Which is your preferred Studiologo?

Does C you CUT even one? I CUTs year inclination for Colombia, which is owed, this strand rumor that the modern Inkarnation which based one Annette Bening. Goal into the truth my favourite is probably universal. I like the studios name observes turn around the planet. Goal generally I dig Studiologos and receive has kick ton lake shifting outside off it always so much easily with obvious model and of exchanges off technology more over years.*
Great classic films, best all time movies

Viaggio in Italy

I not blogged in one moment-- and I make excuse! I amndt one the East coast now… that the end off the six-month period was occupied fol and then I not was one long the Internet enough to Be written around! I always owe you all nap blogs, and I hope to wrestling up with one this… goal for now “Viaggio in Italy” - the film 1954 directed by Roberto Rossellini, holding the first role Ingrid Bergman, is examined one June 5 with 5 TOKEN ENTRIES, the museum off NY off the modern art (MoMA). Also there it examine one June 7 with 8PM with the same place. The siftings will Be held in the theatre 1.I will not Be whitebait to small channel young stag for the siftings-- what has true disappointment because I would like to see Ingrid in has off film Rossellini one the big screen. Yew all is well something will like with L.A. when I amndt support there. I amndt currently in NYC-- thus I must cut out thesis shorts, goal I will leave you with year extract off film ace for you attract! s in displacement in MoMA to see it!
Great classic films, best all time movies

Katharine Hepburn being held the first role in âpoison off boxâ

1932. Making her film debut with the legendary John Barrymore in A Bill of Divorcement, Connecticut born and bred Katharine Hepburn was set on a path for screen stardom. Within a year of her auspicious Hollywood entrée, she starred in the first of her four Academy Award winning roles (Morning Glory) as well as one of the most recognized and popular films of the decade (Little Women). She was the darling of her home studio, RKO, and her continued success seemed inevitable. But unlike her contemporaries, she refused to play the Tinsel Town game. She abhorred interviews and rebuffed reporters (when asked by one newsperson if she and the! n husband Ludlow Ogden Smith had any children, her unorthodox reply was: “Two white and three colored”). Her disdain for makeup and wearing of pants and masculine attire was seen as too independent for public taste and she was tagged by some with the moniker “Katharine of Arrogance“. She went back to the stage on her native East coast, for the not very well received The Lake. When she returned to Hollywood, RKO cast her in Alice Adams (1935) for which she received yet another Oscar nomination, but the accolades were short lived.In 1936, Hepburn made Sylvia Scarlett with Cary Grant and Brian Aherne, in which the non-stereotypical actress played a woman who is disguised as a young man. The RKO oddity cost Kate a big chunk of her reputation and the studio a big chunk of change (The film lost a whopping $363,000 in Depression-era dollars). Her period costume dramas of the mid-30’s, including Mary of Scotland, ! A Woman Rebels (both 1936) and Quality Street! (1937), were flops as well, the latter two losing almost a quarter of a million dollars each at the box office. The public was staying away from Hepburn pictures in droves.There seemed to be a ray of hope with the modest success of Stage Door (1937). The film paired the haughty Hepburn with Ginger Rogers, who, commercially, was a much more popular star and lucrative commodity for the studio. As Hepburn’s status at RKO plummeted, Rogers’ simultaneous skyrocketed. Still, the sparkling and intelligent comedy based on the Edna Ferber - George S. Kauffman hit play, didn’t hit the mark RKO execs had aimed for, bringing in only $81,000 in profits.Desperate for a Hepburn hit and with fingers crossed, the studio cast her in a comedy, based on the humble financial success of Stage Door. Again paired with Cary Grant, who had just made a comic breakthrough of his own with The Awful Truth, the actress starred in Bringing Up Baby, the story of a man, a woman and a leopard named Baby. As inane as it sounded, that was the stuff of screwball comedies in the 1930’s. In retrospect, Bringing Up Baby is considered by some, one of the premiere classic comedies of its time (an opinion not personally shared by this blogger, but that is for another post), but in 1938 it was a box office disaster, losing $365,000, and wh! en RKO slated Hepburn’s next film to be the standard program! mer Mother Carey’s Chickens, the actress saw the writing on the wall. She bought out her contract for just over $200,000 and left the studio, with whom she had become synonymous.Then the final blow was dealt. On May 3, 1938, a full page ad appeared in The Hollywood Reporter from the Independent Theater Owners of America lambasting studios and producers for promoting stars “whose public appeal is negligible ~ receiving tremendous salaries necessitated by contractual obligations”. Along with Garbo, Marlene Dietrich, Mae West, Kay Francis and Joan Crawford, Katharine Hepburn made this list. The statement went on to label those mentioned as “box office poison”. On that very day, RKO made the public announcement that it had parted ways with Kate Hepburn.In the heart of the “box office poison” fiasco, two significant career factors occurred. The first film released since the Reporter ad, Holiday (1938), paired her yet again with Cary Grant. ! It had been made before she left RKO, on loan-out to Columbia, where Grant had seen his enormous success with Irene Dunne in The Awful Truth. Disappointment again hit home, as Holiday, although liked by critics, sank with the masses. The public was just tired of Katharine Hepburn. Then there was talk of the actress as a strong contender for the role of Scarlett O’Hara in the upcoming filmization of Margaret Mitchell’s hugely popular novel Gone With The Wind. Supposedly, Hepburn offered herself as a last minute replacement should the film’s producer, David O. Selznick, not have the part cast in time, but according to one of Selznick’s infamous memos, Kate’s box office standing and lack of sufficient sex appeal did little for the advancement of her cause. Says Selznick: “…because I think Hepburn has two strikes against her ~ first, the unquestionable and very wide-spread intense public dislike of her at the mome! nt, and second, the fact that she is yet to demonstrate that s! he posse sses the sex qualities which are probably the most important of all the many requisites of Scarlett….”Heading back east, the frustrated actress spent the summer of 1938 in Connecticut with her family. Later that year, playwright Philip Barry approached Hepburn with a play he’d written with her in mind. It was called The Philadelphia Story and it was tailor-made for the cool actress. Retaining the film rights to the play (via her paramour Howard Hughes), she made a huge comeback in Hollywood in 1940 when MGM bought the rights to The Philadelphia Story (along with Miss Hepburn’s services, thank you). She remained a major star for the rest of her life, but she was never to forget her time ! as “box office poison” either.
Great classic films, best all time movies

Viaggio in Italy

I not blogged in one moment-- and I make excuse! I amndt one the East coast now… that the end off the six-month period was occupied fol and then I not was one long the Internet enough to Be written around! I always owe you all nap blogs, and I hope to wrestling up with one this… goal for now “Viaggio in Italy” - the film 1954 directed by Roberto Rossellini, holding the first role Ingrid Bergman, is examined one June 5 with 5 TOKEN ENTRIES, the museum off NY off the modern art (MoMA). Also there it examine one June 7 with 8PM with the same place. The siftings will Be held in the theatre 1.I will not Be whitebait to small channel young stag for the siftings-- what has true disappointment because I would like to see Ingrid in has off film Rossellini one the big screen. Yew all is well something will like with L.A. when I amndt support there. I amndt currently in NYC-- thus I must cut out thesis shorts, goal I will leave you with year extract off film ace for you attract! s in displacement in MoMA to see it!
Great classic films, best all time movies

365 films: The brilliant review off hour

The Shining Hour stars Joan Crawford, Robert Young, Melvyn Douglas, Margaret Sullavan, and Fay Bainter, in this 1938 Frank Borzage film. After marrying Henry (Douglas), Olivia (Crawford) is faced with jealously and feels from his family. His younger brother, David (Young) becomes quite infatuated with Olivia, while to their older sister, Hannah (Bainter) thinks that Olivia is only there to hurt the family. Judy (Sullavan) who has been somewhat off has sister to David and Henry finds Olivia charming, goal when they both cuts feelings for the same Guy, complications arise. I didn' T think that this was that bad off has film. There could Be more off has storyline goal overall, it wasn' T too bad. Being has off huge fan Young Douglas and, it was Nice to see them in another movie together. They really are so much fun to watch! The ending edge Be has bit exaggerated goal I still liked the movie. Review for Tomorrow: Buck Privates
Great classic fi! lms, best all time movies

