TCM: The Greatest Movie Channel

[Rinaldo]

I pretty much agree with you, elle. Somehow the pairing doesn't work out; their dancing doesn't inhabit the same world so they can't really duet satisfyingly, and the age difference really does stick out (mostly because the plot construction makes him the manipulator all through -- Cary Grant's instinct was right in Charade that if he was paired with a woman so much younger, she had to be the instigator). At least there's one classic song for Fred to sing, "Something's Gotta Give."

 

For those who don't know it, by the way, I heartily recommend the original Jean Webster novel Daddy Long Legs, which is delightful for the frank, funny way it depicts life in a woman's college in 1900 (the book appeared in 1912). Except for a prologue in the New England orphanage, it's told entirely through Judy's irreverent letters to her unknown guardian. The book is available in online archives, though it's hard to find an upload that includes "Judy"'s occasional drawings that adorn her letters. It's a picture of a particular time and place that's utterly charming.

[elle]

For those who don't know it, by the way, I heartily recommend the original Jean Webster novel Daddy Long Legs, which is delightful for the frank, funny way it depicts life in a woman's college in 1900 (the book appeared in 1912). Except for a prologue in the New England orphanage, it's told entirely through Judy's irreverent letters to her unknown guardian. The book is available in online archives, though it's hard to find an upload that includes "Judy"'s occasional drawings that adorn her letters. It's a picture of a particular time and place that's utterly charming.

I knew about the Mary Pickford version of the story.  I did not know that it was based on a book.  Now that I know that, the animated TV show Daddy Long Legs from the 1990s had to have been based on the book.

 

Somehow the pairing doesn't work out; their dancing doesn't inhabit the same world so they can't really duet satisfyingly, and the age difference really does stick out

What do you think of the dance scenes themselves?

Edited July 30, 2015 by elle

[Julia]

Some versions are online here (I heart Project Gutenberg absurdly), although disappointingly the ones which say they have images don't appear to.

[Rinaldo]

What do you think of the dance scenes themselves?

As I suggested, I don't think they work too well -- the dream stuff doesn't find a meeting place for their different approaches (I actually think a better middle ground with Audrey Hepburn), and the Slue-Foot doesn't amount to anything gratifying. The one I like best is the simple routine they do to "Something's Gotta Give" -- it doesn't try for much, but it has flow and grace. Or maybe it's just that I like the song so much.

[ratgirlagogo]

 

her performances in The Big Street and Dance, Girl, Dance equal any big-time star (and are better than many).  And she was absolutely gorgeous (especially in Technicolor).  

I'd add DuBarry Was A Lady and Best Foot Forward.  I do especially like her in Dance, Girl, Dance.  I have never been a fan of I Love Lucy though, or of My Favorite Husband before it.  Just too broad and sitcommy for me, although I respect how good she was at it.  Same for me with Eve Arden in Our Miss Brooks - I really think she was just wonderful (kind of a Janeanne Garafolo of her day), but I don't like the show on either radio or TV.    In both cases (Eve and Lucy, I mean)   it just seems like a dreary unfunny show with  stellar production values (including some funny one-liners), featuring a brilliant female star who deserved a better vehicle.  In both cases of course it seems ridiculous to argue with what turned out to be long term successes for the stars - but I still feel disappointed every time by both shows.

Edited July 30, 2015 by ratgirlagogo

[Milburn Stone]

I pretty much agree with you, elle. Somehow the pairing doesn't work out; their dancing doesn't inhabit the same world so they can't really duet satisfyingly, and the age difference really does stick out (mostly because the plot construction makes him the manipulator all through -- Cary Grant's instinct was right in Charade that if he was paired with a woman so much younger, she had to be the instigator). At least there's one classic song for Fred to sing, "Something's Gotta Give."

