Yes, he does manage to make the character AMAZINGLY sympathetic throughout the entire film, and even pitiful at the conclusion...the audience knowing full well what a cold blooded murderer he is.

It's an astonishing performance and all the more praiseworthy knowing this is the same actor who had played the delightful Capt. Renault in Casablanca just a few years earlier.

Apple

It Happened in Brooklyn is a 1947 MGM musical romantic comedy film directed by Richard Whorf and starring Frank Sinatra, Jimmy Durante, Peter Lawford and Kathryn Grayson. Filmed in black-and-white, and featuring a young, but uncredited, Andre Previn on the piano, this was Sinatra's third film for M.G.M..

A post-World War II feel-good movie, the various plot-threads in It Happened in Brooklyn revolve around characters making good on their non-proletarian dreams: in Sinatra's case to become a popular singer/musician rather than a shipping clerk, in Lawford's case to break out of his extreme shyness to gain a wife and a career as a songwriter, and in Grayson's case to break out of her schoolteaching job to star in the opera (this last is not shown coming to pass, but she presumably lives happily ever after as she is brought to England as the fiancee of the Lawford character, who is heir to a dukedom). The film's tagline was "Happy songs! Happy stars! Happy romance!".

It Happened in Brooklyn was generally well received, Variety noting that: Much of the lure will result from Frank Sinatra's presence in the cast. Guy's acquired the Bing Crosby knack of nonchalance, throwing away his gag lines with fine aplomb. He kids himself in a couple of hilarious sequences and does a takeoff on Jimmy Durante, with Durante aiding him, that's sockeroo."

http://en.wikipedia.org/wiki/It_Happened_in_Brooklyn

A rather forgettable film but it does have a very cool song which would later be recorded by various other artists including Judy Garland in her later years. The lovely Kathryn Grayson is singing accompanied by a young Sinatra on the piano.

Grainbelt University has one attraction for Dobie Gillis - women, especially Pansy Hammer. Pansy's father, even though and maybe because she says she's in dreamville, does not share her affection for Dobie. An English essay which almost revolutionizes English instruction, and Dobie's role in a chemistry lab explosion convinces Mr. Hammer he is right. Pansy is sent off broken-hearted to an Eastern school, but with the help of Happy Stella Kolawski's all-girl band, several hundred students and an enraged police force, Dobie secures Pansy's return to Grainbelt.

http://www.imdb.com/title/tt0045479/plotsummary

The film was a spin-off of sorts from the CBS series "The Many Loves of Dobie Gillis" (1959-1963); forgettable, but not without a few nice love songs

Vera Cruz is a 1954 American war film starring Gary Cooper, Burt Lancaster, Denise Darcel, Sara Montiel and Cesar Romero. The Technicolor Western was directed by Robert Aldrich from a story by Borden Chase. It is considered one of the most influential Western movies ever filmed.[citation needed] The film's amoral characters, Mexican setting, and cynical attitude towards violence (including a scene where Lancaster's character threatens to murder child hostages) was considered shocking at the time, and influenced future Westerns such as The Magnificent Seven, The Wild Bunch, and the films of Sergio Leone.

During the Franco-Mexican War, ex-Confederate soldier Ben Trane (Cooper) travels to Mexico seeking a job as a mercenary. He falls in with Joe Erin (Lancaster), a lethal gunslinger who heads a gang of cutthroats (including Ernest Borgnine, Jack Elam, Charles Bronson, and Archie Savage). They are recruited by Emperor Maximilian (George Macready) to help escort Countess Duvarre (Denise Darcel) to Vera Cruz.

Trane and Erin discover that the countess and Marquis Henri de Labordere (Cesare Romero) are secretly transporting a large cache of gold intended for the French army. All concerned, including Juarista secret agent Nina (Sara Montiel), conspire to steal it for their own purposes. Also involved in the mix is Morris Ankrum as a heroic Juarista leader.

In the end, Trane and Erin face off in a showdown.

http://en.wikipedia.org/wiki/Vera_Cruz

I don't know if it's the greatest Western ever, but this little number has to be about the most *Root-Tootin' & Shootin'* son-of-a-gun Western ever made, and is also said to have been the inspiration for Italian Western Spaghetti master Sergio Leone.

We're talking about Burt Lancaster, and Gary Cooper, shooting up the high-heavens down in Old-Mexico, as mercenaries in Northern Mexico during the reign of Spanish ruler Maximilion. Cooper has aged signifiganctly since his legendary role in High Noon, and of course would die all too early in 1961. But the career of Burt Lancaster was only beginning, as he would go on to be a contemporary American star as well, and was a year removed from his Academy nominated role in 1953's "From Here to Eternity" with Frank Sinatra and Monty Clift. Gary Cooper is of course a Hollywood God (Tony Soprano often references Gary Cooper; the strong-silent type); and Lancaster, in addition to being one of the best actors in the world for a span of over 40 years, was descended from a family of circus acrobats and was one of the best pure athletes to ever grace the screen. He plays the ultimate mytholized gun-slinger--decked out in black leather set against his flaxen blond locks, carrying two guns-- and he and the older (but always stoic) 'Coop' really shoot out the lights in this one: Including one scene at the Maximillion's palace where the protagonists proceed to shoot the wicks out of flying candle sticks to prove their superioty to the Spanish gunfighters. The fact that it's friggin' Burt Lancaster and Gary Cooper gives the scene such credibility that your American (and TEXAS) pride swells with every shot fired.

Ultimately, each character's moral ambiguity leads to a final gunfight between the friends as the young and limber Lancaster faces off against the aged, oak-strong Gary Cooper. Burt's character takes on the villian role while Cooper (a priori) takes the moral high-road. In one of the best finale gun fights to any Western ever made, the younger, flashier, flaxen Lancaster is all set to 'smoke' the older Cooper; however, the ole 'Coop' proves to be too much for the kid.

"Me, I'm gonna have more money than you ever *thought* you could have -- you and all the rest of you stinkin' sons of ... Benedicts!"


Giant is a 1956 drama film directed by George Stevens from a screenplay adapted by Fred Guiol and Ivan Moffat from the novel by Edna Ferber. It stars Elizabeth Taylor, Rock Hudson and James Dean and features Carroll Baker, Jane Withers, Chill Wills, Mercedes McCambridge, Dennis Hopper, Sal Mineo, Rod Taylor and Earl Holliman. Giant was the last of James Dean's three films as a leading actor, and earned him his second and last Academy Award nomination – he was killed in a car accident before the film was released. Nick Adams was called in to do some voice-over dubbing for Dean's role.

Bick Benedict (Rock Hudson), the head of the rich Benedict ranching family of Texas, goes to Maryland to buy a stud horse, War Winds. There he meets and courts the socialite Leslie (Elizabeth Taylor), who becomes his wife. They return to Texas to start their life together on the family ranch, Reata. Luz (Mercedes McCambridge), Bick's sister, and Leslie don't get along. Jett Rink (James Dean) the family handyman, is envious of the Benedict wealth and flirts with Leslie.