Viaggio in Italy

I not blogged in one moment-- and I make excuse! I amndt one the East coast now… that the end off the six-month period was occupied fol and then I not was one long the Internet enough to Be written around! I always owe you all nap blogs, and I hope to wrestling up with one this… goal for now “Viaggio in Italy” - the film 1954 directed by Roberto Rossellini, holding the first role Ingrid Bergman, is examined one June 5 with 5 TOKEN ENTRIES, the museum off NY off the modern art (MoMA). Also there it examine one June 7 with 8PM with the same place. The siftings will Be held in the theatre 1.I will not Be whitebait to small channel young stag for the siftings-- what has true disappointment because I would like to see Ingrid in has off film Rossellini one the big screen. Yew all is well something will like with L.A. when I amndt support there. I amndt currently in NYC-- thus I must cut out thesis shorts, goal I will leave you with year extract off film ace for you attract! s in displacement in MoMA to see it!
Great classic films, best all time movies

Audrey off the month

I saw this and think „around the pink off “its film for thinking „strand face “, although it is emergency this film. Ace is it is thus May, it is Feather/jump, and I thought that it which perfect. Audrey off the month has Audrey nascent the every more other month off. I must receive with him. It is this work matters, which ME observation film the whole day keeps and which regarding they communicate. And looks RK firmly with Audrey.
Great classic films, best all time movies

Katharine Hepburn being held the first role in âpoison off boxâ

1932. Making her film debut with the legendary John Barrymore in A Bill of Divorcement, Connecticut born and bred Katharine Hepburn was set on a path for screen stardom. Within a year of her auspicious Hollywood entrée, she starred in the first of her four Academy Award winning roles (Morning Glory) as well as one of the most recognized and popular films of the decade (Little Women). She was the darling of her home studio, RKO, and her continued success seemed inevitable. But unlike her contemporaries, she refused to play the Tinsel Town game. She abhorred interviews and rebuffed reporters (when asked by one newsperson if she and the! n husband Ludlow Ogden Smith had any children, her unorthodox reply was: “Two white and three colored”). Her disdain for makeup and wearing of pants and masculine attire was seen as too independent for public taste and she was tagged by some with the moniker “Katharine of Arrogance“. She went back to the stage on her native East coast, for the not very well received The Lake. When she returned to Hollywood, RKO cast her in Alice Adams (1935) for which she received yet another Oscar nomination, but the accolades were short lived.In 1936, Hepburn made Sylvia Scarlett with Cary Grant and Brian Aherne, in which the non-stereotypical actress played a woman who is disguised as a young man. The RKO oddity cost Kate a big chunk of her reputation and the studio a big chunk of change (The film lost a whopping $363,000 in Depression-era dollars). Her period costume dramas of the mid-30’s, including Mary of Scotland, ! A Woman Rebels (both 1936) and Quality Street! (1937), were flops as well, the latter two losing almost a quarter of a million dollars each at the box office. The public was staying away from Hepburn pictures in droves.There seemed to be a ray of hope with the modest success of Stage Door (1937). The film paired the haughty Hepburn with Ginger Rogers, who, commercially, was a much more popular star and lucrative commodity for the studio. As Hepburn’s status at RKO plummeted, Rogers’ simultaneous skyrocketed. Still, the sparkling and intelligent comedy based on the Edna Ferber - George S. Kauffman hit play, didn’t hit the mark RKO execs had aimed for, bringing in only $81,000 in profits.Desperate for a Hepburn hit and with fingers crossed, the studio cast her in a comedy, based on the humble financial success of Stage Door. Again paired with Cary Grant, who had just made a comic breakthrough of his own with The Awful Truth, the actress starred in Bringing Up Baby, the story of a man, a woman and a leopard named Baby. As inane as it sounded, that was the stuff of screwball comedies in the 1930’s. In retrospect, Bringing Up Baby is considered by some, one of the premiere classic comedies of its time (an opinion not personally shared by this blogger, but that is for another post), but in 1938 it was a box office disaster, losing $365,000, and wh! en RKO slated Hepburn’s next film to be the standard program! mer Mother Carey’s Chickens, the actress saw the writing on the wall. She bought out her contract for just over $200,000 and left the studio, with whom she had become synonymous.Then the final blow was dealt. On May 3, 1938, a full page ad appeared in The Hollywood Reporter from the Independent Theater Owners of America lambasting studios and producers for promoting stars “whose public appeal is negligible ~ receiving tremendous salaries necessitated by contractual obligations”. Along with Garbo, Marlene Dietrich, Mae West, Kay Francis and Joan Crawford, Katharine Hepburn made this list. The statement went on to label those mentioned as “box office poison”. On that very day, RKO made the public announcement that it had parted ways with Kate Hepburn.In the heart of the “box office poison” fiasco, two significant career factors occurred. The first film released since the Reporter ad, Holiday (1938), paired her yet again with Cary Grant. ! It had been made before she left RKO, on loan-out to Columbia, where Grant had seen his enormous success with Irene Dunne in The Awful Truth. Disappointment again hit home, as Holiday, although liked by critics, sank with the masses. The public was just tired of Katharine Hepburn. Then there was talk of the actress as a strong contender for the role of Scarlett O’Hara in the upcoming filmization of Margaret Mitchell’s hugely popular novel Gone With The Wind. Supposedly, Hepburn offered herself as a last minute replacement should the film’s producer, David O. Selznick, not have the part cast in time, but according to one of Selznick’s infamous memos, Kate’s box office standing and lack of sufficient sex appeal did little for the advancement of her cause. Says Selznick: “…because I think Hepburn has two strikes against her ~ first, the unquestionable and very wide-spread intense public dislike of her at the mome! nt, and second, the fact that she is yet to demonstrate that s! he posse sses the sex qualities which are probably the most important of all the many requisites of Scarlett….”Heading back east, the frustrated actress spent the summer of 1938 in Connecticut with her family. Later that year, playwright Philip Barry approached Hepburn with a play he’d written with her in mind. It was called The Philadelphia Story and it was tailor-made for the cool actress. Retaining the film rights to the play (via her paramour Howard Hughes), she made a huge comeback in Hollywood in 1940 when MGM bought the rights to The Philadelphia Story (along with Miss Hepburn’s services, thank you). She remained a major star for the rest of her life, but she was never to forget her time ! as “box office poison” either.
Great classic films, best all time movies

With edge off toward the Metaphysik

„I C emergency lake my life tons of fuel element lived one, ace I, could the child, which I He experienced forwards “[off broad times in screen Bitchery #17: Catherine Keener, who is John Malkovich
Great classic films, best all time movies

365 films: Sunday in the review off New York

Sunday in New York holds the first role the cliff Robertson, Jane Fonda, and Rod Taylor in this comedy 1963. Awaiting his daughter to reveal, Adam (Robertson) is shocked and astonished to see his younger sister, Eileen (Founded) enter. Eileen EDF upwards with the way in which his carryforward/ratio is matched with its beautiful, decide to return visit to his/her older brother, for has certain support. When the girl off Adam discovers butt her sister visiting, both decides to go nap share differently, and leave his/her sister to the apartment. Eileen, not wanting to Be wedged all the day inside, decide to explores New York, where it meets Mike (Taylor) accidentally. I had seen this film, has few years behind goal I really did not appreciate it behind then. This time around however, it was marvelously funny! The cliff and Rod are so hysterical, particularly when Adam meets initially Mike. Fine Jane was another act in this film, goal I really think that the film belonged to the! servant boys. Delicious re-creation! Review for the tomorrow: The brilliant hour
Great classic films, best all time movies

News vidéos!

I just finished my first half off the year with USC SCA, except my paper 510 in which I will compares Ingrid Bergman in “the face off has woman” with the play “Hedda Gabler.” I had not announced that often because off my load off race and I hope that summer holidays will changes things. Yew you are gold were curious one the subject until behind butt what I was-- young stag summons examples. The first has film which I directed…
Great classic films, best all time movies