 

I'm going to have the watch the movie again (it's been a while), but my memory is that Fred's own repeated self-deprecating references to his age go a long way to making the age difference more palatable. Only with reluctance does he begin entertaining romantic feelings toward Leslie; in my mind's ear I can hear Fred saying something like "it's ridiculous, why, I'm old enough to be her father." (Or somehow getting that thought across.) And then of course you have the self-deprecating repetition of the idea in the central song, "Something's Gotta Give": "When an irresistible force such as you/Meets an old immovable object like me," and "When an irrepressible smile such as yours/Warms an old implacable heart such as mine." (Italics added.) If the age difference were denied, or if Fred were in some kind of denial about it, the pairing might feel creepy, almost predatory. But to me it never has. Put it this way. If I get outside the movie, I can look at it from a distance and say, "Yeah, that's all kinds of wrong." But when I'm watching the movie, I don't.

Edited July 30, 2015 by Milburn Stone

[Rinaldo]

I don't really disagree with that, Milburn Stone. One of the things I think is great about that song is that it does deal with the issue head-on, and does a lot to defuse it. And I by no means have a knee-jerk objection to relationships with an age difference; I've been the elder party in one myself, in my time. Ah well, I should watch the movie again, as it's been a while for me too. But my main memory of it is that I keep hoping for it to come alive -- it seems, in theory, to have the elements -- and for me it doesn't. All my verbiage adds up to an attempt to figure that out after the fact.

[Milburn Stone]

Speaking of "dance crazes" in Fred Astaire movies, it's too bad "The Sluefoot" never caught on. :)

 

In the plus column for the movie are two invaluable assets: Fred Clark and Thelma Ritter. IIRC, they function as a kind of "Greek chorus" to tell Fred (constantly) how old he is. As if he isn't self-deprecating enough. Which also helps the storyline's palatability rating.

Edited July 30, 2015 by Milburn Stone

[Rinaldo]

Some versions [of the book Daddy Long-Legs] are online here (I heart Project Gutenberg absurdly), although disappointingly the ones which say they have images don't appear to.

I've been through the mill on this in the past, and I believe the only online version which actually has images (in addition to the line drawings, some photos from the early stage version) is the one that Gutenberg lists separately as Daddy Long-Legs: A Comedy in Four Acts. The stage adaptation is an actual thing (and can be found elsewhere online) -- but this isn't it, this is the novel with drawings. It's also a better transcription of the text -- avoids errors found in others, uses italics accurately, and retains slang like "flunked." Enjoy.

Edited July 31, 2015 by Rinaldo

[ratgirlagogo]

The version on archive.org (from a Boston Public Library copy) also has the illustrations.

 

https://archive.org/details/daddylonglegs00webs

 

You do know this book is in print, from many different publishers.  The Everyman's Library edition definitely has the illustrations, I'm not sure about all the others.

Edited July 30, 2015 by ratgirlagogo

[HyeChaps]

"Daddy Long Legs" creeps me out, big time.

[elle]

The version on archive.org (from a Boston Public Library copy) also has the illustrations.

 

https://archive.org/details/daddylonglegs00webs

 

You do know this book is in print, from many different publishers.  The Everyman's Library edition definitely has the illustrations, I'm not sure about all the others.

Thank you for posting this!  I was not expecting to be able to see the whole book.  At first, I was skimming to see the illustrations and then found myself reading along.  A quick read, I don't know why but the part about the Stereognathus made me giggle.

 

"Daddy Long Legs" creeps me out, big time.

Treat yourself and check out the book, better than the movie. :0)

 

I meant to ask, if anyone remembers, how was Joan Collins as a guest programmer?  Did she speak of the original The Women at all or only her role in the remake and the oft-mentioned scene where June Allison really slaps her.

Edited July 31, 2015 by elle

[Sharpie66]

I have avoided the film of Daddy Long Legs just because I am such a fan of the book, so reading your responses about the movie ensures I will never watch it. (And thanks for the link to the illustrated version, Rinaldo--that's the one that I've had on my tablet for the past year!)

 

Going back to the Gene Kelly discussion upthread, for me, he was and always will be the ultimate MGM musical star, along with Judy Garland. For all of the Astaire films I've seen and loved, Gene Kelly is my favorite dancer in his style and skills. Astaire is elegance personified, but Kelly's more physical approach just appeals to me more. (There's a reason my favorite Astaire routine is the Fourth of July number in Holiday Inn--it's all about the tapping and the firecrackers, so it's more Kelly-esque to me).