In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

The movie, based on Edna Ferber's bestselling novel, portrays how the oil industry transformed the Texas ranchers into the super rich of their generation. A major sub-plot of the movie is the racism against Mexican Americans in Texas. When the movie starts, Bick and Luz are racist towards the Mexicans who work on their ranch, which shocks Leslie. By the end of the movie, though, Bick realizes the wrongs of racism and defends his daughter-in-law and grandson, Juana and Jordan Benedict IV, respectively and earns Leslie's respect.

It was the highest grossing film in Warner Bros. history until the release of Superman.

http://en.wikipedia.org/wiki/Giant


(The infamous 'crucifixion' image
with Dean and Liz Taylor.)

I have mixed thoughts on this film, but it's a must see for Brando fans, if nothing else, b/c it's the pinnacle role (literally) of one of his close friends and 'understudies', the iconic James Dean in his just his 3rd but final role. It was Dean's acting style that closely mimicked Brando's early 'mumbling' and 'muttering' style of speaking which Marlon would of course always be trademarked with. But Dean took the Brando mumble and murmur to a different level: Some of Dean's scenes in the film are so badly mumbled that it's almost impossible to decipher his lines. In his 'last supper' scene, Dean's drunkeness added to his incoherance and the entire scene had to re-dubbed later partially due to his early death; and partially due to the complete inaudibility of the scene! But, the entire thing was the perfect chronicle to Dean's short, but impactful life.

As for the film's reception: although this film also featured the most popular actress in the world at the time in Elizabeth Taylor; coupled with a career defining role for Rock Hudson, it was of course Dean's horrific and untimely death during shooting that made the film an instant iconic classic, forever immortalizing the 24 yr old star.

But Dean's character, Jett, was only a co-star in this film, as the story centers around the lives of a Texas Ranching heir Bick Benedict (Rock Hudson),fighting to preserve the old Rancher way of life, and his new wife Leslie (not from Texas) played by Liz Taylor. But Jett is brilliantly introduced into the plot, I think, a raucous, uncouth, and resentful ranch-hand living at the Benedict Ranch who becomes a millionare when he strikes oil on a small plot of the ranch bequeathed to him from Bick's sister. Leslie is very lured to Jett throughout the 1st half of the film although his advances towards her are very subtle, and their relationship on one hand has almost an "Eve and the Apple" element I think, and on the other Jett is somewhat of a Christ type image (above).

But really, the story is about the Texas Benedicts, and how they adjust to industrial changes as a major land-owning family in Texas during the Industrial age. The story chronicles all of their lives over a 20 yr span including the Benedict's son, played by contemporary star Dennis Hopper (his second role with Dean); as well as the life of Dean's character after he strikes it rich in oil. The film culminates with his 'Final Supper' in which Jett (still a dellusional dreamer of sorts, a 'mad' genius) holds a banquet to celebrate his fame and weatlh; neither of which he has, of course, and he passes out from drunkedness at his own party. It would be his last scene of the film and the last scene in the career of James Dean. The movie soon after ends with Leslie and Bick's marriage appearing stronger than ever, taking their Mexican daughter in law and grandchild to a segregated cafe on their drive home from Jett's banquet.


Trailer
http://www.youtube.com/watch?v=XXBoiOSr9gE

Giant - Jet Strikes Oil
http://www.youtube.com/watch?v=4HvXCRLkkCs&feature=related
Classic, iconic scene as Dean's character, completely covered in crude after he strikes oil, punches out Rock Hudson after throwing himself at Leslie.


James Dean final scene
http://www.youtube.com/watch?v=yuxkb7Ws-bw
Nicknamed the "Last Supper" partly b/c of the situating of the tables and Dean's placment at the center, Dean mumbled so badly that the scene had to later be re-recorded by his co-stars because his death preceded the film's final edit (The girl at the scene is the daughter of the Benedicts who the drunken, despondent Jett only moments before had unsuccessfully proposed marriage; years after trying to 'woo' her mother away from her father.) In the preceding scene Jett is almost involved in a fist fight with Jordan Benedict (Dennis Hopper) b/c of Jett's attempting to disallow Jordan's Mexican wife into the banquet. It was then that Bick (who had also been critical of son Jordan's decision to marry a Hispanic) reaches a true turning point as he comes to his aide to shoo off the almost incoherent Jett.

Rock Hudson vs the Sarge
http://www.youtube.com/watch?v=e4ptm6F2KHQ
All I knew about Rock Hudson going in was his battle with AIDS during the 1980's, but he turned out to be the biggest surprise for me in the film as his character goes through the most transition of any throughout the decades span of the story, as Leslie is ultimately content to love Bick despite their many differences. In this final scene, Leslie and Bick are taking Jordan's Hispanic wife and son to a diner that has traditionally been whites-only. Bick knows that he's getting himself into trouble by bringing them there, but again we see his final transformation and love of Jordan and his new family (his ties to the Ranching family finished) as he is forced to physically fight "The Sarge" in order to preserve this new family (as "The Yellow Rose of Texas" plays in the background)...In reality, Liz Taylor, philanthropist and champion of civil rights, was publically critical of some Texans and what she regarded as their unfair treatment of Mexican Americans there.

Hey "Once More, With Feeling" is on tomorrow.

Is that even on DVD?

DVR/VCR ALERT TONIGHT

On TCM at 9:30 Eastern, "Dead End" starring Sylvia Sydney, Joel McRea, a young Humphrey Bogart and the screen debut of the Dead End Kids.

It is surely dated by today's standards but it's still a wonderful movie showcasing some great talents. It was originally an expose of sorts showing the poverty ridden slums on the New York waterfront and how an early gentrification (a ritzy apartment building) affects the slum dwellers on the block.

Well worth watching!!

"They Drive By Night" stars George Raft, Humphrey Bogart and Ida Lupino.

Simply put, it's an EXCELLENT movie! Very stylish melodrama/film noir story of two brothers (Raft & Bogart) who are truck drivers down on their luck when things take a turn for better and then immediately for worse as Bogey crashes their truck and loses an arm in the accident. Raft eventually hooks up with an old (succesful) friend in the trucking industry and his wife (Lupino, in a TREMENDOUS performance) has the hots for him.

The film shows the blackness of the human possibilities as good as any other film in this genre and the twists and turns make it a VERY enjoyable movie.

It's an SC "MUST SEE"!!!

Yeah SC, I thought it was cool how TCM celebrated Bogie's Christmas birthday all December long, I don't remember them doing that last year. I caught the first night which featured an early film he did with Leslie Howard, an English actor we talked about in Gone With The Wind, who was such a mentor to Bogart that Bogie and Bacall named their daughter Leslie after him.

February is TCM's 31 Days Of Oscars and I have tons of reviews I need to update this thread with, but I just heard on TCM that Kathryn Grayson, who I actually just talked about a few posts back, died this week, a week after her 88th birthday.

This lady had one of those voices that just sort of made you stop in your tracks when you heard it.