Deep connection: Stranger, Spidey, Lohan and more

The Big Picture that Marc Webb Spider-Man reboot has narrowed the candidates down. I'm still not excited about a redo but I'm totally thumbs up on the idea of either Jamie Bell or Andrew Garfield... though it's weird to hear them referred to as "unknowns", you know? Alden Ehrenreich (Tetro), Josh Hutcherson (The Kids Are All Right) and Frank Dillane (Harry Potter and the Half-Blood Prince) are also being considered.Cracked "Which awful redhead stereotype are you?" Starring Lindsay Lohan"time bomb", Julianne Moore "sex fiend" and others. Poor gingers!MTV Movies Logan's Run gets a new director in Erik Rinsch. It's so sad to me that the studio had issues with handing Alien 5 over to him. That's what that entire fra! nchise thrived on... putting fresh visionary directors on the map before they were A list: Scott, Fincher, Cameron. If the Aliens franchise is about anything beyond the Ripley badassery and the acid blood beasties, that's what it's about. It's like the third most important element of that franchise. When you have the same story every time, you have to add the auteurial shakes up or you have nothing.NY Mag sword and sandal epics and the evolution of Abs within them. Funny stuffVanity Fair has 30 portraits and profiles of Tony nominees for this past theater season including familiar faces like Jude Law.Playbill Bernadette Peters and Elaine Stritch offered the CZJ and Lansbury roles in A Little Night Music on Broadway? ohmygodohmygod. Not that either of them would ever accept a "replacment cast" situation but if this happens a ticket MUST have my name on it.Mental Floss '9 Copyrights Given to Charity.' Interesting list. I had no idea that Peter Pan was copyright free now. You'! d think there'd be a sudden influx of Pan movies.Just Jared mo! re pics from the set of Mildred Pierce: Kate Winslet and Evan Rachel WoodTowleroad Madonna gets vampiric to sell sunglasses. It's very Deneuve/HungerFinally, the first pics of LL as LL have surfaced. Yes the alliterative Lohan/Lovelace porno biopic Inferno is coming your way... eventually. Oh No They Didn't posted the pics from photographer Tyler Shields who seems to have already removed them from his own website though there's still a lot of fun stuff there including a shoot with Glee's Jayma Mays, Zachary Quinto and plentiful rude portraits of Young Hollywood.I'd love for Lohan to be able to pull this off but acting is like anything else. If you aren't committed to it, how are you going to get great at it?
Great classic films, best all time movies

Audrey off the month

I saw this and think „around the pink off “its film for thinking „strand face “, although it is emergency this film. Ace is it is thus May, it is Feather/jump, and I thought that it which perfect. Audrey off the month has Audrey nascent the every more other month off. I must receive with him. It is this work matters, which ME observation film the whole day keeps and which regarding they communicate. And looks RK firmly with Audrey.
Great classic films, best all time movies

Baby off iron⦠and of other babies

Avez-vous vu ce bas de page de bébé de fer ? Enfants de nos jours. Ils ont obtenu des qualifications de technologie dans des couches-culottes. Confession : Je suis allé voir des bébés le week-end passé tandis que j'étais à Boston. Ma fille Amy l'a proposé. Amy et moi dans NYC ---le >We a essayé de ne pas pleurer copieusement dans notre seau de maïs éclaté puisque nous sommes deux circonstance traversante stérile (c.-à-d. simple ou homosexuel). Les bébés n'étaient pas exactement un documentaire tellement en tant que quatre films à la maison parallèles sans commentaire autre que peut-être ce que vous projetez dessus à lui. Je n'ai rien à ajouter à la revue du Newyorkais qui est barbue. Ce moment David Denby choisit nous a eus hurler : J'ai détecté seulement un sally satirique : Le bébé de San Francisco, Hattie, et sa mère assistent à une certaine sorte de session groupe-parenting de nouvel âge. Les mères, soulevant leurs bras dans la supplica! tion, chantent une hymne horrible à la terre, à laquelle le point Hattie se dirige pour la porte. Le garçon a fait Hattie veulent hors de la salle ! Assistances de Boston approuvées. Notre autre peu partagé préféré dans le film était l'ajustement hissy absolu du Maris japonais de bébé toutes les fois qu'elle tellement comme regardé les morceaux d'un jeu de cheville et de trou. Tellement si drôle… une reine totale de drame dans la formation. Y en a-t-il qui l'a vue encore ? Elle est déjà l'un des Doc.s les plus réussis jamais. Mais peut-être vous l'éviterez aimez la peste. La moquerie d'ami a crié quand le bas de page a joué devant un film il y a quelques mois. BÉBÉS de cartes de titre nettement placées « … SOYEZ… VENEZ » ressemblera à d'une menace pour l'enfant opposé. Quand Amy et moi avons sorti le théâtre nous avons spontanément commencé à citer Holly Hunter par soulever l'Arizona. Vous allez support exact là et m'obtenez un enfan! t en bas âge. J'ai besoin d'un bébé, salut. Ils ont obtenu ! plus qu' ils peuvent manipuler. Je veux ce bébé, salut. [sangloter] le chasseur d'ILOVEHIMSOMUCHHolly est magique. L'End.*
Great classic films, best all time movies

365 films: Just this ounce Re-examined

Just this holds ounce the first role Janet Leigh, Peter Lawford, and hones off Lewis in this film 1952. Lucy Duncan (Leigh) is very has girl directed by career, and when it is committed to keep has happy money man in place, it is reads for has wild turn. Its customer, marks Maclene (Lawford) is ladies man, who C not worry butt much in the world, except girls and the expenditure her money. Opposed with its behavior, Lucy places it one itself to stop it expenditure so much, goal At all, realizing that it has nap turns to the signal off its casings. It really sort to Be has comedy full with spirit, goal with failing rather badly. It is really difficult to describe Janet Leigh because has lawyer, and in that, it just does not work for her. I amndt not year enormous ventilator with it, thus I really wish that they mould someone else in the role off Lucy. I thought Peter, stays so much with charm re-creation and full with spirit, and it was the best share off this film. Richard An! derson, who plays been engaged off Lucy is rather funny. I estimate that this film, has principal jump between the two characters did not really develop, and that there was not much chemistry there. Review for the tomorrow: Sunday in New York (Re-Observes!)
Great classic films, best all time movies

News vidéos!

I just finished my first half off the year with USC SCA, except my paper 510 in which I will compares Ingrid Bergman in “the face off has woman” with the play “Hedda Gabler.” I had not announced that often because off my load off race and I hope that summer holidays will changes things. Yew you are gold were curious one the subject until behind butt what I was-- young stag summons examples. The first has film which I directed…
Great classic films, best all time movies

Katharine Hepburn being held the first role in âpoison off boxâ

1932. Making her film debut with the legendary John Barrymore in A Bill of Divorcement, Connecticut born and bred Katharine Hepburn was set on a path for screen stardom. Within a year of her auspicious Hollywood entrée, she starred in the first of her four Academy Award winning roles (Morning Glory) as well as one of the most recognized and popular films of the decade (Little Women). She was the darling of her home studio, RKO, and her continued success seemed inevitable. But unlike her contemporaries, she refused to play the Tinsel Town game. She abhorred interviews and rebuffed reporters (when asked by one newsperson if she and the! n husband Ludlow Ogden Smith had any children, her unorthodox reply was: “Two white and three colored”). Her disdain for makeup and wearing of pants and masculine attire was seen as too independent for public taste and she was tagged by some with the moniker “Katharine of Arrogance“. She went back to the stage on her native East coast, for the not very well received The Lake. When she returned to Hollywood, RKO cast her in Alice Adams (1935) for which she received yet another Oscar nomination, but the accolades were short lived.In 1936, Hepburn made Sylvia Scarlett with Cary Grant and Brian Aherne, in which the non-stereotypical actress played a woman who is disguised as a young man. The RKO oddity cost Kate a big chunk of her reputation and the studio a big chunk of change (The film lost a whopping $363,000 in Depression-era dollars). Her period costume dramas of the mid-30’s, including Mary of Scotland, ! A Woman Rebels (both 1936) and Quality Street! (1937), were flops as well, the latter two losing almost a quarter of a million dollars each at the box office. The public was staying away from Hepburn pictures in droves.There seemed to be a ray of hope with the modest success of Stage Door (1937). The film paired the haughty Hepburn with Ginger Rogers, who, commercially, was a much more popular star and lucrative commodity for the studio. As Hepburn’s status at RKO plummeted, Rogers’ simultaneous skyrocketed. Still, the sparkling and intelligent comedy based on the Edna Ferber - George S. Kauffman hit play, didn’t hit the mark RKO execs had aimed for, bringing in only $81,000 in profits.Desperate for a Hepburn hit and with fingers crossed, the studio cast her in a comedy, based on the humble financial success of Stage Door. Again paired with Cary Grant, who had just made a comic breakthrough of his own with The Awful Truth, the actress starred in Bringing Up Baby, the story of a man, a woman and a leopard named Baby. As inane as it sounded, that was the stuff of screwball comedies in the 1930’s. In retrospect, Bringing Up Baby is considered by some, one of the premiere classic comedies of its time (an opinion not personally shared by this blogger, but that is for another post), but in 1938 it was a box office disaster, losing $365,000, and wh! en RKO slated Hepburn’s next film to be the standard program! mer Mother Carey’s Chickens, the actress saw the writing on the wall. She bought out her contract for just over $200,000 and left the studio, with whom she had become synonymous.Then the final blow was dealt. On May 3, 1938, a full page ad appeared in The Hollywood Reporter from the Independent Theater Owners of America lambasting studios and producers for promoting stars “whose public appeal is negligible ~ receiving tremendous salaries necessitated by contractual obligations”. Along with Garbo, Marlene Dietrich, Mae West, Kay Francis and Joan Crawford, Katharine Hepburn made this list. The statement went on to label those mentioned as “box office poison”. On that very day, RKO made the public announcement that it had parted ways with Kate Hepburn.In the heart of the “box office poison” fiasco, two significant career factors occurred. The first film released since the Reporter ad, Holiday (1938), paired her yet again with Cary Grant. ! It had been made before she left RKO, on loan-out to Columbia, where Grant had seen his enormous success with Irene Dunne in The Awful Truth. Disappointment again hit home, as Holiday, although liked by critics, sank with the masses. The public was just tired of Katharine Hepburn. Then there was talk of the actress as a strong contender for the role of Scarlett O’Hara in the upcoming filmization of Margaret Mitchell’s hugely popular novel Gone With The Wind. Supposedly, Hepburn offered herself as a last minute replacement should the film’s producer, David O. Selznick, not have the part cast in time, but according to one of Selznick’s infamous memos, Kate’s box office standing and lack of sufficient sex appeal did little for the advancement of her cause. Says Selznick: “…because I think Hepburn has two strikes against her ~ first, the unquestionable and very wide-spread intense public dislike of her at the mome! nt, and second, the fact that she is yet to demonstrate that s! he posse sses the sex qualities which are probably the most important of all the many requisites of Scarlett….”Heading back east, the frustrated actress spent the summer of 1938 in Connecticut with her family. Later that year, playwright Philip Barry approached Hepburn with a play he’d written with her in mind. It was called The Philadelphia Story and it was tailor-made for the cool actress. Retaining the film rights to the play (via her paramour Howard Hughes), she made a huge comeback in Hollywood in 1940 when MGM bought the rights to The Philadelphia Story (along with Miss Hepburn’s services, thank you). She remained a major star for the rest of her life, but she was never to forget her time ! as “box office poison” either.
Great classic films, best all time movies

