo Carillo

3:30 PM Blood and Gold (Universal, 1941) Buck Jones, Leo Carillo

4:45 PM Death Rides the Storm (Universal, 1941) Buck Jones, Leo Carillo

5:45 PM Descending Doom (Universal, 1941) Buck Jones, Leo Carillo

6:45 PM Death Holds the Reins (Universal, 1941) Buck Jones, Leo Carillo


Why TCM Can?t Show Every Movie Ever Made:


8:00 PM Saving Our Collective Memory: Why Film Preservation Matters with Martin Scorcese, George Feltenstein, Richard Schickel and Kevin Brownlow/ Hosted by Robert Osborne (TCM, 2007)

Original Documentary/ 120 mins

10:00 PM Who the Devil Made It with Peter Bogdanovich / Hosted by Robert Osborne

(TCM, 2007) TCM Original Production / 120 mins

12:00 AM Inside the Dream Factory (TCM, 1995), Hosted by Faye Dunaway

TCM Original Production 60 mins

1:00 AM Hollywood: My Hometown (Ken Murray, 1965) Hosted by Ken Murray

53 mins



2:00 AM Dr Jekyll and Mr Hyde (Paramount, 1932) Fredric March, Miriam Hopkins; Directed by Rouben Mamoulian / 98 mins

3:45 AM Dr Jekyll and Mr Hyde (MGM, 1941) Spencer Tracey, Ingrid Bergman; Directed by Victor Fleming / 127 mins


SATURDAY, July 29th


Hollywood Goes to War

6:00 AM Desperate Journey (WB, 1942) Errol Flynn, Ronald Reagan, Nancy Coleman; Directed by Raoul Walsh / 109 mins

8:00 AM Song of Russia (MGM, 1944) Robert Taylor, Susan Peters, John Hodiak;Directed by Gregory Ratoff / 105 mins

9:45 AM The White Cliffs of Dover (MGM, 1944) Irene Dunn, Alan Marshall, Roddy McDowell; Directed by Clarence Brown / 125 mins



The Ox Bow Incident (Fox, 1943) Henry Fonda, Dana Andrews, Anthony Quinn; Directed by William Wellman / 75 mins


Shadow, Light and High Anxieties:

2:00 PM Detour (PRC, 1946) Tom Neal, Anne Savage

Directed by Edgar G Ulmar / 69 mins

3:15 PM Out of the Fog (WB, 1941) John Garlfield, Ida Lupino; Directed by Anatole Litvak / 85 mins

4:45 PM Out of the Past (RKO, 1947) Robert Mitchum, Jane Greer; Directed by Jacques Tourneur / 97 mins

6:30 PM Deadline at Dawn (RKO, 1946) Susan Hayward, Paul Lukas; Directed by Harold Clurman / 85 mins


Hollywood Looks Back at Its Self



Singin? in the Rain (MGM, 1952) Gene Kelly, Debbie Reynolds, Donald O?Connor, Directed by Stanley Donan, Gene Kelly / 103 mins

10:00 PM A Star is Born (UA, 1937) Fredric March, Janet Gaynor, Adolphe Menjou; Directed by William Wellman 111 mins

12:00 MID Sunset Blvd (Paramount, 1950) Gloria Swanson, William Holden, Erich Von Stroheim

Directed by Billy Wilder / 115 mins

2:00 AM Nickelodeon (Sony, 1976) Ryan O?Neal, Burt Reynolds, Stella Stevens

Directed by Peter Bogdanovich/ 122 mins

4:00 AM Hearts of the West (MGM, 1975) Jeff Bridges, Blythe Danner, Andy Griffith

Directed by Howard Zieff / 103 mins


Message was edited by:

lzcutter because other studios had Bad Girls too and one should always triple check their sources these days. Thanks to my 'fact checker' for catching that.

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Notes on my schedule:


I wanted to try and show the evolution of film, the power of film, the history of film- all things that I feel TCM tries to accomplish with their monthly schedules. I know there are posters who would prefer less documentaries and less film history and more movies. But to me, being able to put movies into some historical or cultural context is just as important as watching them.


I tried to feature stars and directors that had started out in silents as much as possible so that we could see how they developed their craft over the years. Also, as the movies matured, the themes matured. We start out with silents and all their optimism, their devil may care, filmmaking on a wing and prayer and wind down the schedule with an introduction to film noir.


