SOMETHING NEW: For anyone interested, during the month of August, in celebration of TCM's SUMMER UNDER THE STARS, I'll be posting one (or more) daily "Worth the Watch" recommends be it a direct or indirect reference to my #ForMyMom posts (as seen on my Twitter Page @DominiqueRevue). As each day passes, I'll continue to post my Daily TCM SUTS #ForMyMom PICK of the day here. Thanks to Everyone who has followed along during my daily shares of 'My Mom and Movies' posts.
For my PICKS chosen daily, see below:
AUGUST 1st:
NIAGARA (1953) On TCM Tonight at 9:00PM CT.
Though I could've easily picked SOME LIKE IT HOT, THE SEVEN YEAR ITCH or HOW TO MARRY A MILLIONAIRE, as the former was a "Mom and I" fun film watch during my childhood years, and the latter two became We're Grown and Sassy Now films we'd never miss adult picks. So why NIAGARA? Though, BUS STOP (1956) gets a lot of attention along with THE PRINCE AND THE SHOWGIRL (1957) and RIVER OF NO RETURN (1954), NIAGARA, at least for us, we considered Marilyn Monroe's true shining moment. A WorthTheWatch recommend surely not to miss with Marilyn Monroe along side of one of my Mom and I favorites, Joseph Cotten (who we dubbed Ol' Joe), tonight on TCM.
VISIT TCM FOR FULL MARILYN MONROE TCM SCHEDULE
Though I could've easily picked SOME LIKE IT HOT, THE SEVEN YEAR ITCH or HOW TO MARRY A MILLIONAIRE, as the former was a "Mom and I" fun film watch during my childhood years, and the latter two became We're Grown and Sassy Now films we'd never miss adult picks. So why NIAGARA? Though, BUS STOP (1956) gets a lot of attention along with THE PRINCE AND THE SHOWGIRL (1957) and RIVER OF NO RETURN (1954), NIAGARA, at least for us, we considered Marilyn Monroe's true shining moment. A WorthTheWatch recommend surely not to miss with Marilyn Monroe along side of one of my Mom and I favorites, Joseph Cotten (who we dubbed Ol' Joe), tonight on TCM.
VISIT TCM FOR FULL MARILYN MONROE TCM SCHEDULE
AUGUST 2nd:
BULLDOG DRUMMOND ESCAPES (1937) On TCM Today at 6:15AM CT.
Ray Milland takes the role (based from the novel) of Hugh "Bulldog" Drummond. Carried before him on screen in the beginning by Carlyle Blackwell in 1923, Jack Buchanan in 1925 and Ronald Colman in 1929. The 1923 and 1925 films, both Silent, as opposed to their 1929 era partner, simply titled BULLDOG DRUMMOND, debuted the first Talkie of the series, as well as Colman's. The title character would pass through four films before it reached Milland in 1937. Including Ronald Colman's own return to the character, once in between, in BULLDOG DRUMMOND STRIKES BACK (1934).
My back story behind this #ForMyMom pick is one of the indirect/direct mentions I was telling you about the other day. It stems from the song Searchin' by The Coasters (1957). I'd say it was a common song played around the house (as I've said before, I grew up with this kind of music a la my Dad ... had no idea this music was nostalgic). However, one day, not too terribly long ago, some sort of way my Mom and I got on topic of something random (as was a daily case) when there was mention of losing something and seemingly out of nowhere my Mom starts saying, "Gonna find it," before singing, "like Buuulldog Drummond". From me: blank stare -- What? And so, she sang it again. Then I: "Where do you get this stuff from?! Did you just make that up?" Nope. It's in the song Searchin'. "Haven't you heard Searchin'?" Yes, but, never did I pay any attention to the words I suppose. Went to play the song again for myself, and there it was. The Golden Age Detectives in one song.
At that time, I had yet to catch up on the Bulldog Drummond films (had just wrapped up my Boston Blackie "course"). Result? I became familiar with the series soon thereafter. Further education? By way of a Birthday gift from my parents that followed behind this song "revelation" that included a box set of what? Sleuth's, just like "Buuulldog Drummond."
In short, my Mom's singing brought me here. A WorthTheWatch recommend, starring Ray Milland as the title character, as Heather Angel premieres in her first of five Bulldog Drummond films as 'Phyllis Clavering' today on TCM.
VISIT TCM FOR FULL RAY MILLAND SCHEDULE
Ray Milland takes the role (based from the novel) of Hugh "Bulldog" Drummond. Carried before him on screen in the beginning by Carlyle Blackwell in 1923, Jack Buchanan in 1925 and Ronald Colman in 1929. The 1923 and 1925 films, both Silent, as opposed to their 1929 era partner, simply titled BULLDOG DRUMMOND, debuted the first Talkie of the series, as well as Colman's. The title character would pass through four films before it reached Milland in 1937. Including Ronald Colman's own return to the character, once in between, in BULLDOG DRUMMOND STRIKES BACK (1934).