 

I even enjoyed his non-musical turns on screen--the two that stand out right now are his D'Artagnan in The Three Musketeers and his journalist in Inherit the Wind.

Edited July 31, 2015 by Sharpie66

[Milburn Stone]

Did anyone the other night see the mind-boggling short subject from the fifties in which the U.S. government exploded atomic bombs in the desert for the purpose of proving the point that you should keep your house and yard tidy?!???

 

(Sample houses were erected in the path of the blast, some with clutter inside and out, some neat and tidy. Lo and behold, the tidy houses survived the blasts! So, keep your houses and yards neat and clean, America!)

 

Yes, a point totally worth exploding several atomic bombs for.

[3pwood]

I saw that & could hardly believe it.  I remember a man on our block in 1955 building a bomb shelter in his backyard (& my father saying he was nuts), but I never heard about the absolute danger posed by untidy housekeeping. 

[Athena]

I've seen all the Astaire/Rogers movies, and even though some of the movies were slower than the others, the whole experience of watching them was delightful. I definitely like the standard ones already mentioned. Those movies were popular during such a hard time in American history and it's no wonder why it didn't do well, they were just lovely and good entertainment.

 

Speaking of "Daddy Long Legs", I had never heard of this story growing up until I watched Korean dramas referencing it. It's part of the mainstream culture over there and there is more than adaptation in recent years and several dramas which have similar premises.

[Milburn Stone]

I have avoided the film of Daddy Long Legs just because I am such a fan of the book, so reading your responses about the movie ensures I will never watch it. 

 

That's a pity.

 

Speaking of Gene Kelly and his (mostly) non-musical turns on screen, one of the worst films I've ever seen is Living in a Big Way (1947). TCM has shown it I believe, but basically it seems to have been suppressed. (How many here have even heard of it?) Not just mediocre or disappointing--shockingly inept. It has one number, choreographed by Kelly and Stanley Donen, that is engaging, but nowhere near enough to redeem the film. When you watch it, not only can't you believe Gene Kelly ended up in this disaster, you can't imagine it came from a major studio. MGM produced its share of mediocrity and worse, but almost always the checks and balances within the studio assured a certain base level of competence. 

Edited August 1, 2015 by Milburn Stone

[Rinaldo]

I heard of it because one scene was featured in the first That's Entertainment! I don't think the title was identified onscreen, but I read a review that helped out with identifying clips that might be obscure to viewers. (Back in the 1970s we didn't have easy search capabilities, or availability of older movies, as we take for granted now.) But as it happens I've never seen it; what's so inept about it?

[Julia]

Was that the black and white movie where he did gymnastics in the framework of a construction site?

[Milburn Stone]

I heard of it because one scene was featured in the first That's Entertainment! I don't think the title was identified onscreen, but I read a review that helped out with identifying clips that might be obscure to viewers. (Back in the 1970s we didn't have easy search capabilities, or availability of older movies, as we take for granted now.) But as it happens I've never seen it; what's so inept about it?

 

I would say the major thing that's inept is a HUGE miscalculation about the effect the story and the characters will have on the audience. It's been too long for me to be specific, but we are clearly meant to care about characters we care nothing for, clearly meant to be charmed by situations that aren't charming, clearly meant to engage with serious social issues (returning vets of WW2) that the movie fails to make us give a damn about, clearly meant to admire wit that doesn't exist. Etc. The net effect is to create not indifference in the audience, but hatred! You want to cry out, "Was nobody at the studio watching these dailies?"

 

Edited to add: Julia, yes, that was the one. Extracted from the film, it looks like a pretty good number. Inside the film, it suffers from being tainted by everything around it.

Edited August 1, 2015 by Milburn Stone

[elle]

Odd thing, I was thinking about the one movie of Victor Moore's that I know and like It Happened on 5th Avenue; which just so happens to deal with WWII vets returning and the housing shortage.

 

I recall the host, Robert I think, talking about the movie after it had been on, how it was one of his favorites but that it was more or less unknown because it was overshadowed by another 1947 movie Miracle on 34th Street.  Really, what could compete with a young Natalie Wood?