Along the way, I hope that viewers learn things they may not have previously known, especially about the role of women in the movie making process. From the elegiac silents to the beginning talkies when sound ruled the production, how did we get free from the static microphone? Who were the ingenious thinkers who figured out dolly shots and said 'screw the microphone, let's make a movie.'? I hope my schedule helps spotlight them and their accomplishments in helping further this art form rather than let it grow stagnant and at the mercy of the microphone's limitations.


John Gilbert and the demise of his career. We have all heard the myths. But as John Ford reminded us over forty years ago, when fact becomes legend, print the legend. We may never know the real story of what happened to Gilbert's career (bad voice, torch for Garbo, slugging LB Mayer) but at least a few of his talkies remain so that we can hear for ourselves the quality of his voice.


From all that I have heard and read, Hollywood has finally made it through the gauntlet of rights hell and will be coming to DVD in 2007. Because of that, I thought it only fitting that TCM should run the series again. Learning history from the men and women who were there and made that history is an incredible gift that we don't often get. Because of Brownlow, Gill and Shepard's hard work and devotion, we can enjoy that gift despite the sadness that almost all those interviewed are no longer with us. Because of Brownlow, Gill and Shepard, we have the video histories of these remarkable men and women to carry with us and pass down.


Character Actors, Bad Girls, Pre-codes, what would our movie history be without them?


Walter Brennan, to me, is the epitome of the character actor. A man who can lose himself in a role so much that he takes on different looks and characteristics but always has that unmistakeable voice.


I chose for my serial "The Riders of Death Valley" known as the million dollar serial not for its acting or its production design but for all the loving care and all the dollars that went into the advertising press book to sell the serial. Plus, I really loved how the individual titles built to a climax that just screamed "Danger, Will Robinson, Danger!"


The original documentaries on Friday night under the theme of Why TCM Can't Show Every Film Ever Made are there because, at the end of the day, it is a subject close to my heart and I think it would be a great service to their viewers and to the folks who post here, for TCM to address some of the issues surrounding film restoration and preservation, shoot down the many myths that exist and supply some very much needed factual evidence about this topic.


As for the Bogdanovich documentary, I have to admit that while he has a tendency to grate on my nerves with his impersonations and his sometimes too precious inside info (there are days I appreciate Billy Wilder's very pointed comment at the release of "At Long Last Love" and don't begrudge Wilder the sentiment at all), the fact remains that, before he became a wunderkind of the 1970s, he came to Los Angeles with the idea of not only making movies but of talking to the men and women who created the film industry. In that regard, he can be a treasure trove of information. And as he is getting on in years, it is information that needs to be shared so that it can be passed down to the next generation. Yes, he has his mannerisms and his foibles. But he has also has a great deal of insider information that he loves to share. I'd spend an evening listening to him, mannerisms, foibles and preciousness included.


Lastly, it seemed only proper to end the week with Hollywood having evolved and grown from the orange grove, sun-lit, let's make a movie backdrop of the silents into a full blown business and beginning to look back on its self. Usually, with much tugging at the heart strings but each movie captures an era of filmmaking wonderfully. From the wildly, wonderful exuberance of Singin' in the Rain to the heartfelt moments of Nickelodeon and Hearts of the West, each film reminds us of the pain and joy that went into creating an American art form. Star and Sunset Blvd allow us a look at the dark side of that dream. We end (before 1959) before the studio system truly begins to implode and filmmaking is forever changed by the changing winds of the social revolution of the 1960s (which opened the movies up to more mature themes of race and gender). But the seeds of unrest were planted in film noir. How they grow and influence is for another a challenge.


I hope my schedule comes close to realizing my goals.

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A great deal of thanks to Moirafinnie6 for being my guest programmer. She has a wonderful way with the turn of the phrase and rather than bungle her intentions by editing, I think it best to read in her own words what she had in mind for evening of films. Her choice of quote from Ethel Barrymore helped shape the entire week's programming.