Kathryn Grayson 1922-2010

The Horse Soldiers is a 1959 western film, set in the American Civil War, directed by John Ford, starring John Wayne, William Holden and Constance Towers. The film was based on Harold Sinclair's novel of the same name. The team of John Lee Mahin and Martin Rackin both wrote the screenplay and produced the movie.

The movie is based on the true story of Grierson's Raid and the climactic Battle of Newton's Station, led by Colonel Benjamin Grierson who, along with 1700 men, set out from northern Mississippi and rode several hundred miles behind enemy lines in April 1863 to cut the railroad between Newton's Station and Vicksburg, Mississippi. Grierson's raid was part of the Union campaign, culminating in the Battle of Vicksburg. The raid was as successful as it was daring, and remarkably bloodless. By attacking the Confederate-controlled railroad it upset the plans and troop deployments of Confederate General John C. Pemberton.

The Horse Soldiers was filmed on location in Louisiana and in and around Natchez, Mississippi. John Ford cut the film's climactic battle scene short when Fred Kennedy, a veteran stuntman and bit player, was killed in a horse fall. Ford was so upset he closed the set and had to film the rest of the scene later in the San Fernando Valley. The scene with the fatal fall remains in the film.

http://en.wikipedia.org/wiki/The_Horse_Soldiers

No director before or since John Ford has been able to capture the essence of what was the Great American West quite like the 'Godfather' of the Western Film Genre himself. He was a cinematographic pioneer; one of the best directors ever in terms of using the entire screen as his canvas. He is idolized by directors ranging from Orson Welles and Ingmar Bergman to Stephen Speilberg. Even Francis Ford Coppola borrowed from the Western master (Neri closing the door on Kay in the finale of I is an effect taken from the finale of Ford's "The Searchers (1956)", more on that film later.) Ford is pretty much the most decorated director in Hollywood history with four academy awards for best director.

The paradox exists in that many naturally associate him as either 'conservative' or 'Republican' because of his Western pictures and his long standing relationship with ardent Republican and black-listing supporter John Wayne, however; Ford's favorite presidents include Democrats Franklin D. Roosevelt and John F. Kennedy and Republican Abraham Lincoln, and Ford of course stood OPPOSED to fellow Hollywood directing icon Cecille B. DeMille who was in favor of fundamental McCarthyism and Hollywood blacklisting:

"My name's John Ford. I make Westerns. I don't think there's anyone in this room who knows more about what the American public wants than Cecil B. DeMille — and he certainly knows how to give it to them.... [looking at DeMille] But I don't like you, C.B. I don't like what you stand for and I don't like what you've been saying here tonight."

This film is certainly not in the league of Ford's great early masterpieces "The Grapes of Wrath (1939)" or, "Stage Coach (1939)"-two film that are shown from time to time on TCM-but this WAS to be Ford's epic Civil War epic - John Wayne leading the charge behind confederate lines into the deepest parts of the South that any Union soldier had yet been. But it was not to be, as the on-set death of one of Ford's staff members just completely took the life out of the production.

But with Ford, every film was meant to put the audience right in the saddle along with 'The Duke' and experience American history through vivid realisim, this film hooks the audience in the film's intro with a catchy tune that leaves no doubt for the viewer of the signifigance in the fight ahead, with 'Johhny Reb':

"I left my love, my love I left her sleepin' in her bed/I turned my back on my true love/Went fightin' Johnny Reb
I left my love a letter in the holler of a tree/I told her she would find me in the U.S. Calvary
Heigh-O, down they go there's no such word as can't/We'll ride clean down to Hell! And! Back!/For Ulysses Simpson Grant!"

"I'll be all around in the dark. I'll be everywhere. Wherever you can look, wherever there's a fight, so hungry people can eat, I'll be there...and when the people are eatin' the stuff they raise and livin' in the houses they build, I'll be there, too."


The Grapes of Wrath (1940) is an American drama film directed by Academy Award Winner Best Director, John Ford. It was based on the Pulitzer Prize winning The Grapes of Wrath (1939), written by John Steinbeck. The screenplay was written by Nunnally Johnson and the executive producer was Darryl F. Zanuck.[1]

The film tells the story of the Joads, an Oklahoma family, who, after losing their farm during the Great Depression in the 1930s, become migrant workers and end up in California. The motion picture details their arduous journey across the United States as they travel to California in search for work and opportunities for the family members.

In 1989, this film was one of the first 25 films to be selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Some analysts believe the "myth of the Okies", helped created by John Steinbeck's novel, is a mistake. As such, they argue the film's story rings false. The movie was banned in the Soviet Union (USSR) by Josef Stalin after being shown in Poland because of the depiction that even the poorest Americans could afford a car.

http://en.wikipedia.org/wiki/The_Grapes_of_Wrath_

"The Grapes of Wrath" (1940) is the iconic story of young Tom Joad and the Okie farmers who were forced off the Great Plains of the Oklahoma & Northern Texas panhandles by big business's industrialized farming and Mother Nature's "great dust bowl" of the 1930's.

It's a very emotionally stirring film--Woody Guthrie's famous ode "Red River Valley" accompanies the narrative throughout--I watched it the other morning and I get a little choked-up everytime I see the Joads bury "Grandpa" on the side of the road on their way out of Oklahoma. And I can't believe that Henry Fonda didn't win the Academy Award best that year. Correct me if I'm wrong--ronnierocket--but Fonda not winning an Oscar for his portrayal of the now infamous Tom Joad is one of the great travesties in Academy Award history.

I'm also quite familiar with Steinbeck's original novel if anyone wants to discuss the differences between the two. The novel ends a bit differently as Tom Joad's sister Rosie (aka Rose Of, per novel) Sharon and her baby play a bigger role in the finale.

One of the first films ever inducted in the American Film Archives: it's one of the great politcal, and populist statements from that time period. Here's a great video review from the NYT ops:

"...Badges? We ain't got no badges. We don't need no badges! I don't have to show you any stinkin' badges!"

The Treasure of the Sierra Madre is John Huston's 1948 American feature film adaptation of B. Traven's 1927 novel of the same name, in which two penurious Americans (Humphrey Bogart and Tim Holt) during 1920s in Mexico join with an old-timer (Walter Huston, the director's father) to prospect for gold. The old-timer accurately predicts trouble, but is willing to go anyway. The Treasure of the Sierra Madre was one of the first Hollywood films to be filmed almost entirely on location outside the United States (in the state of Durango and street scenes in Tampico, Mexico), although the night scenes were filmed back in the studio. The film is quite faithful to the novel.

By the 1920s the violence of the Mexican Revolution had largely subsided, although scattered gangs of bandits continued to terrorize the countryside. The newly established post-revolution government relied on the effective, but ruthless, Federal Police, commonly known as the Federales, to patrol remote areas and dispose of the bandits. Foreigners, like the three American prospectors who are the protagonists in the story, were at very real risk of being killed by the bandits if their paths crossed. The bandits, likewise, were given little more than a "last cigarette" by the army units after capture, even having to dig their own graves first.