News vidéos!

I just finished my first half off the year with USC SCA, except my paper 510 in which I will compares Ingrid Bergman in “the face off has woman” with the play “Hedda Gabler.” I had not announced that often because off my load off race and I hope that summer holidays will changes things. Yew you are gold were curious one the subject until behind butt what I was-- young stag summons examples. The first has film which I directed…
Great classic films, best all time movies

Audrey off the month

I saw this and think „around the pink off “its film for thinking „strand face “, although it is emergency this film. Ace is it is thus May, it is Feather/jump, and I thought that it which perfect. Audrey off the month has Audrey nascent the every more other month off. I must receive with him. It is this work matters, which ME observation film the whole day keeps and which regarding they communicate. And looks RK firmly with Audrey.
Great classic films, best all time movies

Totally year education one the class

In trying to keep up with DVD promises, I've given An Education (2009) a second look. First thing I noticed the second time through was a vaguely wary expression on Carey Mulligan's face the very first time you see her. Before she has anything to be worried about.It's as if she knows that this is not a post about how great she is!One of the chief and actually insightful digs at the movie, from certain unconvinced parties, is that director Lone Scherfig is so enamored of Mulligan's Jenny (and yes there's plenty to be enamored of) that she passes up numerous opportunities to complicate the movie. Our relationship to the youthful arrogance of the protagonist really does need a tougher investigation. Jenny really d! oes need to be told. [Has she been told? Tell her. Oh snap!] This is the reason I love every tiny bitter morsel from Emma Thompson as the stern headmistress. More please.But it wasn't just Scherfig that had trouble looking away from Mulligan's star-is-born turn. How else to explain the curious little attention the film received outside of its Actress and Best Picture bids. The film has amazing costume work, smart art direction and terrific original songs. Regarding this last bit, there's zero excuse for the Academy's music branch to pass up "You've Got Me Wrapped Around Your Little Finger". The song even gets a showcase scene and is intertwined with the narrative, something they're actually supposed to be looking for when they vote. The characters even sing it in the car while driving.But the best thing about the film is for sure the ensemble play. Scherfig makes some fine shot sequence choices to accentuate the interplay between her "clever" foursome of lovers: Jenny &! David (Carey Mulligan & Peter Sarsgaard) and the highly f! lavorful duo of Danny & Helen (Dominic Cooper & Rosamund Pike). One early scene of the foursome in a bar offers audiences the rare opportunity to watch four actors acting simultaneously. I watched this scene four times in a row to look at each performance and they're all fully engaged. Oh the joy of medium shots!Only after we're already made some observations about their group dynamic does the more generic cross cutting, shot / reverse shot pattern, take over (you know the pattern, it's the way 99% of movies film every single conversatzzzzzzz zzz zzz). I love how the scene begins with Helen holding bitchy court -- she theorizes that college girls might be born ugly -- but as soon as she's turned her attentio! n's Jenny's way, "books?", Scherfig zeroes in and the blocking changes. The two men begin to flank Jenny, gradually pushing Helen right out of the frame. Scherfig sees what's happening to the group dynamic (fresh meat!) and illustrates accordingly.One of the most interesting textural bits in the movie is how nearly every character -- not just Jenny -- swoons for any sort of flattering attention; They're all hungry flowers, leaning towards sunlight or water. Dominic Cooper excepted, as he seems very self contained.I've already expressed my love for Pike with a Supporting Actress nomination but there are other magical things happening within the ensemble, too. Unfortunately the acting isn't always consistent. Alfred Molina and Cara Seymour, for example, both have smart moments as Jenny's eagerly gullible parents, but they swing a little too broadly at other times.I don't know if it's that stinging late film appearance by Sally Hawkins in a pivotal role but the film makes me t! hink of a Mike Leigh movie.What?!? Yes, that's a bizarre refer! ence poi nt. Hear me out.The character work in An Education doesn't have the depth or discipline of Leigh's standard six months worth of improv and rehearsals, and the movie absolutely doesn't have the same high art tone or deep insights. I know that. An Education just zips merrily along, charging through even its darkest moments without considering them too carefully. It's paced and styled for the multiplex, even if it never fully crossed over with mainstream audiences. But I think of Mike Leigh because his movies by their very design always feel a bit ephemeral. You're hyper aware that had his camera swung to the left or right, or left that scene earlier to follow an exiting character, a completely separate and equally interesting movie would be waiting for you on the other side.An Education is strong enough during its best moments to make me believe or at least fantasize that there's a few movies just off to either side or behind it, should the writers, actors, and director have decided to go another way with it. On second viewing this is the order in which I'd like to see those movies.

• The Miseducation of Helen, a biopic, in which Rosamund Pike takes center stage. Was she always this dim and devilish? How hard does she have to work to keep Danny's (Cooper) attentions and keep herself swathed in the fur and finery he provides? (I'm guessing there's been a procession of Danny types.)
• The Art of the Steal a prequel, in which Danny (Cooper) and David (Sarsgaard) begin working together. An Education never looks closely at this relationship but if you stop to think about it for just a minute, it sure needs looking at. What is the power balance really like? Does it seesaw back and forth?
!
• The Prime of Miss Stubbs in which we follow this entire sc! hool yea r from the exhausted well meaning perspective of Jenny's teacher (Olivia Williams) and the headmistress (Emma Thompson) becomes the defacto secondary lead.
• Educating Graham in which we follow awkward Graham (the sympathetic Matthew Beard) as he grows into a fine writer and learns that Jenny wasn't everything. There are plenty of interesting girls in college and they're less pretentious about it.