My back story behind this #ForMyMom pick is one of the indirect/direct mentions I was telling you about the other day. It stems from the song Searchin' by The Coasters (1957). I'd say it was a common song played around the house (as I've said before, I grew up with this kind of music a la my Dad ... had no idea this music was nostalgic). However, one day, not too terribly long ago, some sort of way my Mom and I got on topic of something random (as was a daily case) when there was mention of losing something and seemingly out of nowhere my Mom starts saying, "Gonna find it," before singing, "like Buuulldog Drummond". From me: blank stare -- What? And so, she sang it again. Then I: "Where do you get this stuff from?! Did you just make that up?" Nope. It's in the song Searchin'. "Haven't you heard Searchin'?" Yes, but, never did I pay any attention to the words I suppose. Went to play the song again for myself, and there it was. The Golden Age Detectives in one song.
At that time, I had yet to catch up on the Bulldog Drummond films (had just wrapped up my Boston Blackie "course"). Result? I became familiar with the series soon thereafter. Further education? By way of a Birthday gift from my parents that followed behind this song "revelation" that included a box set of what? Sleuth's, just like "Buuulldog Drummond."
In short, my Mom's singing brought me here. A WorthTheWatch recommend, starring Ray Milland as the title character, as Heather Angel premieres in her first of five Bulldog Drummond films as 'Phyllis Clavering' today on TCM.
VISIT TCM FOR FULL RAY MILLAND SCHEDULE
(To hear the song Searchin' by The Coasters for yourself: https://www.youtube.com/watch?v=NLwrA3ng0s8)
AUGUST 3rd:
THE UNKNOWN (1927) On TCM Today at 1:00PM CT.
In well over 100 films to his name, Lon Chaney, Sr. only has one; his first and only, Talkie to his credit, THE UNHOLY THREE (1930). It was from this film, Chaney was able to showcase what Hollywood already knew. His range of talent, not only by movement or expression, as a "Man of a Thousand Faces," but now by sound.
Audiences, having seen Chaney portray the role(s) in THE UNHOLY THREE once before in Tod Browning's Silent 1925 adaptation to the novel (by Clarence Aaron "Tod" Robbins), it was here Chaney exercised his trained ability to use his voice differently with each "passing" character portrayed. Including the parrot and the girl at the Carnival. Unfortunately, this would be not only be his debut into sound but too his final bow.
Lon Chaney, Sr. passed away only seven weeks after the July 1930 release of THE UNHOLY THREE.
Having said all that, why not THE UNHOLY THREE as my #ForMyMom PICK? Or even LAUGH, CLOWN, LAUGH, THE PENALTY, THE BLACKBIRD, or obviously, THE PHANTOM OF THE OPERA? True. All great and shall receive honorary mentions, but in relation to My Mom and Movies, I don't know how to explain it in print really. The best way I can try, is to say, my Mom wasn't a Silent Movie person, but there were exceptions.
I too, "new" to the field at the time myself, had to start with actors I already liked and were familiar with when walking into the field of Silent. Baby steps. With that, my Mom trusted me in my judgment, and I hers. From there we were able to get some good Silent film watches out of it. Be it Rudolph Valentino (him, we BOTH loved ... my Mom: "Prettiest man I ever saw" ... and you can take that to the bank.), Gloria Swanson, Greta Garbo, Norma Shearer and of course, "Joanie Joan" Joan Crawford who Co-Stars with Chaney in THE UNKNOWN.
Due to being widely known by people she and I knew, about how much we liked Crawford and Davis, a friend told me about a film she had stumbled upon, which I found out after the conversation, so happened to soon be airing on TCM one night. I set a reminder, told my Mom about it, who was in it and because of those two words and that one actress, Joan. Crawford. Is how we came to watch (and like) THE UNKNOWN. Too reminded was I of the truth in portrayal of acting with THE Lon Chaney ... today on TCM.
VISIT TCM FOR FULL LON CHANEY SCHEDULE
In well over 100 films to his name, Lon Chaney, Sr. only has one; his first and only, Talkie to his credit, THE UNHOLY THREE (1930). It was from this film, Chaney was able to showcase what Hollywood already knew. His range of talent, not only by movement or expression, as a "Man of a Thousand Faces," but now by sound.
Audiences, having seen Chaney portray the role(s) in THE UNHOLY THREE once before in Tod Browning's Silent 1925 adaptation to the novel (by Clarence Aaron "Tod" Robbins), it was here Chaney exercised his trained ability to use his voice differently with each "passing" character portrayed. Including the parrot and the girl at the Carnival. Unfortunately, this would be not only be his debut into sound but too his final bow.
Lon Chaney, Sr. passed away only seven weeks after the July 1930 release of THE UNHOLY THREE.