In 1990, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Director Stanley Kubrick listed The Treasure of Sierra Madre as one of his top ten favorite films, and director Paul Thomas Anderson watched it at night before bed while writing his film There Will Be Blood.[2]

http://en.wikipedia.org/wiki/The_Treasure_of_the_Sierra_Madre_

A great exercise in early dog-eat-dog capitalism and sheer greed; it has one of the more unique and yet subtle scenes I've ever encountered in any film when during the movie's climax: spoiler Bogart's character is actually beheaded by the Mexican Bandidos! If you don't look close you'll never notice, but the bandit pulls out a long knife, swings it down on Bogie, and then you can see the ripples in the water as his head rolls into the stream!!! spoiler

The film really shows off Bogart's versatility as a performer and in his choice of script. A must see for all film fans of any generation.

National Velvet is a 1944 film based on the novel by Enid Bagnold, published in 1935. It stars Mickey Rooney, Donald Crisp and a young Elizabeth Taylor.

In 2003 National Velvet was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

National Velvet is the story of a twelve-year girl, Velvet Brown, living in Sewels, in Sussex, England, who saves a horse from the knacker's yard and trains it for the Grand National steeplechase, aided by her father's hired hand, a young drifter, Mi Taylor. The fictional horse which Velvet Brown trained and rode in the National is called "The Pie." When she discovers that the Latvian jockey hired to ride the Pie doesn't believe he can win, she disguises herself as a male jockey and rides the horse to victory.

http://en.wikipedia.org/wiki/National_Velvet

This is the film that launched one of the most immortal and endearing careers of the 20th century in American Film, that of "Dame" Elizabeth Taylor; a name who'll always be associated with Hollywood royalty and glamour of the age. She was just 11 years old, and stole the world's heart for her portrayal of a girl named Velvet who loved and trained her horse with the help of her dear friend Mi Taylor, played by another immortal actor in his childhood years, the beloved Mickey Rooney. But it was through her own kind yet determined nature that "The Pie" a noble horse went on to achieve true greatness, because of the girl's trust in him, and the values already present in Velvet's loyal heart. And little Liz Taylor portrayed these qualities so brilliantly at even such a young age that her career would soon soar to heights perhaps never seen before on screen.

But it's her scenes on the horse that will forever be ingrained in film fan's hearts! Even at such a young age she was able to do almost all of the intense riding sequences thanks to her past equine training...though I've heard it said more than once that she actually injured herself during shooting on the horse, leading to chronic back and spine problems throughout her entire life that affect her right up the present day!--though don't quote me on that.

"It is seldom that there comes a motion picture which can be wholly and enthusiastically endorsed not only as superlative entertainment but as food for quiet and humanizing thought... In working out their solutions Mr. Sherwood and Mr. Wyler have achieved some of the most beautiful and inspiring demonstrations of human fortitude that we have had in films."

The Best Years of Our Lives (1946) is an American drama film about three servicemen trying to piece their lives back together after coming home from World War II. Samuel Goldwyn was motivated to produce the film after his wife Frances read an August 7, 1944 article in Time magazine about the difficulties experienced by war veterans returning to civilian life. Goldwyn hired former war correspondent MacKinlay Kantor to write the story, which was first published as a novella.

It was directed by William Wyler, with cinematography by Gregg Toland. The film won seven Academy Awards. In addition to its critical success the film was a massive commercial success upon release becoming the highest grossing film in both the USA and UK since the release of Gone with the Wind. It remains the sixth most profitable film of all time in the UK.

The ensemble cast includes Fredric March, Myrna Loy, Dana Andrews, Teresa Wright, Virginia Mayo, and Hoagy Carmichael. It also features Harold Russell, a U.S. paratrooper who had lost both his hands in a training accident.

Director William Wyler had actually flown combat missions over Europe in filming Memphis Belle (1944) and worked hard to get realistic depictions of the combat veterans he had encountered. One of the innovative elements he introduced was in asking all the principal actors to purchase their own clothes to maintain an affinity for the period and provide a more genuine "feel."

http://en.wikipedia.org/wiki/The_Best_Years_of_Our_Lives

This is the great return from WWII story that deals with how the family dynamic and its relations have changed in the post-war world. The fact that this was regarded as the best film of 1946 is partly a testament to the original story, and partly to Wyler's unique style of blending the story with the real lives of the actors, drawing from his and other's own personal experience in WWII and society at that time to give the film a more realistic feel, grealty contributing to the ethos and pathos of the story - the audience is able to relate to these characters as if the family and story represent a great synthesis of all American morals,values and ideals at that time.

It is a boastful, prideful movie in that it tries to evince the true persona of Americana during perhaps the most patriotic and trying time in this country's history. That no matter what the times of our lives may bring, its the family--the family and its components--that will always endure throughout the generations, and thus; so will we as a people. And it's no coincidence that this film was as big a hit in the UK as it was in the US.

It harkens back to a time when 'girls were girls and men were men;' the music and the notoriety and authenticity of the actors greatly contribute to the viscereal effects of the film and the emotions that are drawn from the audience.

All of this together, giving us The Best Years of our Lives

Inherit the Wind is a 1960 Hollywood film adaptation of the play of the same name, directed by Stanley Kramer and starring Spencer Tracy (Drummond) and Fredric March (Brady), and featuring Gene Kelly (Hornbeck).

Inherit the Wind is a parable which fictionalizes the 1925 Scopes "Monkey" Trial as a means to discuss McCarthyism.[2]
Rotten Tomatoes has given the film an 90% rating with 19 fresh and 2 rotten reviews.[4] Roger Ebert refers to it as "'a film that rebukes the past when it might also have feared the future." [5] Variety described the film as "a rousing and fascinating motion picture [...] roles of Tracy and March equal Clarence Darrow and William Jennings Bryan who collided on evolution [...] a good measure of the film's surface bite is contributed by Gene Kelly as a cynical Baltimore reporter (patterned after Henry L. Mencken) whose paper comes to the aid of the younger teacher played by Dick York. Kelly demonstrates again that even without dancing shoes he knows his way on the screen."

http://en.wikipedia.org/wiki/Inherit_the_Wind

The real life Scopes Trial on evolution has often been studied in American classrooms in correspondence with this film. I remember being tested extensively over the both the film and the Trial when I was in secondary school. More than anything, the trial and the film alike are both a testament to the power of free will and the pursuit of scientific endeavor. Although Tracy's Darrow character argues for teacher Cate's right to teach evolution in the classroom, in the end scene with Gene Kelly's skeptic agnostic character we learn that although he defends Cates right to teach evolution, he in no way sees it as contradictory to scripture and faith, as a rousing rendition of "Glory, Glory, Hallelujah, his truth is marching on" as Darrow (and Tracy the actor) exit for the final time.

This would be Spencer Tracy's last great film, as Marlon Brando and the "method acting" age would soon insue and the great 'Spence' would pass away a few years later and into cinematic history. And the most signifigant paramount of this film is the roaring court room exchanges between the two screen legends Tracy and Fredric March, which served as a projection for the real-life exchanges between Clarence Darrow and Jennings Bryan. It's been said that actors from all around the studios on different sets would flock into the courtroom scene and around the shooting to get a glimpse of the two giants each deliver their swan-song performances as actors--Burt Reynolds has talked extensively about the impact of this scene and Tracy on his career (btw the real-life creationist preacher Matthew Harrison Brady did die from a heart attack after the trial, but days later in his home, and not in the courtroom after the jury's deliberation as is depicted in this film.)