To close I'd just like to share this Graham-related dialogue exchange that I love but had completely forgotten about. Jenny's dad has already fallen for David's con artist charm, however age inappropriate he may be, and takes the opportunity to disparage Jenny's young friend.Jack, Jenny's Father: Better than that young man you brought home for tea.Marjorie, her mother: [thinks the comparison is unfair] David's a lot older than Graham.Jack: Graham could live to be 200 years old and you'll never see him swanning around with famous authors.Jenny: Graham might become a famous author for all you know!Jack: Becoming one isn't the same as knowing one. That shows you're well connected.Some people's fathers...I love this tiny crumb of a suggestion that Jenny does like the age appropriate but unsophisticated Graham. She's just not into him in that way. That said she doesn't seem to enjoy the ribbing he gets from both her parents and friends. Perhaps she knows somewhere deep inside that she's not that much more extr! aordinary than him... she's just a little further along in her! Educati on.*
Great classic films, best all time movies

365 films: Emerge, my review off coils

Emerge, my stars Claudette Colbert, Milland ray off coils, and Refusals O Keefe in this 1940, film off Mitchell Leisen. Augusta Nash (Colbert) saves Tom Martin (Milland) after it is held in has Spanish prison. Explaining to the prisoner off Tom off possession off people, that which it is his wife, they let it leave, only to realize then which it is not. Both escape narrowly and they fly to far in Paris, where one expects that Augusta provides its history. Augusta, is very directed career and when it saves Tom, it does not cuts any idea, that Tom fell immediately for it. I estimate that the first half off this film, was really completely funny and good, goal in addition towards the end, it really started to trail. The kind off argument off was attacked everywhere, At this not, and it is where I lost the interest. I thought, Claudette and ray were perfectly with charm and candy together, goal I wish just that the end prove differently. Review for the tomorrow: Vigil the nightGreat classic films, best all time movies

Katharine Hepburn being held the first role in âpoison off boxâ

1932. Making her film debut with the legendary John Barrymore in A Bill of Divorcement, Connecticut born and bred Katharine Hepburn was set on a path for screen stardom. Within a year of her auspicious Hollywood entrée, she starred in the first of her four Academy Award winning roles (Morning Glory) as well as one of the most recognized and popular films of the decade (Little Women). She was the darling of her home studio, RKO, and her continued success seemed inevitable. But unlike her contemporaries, she refused to play the Tinsel Town game. She abhorred interviews and rebuffed reporters (when asked by one newsperson if she and the! n husband Ludlow Ogden Smith had any children, her unorthodox reply was: “Two white and three colored”). Her disdain for makeup and wearing of pants and masculine attire was seen as too independent for public taste and she was tagged by some with the moniker “Katharine of Arrogance“. She went back to the stage on her native East coast, for the not very well received The Lake. When she returned to Hollywood, RKO cast her in Alice Adams (1935) for which she received yet another Oscar nomination, but the accolades were short lived.In 1936, Hepburn made Sylvia Scarlett with Cary Grant and Brian Aherne, in which the non-stereotypical actress played a woman who is disguised as a young man. The RKO oddity cost Kate a big chunk of her reputation and the studio a big chunk of change (The film lost a whopping $363,000 in Depression-era dollars). Her period costume dramas of the mid-30’s, including Mary of Scotland, ! A Woman Rebels (both 1936) and Quality Street! (1937), were flops as well, the latter two losing almost a quarter of a million dollars each at the box office. The public was staying away from Hepburn pictures in droves.There seemed to be a ray of hope with the modest success of Stage Door (1937). The film paired the haughty Hepburn with Ginger Rogers, who, commercially, was a much more popular star and lucrative commodity for the studio. As Hepburn’s status at RKO plummeted, Rogers’ simultaneous skyrocketed. Still, the sparkling and intelligent comedy based on the Edna Ferber - George S. Kauffman hit play, didn’t hit the mark RKO execs had aimed for, bringing in only $81,000 in profits.Desperate for a Hepburn hit and with fingers crossed, the studio cast her in a comedy, based on the humble financial success of Stage Door. Again paired with Cary Grant, who had just made a comic breakthrough of his own with The Awful Truth, the actress starred in Bringing Up Baby, the story of a man, a woman and a leopard named Baby. As inane as it sounded, that was the stuff of screwball comedies in the 1930’s. In retrospect, Bringing Up Baby is considered by some, one of the premiere classic comedies of its time (an opinion not personally shared by this blogger, but that is for another post), but in 1938 it was a box office disaster, losing $365,000, and wh! en RKO slated Hepburn’s next film to be the standard program! mer Mother Carey’s Chickens, the actress saw the writing on the wall. She bought out her contract for just over $200,000 and left the studio, with whom she had become synonymous.Then the final blow was dealt. On May 3, 1938, a full page ad appeared in The Hollywood Reporter from the Independent Theater Owners of America lambasting studios and producers for promoting stars “whose public appeal is negligible ~ receiving tremendous salaries necessitated by contractual obligations”. Along with Garbo, Marlene Dietrich, Mae West, Kay Francis and Joan Crawford, Katharine Hepburn made this list. The statement went on to label those mentioned as “box office poison”. On that very day, RKO made the public announcement that it had parted ways with Kate Hepburn.In the heart of the “box office poison” fiasco, two significant career factors occurred. The first film released since the Reporter ad, Holiday (1938), paired her yet again with Cary Grant. ! It had been made before she left RKO, on loan-out to Columbia, where Grant had seen his enormous success with Irene Dunne in The Awful Truth. Disappointment again hit home, as Holiday, although liked by critics, sank with the masses. The public was just tired of Katharine Hepburn. Then there was talk of the actress as a strong contender for the role of Scarlett O’Hara in the upcoming filmization of Margaret Mitchell’s hugely popular novel Gone With The Wind. Supposedly, Hepburn offered herself as a last minute replacement should the film’s producer, David O. Selznick, not have the part cast in time, but according to one of Selznick’s infamous memos, Kate’s box office standing and lack of sufficient sex appeal did little for the advancement of her cause. Says Selznick: “…because I think Hepburn has two strikes against her ~ first, the unquestionable and very wide-spread intense public dislike of her at the mome! nt, and second, the fact that she is yet to demonstrate that s! he posse sses the sex qualities which are probably the most important of all the many requisites of Scarlett….”Heading back east, the frustrated actress spent the summer of 1938 in Connecticut with her family. Later that year, playwright Philip Barry approached Hepburn with a play he’d written with her in mind. It was called The Philadelphia Story and it was tailor-made for the cool actress. Retaining the film rights to the play (via her paramour Howard Hughes), she made a huge comeback in Hollywood in 1940 when MGM bought the rights to The Philadelphia Story (along with Miss Hepburn’s services, thank you). She remained a major star for the rest of her life, but she was never to forget her time ! as “box office poison” either.
Great classic films, best all time movies

365 films: Doctor, you owe badiner! Review

Docteur, vous devez badiner ! étoiles Sandra Dee, Celeste Holm, Bill Bixby, Dwayne Hickman, Dick Kallman, et George Hamilton en ce film 1967. Le film est au sujet de Heather Halloran (Dee) qui est souvent poussé par sa mère (Holm) pour entrer dans l'industrie musicale. Toujours le poussant au côté, Heather accomplit l'université mais une fois, elle a fini, sa maman essaye de nouveau. Tandis qu'elle chantant ne l'obtient pas n'importe où, Heather obtient un travail en tant que secrétaire. Son patron, Harlan W. Wycliff (Hamilton) est un know-it-all, et souvent le désaccord deux. Tandis qu'elle ne fait pas avancer toujours son patron, elle subsiste tout à fait bien avec trois types. Son voisin de porte à côté, Dick (Bixby) flirte souvent avec beaucoup de filles, mais les deux ont un raccordement. Un autre type, Hank (Hickman) tombe immédiatement pour elle, parce qu'elles toutes les deux veulent être dans l'industrie du spectacle. Et le dernier type, Pat (Kallman)! l'aide avec son chant. Chacune des chute de trois hommes dur pour Heather mais ses sentiments pour eux sont seulement hors de l'amitié. C'est un film vraiment maladroit et d'amusement, ne pas prendre au sérieux. Sandra est tellement tout à fait avec du charme aussi bien que Celeste et Bill. Quoique, il soit mordu d'un DAO, il est ainsi aimable sacré ! Je n'ai pas pensé beaucoup à George Hamilton, cependant, je ne pense pas qu'il est tout cela grand d'un acteur. Je n'ai pas senti cela, ils ont vraiment développé un rapport entre le caractère de George et le caractère de Sandra. J'ai estimé qu'il y avait plus d'un raccordement entre Sandra et Bill. De façon générale, c'était un film assez bon ! Si vous avez le temps, lisez svp l'excellent examen de Millie de ce film. Elle m'a donné, l'idée de le vérifier dehors ! http://classicforever.blogspot.com/2010/05/just-finished-watching-doctor-youve-got.htmlReview pour le demain : Surgissent, mon amour
Great classic films, best all time movie! s