Ladies and Gentlemen, may I present my Guest Programmer, Moirafinnie6:


Guest Program:


"We who play, who entertain for a few years, what can we leave that will last?"-- Miss Ethel Barrymore


The legends of the theatre, among them such names as Sarah Bernhardt, Constance Collier, Richard Bennett, Gladys Cooper, Gerald DuMaurier, Jeanne Eagels, Alfred Lunt, Lynn Fontanne, Eva Le Gallienne, Judith Anderson, Uta Hagen, Stella Adler, Mrs. Patrick Campbell, Katherine Cornell, Richard Bennett, Gladys Cooper, and Michael Chekov, are mere names to most of us, dry as dust and most often of interest only to theatrical historians. Their presence in movies was usually confined to a few character roles, often at the tail end of a distinguished career when age, infirmity and a good paycheck overcame their ideals. Some, such as Judith Anderson and Gladys Cooper, found a modicum of success as character leads in films, while others eschewed movies as vulgar and artistically beneath them. Most may have also chosen to avoid films out of an understanding that the movies are almost always going to be a showcase for florid beauty, rather than a lifetime of acting skill.


They may have stayed onstage due to the comfortable, but hardly exorbitant salaries paid them, the artistic freedom afforded them onstage, and, let's face it, because they could often get away with unconventional, and, frankly, not-so-hot looks, since they were at a remove from their public.


So, when given a chance to program an evening of films, I fixed on some of those figures from the theater world who rarely found their talent adequately translated into cinematic magic. Who to choose? If I had my druthers, Jeanne Eagels' version of Maugham's The Letter(1929), which exists in viewable form thanks to AFI, might be a great choice for a TCM premiere. This is especially true since those who've seen it say that the legendary actress overcame the technical inadequacy of early talkies and delivered her own unique take on the character best remembered in the Wyler production starring Bette Davis in 1939.


Katharine Cornell's only documented film appearance for a moment in Stage Door Canteen(1943) was surely inadequate. Gertrude Lawrence's onstage elegance and panache were rarely given expression in movies, and according to many of her contemporaries, she may have been woefully miscast in The Glass Menagerie(1950)---a part that many feel should've gone to that other, too fragile legend, Laurette Taylor, who is spoken of with wonder to this day by many who saw her onstage in this and other roles. Taylor's only notable silent film appearance in her signature role was as Peg O' My Heart(1922), which languishes in the vaults of the Library of Congress. Or what of Alfred Lunt, who with his wife, Lynn Fontanne dominated the American stage for much of this period?


Perhaps it is as an influence on subsequent performers who found a way to translate their talent to film, that we will remember them best. Spencer Tracy, who was mentored by George M. Cohan, worshipped Laurette Taylor's naturalness. Gerald DuMaurier's casual naturalness and apparently relaxed style helped form a generation of British and American players, most notably among them Rex Harrison, who, by all accounts, owed an enormous debt to the elder actor. Montgomery Clift, appearing onstage with Lunt & Fontanne as a youngster in Robert Sherwood's anti-fascist play, "There Shall Be No Night", once said that "Alfred [Lunt] taught me how to select. Acting is an accumulation of subtle details. And the details of Alfred Lunt's performances were like the observations of a great novelist like Samuel Butler or Marcel Proust." While mildly entertaining, the only notable film work of Lunt and Fontanne, The Guardsman(1931) doesn't really give either actor a chance to exhibit Proustian subtlety. As most of us know, for better or worse, Stella Adler and Uta Hagen, also taught a generation of players---perhaps most notably Marlon Brando--- to strut their stuff, usually employing some aspect of the Method.


So, within the guidelines of the challenge, here are my choices for an evening showcasing the work of those who may have only done their best work on stage, but whose particular alchemy was occasionally caught on the silver screen.


My first choice is The Phantom President(1932) with George M. Cohan in his only surviving talkie vehicle. Directed by veteran journeyman Norman Taurog and with words and music by no less than Rodgers and Hart, (much to the chagrin of one-man-band impresario Cohan, who rarely seemed to like other composers' work), the film is a fast, woozy blend of heightened reality/fantasy characteristic of Paramount films in the early '30s with a passing nod to the political and economic realities of the Depression, the brash Cohan style, and adding generous doses of a game Claudette Colbert, a delightful Jimmy Durante and?who'da thunk it?---Sidney Toler(aka Charlie Chan) as a savvy, dry-wit of a political consultant. We think we know Cohan because those of us who enjoy James Cagney, know Yankee Doodle Dandy(1942) so well. Their physicality and performance styles were actually quite different, though Cagney beautifully captured Cohan's stiff-kneed, slightly eccentric dancing style. We do see Cohan dance nimbly and meet himself in one technically entertaining sequence. Cohan, in a double role here---plays a dull presidential candidate and his fast-talking carnival barker double. (Yes, the Kevin Kline film Dave was based on this film, though this is, I think, far more entertaining.)