 

I think "5th Ave" does well on its own, and the things that annoy one about Victor Moore in Swing Time work to his advantage in this movie.  His laconic ways seem to be a sense of calm in the midst of the rest of the chaos and works to get the other characters to slow down and step out of their lives for a moment.  And as a plus it features a young, Alan Hale, Jr.!

[ratgirlagogo]

I like Victor Moore actually, but on the other hand I always get him confused with Cliff Edwards (Ukelele Ike).  So it may well be that I like Cliff Edwards (and I DO like Cliff Edwards) and NOT Victor Moore.:)

Edited August 1, 2015 by ratgirlagogo

[chitowngirl]

I just saw The Ghost and Mrs. Muir for the first time. WOW! (In a good way!)

 

Looking ahead to the October schedule-certain nights feature Women filmmakers so the movies are from the 1980s and 1990s. That's just going to be weird.

Edited August 2, 2015 by chitowngirl

[CMH1981]

I had the same reaction when I first saw the film too chitowngirl.  It's such a great film.  I didn't watch it last night, but recorded it for the Essentials wraparound conversations b/t Robert and Sally.  I didn't know about the scandal about Harrison and how he was basically exiled back then and it was My Fair Lady that led to him being welcomed back to Hollywood..

[Julia]

Which scandal? There were so many.

[CMH1981]

Rex Harrison's affair with Carole Landis.

Edited August 2, 2015 by CMH1981

[ratgirlagogo]

 

Looking ahead to the October schedule-certain nights feature Women filmmakers so the movies are from the 1980s and 1990s. That's just going to be weird.

I suppose we'll all have more to say about it in October, but I do find it odd that it seems to jump from the very early silents of Alice Guy and Lois Weber, and then jump ahead to as you say, so many from the 1980s and 1990s and even more recent things like The Hurt Locker.

 

Although I do have to point out to prican58 that October 24th will devote The Essentials to - Oscar Homolka.

[elle]

Although I do have to point out to prican58 that October 24th will devote The Essentials to - Oscar Homolka.

No. Really?  Maybe if I start now I can pester my cable company to put TCM back on the right tier.

 

Did anyone the other night see the mind-boggling short subject from the fifties in which the U.S. government exploded atomic bombs in the desert for the purpose of proving the point that you should keep your house and yard tidy?!???

Oddly enough, as I was typing the above comment, I had a documentary on about the bomb in which they show this exact clip.  I thought that must be what you had mentioned here.

Edited August 2, 2015 by elle

[jjj]

I just saw The Ghost and Mrs. Muir for the first time. WOW! (In a good way!)

That is one of my favorite movies, although I did not see it yesterday.  The score for it is so lushly romantic, like the story.  The Captain's farewell while Mrs. Muir is sleeping always makes me cry.  This is one I'll have to get on DVD. 

 

Just turned on to see the end of "Princess O'Roarke" today, and I hope it shows up On Demand tomorrow.  Had never seen it, but I was fascinated by the scenes shot in the White House, and that President Roosevelt's actual terrier Fala was in the film, doing tricks I would only have expected from a "real" stage dog!  I know it is a hokey plot, but the last half-hour was well worth my time!  Boy have times changed, in terms of having access to the White House to film a commercial picture in the bedrooms?! 

[Charlie Baker]

Today is Myrna Loy's 110th birthday.  

[Bastet]

I was hoping for a birthday mini-marathon like they did for William Powell’s birthday on Wednesday. But since they aired a couple of the Loy/Powell films during that block of programming, I guess it sort of counts – and is fitting, since they used to celebrate their birthdays together.

[prican58]

Oh ratgirl!  That  Homolka info is  great but damn, my birthday is Oct 23!!! What a present that would have been!!

 

This de Havilland tribute probably should have excluded the WB pics with Bette Davis because really, they are BD vehicles, for sure. Even though I just watched Robin Hood a few weeks ago, I am being pulled in by its pending airing. I really should watch Last Tango in Halifax on PBS instead but not sure yet. 

[Crisopera]

I, too, was stunned into complete disbelief by seeing that atom-bomb short.  Holy shit!  What a jaw-dropper.  Clean up the yard!  Paint your house!  Or your house will NOT SURVIVE AN ATOM BOMB BLAST.  As opposed to your neighbor's clean, well-painted shack.  Wow.  Well, I guess I'm off to do some yardwork!