Katharine Hepburn being held the first role in âpoison off boxâ

1932. Making her film debut with the legendary John Barrymore in A Bill of Divorcement, Connecticut born and bred Katharine Hepburn was set on a path for screen stardom. Within a year of her auspicious Hollywood entrée, she starred in the first of her four Academy Award winning roles (Morning Glory) as well as one of the most recognized and popular films of the decade (Little Women). She was the darling of her home studio, RKO, and her continued success seemed inevitable. But unlike her contemporaries, she refused to play the Tinsel Town game. She abhorred interviews and rebuffed reporters (when asked by one newsperson if she and the! n husband Ludlow Ogden Smith had any children, her unorthodox reply was: “Two white and three colored”). Her disdain for makeup and wearing of pants and masculine attire was seen as too independent for public taste and she was tagged by some with the moniker “Katharine of Arrogance“. She went back to the stage on her native East coast, for the not very well received The Lake. When she returned to Hollywood, RKO cast her in Alice Adams (1935) for which she received yet another Oscar nomination, but the accolades were short lived.In 1936, Hepburn made Sylvia Scarlett with Cary Grant and Brian Aherne, in which the non-stereotypical actress played a woman who is disguised as a young man. The RKO oddity cost Kate a big chunk of her reputation and the studio a big chunk of change (The film lost a whopping $363,000 in Depression-era dollars). Her period costume dramas of the mid-30’s, including Mary of Scotland, ! A Woman Rebels (both 1936) and Quality Street! (1937), were flops as well, the latter two losing almost a quarter of a million dollars each at the box office. The public was staying away from Hepburn pictures in droves.There seemed to be a ray of hope with the modest success of Stage Door (1937). The film paired the haughty Hepburn with Ginger Rogers, who, commercially, was a much more popular star and lucrative commodity for the studio. As Hepburn’s status at RKO plummeted, Rogers’ simultaneous skyrocketed. Still, the sparkling and intelligent comedy based on the Edna Ferber - George S. Kauffman hit play, didn’t hit the mark RKO execs had aimed for, bringing in only $81,000 in profits.Desperate for a Hepburn hit and with fingers crossed, the studio cast her in a comedy, based on the humble financial success of Stage Door. Again paired with Cary Grant, who had just made a comic breakthrough of his own with The Awful Truth, the actress starred in Bringing Up Baby, the story of a man, a woman and a leopard named Baby. As inane as it sounded, that was the stuff of screwball comedies in the 1930’s. In retrospect, Bringing Up Baby is considered by some, one of the premiere classic comedies of its time (an opinion not personally shared by this blogger, but that is for another post), but in 1938 it was a box office disaster, losing $365,000, and wh! en RKO slated Hepburn’s next film to be the standard program! mer Mother Carey’s Chickens, the actress saw the writing on the wall. She bought out her contract for just over $200,000 and left the studio, with whom she had become synonymous.Then the final blow was dealt. On May 3, 1938, a full page ad appeared in The Hollywood Reporter from the Independent Theater Owners of America lambasting studios and producers for promoting stars “whose public appeal is negligible ~ receiving tremendous salaries necessitated by contractual obligations”. Along with Garbo, Marlene Dietrich, Mae West, Kay Francis and Joan Crawford, Katharine Hepburn made this list. The statement went on to label those mentioned as “box office poison”. On that very day, RKO made the public announcement that it had parted ways with Kate Hepburn.In the heart of the “box office poison” fiasco, two significant career factors occurred. The first film released since the Reporter ad, Holiday (1938), paired her yet again with Cary Grant. ! It had been made before she left RKO, on loan-out to Columbia, where Grant had seen his enormous success with Irene Dunne in The Awful Truth. Disappointment again hit home, as Holiday, although liked by critics, sank with the masses. The public was just tired of Katharine Hepburn. Then there was talk of the actress as a strong contender for the role of Scarlett O’Hara in the upcoming filmization of Margaret Mitchell’s hugely popular novel Gone With The Wind. Supposedly, Hepburn offered herself as a last minute replacement should the film’s producer, David O. Selznick, not have the part cast in time, but according to one of Selznick’s infamous memos, Kate’s box office standing and lack of sufficient sex appeal did little for the advancement of her cause. Says Selznick: “…because I think Hepburn has two strikes against her ~ first, the unquestionable and very wide-spread intense public dislike of her at the mome! nt, and second, the fact that she is yet to demonstrate that s! he posse sses the sex qualities which are probably the most important of all the many requisites of Scarlett….”Heading back east, the frustrated actress spent the summer of 1938 in Connecticut with her family. Later that year, playwright Philip Barry approached Hepburn with a play he’d written with her in mind. It was called The Philadelphia Story and it was tailor-made for the cool actress. Retaining the film rights to the play (via her paramour Howard Hughes), she made a huge comeback in Hollywood in 1940 when MGM bought the rights to The Philadelphia Story (along with Miss Hepburn’s services, thank you). She remained a major star for the rest of her life, but she was never to forget her time ! as “box office poison” either.
Great classic films, best all time movies

365 films: Review off doubles marriage

The doubles marriage holds the first role William Powell, Myrna Loy, John Beal, rice off Florence, and Jessie Ralph in this film 1937. Not very satisfied with its life, Margit Agnew (Loy) sort its harder to establish his/her sister, the life off Irene. Opposed with this, goal by wanting to satisfy his/her sister, Irene and her husband-to-Be, Waldo (Beal) made very that Margit known ace to make. Opposed by its behavior off control, Charlie (Powell) sort all in its power to annoy Margit At any end, which functions marvelously. I guess, it comes ace has off any surprised goal the looooooove I any film with Bill and Minnie and this is another great example off the chemistry which they had. Even when they sparring, they are absolutely hilarious links. Each one was so funny in this film, particularly John Beal. I too amndt not with the off current his work, goal in that, it was not only adorable goal hysterical. With very good comedy, that is certainly interesting to observes one ! several occasions! Review for the tomorrow: Doctor, you owe badiner!
Great classic films, best all time movies

News vidéos!

I just finished my first half off the year with USC SCA, except my paper 510 in which I will compares Ingrid Bergman in “the face off has woman” with the play “Hedda Gabler.” I had not announced that often because off my load off race and I hope that summer holidays will changes things. Yew you are gold were curious one the subject until behind butt what I was-- young stag summons examples. The first has film which I directed…
Great classic films, best all time movies

Random Harvest (1942): Regulate Britannia⦠one the fate off MGM

English novelist James Hilton was building quite a following with the movie going set in the early 1940’s. Two of his books, Lost Horizon and Goodbye, Mr. Chips, were both filmed, very successfully, in the late 30’s, so when his Random Harvest was published in 1941, Hollywood was very quick to beckon. With the film rights going to MGM, one could be sure that the sentimental tale, based during World War I, would get the full gloss treatment, with all stops pulled, and it did just that.Ronald Colman plays “John Smith”, an amnesiac in World War I England. A victim of shell shock, a pathetic, practically mute case study, who is housed in a county asylum with no home to speak of, no family to! call his own. Upon his escape (actually, he merely wanders away into the fog), he drifts into the local town, where he happens upon a pretty dance hall girl named Paula (Greer Garson), who takes a fancy to him. Throwing caution to the wind, she quits her job and takes “Smithy”, the endearing moniker she gives Colman, to live in the country, where he can rest, recuperate and get his bearings. With still no memory of his former life, he falls in love with Paula, marries her and has a child. Finding he has a knack for writing, he begins to make a little money to support his small brood with articles written for a Liverpool publication. When he is offered a writing job, he heads for Liver! pool to discuss the particulars, leaving Paula and Junior in t! heir cou ntry cottage. As he arrives in the city, Smithy is struck down by a vehicle. Although physically unharmed, his mental capacity returns to its original state and we find that he is Charles Ranier, a a confident, independent gentleman of wealthy birth. But he now has no memory of his life since he was struck by a shell during the war, several years back. What is to become of Paula and their baby? Where will his life lead from here?Predictability is definitely not an element of Random Harvest. There are enough plot twists to make Alfred Hitchcock blush, and it is these twists and turns of fate that take this movie beyond merely a sugar coated three hankie tear jerker. That and the great performances by its two leads. Colman, who had started out the decade with less than a bang cinematically, jumped back to the top of the career heap in 1942, with both this picture and Columbia’s The Talk of the Town. He had already successfully treaded water ! in the James Hilton pond, as had his co-star, he in Lost Horizon (1937) and Garson in Goodbye, Mr. Chips (1939). Their pairing in Random Harvest seemed quite natural, though the role of Smithy/Charles Ranier was originally slated for MGM contract star Spencer Tracy. When it was discovered that Colman was available for the part, he was immediately cast.Young Metro hopeful Susan Peters is showcased as Colman’s youthful admirer, Kitty. Her character goes from a 15 year old schoolgirl to a young lady of the world. Although Peters was nominated for an Oscar for her role in this film, she didn’t seem to have the oomph of some of her MGM ingenue contemporaries , al! a Lana Turner or Donna Reed. She seems more comfortable as the! naïve schoolgirl than as the more sophisticated young socialite. In real life, her story was an unfortunate one. In January, 1945, little more than a year after her marriage to actor Richard Quine, she was accidentally shot on a hunting trip with her husband. Paralyzed from the waist down, she continued to act but her career never regained momentum and she died at age 31.As some in Hollywood phrased it, 1942 was the “Year of Greer”. The English actress not only won great acclaim for her role in Random Harvest but won an Academy Award for another of her releases that year, Mrs. Miniver, a role for which she was always identified. With these two performances and h! er regal and elegant persona, she secured her place as MGM’s Queen of the Lot throughout most of the 1940’s.With Colman and Garson on hand, MGM had one of the most British films this side of the Atlantic. They were a perfect complement for each other and gave great class to a schmaltzy but completely lovable film. They make this totally unbelievable tale fascinating to watch, and a first rate weepie for sure.
Great classic films, best all time movies