Cohan, who had a reputation for brusqueness and egotism as well as great talent as an entertainer is quite winning here, and he is aided in this by the highly imaginative, slightly looney quality of Paramount pictures in the early '30s. Presidential portraits on the wall come to life at one point, one of them played by Alan Mowbry as George Washington and during the "Give Her a Kiss" number during Cohan's love scene with Colbert in a boat, the on shore birds and frogs "sing" the song along with the leads. A sequence at a political convention consists of some delightful talking-singing delegates calling for "Blair, Blair Blair"?or is it meant to be "Blare"? Either way, it's a film that I last saw on TCM in the '90s and I really hope that they trot it out on election day as well as during our evening among the theatrical greats.


Next, we will peruse b]Johnny Come Lately(1943), starring Grace George and a little guy called James Cagney.

Seen only once about 8 years ago on TCM, this independent production of Cagney's is one of those atypical vehicles that he and his brother crafted to highlight his quieter side. It's as though Cagney left the hurly burly of the Warner Brothers' factory, went home, closed the door of his woodshed, and sat down to carve out something small, unpretentious, and dear---perhaps only to him---almost alone in the peace of a few moments away from his titanic career, spent mostly being defined as a tough guy. One of the few others who helped him create this miniature from long ago was Grace George, whose presence here marked her only appearance in a sound film, (she'd appeared in only one silent, with the melodramatic title Tainted Money(1915). Playing a newspaper publisher under attack from a corrupt politician for her genteel muckraking in this film, Miss George was already a veteran of over 50 theatrical productions on Broadway and in the provinces, a woman with her own repertory company, and the stepmother of a familiar figure to classic film fans, Alice Brady. George's character belongs to the pre WWI period of American life, lived at a gentler pace and obviously fondly recalled by Cagney, (especially reminiscent of his turn in The Strawberry Blonde(1941). There is an ostensible, lightly implied romantic interest between George's niece, Marjorie Lord, (who looks lovely in the turn of the century costumes), and Cagney, but the real scenes to watch are those in which the little film giant and the legendary stage actress share the frame. As with other really good film actors such as Spencer Tracy, Cagney listens so beautifully and quietly to her as she makes her points?giving her many of the scenes, though we can't help watching him still.


To emphasize the point that Cagney is asking his audience to follow him to another, more peacefully remembered time and that Miss George is the star of the film, not Cagney, we do not meet the actor until about a half hour into the film and when we do, it is an introduction to seldom seen side of his persona. We first encounter Cagney reading the Pickwick Papers on a park bench, happily adrift as a footloose, philosophical out-of-work newspaperman. Based on a Louis Bromfield novel, the plot, such as it is, meanders along, problems are solved, more or less, but primarily, the great film star gives the stage legend a gilded frame to present her slightly antique charm to another generation.


Anastasia(1956) is the romanticized version of Anna Anderson's saga, with ostensible stars Yul Brynner, at the height of his exotic appeal and Ingrid Bergman making her "comeback" in Hollywood terms. Yet there's a smaller, significant role played by Helen Hayes that makes this movie my choice. Hayes, characterized, to her chagrin, by press agents as "The First Lady of the American Stage", never seemed to have expressed anything remotely like her alleged onstage appeal in any of the film appearances that I've seen, as demonstrated, IMHO, by A Farewell to Arms(1932), The Sins of Madelon Claudet(1931), or Arrowsmith(1931). Even in a sure fire vehicle like J.M. Barrie's warhorse, What Every Woman Knows(1934) misses when Hayes attempts to flesh out her character. Hayes never commanded the screen as she did the stage in Victoria Regina and other plays, in part, I suspect, because she never seemed to be truly relaxed with the medium or perhaps herself.