[Rinaldo]

Ya gotta admit, as a spur to get people to do something, surviving the bomb is hard to top.

[prican58]

Watching Father Takes a Bride with Menjou and Swanson. It's amusing and I like seeing Menjou in a different kind of role.

 

Very nice seeing the very young Desi Arnaz but I had seen him in Too Many Girls. Damn but he was beautiful! He was always my favorite part of I Love Lucy. He reminds me of my father. There was a scene where Desi is singing to a recorded version of "Perfidia". It's such a beautiful song, very romantic. For reference, it's the tune we see Rick and Ilsa dancing to in the Paris flashback in Casablanca. But I notice that Desi isn't actually singing. Firstly, he just never had such a booming, forceful singing voice. Second, it is evident to me that whoever did sing the song he wasn't a Spanish speaking person as I could sense a distinct American accent at certain points.

But it's an amusing film. I wish I was off the entire month so I could watch many of the films that I will be airing.

 

Why couldn't they air Stage Door earlier? Oh well... 

[ratgirlagogo]

 

Perfidia". It's such a beautiful song, very romantic

One of my favorite songs, done by anyone.  I even love the instrumental surf version by the Ventures.

[mariah23]

Coleen Gray died yesterday at age 92.

[CMH1981]

Some thoughts on "A Light in the Piazza" which up till this point I thought was just a Broadway show.  It was a great, but interesting movie.  I loved the beautiful cinematography and I don't think I have ever seen a Olivia de Havilland film that wasn't a period piece.  She is a very beautiful woman.  

 

It was an interesting movie story wise.  You don't run into many mother basically selling off daughter w/o the husbands knowledge films too often.  I didn't see the twist coming that Clara was actually 26 b/c the actress actually looked like a girl in her late teens or early twenties.  I loved how the mother realized how Fabrizio was good for her daughter and was able to calm her where nobody else could at that point, but just selling her off like that was so strange to me.  It left me wondering what Clara was going to think the night of her wedding when Fabrizio tries to consummate the marriage, would she understand or would it be like rape?  What would Clara's father think when only his wife returns to America and tells him that their daughter is now married to the Italian suitor that had taken Clara's interest as well as them now having to bay $15,000 to the family.  It was a strange, yet interesting film all the way around.

Edited August 4, 2015 by CMH1981

[Rinaldo]

I haven't seen the movie (it's sitting on my DVR) but I adore the musical based on the same source. It deals better with a couple of the points you raise (I don't know how the novella handles them). The kids are sexually drawn to each other and are enthusiastically in bed together as Act I ends, so there's no doubt about her understanding physical passion. And Margaret is often on the phone with her husband, updating him on what's happening. It's still an odd occurrence, of course, but that's what fiction gets written about.

[elle]

Some thoughts on "A Light in the Piazza" which up till this point I thought was just a Broadway show.  It was a great, but interesting movie.  I loved the beautiful cinematography and I don't think I have ever seen a Olivia de Havilland film that wasn't a period piece.  She is a very beautiful woman.  

 

It was an interesting movie story wise.  You don't run into many mother basically selling off daughter w/o the husbands knowledge films too often.  I didn't see the twist coming that Clara was actually 26 b/c the actress actually looked like a girl in her late teens or early twenties.  I loved how the mother realized how Fabrizio was good for her daughter and was able to calm her where nobody else could at that point, but just selling her off like that was so strange to me.  It left me wondering what Clara was going to think the night of her wedding when Fabrizio tries to consummate the marriage, would she understand or would it be like rape?  What would Clara's father think when only his wife returns to America and tells him that their daughter is now married to the Italian suitor that had taken Clara's interest as well as them now having to bay $15,000 to the family.  It was a strange, yet interesting film all the way around.

I love these films that are like time capsules for the cities in which they film!

 

The reveal that Clara is 26 is interesting to me because it exposes the prejudice that Fabrizio's father has against her age.  Then, we find out that he doesn't even really now his son's own age - thinking he was 20 when he is 23.   There is also a strange conversation between the two parents from which one could think that, according to his father at least, the son is not the brightest bulb in the bunch.  (is there anything in the play or book about Fabrizio?)