Father of the Bride is a 1950 American comedy film which tells the story of a man trying to cope with all of the disasters that happen along the way from the time that his daughter announces that she's engaged until the wedding actually occurs. The movie stars Spencer Tracy (Stan), Joan Bennett (Ellie), Elizabeth Taylor (Kay), Don Taylor (Buckley), Billie Burke, and Leo G. Carroll, and was adapted by Frances Goodrich and Albert Hackett from the novel by Edward Streeter, and directed by Vincente Minnelli.

It was nominated for Academy Awards for Best Actor in a Leading Role, Best Picture and Best Writing, Screenplay.

Father of the Bride had a sequel the following year, called Father's Little Dividend, in which Taylor's character has a baby.

Father of the Bride was also made into a television series which aired on CBS during the 1961-62 season. The cast included Leon Ames (Stan), Ruth Warrick (Ellie), and Myrna Fahey (Kay).

A remake of the same name starring Steve Martin and Diane Keaton was released in 1991. It had a numeraled sequel, Father of the Bride Part II, in 1995, also starring Martin and Keaton. Just like the original's sequel, the daughter has her first child. In the latter production, the mother of the bride has a child as well, her third.

There is also a three act comedy Father of the Bride play by Caroline Francke based on the novel.

http://en.wikipedia.org/wiki/Father_of_the_Bride_


Photo taken at Taylor's real wedding weeks earlier:



The Steve Martin and Diane Keeton 1991 remake and 1995 sequels of this were very popular 'date' movies in those days. Such a light hearted film with quaint comedy it's a must watch for any dads who've dealt with the glee and glum that accompanies trying to marry off one's little girl, and almost always invariably having to do so on a budget regardless of one's means haha

And the parallel between this film and the 17 year old Elizabeth Taylor's real life marriage to Hilton Hotel heir Nicky Hilton in 1950 shortly before this film's release was no doubt used by producers to promote the release. This film represented the teenage Taylor's move to more adult roles - Liz had already given one of the best performances in Academy Award history for her role in "A Place in the Sun" released in 1951; and had even played the love affair of a 38 yr old Robert Taylor when she was 16. But I'm not sure anyone could have imagined just "appropos" and indeliable the image of Liz Taylor standing in her white wedding dress in "Father of the Bride" would become. SEVEN marriages with one widower to boot throughout her life, and even today, one can scour the recesses of online blather and find wedding rumors concerning the now mostly confined Liz.

And as much as I love Spencer Tracy's performance as the sometimes bumbling but always steady father of the bride in this original, I absolutely would consider Steve Martin's fatherly performance very comporable in the remake. However, there is just nothing quite comparable to the sheer radiance emitted on screen by a young Elizabeth Taylor in this film:

"...No matter what I ever do or say, Heathcliff, this is me now; standing on this hill with you. This is me forever. "

Wuthering Heights is a 1939 black and white film, directed by William Wyler and produced by Samuel Goldwyn. It is based on the celebrated novel, Wuthering Heights by Emily Brontë. The novel was adapted for the screen by Charles MacArthur, Ben Hecht and John Huston. The film won the 1939 New York Film Critics Award for Best Film. It earned nominations for eight Academy Awards,[1] including for Best Picture and Best Actor. The 1939 Academy Award for Best Cinematography, black and white category, was awarded to Gregg Toland for his work.

The name of the novel comes from the Yorkshire manor on the moors on which the story centers (as an adjective, wuthering is a Yorkshire word referring to turbulent weather). The narrative tells the tale of the all-encompassing and passionate, yet thwarted, love between Heathcliff and Catherine Earnshaw, and how this unresolved passion eventually destroys them and many around them.

In 2007, Wuthering Heights was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

http://en.wikipedia.org/wiki/Wuthering_Heights

Press PLAY:


We've had some spirited talk about GONE WITH THE WIND, and WUTHERING HEIGHTS is a film and novel that I often associate with GWTW for many reasons: both great love stories whose themes have transcended generations, both films come to us during the last of the pre-war days in what has generally been regarged as the greatest year ever in Cinema, 1939, and both films are based on novels that represent the respective author's ONLY work. But the most obvious connection is the real life love affair between Vivian Leigh (Scarlett O' Hara in GWTW) and (Sir) Laurence Olivier in this film (the English stage master who is arguably the greatest actor of the 20th century), who had begun an affair in 1937 and were to be married the subsequent year following GWTW and this film.

By the age of 28, Sir Laurence was already regarded as the foremost classical actor of the British theatre, and about the same time he decided to take this role in essential director William Wyler's film adaptation of Wuthering Heights, he recommended his new girlfriend English stage actress Vivian Leigh to director David Shzick to play the role of Southern deboutant Scarlett O'Hara in Margaret Mitchell's "Gone With The Wind"; the rest of course being cinematic history there.

But a little known fact about Vivian Leigh's now legendary role is that, although the young starlet may have delivered one of the most celebrated performances in Cinematic history, the fact of the matter is that Leigh couldn't wait to get off set of Gone With The Wind and complete shooting QUICKLY so she could run home and jump into the sheets with the future Sir Laurence. Some say that's even the reason for some of her rather hastily delivered lines to Clark Gable in GWTW. No kidding. Olivier and Leigh met just a year prior to this shooting while on set together in another film and remained married until shortly before Leigh's death in 1967. (Vivian Leigh, the future "Lady Olivier", is now known to have had battled serious bouts of manic depression and Olivier once referred to them both as "walking corpses." Olivier married after Leigh's death and remained so 20 years later and beyond as his film and stage career continued somewhat lathargically onward into the 1980's.)

WUTHERING HEIGHTS represents an early raw performance on film by Olivier, one in which he credits the great William Wyler for his advances as a film actor. Though not Sir Laurence's best, it warranted an Academy Award nomination for best actor (Vivien Leigh of course took home Best Actress that year). This, in addition to a sub-par performance from Merlin Oberon's role as Cathy, perhaps explains why this film is often seen as dated a bit, despite the great genesis of sorts of Olivier's combined stage and film career through the great director Wyler. But I think the original novel and more contemporary versions of this film are still today immensely popular among audiences and critics alike. I've read the novel and there's no question that this version is the truest to the original work than any of the others.

In addition to the haunting, timeless love story that has made this such a favorite for even contemporary audiences, this is a narrative that's often been emulated - you know, the one where the guy in the business suit sitting behind the desk trades places with the guy mopping the floors in some sort of commentary on the class struggle between worker and boss; master and slave. It tells generationaly the story of an orphan boy Heathcliff (Olivier) who comes to live with a family during England during the times when the Hapsburg empire was at it's height of power in Europe (young Cathy to young Heathcliff: "Your father was the King of the Orient, and your mother the Queen of India." Great line ) Interestingly, the narrative sort of turns over on itself several times as control of Wuthering Heights swaps back and forth between Heathcliff and the son of the Lintons, who has always been cruel to Heathcliff from the time his father took young Heath in.