Yet, by the time of Anastasia, Hayes' life and work, coupled with the wistfulness and dignity of the character written into the literate and witty Arthur Laurents' adapted script blend together to give us her best performance on film. Her own life experience as an actress and a woman shines through most clearly in her ability to express so much in a glance, melting from stone to warm humanity, especially in the recognition sequence with Ingrid Bergman. Her supporting part as the Dowager Czarina came at a time in her life when she had received several personal blows, coming recently after the death of her daughter Mary of polio at age 19 and her husband, writer Charles MacArthur. No wonder it seemed so real when she breathed life into what might have been a cardboard character in less expert hands. I think that the whole film is highly entertaining hokum, skillfully delivered by a band of pros at the top of their game---and for once, Hayes shows us why her reputation was so legendary. Btw, the additional presence of another noted theatre actress, Martita Hunt, also adds immeasurably to the comic drama of the very romantic main story. If the name is unfamiliar, look for the horse faced lady who could've been Hermione Gingold's sister--she's the one who plays every scene as though it were a high comedy written by Oscar Wilde!


One Way Passage(1932) with Aline MacMahon as a character known as Barrel House Betty aka Countess Barilhaus rounds out our evening with yet another ersatz noblewoman finding true love, or at least a safe harbor with Warren Hymer, (in what may be the best role of his career consistently largely of playing cliched, muscular dolts). Yes, the splendid William Powell and Kay Francis are the real stars here, but Miss MacMahon has her moments here under the expert direction of Tay Garnett. Aline MacMahon was never a film star, even though she graced about 42 movies, but she was a Broadway trouper of extraordinary diversity and endurance, participating in commercial and classical productions on Broadway written by Brecht, Shaw, Shakespeare, Ibsen, Miller, Kauffman and Hart, O'Casey and O'Neill, to name but a few of the playwrights whose words she gave life to from the '20s to the '70s.


Her unconventional beauty didn't fit the mold of kewpie dolls or the sleek babes who populated most Hollywood products---she was tall and dignified, often playing older than her years, and she was never able, (or apparently willing) to entirely mask her discerning intelligence. Indeed, a raised eyebrow and a sideways glance from Aline could stop a pretentious character dead in their tracks or milk a smile from almost any audience member. I particularly enjoy her performance as Barrel House Betty because she plays such a great range of emotion in this film so deftly?from **** elegant White Russian pianist to petty thief letting her hair down and chuckling about the pigeons on board the ship with fellow thief Frank McHugh to chastened, exhausted con artist coming clean about her merry tawdry life with Hymer. I'd have loved to see the lady on stage in a play by one of the greats, but I'll gladly settle for this little gem of a performance and I hope others enjoy it again or for the first time as well.

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Wow, Lynn, another impressive schedule. I love the way you've got the history of Hollywood in there. I can see I would be recording all the time. This would make a great week on TCM. And Moirafinnie6 made some wonderful choices as guest programmer. I was beginning to get concerned that you wouldn't make it in on time but now I can see why it would take til nearly the end in order to do a schedule like this.


I have to say, when voting time comes, it is going to be very difficult this time to select a winner (as it is every time).

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Hi lzcutter -


You made it in "early" this time! And with a another impressive week of TCM Programming. I bet your comments post was a two day project in itself. (Love "Was ya ever bit by a dead bee" tho I am partial to "Out of my way, ya heelots!".)


And what a great evening of films from moirafinnie6. With a wonderful post of expository comments accompanying your selections to boot. I hope you enjoyed your stint as a TCM Guest Programmer. Thanks for joining in.


Thanks lzcutter for participating in "Another TCM Programming Challenge". All the time you have devoted to the Challenge certainly shows in the week you posted. Well Done!


Kyle In Hollywood

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Agreed, lzcutter, I would need a lot of blank tapes that week if you win. The only negative thing I can say is this idea that true acting is done only on live stage. Even after an actor has won an academy award. he/she still feels they must 'prove themselves by doing a live Broadway play. If an actor is known solely for their ability on stage, naturally when they choose to do a movie, nobody is going to know who they are. They may be another Laurence Olivier, but until their work is seen by the multitudes, who can know? The premise still exists today, that you are not an 'actor' until you have done a stage show, what baloney!!! If the Lunts, and others mentioned didn't have such a pre-conceived, 'nose in the air' attitude regarding the movies, perhaps they would have made it if they had tried in their younger days. It wasn't until after he died, that I learned one of my favorite movie and TV actors was a major Broadway star, or that his work had earned him toni awards, as well as emmy's. I'm speaking of Jerry Orbach, best known for 'Law and Order'.

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Many thanks to Lzcutter for allowing me to make some contribution to her awesome accomplishment and congratulations to all the phenomenal participants in this time's challenge. I'm astonished at the range of ideas packed into this thread and the commitment it must take to put together an entire week's programming by everyone.