 

While it seems that Olivia is selling off her daughter, it could also be said that the father is buying a wife for his son.  They never discuss it as a dowry, but as a "gift" given to the couple by the bride's parents.  The thing that shocked me was how much they had sent to their niece for her wedding.

 

The kids are sexually drawn to each other and are enthusiastically in bed together as Act I ends, so there's no doubt about her understanding physical passion.

Being a movie of its time, we never get this much insight into the kids, we do see that they are intensely drawn to one another.  We also see how Fabrizio seems to have a 'magical' touch with Clara - specifically in the scene were she is overwrought and he calms her down, her mother says "I never could do that"

[CMH1981]

 

I love these films that are like time capsules for the cities in which they film!

 

I agree, I haven't been overseas or anything but I love seeing these exotic locales to me from back then b/c I know now they wouldn't look the same more or less.  I love seeing how tourists dressed back then everyone was so prim and properly dressed whereas today it would be flip flops, shorts, halter tops/tank tops, and the like with soooo much skin showing, and not the skin you want nor should be showing.  It's like seeing pictures of Disneyland back at the beginning where people wore dresses and suits, which I do concur that it really isn't proper theme park attire.  Oh how the times have changed, some for the better and some not.

 

I just got done watching Escapade in Japan.  What a wonderful charming little film.  Timmy from Lassie was such a cute little boy.  The film looks like it should have been in black and white, but maybe the print is just faded.

 

I love Teresa Wright, she was such a great actress in all her films.  I first came to her attention in Shadow of a Doubt, followed her to Mrs. Miniver, the Steel Trap, and the Best Years of Our Lives.  I will be watching the Actress and the Little Foxes tonight so i'm looking forward to it.

Edited August 4, 2015 by CMH1981

[prican58]

CMH, I second that emotion, (thanks Smokey Robinson). Ms Wright had me at Pride of the Yankees when I was about 13 or so. She is always, always wonderful. I am watching Best Years now and really, has there ever been a more perfect picture? It moved me when I first saw it as a teen and it still does. Perfection.

 

The acting is first rate and Hoagy C is always a treat. And Al's homecoming scene is still the best thing in it. Loy is obviously in the 2nd half of her career but she is till such a presence. She warms my heart. .

 

Teresa Wright is just a wonderful actress and her passing a few years ago took me by surprise as I had read about it a few weeks later. I must check youtube for her memorial video. She is in my Top 10 of fave actresses. 

 

Boy, are you gonna enjoy Little Foxes, CMH!  

Edited August 5, 2015 by prican58

[ratgirlagogo]

 

Coleen Gray died yesterday at age 92.

I've never really figured out why she didn't become a bigger star.  She had major roles in some major films (Kiss of Death, Red River, Nightmare Alley, The Killing) - but basically the bulk of her career was low-budget Westerns, noirs and science fiction films in the 50s and ultimately tons of TV in the 50's and 60's and 70s.  She was beautiful and of course she could act - that's why she worked so much. But somehow major stardom never happened for her.  I'm not saying this to seem funny or perverse, but I think one of my favorite performances of hers is in The Leech Woman - of course it's a cheap B monster movie and famously MST3K'd - but she elevates the material, for me.

[CMH1981]

Well here my thoughts on the Actress and the Little Foxes.

 

In the Actress, boy that movie was just a mishmash.  It was an odd movie, and I didn't know it was based on Ruth Gordon's life.  Who thought it was a good idea for Teresa Wright to play the mother in this film?  She was okay in the role, but it was just glaringly the age difference b/t she and Tracy.  Jean Simmons was really overacting to me in this film.  

 

Just to go off subject in my own post for a moment, can anyone explain how Simmons didn't get an Oscar nomination for Elmer Gantry?  She was so great in that role, and I felt more drawn to her character and performance than Shirley Jones.