365 films: Review off doubles marriage

The doubles marriage holds the first role William Powell, Myrna Loy, John Beal, rice off Florence, and Jessie Ralph in this film 1937. Not very satisfied with its life, Margit Agnew (Loy) sort its harder to establish his/her sister, the life off Irene. Opposed with this, goal by wanting to satisfy his/her sister, Irene and her husband-to-Be, Waldo (Beal) made very that Margit known ace to make. Opposed by its behavior off control, Charlie (Powell) sort all in its power to annoy Margit At any end, which functions marvelously. I guess, it comes ace has off any surprised goal the looooooove I any film with Bill and Minnie and this is another great example off the chemistry which they had. Even when they sparring, they are absolutely hilarious links. Each one was so funny in this film, particularly John Beal. I too amndt not with the off current his work, goal in that, it was not only adorable goal hysterical. With very good comedy, that is certainly interesting to observes one ! several occasions! Review for the tomorrow: Doctor, you owe badiner!
Great classic films, best all time movies

News vidéos!

I just finished my first half off the year with USC SCA, except my paper 510 in which I will compares Ingrid Bergman in “the face off has woman” with the play “Hedda Gabler.” I had not announced that often because off my load off race and I hope that summer holidays will changes things. Yew you are gold were curious one the subject until behind butt what I was-- young stag summons examples. The first has film which I directed…
Great classic films, best all time movies

Audrey off the month

I saw this and think „around the pink off “its film for thinking „strand face “, although it is emergency this film. Ace is it is thus May, it is Feather/jump, and I thought that it which perfect. Audrey off the month has Audrey nascent the every more other month off. I must receive with him. It is this work matters, which ME observation film the whole day keeps and which regarding they communicate. And looks RK firmly with Audrey.
Great classic films, best all time movies

365 films: East coast, review off west coast

East Side, West Side stars Barbara Stanwyck, James Mason, Ava Gardner, Van Heflin, and Cyd Charisse in this 1949 melodrama, directed by Mervyn LeRoy. After having year to affair, butt has year ago, Brandon Bourne (Mason) leaves to reform his ways, goal his ex-flame Isabel Lorrison (Gardner) keeps one pulling him back. His wife, Jessie (Stanwyck) is supportive and believes that He edge reform, constant goal his feeling off being tied down, throws the two apart. Feeling neglected, Jessie finds comfort in Mark Dwyer (Heflin) and the two connect instantly, the minute they meet. It' S.A. pretty good film, with year alstar cast. There has batch off chemistry between Ava and James, they were gorgeous together! I personally though, would like to see James in has different type off role. In this, he' S.A. scoundrel goal I still think, he' S marvelous in the role. Barbara is always fantastic! With has small role ace Rosa Senta, I thought Cyd was splendid! Review for Tomorrow: Double W! edding
Great classic films, best all time movies

News vidéos!

I just finished my first half off the year with USC SCA, except my paper 510 in which I will compares Ingrid Bergman in “the face off has woman” with the play “Hedda Gabler.” I had not announced that often because off my load off race and I hope that summer holidays will changes things. Yew you are gold were curious one the subject until behind butt what I was-- young stag summons examples. The first has film which I directed…
Great classic films, best all time movies

Random Harvest (1942): Regulate Britannia⦠one the fate off MGM

English novelist James Hilton was building quite a following with the movie going set in the early 1940’s. Two of his books, Lost Horizon and Goodbye, Mr. Chips, were both filmed, very successfully, in the late 30’s, so when his Random Harvest was published in 1941, Hollywood was very quick to beckon. With the film rights going to MGM, one could be sure that the sentimental tale, based during World War I, would get the full gloss treatment, with all stops pulled, and it did just that.Ronald Colman plays “John Smith”, an amnesiac in World War I England. A victim of shell shock, a pathetic, practically mute case study, who is housed in a county asylum with no home to speak of, no family to! call his own. Upon his escape (actually, he merely wanders away into the fog), he drifts into the local town, where he happens upon a pretty dance hall girl named Paula (Greer Garson), who takes a fancy to him. Throwing caution to the wind, she quits her job and takes “Smithy”, the endearing moniker she gives Colman, to live in the country, where he can rest, recuperate and get his bearings. With still no memory of his former life, he falls in love with Paula, marries her and has a child. Finding he has a knack for writing, he begins to make a little money to support his small brood with articles written for a Liverpool publication. When he is offered a writing job, he heads for Liver! pool to discuss the particulars, leaving Paula and Junior in t! heir cou ntry cottage. As he arrives in the city, Smithy is struck down by a vehicle. Although physically unharmed, his mental capacity returns to its original state and we find that he is Charles Ranier, a a confident, independent gentleman of wealthy birth. But he now has no memory of his life since he was struck by a shell during the war, several years back. What is to become of Paula and their baby? Where will his life lead from here?Predictability is definitely not an element of Random Harvest. There are enough plot twists to make Alfred Hitchcock blush, and it is these twists and turns of fate that take this movie beyond merely a sugar coated three hankie tear jerker. That and the great performances by its two leads. Colman, who had started out the decade with less than a bang cinematically, jumped back to the top of the career heap in 1942, with both this picture and Columbia’s The Talk of the Town. He had already successfully treaded water ! in the James Hilton pond, as had his co-star, he in Lost Horizon (1937) and Garson in Goodbye, Mr. Chips (1939). Their pairing in Random Harvest seemed quite natural, though the role of Smithy/Charles Ranier was originally slated for MGM contract star Spencer Tracy. When it was discovered that Colman was available for the part, he was immediately cast.Young Metro hopeful Susan Peters is showcased as Colman’s youthful admirer, Kitty. Her character goes from a 15 year old schoolgirl to a young lady of the world. Although Peters was nominated for an Oscar for her role in this film, she didn’t seem to have the oomph of some of her MGM ingenue contemporaries , al! a Lana Turner or Donna Reed. She seems more comfortable as the! naïve schoolgirl than as the more sophisticated young socialite. In real life, her story was an unfortunate one. In January, 1945, little more than a year after her marriage to actor Richard Quine, she was accidentally shot on a hunting trip with her husband. Paralyzed from the waist down, she continued to act but her career never regained momentum and she died at age 31.As some in Hollywood phrased it, 1942 was the “Year of Greer”. The English actress not only won great acclaim for her role in Random Harvest but won an Academy Award for another of her releases that year, Mrs. Miniver, a role for which she was always identified. With these two performances and h! er regal and elegant persona, she secured her place as MGM’s Queen of the Lot throughout most of the 1940’s.With Colman and Garson on hand, MGM had one of the most British films this side of the Atlantic. They were a perfect complement for each other and gave great class to a schmaltzy but completely lovable film. They make this totally unbelievable tale fascinating to watch, and a first rate weepie for sure.
Great classic films, best all time movies

News vidéos!