Always constant in the topsy-turvy narrative is the love story between Cathy and Heathcliff - love that is never meant to be, and how their undying passion to be with each other over the years ultimately destroys both them and most around them. (Another "Gone With The Wind" connection we see is the projection between Scarlett's "Terra" plantation and Heathcliff and Catherine's Wuthering Heights as the source of their salvation, of sorts. So long as Wuthering Heights lives, so too, does their love.)

And that brings us to that famous after-life scene with Heathcliff and Cathy. It deviates from the novel and was inserted by producer Sam Goldwyn who subsequently claimed, "I made Wuthering Heights, Wyler only directed it." Despite the difference from the novel there are some film and novel critics alike who regard the after-life scene with Heath and Catherine as a nice addition and twist to the story. I most certainly agree and consider this one of the best films made in the pre "method acting" era, largely due to Wyler's haunting, but copacetic ending:



And below is an incredible interview done with Sir Laurence or "Larry" on 60 minutes during the 80's.
He talks about how this film and Wyler helped him transform from a sheer stage actor, his life with Vivian Leigh and just his life as arguably the greatest actor of the century--one which included an affliction with stage-fright in later years--its VERY cool stuff b/c I always associated him as just the scary voice on those old spooky Halloween commercials from the 80's. (This interview was conducted a few yrs after he played mad Nazi Dentist who terrorized Dustin Hoffman (Is it safe?) in Marathon Man (1976), and then Nazi hunter in Boys From Brazil (1978).) A must see interview for all film fans:


--Click here for Part2

Annie Get Your Gun is a 1950 American musical film loosely based on the life of sharpshooter Annie Oakley. The Metro Goldwyn Mayer release, with music and lyrics by Irving Berlin and a screenplay by Sidney Sheldon based on the 1946 stage musical of the same name, was directed by George Sidney. Despite some production and casting problems (Judy Garland had to withdraw from the film because of ill health), the film won the Academy Award for best score and received three other nominations. Star Betty Hutton was recognized with a Golden Globe nomination for Best Actress.

Frank Morgan was originally cast as Buffalo Bill Cody but after filming the movie's opening production number, "Colonel Buffalo Bill", he unexpectedly died. Originally, Judy Garland had been cast in the title role. She was forced to leave the production because of poor health and other personal problems that would soon end her career with MGM. Garland's dismissal from this film (from which some footage and recordings have survived) figures pivotally in the show-biz legend of Judy Garland's fall from grace, her alleged unreliability, and the view of her as a victim of the studio. Betty Garrett was considered but the role of Annie eventually went to Hutton.

According to Betty Hutton, she was treated coldly by most of the cast and crew because she replaced Garland. Only two production numbers were completed with Garland: "Doin' What Comes Naturally" and "I'm an Indian Too" and these were released to the public for the first time in the 1990s in That's Entertainment III Additional studio recordings of Garland also exist and have been released by Rhino Records.

In 1973 it was withdrawn from distribution, owing to a dispute between Irving Berlin and MGM over music rights, which prevented the public of viewing this film for almost 30 years. It was not until the film's 50th Anniversary in 2000 that it was finally seen again in its entirety.

http://en.wikipedia.org/wiki/Annie_Get_Your_Gun_



"At Last On The Screen" reads in the film's poster, but like John Ford's "Horse Soldiers" I discussed earlier, this is one of those films that was released "as is" and was seen by the studios as somewhat of a B production after Garland went down in the lead role, and then "The Wizard" Frank Morgan died in the opening scene of Buffalo Bill Cody. And despite being one of the most beloved and well known American musicals ever, throw in the later dispute over music with Irving Berlitz and it becomes clear that Hollywood never got its grandeouse production and release that would have been appropriate for such a hallmark tale of Americana and the Wild West.

And below is the never before seen footage of Judy Garland's version of "I'm An Indian, Too." It's my favorite song of the musical and I wish Hutton's version was available on youtube but this is pretty special seeing Judy in this role (though for some reason the original audio has been replaced by Iggy Pop and the Stooges (Raw Power 1973) Which I kinda dig, actually, b/c it still matches up pretty well--check out Judy's moves at 1:50, how's that for modern choreography in 1950:



Despite this film being associated with the down-fall of the classic-era Judy Garland, we get another star: a lady like Judy who can sing, dance, act and in addition to being breathtakingly gorgeous was just about the funniest lady alive, but unfortunately, it wasn't until MANY years later that Betty Hutton truly began to receive credit as one of the greatest all around performers of the age. As is, she had to deal with the fact that she wasn't Garland, and this coupled with all of the personal and sociological challenges she would have faced as a woman and mother in Hollywood at this time made her career one of the great tales of true artistic grit, and fortitude.

One of the great early pioneers in screw-ball comedy, Hutton was absolutely a 4-tool performer as were so many of the actresses of the day, and there can be no doubt that studios took this for granted and exploited her much the same they did a performer like Judy Garland.

It's just really sad considering performers like Hutton and Garland represent a style in cinematic AND musical style that was so special and unique to that generation, such a shame the studios would let these ladies fall by the wayside--Garland died early in 1969, of course; but Betty lived until 2007, despite her many trials and tribulations of tyring to balance motherhood and show business and her later years which were wrought with self doubt, depression, and a feeling of unacceptance and alienation from Hollywood and her children alike. The interview that Robert Osbourne did with Betty in 2001 was very touching; Hutton told Osbourne he made her feel accepted for the first time in decades.

And here is Betty, singing one of the all-time 'girl-power' fight songs, "Anything You Can Do I Can Do Better"; such a funny lady with a BOOMING voice.

Singin' in the Rain is a 1952 comedy musical film starring Gene Kelly, Debbie Reynolds, Donald O'Connor, and Jean Hagen and directed by Gene Kelly and Stanley Donen, with Kelly also providing the choreography. It offers a comic depiction of Hollywood, and its transition from silent films to "talkies."

It is now frequently described as one of the best musicals ever made,[1] topping the AFI's 100 Years of Musicals list, and ranking fifth in its updated list of the greatest American films in 2007.

Don Lockwood (Gene Kelly) was a popular silent film star with humble roots as a singer, dancer, and stunt man. Don barely tolerates his vapid, shallow leading lady, Lina Lamont (Jean Hagen), though their studio, Monumental Pictures, links them romantically to increase their popularity. Lina herself is convinced they are in love, despite Don's protestations otherwise.

One day, to escape from overenthusiastic fans, Don jumps into a passing car driven by Kathy Selden (Debbie Reynolds). She drops him off, but not before claiming to be a stage actress and sneering at his undignified accomplishments. Later, at a party, the head of Don's studio, R.F. Simpson (Millard Mitchell), shows a short demonstration of a talking picture, but his guests are unimpressed. To Don's amusement and Kathy's embarrassment, she pops out of a mock cake right in front of him as part of the entertainment; Later, after weeks of searching, Don makes up with Kathy after he finds her working in another Monumental Pictures production, and they begin to fall in love.