 

The Little Foxes was just okay for me, not great or spectacular.  In fact I found the film quite slow until after Horace's collapse on the stairs.  Teresa Wright was of course great in her role, as was Bette Davis.  Perhaps someone can explain something to me, when Xan went to get her father from the hospital, just how much time had lapsed to when they got to the hotel where she ran into David?  I thought perhaps it was a day or so, but it seemed like it was much longer when she ran into David again.  David just seemed like a different person from when we last left him.

 

Talking about Teresa Wright, i'm curious what others thought of the film that re-paired her w/ Cotton, the Steel Trap.  It is a very good film, and seems like something Hitchcock would have done.  I find it odd that in this film Wright and Cotton play husband and wife whereas in Shadow of a Doubt they were niece and uncle...although their relationship in that film feels somewhat incestuous at times.

[prican58]

Simmons is another favorite of mine and yes, she should have been nominated. I've heard her being referred to as The Rich Man's Elizabeth Taylor (conversely Joan Collins as The Poor Mans's Liz) and I sort of agree. Totally adore her in "Angel Face" with Mitchum from 1952. I also thought she very good in tv's The Thorn Birds. 

 

https://www.youtube.com/watch?v=rBo5WvyBBl4

 

Trailer is kinda campy but..... 

Edited August 5, 2015 by prican58

[Crisopera]

I was lucky enough to see Jean Simmons in the national tour of A Little Night Music and she was wonderful.  A real favorite of mine - I think I've mentioned before that it's a real shame that she didn't play Cleopatra in Caesar & Cleopatra (1945).  She would have been perfectly cast - and she was right there! (she played a bit part).  I really don't like Vivien Leigh in it, so coy and kittenish.

[Milburn Stone]

I am watching Best Years now and really, has there ever been a more perfect picture? It moved me when I first saw it as a teen and it still does. Perfection...The acting is first rate and Hoagy C is always a treat. And Al's homecoming scene is still the best thing in it. Loy is obviously in the 2nd half of her career but she is till such a presence. She warms my heart.

 

And don't forget the Hugo Friedhofer score!

[prican58]

And don't forget the Hugo Friedhofer score!

Milburn, I usually don't even pay attention to scores in dramas but this score surely helped  me to shed copious amounts of tears while viewing. 

[CMH1981]

Just watched Pride of the Yankees for the first time and wow, Cooper and Wright had some amazing chemistry going on.  

 

I know this will sound odd, but I think Teresa Wright has the most pleasant sounding laugh i've ever come across from an actress, it just a natural beautiful laugh. 

[Rinaldo]

I was lucky enough to see Jean Simmons in the national tour of A Little Night Music and she was wonderful.  A real favorite of mine - I think I've mentioned before that it's a real shame that she didn't play Cleopatra in Caesar & Cleopatra (1945).  She would have been perfectly cast - and she was right there! (she played a bit part).  I really don't like Vivien Leigh in it, so coy and kittenish.

I am a big Jean Simmons fan too (and I too saw her in the tour of A Little Night Music). She was wonderful in many movies, and the pity is that there weren't more really good star parts for her. The Actress (which I saw so long ago that I'm nervous about commenting on it) is an odd, not really successful vehicle. As I recall, very little of the casting was right, and it makes a difference in this story -- when a Ruth Gordon is determined to be an actress, it's not an obvious route for her with her very individual look, and she's fighting the odds; whereas if a luminous beauty like Jean Simmons wants to be an actress... sure, she probably should.

 

I remember Pauline Kael remarking that although Divorce, American Style was one of the best of the mid-60s crop of "sharp" cynical satirical Hollywood comedies, it had the pain of seeing Jean Simmons wasted as usual, reminding one of her wasted career by that point.

 

However, I'm going to disagree about Cleopatra (as I think I did the last time it was brought up). For one thing, realistically it wasn't going to happen as the lynchpin of a big expensive production of this sort, as she was still doing bit parts at this point and (as she herself later said) she was treating acting as a temporary lark; her Young Estella in Great Expectations (how disappointing when she is replaced by someone much less interesting as the character grows up) and Ophelia in Hamlet were still in the future. But more important, I don't find Leigh at all inadequate to the role Shaw wrote; "kittenish" is one of the required qualities, in my view. But I'll admit I'd like to travel to an alternate universe where they did take a chance on Simmons.