I just finished my first half off the year with USC SCA, except my paper 510 in which I will compares Ingrid Bergman in “the face off has woman” with the play “Hedda Gabler.” I had not announced that often because off my load off race and I hope that summer holidays will changes things. Yew you are gold were curious one the subject until behind butt what I was-- young stag summons examples. The first has film which I directed…
Great classic films, best all time movies

Magazines off Cannes: Except the law

Robert young steam turbine and gas turbine system, who scrubs the Internet, in order ton give you too late one the of film, which present in roofridge in Cannes. It is Saturday, thus only nap magazine of run out itself drop by drop inside. In Competition  Except law Rachid Bouchareb, which steered, has the OSCAR days off the honour return with another film regarding the Algerian fights, this Marks of after three mentioned brothers.  Just like equalness for the race this year acres the of magazine mixed.  The time outside London likes it, which cal the film „year impressing implementation ace engaged maintenance and powerful was shout. „  Screen-DAILY entralled less. „The film is liberally produced, and always regardable, while the clichédgeschichte set UP around history threatens, it tons even derail “is it take.  The door beside rooms is indication much unenthralled „which is necessary, around except the law tons of fuel element estimated! has cordial evaluation off the punt and the preachyhand extortion. “Nap RegardThe UN off the ONE, nap respect competition the fact that I of assumes starting from ME, like the of magazine kept received harder and of harder tons finds more never, less has winner.  IndieWIRE has more. Finally indices off IndieWIRE incoming goods inside RK the bundle off criticisms off the best film this year in Cannes.
Great classic films, best all time movies

Random Harvest (1942): Regulate Britannia⦠one the fate off MGM

English novelist James Hilton was building quite a following with the movie going set in the early 1940’s. Two of his books, Lost Horizon and Goodbye, Mr. Chips, were both filmed, very successfully, in the late 30’s, so when his Random Harvest was published in 1941, Hollywood was very quick to beckon. With the film rights going to MGM, one could be sure that the sentimental tale, based during World War I, would get the full gloss treatment, with all stops pulled, and it did just that.Ronald Colman plays “John Smith”, an amnesiac in World War I England. A victim of shell shock, a pathetic, practically mute case study, who is housed in a county asylum with no home to speak of, no family to! call his own. Upon his escape (actually, he merely wanders away into the fog), he drifts into the local town, where he happens upon a pretty dance hall girl named Paula (Greer Garson), who takes a fancy to him. Throwing caution to the wind, she quits her job and takes “Smithy”, the endearing moniker she gives Colman, to live in the country, where he can rest, recuperate and get his bearings. With still no memory of his former life, he falls in love with Paula, marries her and has a child. Finding he has a knack for writing, he begins to make a little money to support his small brood with articles written for a Liverpool publication. When he is offered a writing job, he heads for Liver! pool to discuss the particulars, leaving Paula and Junior in t! heir cou ntry cottage. As he arrives in the city, Smithy is struck down by a vehicle. Although physically unharmed, his mental capacity returns to its original state and we find that he is Charles Ranier, a a confident, independent gentleman of wealthy birth. But he now has no memory of his life since he was struck by a shell during the war, several years back. What is to become of Paula and their baby? Where will his life lead from here?Predictability is definitely not an element of Random Harvest. There are enough plot twists to make Alfred Hitchcock blush, and it is these twists and turns of fate that take this movie beyond merely a sugar coated three hankie tear jerker. That and the great performances by its two leads. Colman, who had started out the decade with less than a bang cinematically, jumped back to the top of the career heap in 1942, with both this picture and Columbia’s The Talk of the Town. He had already successfully treaded water ! in the James Hilton pond, as had his co-star, he in Lost Horizon (1937) and Garson in Goodbye, Mr. Chips (1939). Their pairing in Random Harvest seemed quite natural, though the role of Smithy/Charles Ranier was originally slated for MGM contract star Spencer Tracy. When it was discovered that Colman was available for the part, he was immediately cast.Young Metro hopeful Susan Peters is showcased as Colman’s youthful admirer, Kitty. Her character goes from a 15 year old schoolgirl to a young lady of the world. Although Peters was nominated for an Oscar for her role in this film, she didn’t seem to have the oomph of some of her MGM ingenue contemporaries , al! a Lana Turner or Donna Reed. She seems more comfortable as the! naïve schoolgirl than as the more sophisticated young socialite. In real life, her story was an unfortunate one. In January, 1945, little more than a year after her marriage to actor Richard Quine, she was accidentally shot on a hunting trip with her husband. Paralyzed from the waist down, she continued to act but her career never regained momentum and she died at age 31.As some in Hollywood phrased it, 1942 was the “Year of Greer”. The English actress not only won great acclaim for her role in Random Harvest but won an Academy Award for another of her releases that year, Mrs. Miniver, a role for which she was always identified. With these two performances and h! er regal and elegant persona, she secured her place as MGM’s Queen of the Lot throughout most of the 1940’s.With Colman and Garson on hand, MGM had one of the most British films this side of the Atlantic. They were a perfect complement for each other and gave great class to a schmaltzy but completely lovable film. They make this totally unbelievable tale fascinating to watch, and a first rate weepie for sure.
Great classic films, best all time movies

News vidéos!

I just finished my first half off the year with USC SCA, except my paper 510 in which I will compares Ingrid Bergman in “the face off has woman” with the play “Hedda Gabler.” I had not announced that often because off my load off race and I hope that summer holidays will changes things. Yew you are gold were curious one the subject until behind butt what I was-- young stag summons examples. The first has film which I directed…
Great classic films, best all time movies

Audrey off the month

I saw this and think „around the pink off “its film for thinking „strand face “, although it is emergency this film. Ace is it is thus May, it is Feather/jump, and I thought that it which perfect. Audrey off the month has Audrey nascent the every more other month off. I must receive with him. It is this work matters, which ME observation film the whole day keeps and which regarding they communicate. And looks RK firmly with Audrey.
Great classic films, best all time movies

Random Harvest (1942): Regulate Britannia⦠one the fate off MGM

English novelist James Hilton was building quite a following with the movie going set in the early 1940’s. Two of his books, Lost Horizon and Goodbye, Mr. Chips, were both filmed, very successfully, in the late 30’s, so when his Random Harvest was published in 1941, Hollywood was very quick to beckon. With the film rights going to MGM, one could be sure that the sentimental tale, based during World War I, would get the full gloss treatment, with all stops pulled, and it did just that.Ronald Colman plays “John Smith”, an amnesiac in World War I England. A victim of shell shock, a pathetic, practically mute case study, who is housed in a county asylum with no home to speak of, no family to! call his own. Upon his escape (actually, he merely wanders away into the fog), he drifts into the local town, where he happens upon a pretty dance hall girl named Paula (Greer Garson), who takes a fancy to him. Throwing caution to the wind, she quits her job and takes “Smithy”, the endearing moniker she gives Colman, to live in the country, where he can rest, recuperate and get his bearings. With still no memory of his former life, he falls in love with Paula, marries her and has a child. Finding he has a knack for writing, he begins to make a little money to support his small brood with articles written for a Liverpool publication. When he is offered a writing job, he heads for Liver! pool to discuss the particulars, leaving Paula and Junior in t! heir cou ntry cottage. As he arrives in the city, Smithy is struck down by a vehicle. Although physically unharmed, his mental capacity returns to its original state and we find that he is Charles Ranier, a a confident, independent gentleman of wealthy birth. But he now has no memory of his life since he was struck by a shell during the war, several years back. What is to become of Paula and their baby? Where will his life lead from here?Predictability is definitely not an element of Random Harvest. There are enough plot twists to make Alfred Hitchcock blush, and it is these twists and turns of fate that take this movie beyond merely a sugar coated three hankie tear jerker. That and the great performances by its two leads. Colman, who had started out the decade with less than a bang cinematically, jumped back to the top of the career heap in 1942, with both this picture and Columbia’s The Talk of the Town. He had already successfully treaded water ! in the James Hilton pond, as had his co-star, he in Lost Horizon (1937) and Garson in Goodbye, Mr. Chips (1939). Their pairing in Random Harvest seemed quite natural, though the role of Smithy/Charles Ranier was originally slated for MGM contract star Spencer Tracy. When it was discovered that Colman was available for the part, he was immediately cast.Young Metro hopeful Susan Peters is showcased as Colman’s youthful admirer, Kitty. Her character goes from a 15 year old schoolgirl to a young lady of the world. Although Peters was nominated for an Oscar for her role in this film, she didn’t seem to have the oomph of some of her MGM ingenue contemporaries , al! a Lana Turner or Donna Reed. She seems more comfortable as the! naïve schoolgirl than as the more sophisticated young socialite. In real life, her story was an unfortunate one. In January, 1945, little more than a year after her marriage to actor Richard Quine, she was accidentally shot on a hunting trip with her husband. Paralyzed from the waist down, she continued to act but her career never regained momentum and she died at age 31.As some in Hollywood phrased it, 1942 was the “Year of Greer”. The English actress not only won great acclaim for her role in Random Harvest but won an Academy Award for another of her releases that year, Mrs. Miniver, a role for which she was always identified. With these two performances and h! er regal and elegant persona, she secured her place as MGM’s Queen of the Lot throughout most of the 1940’s.With Colman and Garson on hand, MGM had one of the most British films this side of the Atlantic. They were a perfect complement for each other and gave great class to a schmaltzy but completely lovable film. They make this totally unbelievable tale fascinating to watch, and a first rate weepie for sure.
Great classic films, best all time movies