Don's best friend, Cosmo Brown (Donald O'Connor), comes up with the idea to dub Lina's voice with Kathy's, and they persuade R.F. to turn The Dueling Cavalier into a musical called The Dancing Cavalier. When Lina finds out, she is furious and does everything possible to sabotage the romance between Don and Kathy.

http://en.wikipedia.org/wiki/Singin_in_the_rain



What's to say about this hallmark production that hasn't already been said?

In addition to the numerous musical masterpieces featured in this film, which are too extensive to be discussed in one review, this is a film that is relevatory; you discover something each time you watch: I've always wondered why Stanley Kubruck's dark 1972 film version of "A Clockwork Orange" makes mention of this beloved classic musical as Kubrick's protagonist Alex Delarge sings Gene Kelly's "Singin' In The Rain" during that film's controversial rape scene, with the song again played in the film's closing credits.

But I wasn't sure exactly what the connection was, other than the fact that car ride at night with Gene Kelly and Debbie Reynolds in the beginning of the film is very similar to the night car ride of Kubrick's protaganist and his 'droogs', particularly the background of a long open road as the night sky sets in.

But really, the connection between the two seemingly different style films is quite obvious if you watch Singin' In The Rain for what it truly is - Gene Kelly and his dancing buddy Donald O' Conner go out on the town and carry out anti-social activites the same as Kubrick's protagonist and "Groogs" do with their "ultra-violence" -- and they both dance, sing and laugh while bucking the mainstream at every turn.

Kelly and O' Conner even trash one of their producers during a dance with office furniture haha, no doubt emulated later by Delarge and his droogs to a much more severe degree in A Clockwork Orange.

Fact is, Gene Kelly's character for all intensive purposes is an absolute deranged maniac and misanthrope, singing and dancing in the streets during a thunder storm. Let's watch him thumb his nose at society's norms in this famous dance sequence, once more ;p



And one of the movie's ironic twists is that although Debbie Reynold's character, Kathy, is dubbing the voice of Jean Hagen's character, Lina Lamont, in actuality it's Hagen who actually dubs Reynolds in several numbers, including the one below.

"We used Jean Hagen dubbing Debbie dubbing Jean," director Stanley Donen explains. "Jean's voice is quite remarkable, and it was supposed to be cultured speech - and Debbie had that terrible western noise."

Haha if you've seen the movie that should all make sense. But here is Debbie Reynold's original recording of dubbing Jean before her version was replaced by Jean -- who dubbed herself. Confused yet? Maybe it's time for a re-watch of this film.

Speaking of the 'current' Liz and Turner Classic Movies...I always enjoy her extremely touching narration of the mini-bio of her dear friend, Montgomery Clift. You can hear the age in her voice, but you can also hear the love and admiration she had for her pal, 'Monte'.

Incidentally...I adore ALL of those mini-biographies, especially when presented by the grown children of the subject. Frank Sinatra, Debbie Reynolds, Gary Cooper, Bert Lahr, Liza Minelli (on Vincent, not Judy), to name a few. (Jane & Peter Fonda are particularly touching when speaking of thier father Henry).

But really, they're all good. Thank GOD for TCM.

Apple

***ALERT***

Anyone up now with TCM (Turner Classic Movies)..... tune in to watch "Them" NOW!!! Just started at 12:30 (Eastern).

The first 30 minutes of it are as good as ANY sci-fi movie EVER made!!!

I see a young James Arness (Matt Dillon from Gunsmoke) on there.

Today is Western day on TCM, and in just a few minutes will be airing John Ford's influential "The Searchers" from 1956, starring John Wayne and Natalie Wood. Ford combined the ways of the silent era with the new methods in talking film Hollywood and no one ever made a film quite like the "Old Master" (as he was so dutifly dubbed by Orson Welles and Ingmar Bergman).

Arguably the greatest Western ever made, in spite of some historical fallacies, The Searchers is truly one of the great treasures of Classic Hollywood. A film to be marvelled at and envied on many levels, many elements in this film would become essential components in the formation of modern Hollywood story telling. Anyone who values a good story will quickly take to this film as the plot keeps you on the edge of your saddle in the Duke's search for little Debbie. "That'll be the day" will be your new favorite catch phrase for weeks. The film's themes and moral issues regarding life in the Old West still resonate today.

But so many methods in this film are uniquely Ford and have never been duplicated with the same effect: As Laurie reads Martin's letter in the film's middle (which chronologizes the events of he and Ethan's search for little Debbie) events from the search are placed on screen betwixt her reading- suspending the audience in time, leaving us without a perception of temporal relevance as we follow the several year journey of the search to find this little girl. It's a film viewer's dream as this script has all of those fun little hidden elements we as an audience like to seek out. There's this rich content that's pervasive and crucial to every moment of the film, as no second is wasted in this search ... and the rich cinematography lends itself to the narrative as well, all in all really making this the PERFECT picture, IMO.

One of the more poignant moments in the film, when Wayne's character Ethan kisses his sister-in-law goodbye, says so much about the film without even saying a word at all. If you're at all familiar with the plot rewatching this scene should literally give you shivers
The Searchers - Best Scene

And it's essential John Wayne in the absolute prime of his career. His younger days are behind him, and this role represents his zenith on many levels. And Natalie Wood also has a big role in this picture as the older Debbie, though you might miss her if you don't look closely, but she's there.



And as promised....A little ditty about Duke and Diane, today on TCM 5:45pm (est)

Yes, it's been a great *SUMMER UNDER THE STARS* on Turner Classic Movies this year. TCM's annual tribute to past Hollywood stars, which devotes an entire day throughout the month of August to 31 selected performers, has thus far included names such as Errol Flynn, Ingrid Bergman, Bob Hope, Warren Beaty, and Walter Matthau to name a few. Also to come this month are some true classics such as Kat Hepburn, Paul Newman, Elizabeth Taylor, Lauren Bacall, Henry Fonda, with the month long tribute corronating on the 31st with an all day tribute to Clint Eastwood, which I think is rather cool. I'm also interested in seeing the films of Robert Stack, who I know mostly for his role as the host of NBC's "Unsolved Mysteries" from the 80's.

And featuring today are the films of Margaret O' Brian, the little girl with the patented cry, best known for her ability to shed tears at any given moment and sustain that cry. O' Brian was extremely talented musically and had a successful career as an adult actor, but will always be remembered for her childhood roles. In particular, one movie which we've discussed extensively in this thread, which aired today on TCM, is Vincent Minneli's classic musical "Meet Me In St. Louis" from 1944, where O' Brian played the adorable and meddling little sister of Judy Garland.