I'm so glad that you liked Jerry Orbach, since I share your affection for the late actor. Mr. Orbach, according to many sources, longed to find movie stardom, but, for whatever reason, he was destined to bring humanity and humor to the stories of Law & Order and came to exemplify the real "New Yorker attitude" for many of us. That dear man could say more with a raised eyebrow than most other actors could with 12 pages of dialogue. I hope that you someday have a chance to listen to the original cast recording of the stage musicals The Fantasticks, 20th Century and Chicago, 'cause Jerry helped make them classics. He was also very good in the Sidney Lumet film Prince in the City and Woody Allen's Crimes and Misdemeanors--not to mention his singing role as Lumiere in Disney's Beauty and the Beast!


Re: The Stage vs. The Movies as a kind of snobbism.

My attempt to program an evening of movies showing theatrical greats at their best, was intended to explore what might have been a little of their appeal from the perspective of a present day film viewer who might wish to know the secret of their often legendary alchemy.


Respectfully, I can't agree entirely with your premise that an actor doesn't necessarily need to have a theatrical experience to be good. Yes, a Gary Cooper, or a Carole Lombard for instance, didn't apparently need to know how to "act" or need an apprenticeship in the theatre--but, the few long term success stories like them were the exception, not the rule. Years of learning to roll with the punches and kicks that come with a life on the stage, professional skills, discipline, exposure to a range of theatrical styles, and acquiring that underrated quality--professional courtesy, were just some of the gifts that a Gable, Tracy, Cagney, Fonda, Bogart, Stanwyck, Hepburn, or many others from the studio era--whether as stars and supporting players-- brought to movies, and, fortunately for us, still can be enjoyed. I really doubt that they'd have had the abilities, stamina, and discipline that enabled them to be great film actors for decades without that theatrical background.


As I probably should explain more clearly, the idea that theatre actors of the early and mid-20th century are often perceived, sometimes justifiably, to have had a 'nose in the air' attitude toward film is probably only part of the story. One of the things that I was attempting in highlighting their work as a guest programmer was that there were more complex reasons than simply elitism that led some of them to have avoided movies. Some, such as Helen Hayes once explained in an interview, were simply keenly aware of their physical limitations before the camera. This was also true of the very realistic Lunt and Fontanne, whose choice to withdraw from film work after The Guardsman, met with some real disappointment on the part of Irving Thalberg, who wished to explore their possible film starddom further.


Lunt and Fontanne, and one of my choices for a featured player, George M. Cohan, were also sort of laws unto themselves in the theatre--they controlled their choice of material and, most importantly, they really were the de facto, and sometimes actual producers of their own work--a very nice arrangement financially & artistically. They didn't necessarily spurn movies entirely, they just didn't need movies, and they liked to call their own shots, especially Cohan.


Others, like Laurette Taylor & Jeanne Eagels had serious personal problems that blighted their careers and personal lives, making them less likely to have the energy and inner strength needed to build a movie career from the ground up, as would often be necessary for unknowns.


Many actors had reputations that were so great at the time of their entrance into the film world, that unlike far lesser known actors who could gradually learn the mechanics and nuances of film acting throughout a series of movies under the studio system, expectations on the part of the studios and the public were enormous when they did perform on film. If their first couple of movies weren't dynamite at the box office, they could've been ruined. You could fail on Broadway, in the West End or any provincial theatre production, and, in the halcyon days of theatre, be employed the next week if you were competent, sentient, and, especially if you had a star's reputation or a solid character actor background. Additionally, they found greater freedom from censorship and more artistic latitude on stage, escaping some of the nonsensical sanitization & petty tyrannies that we chortle at in post-code productions.


Lastly, it's interesting that you mentioned Laurence Olivier's name since he was, from the time that he came to prominence in the theatre in the late '20s-early '30s, eager as all get out to succeed in the movies on both sides of the Atlantic, appearing before the camera as early as 1930. By his own admission in interviews and in his autobiography, "Confessions of an Actor", he states that his idea of acting, rooted in the theatre, never seemed to translate into film until he ran into a stone wall named William Wyler, who, in Wuthering Heights brought out his considerable gifts more fully for the first time. But it was hardly from lack of trying or true snobbism. I suspect that sometimes it was just meeting the right person at the right time, like in so much of life. In other words, sometimes ya get lucky!


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