Now, the lack of breadth to O' Brian's filmography speaks volumes to just how legendary Minneli's classic St Louis has to come to be. The film follows one year in the life of a St. Louis family in turn of the century rural America, and Minneli goes to all lengths to portray the beauty of their town and surroundings. The four sisters are all protaganists, as they each try to adjust to their respective stages of life, all the while living in the shadow of a changing St Louis and a changing America, as the father decides to move the family to NYC just as the "World's Fair" is coming to St. Louis in 1904. The musical comedy drama of sorts is an early display of that classic Manneli wry sense of humor story telling, where the director brilliantly uses the cinematography to help establish differing moods and feeling, as the interplay between the shadow and light in his lush scenery becomes a major player in the narrative. There are these beneath-the-surface subtle, yet eerily ironic twists and double meaning often seen in a Minneli film. It's also the picture that brought together Garland and Minneli for the first time, culminating of course in their marriage and birth of future American actress Liza Minnelli.

Among the film's other notable achievements, and one which would later come to define the career of Margaret O' Brian, is Judy Garland's introduction of "Have Yourself A Merry Little Christmas"; a now staple Christmas time classic that came from a film which hardly deals with Christmas at all. But to those who know Judy's original version, and who come to together every year at Christmas time to share it, 7 yr old child star Margaret O' Brian and her crocodile tears are as much a part of the song as anything else. And perhaps, a part of the child on Christmas in all of of us, too.

** The films of Margaret O' Brian. All day today on TCM **

I watched that interview Robert Osbourne did with Betty Hutton again a few weeks ago and it really it is a treasure for all film lovers. Since the inception of TCM in 1994 Osbourne has done several interviews with classic stars who are/were still with us such as Janet Leigh in her last years, her former husband Tony Curtis, Dick Powell, just to name a very few not to mention the plethora of contemporary stars that often accompany the host on TCM. But one gem of an interview Osborne conducted was with Robert Mitchum in his last years, in which Mitchum decided to basically "stone-wall" Osbourne for practically the entire interview. Something that he'd been known to do before, but it's just funny when you think about the great Film-Noir King and Hollywood bad boy/golden boy Robert Mitchum as an old cranky codger giving one-word answers to the mild mannered Osbourne, who later said the event INFURIATED him, but one that he still valued as a great document in classic film lore.

But the Hutton interview as I stated earlier was probably my favorite for a number of reasons, including the apparent catharsis the aged Hutton appeared to have during the interview. Betty talked about being distant from her children and grandchildren throughout their lives and she candidly said in her later years that she didn't think it was possible in those early times, or perhaps in ANY time, for a woman to be such a tremendously diverse artist engaing in so many fields (singing, dancing, acting, screw-ball comedy) and a "Good Mother" simultaneously.

It's that context with which I approach Betty's whistful yet cathartic version of "I Wish I Didn't Love You So". I'm reminded of that fine line we all walk between pursuing our own ambitions and how our life decisions affects others around us. Topically, the song tells of falling in love against one's own wishes, but beneath the surface is an ode to the 'bohemian', artisan, or deep thinkers and lovers of simple gifts that seek out the good things that life has to give beyond the rhealm of the prototypical, provincial human experience of life-and-love, but who can still never can quite escape certain forces or conditions of human experience that beckon them back to a simpler (and perhaps happier) existence.



Betty in her more usual lighter note:

Ice, I remember watching that interview when it first aired and agree with you (again) that it's among the best if not THE BEST of all the 'Private Screenings'. Betty Hutton was such a doll and so forthright and honest about her career, relationship w/ her children and above all finding her faith, which she had credited many years earlier for literally saving her life. She was such a joy, whether bursting into one of her film numbers or even while lamenting the coldness of the 'Annie Get Your Gun' cast/crew after her replacement of the fired Judy Garland (which is implied by many to have been imagined).

Another of my all time favorites is the chat w/ Stanley Donan, who gave some terrific insight not only to his films but also his classic acceptance speech when given a special Lifetime Achievement Academy Award.


All in all, it's really a FABULOUS series although I'm still waiting for Osbourne to get hold of some contemporaries like Barbra Streisand, Robert Redford, Goldie Hawn, Al Pacino, AND Joanne Woodward who may have treasures of her own to share about both her own career and Paul Newman's (Hard to believe he's been gone nearly 2 years!).

Yes, I think we both have a taste for the panache. GUILTY as charged!

Oh dear, I have piles of old clips and stills I need to update this thread with. 10 pages and not one mention of Audrey Hepburn...*sigh*

Who's Afraid Of Virginia Woolf (1966)

As a Liz Taylor fan, and a fan of film history in general, this post-modern black and white was in many ways a pinnacle watch for me.

Elizabeth Taylor grew up on the screen, she was America's sweetheart at the age of 7. By the time she was 18 and starring in Father of the Bride, she was arguably the most beautiful woman in the world. A year later, after A Place In The Sun, she became one of the most accomplished actresses Hollywood had yet seen. In this role we find her at about 34 years of age, but playing an even older woman in Virginia Woolf I'd say. In this role, we see her own personal transition as an actress as well as Hollywood's transition into the new-age of the 1960's and beyond, when traditional ethical and moral standards in film making began to crumble. It was very interesting to see how Liz Taylor, once America's Darling, was one of the main actors who helped engender this change.

The language is rather tame of course by today's standards, but still racy and raunchy and very controversial for the time. And to see the normally dignified and prudent Taylor lashing out as a somewhat middle aged sex-crazed, foul-mouthed alcoholic middle aged wife made her appear as a REAL person for perhaps the first time in her career (not an idealized or romanticized vision of what Hollywood or America is supposed to represent). It's almost as if Hollywood grew up right alongside Taylor as well.

And the comedic element is uncanny; you just don't get that kind of writing today--lewd, but not hyberbole prone and over the top. Just the perfect element of realness and believability that draws the audience in. Taylor and Burton are electric, unconvenential, yet very relatable to. Their quarrels actually resemble a real-life confrontation in the depth and breadth of their message and its delivery, and this real-life element adds to the pathos of the story.

Excellent watch; a narrative structure and scenario that's been emulated by playwrights and screenwriters since--perhaps even beforehand--but never done quite as well as this. Taylor and her then husband Richard Burton play an onscreen "old married couple" who have a severed relationship but for what reason we the audience really aren't aware of (some issue with their son). A night with another couple (younger than themselves) turns into a rather prurient evening amidst thundering confrontation between Taylor and Burton. We find the two (especially Taylor) testing the animalistic limitations of sex and faithfullness in a marriage with their younger and inexperienced counterparts. (Often times, a narrative such as this presents itself in this manner with the circumstances of a changing outside world at that time, which fuel the interactions between the couples, if that makes sense.)

Perhaps my favorite Elizabeth Taylor role ever next to A Place In the Sun. She's never looked sexier, even at age 34, and even in character of someone much older and more jaded than her own self. But with her real-life tragedy that preceded this role, it's no small wonder what a tour de force she was on the screen.

Highly recommended watch if nothing else than for its historical significance.

Oh my gosh I am absolutely obsessed with TCM. It's a wonderful station that has introduce me too many terrific movies. I can't tell you how many movies I have watched and LOVED.

Good for you, fortunato. I always keep an eye on that network. They recently broadcast The Elephant Man, which was a 1980 movie. I know I'm getting older when TCM is showing movies that I saw in the theatre.