Having said all that, why not THE UNHOLY THREE as my #ForMyMom PICK? Or even LAUGH, CLOWN, LAUGH, THE PENALTY, THE BLACKBIRD, or obviously, THE PHANTOM OF THE OPERA? True. All great and shall receive honorary mentions, but in relation to My Mom and Movies, I don't know how to explain it in print really. The best way I can try, is to say, my Mom wasn't a Silent Movie person, but there were exceptions.
I too, "new" to the field at the time myself, had to start with actors I already liked and were familiar with when walking into the field of Silent. Baby steps. With that, my Mom trusted me in my judgment, and I hers. From there we were able to get some good Silent film watches out of it. Be it Rudolph Valentino (him, we BOTH loved ... my Mom: "Prettiest man I ever saw" ... and you can take that to the bank.), Gloria Swanson, Greta Garbo, Norma Shearer and of course, "Joanie Joan" Joan Crawford who Co-Stars with Chaney in THE UNKNOWN.
Due to being widely known by people she and I knew, about how much we liked Crawford and Davis, a friend told me about a film she had stumbled upon, which I found out after the conversation, so happened to soon be airing on TCM one night. I set a reminder, told my Mom about it, who was in it and because of those two words and that one actress, Joan. Crawford. Is how we came to watch (and like) THE UNKNOWN. Too reminded was I of the truth in portrayal of acting with THE Lon Chaney ... today on TCM.
VISIT TCM FOR FULL LON CHANEY SCHEDULE
AUGUST 4th:
MURDER, MY SWEET (1944) On TCM Tonight at 9:00PM CT.
My intro to Claire Trevor came from endless watching of Robert Osborne down through the years on TCM. And for a time, in the initial discovery stages, I had moments of confusing Claire Trevor with Gladys George. That similarity was quickly squashed once seeing Trevor in films BORN TO KILL, DEAD END, and MURDER, MY SWEET. There is no escaping the sophisticated blonde with a twist of I'm the head dame in charge air Claire Trevor hands you when you ask for it. Take it or leave it. Don't get me wrong, Gladys George certainly shows up to the party letting you know she's here 'til the last round standing when the role calls for it as well. However, my interest in MURDER, MY SWEET is all because of my Mom ... in a Richard Diamond sortofaway. You may hear my repeated mentions and shout outs to Dick Powell as Richard Diamond (for my Dick Powell story, click here). It's from there I followed along from my initial Old Time Radio Dick Powell discovery, to the Warner Bros. crooner "I'm young and healthy...," landing into the sidewalk and gutter of "She was a charming middle-aged lady with a face like a bucket of mud" tough guy on screen. Say what? Yep. With a bottle of sense of humor in the back pocket. In it's own way it all brought me full circle. Different mediums come together by crime, murder and Shamus. Routine became I listening to Old Time Radio while I worked, along the way cleverly pulling my Mom under with a few shows of interest; "Gracie" (The Burns and Allen Show), You Bet Your Life, People Are Funny, and ... Richard Diamond. Here, though is an example of just how "Richard Diamond" esq he made Philip Marlowe on screen ... or is it the other way around. Just whom is esq-ing whom? I suppose you can find out the answer to that, as well as catch a not so STELLA DALLAS anymore Anne Shirley (who adopted her name after her title character Anne Shirley from ANNE OF GREEN GABLES (1934)) here in her last film appearance on screen, tonight on TCM.
VISIT TCM FOR FULL CLAIRE TREVOR SCHEDULE
My intro to Claire Trevor came from endless watching of Robert Osborne down through the years on TCM. And for a time, in the initial discovery stages, I had moments of confusing Claire Trevor with Gladys George. That similarity was quickly squashed once seeing Trevor in films BORN TO KILL, DEAD END, and MURDER, MY SWEET. There is no escaping the sophisticated blonde with a twist of I'm the head dame in charge air Claire Trevor hands you when you ask for it. Take it or leave it. Don't get me wrong, Gladys George certainly shows up to the party letting you know she's here 'til the last round standing when the role calls for it as well. However, my interest in MURDER, MY SWEET is all because of my Mom ... in a Richard Diamond sortofaway. You may hear my repeated mentions and shout outs to Dick Powell as Richard Diamond (for my Dick Powell story, click here). It's from there I followed along from my initial Old Time Radio Dick Powell discovery, to the Warner Bros. crooner "I'm young and healthy...," landing into the sidewalk and gutter of "She was a charming middle-aged lady with a face like a bucket of mud" tough guy on screen. Say what? Yep. With a bottle of sense of humor in the back pocket. In it's own way it all brought me full circle. Different mediums come together by crime, murder and Shamus. Routine became I listening to Old Time Radio while I worked, along the way cleverly pulling my Mom under with a few shows of interest; "Gracie" (The Burns and Allen Show), You Bet Your Life, People Are Funny, and ... Richard Diamond. Here, though is an example of just how "Richard Diamond" esq he made Philip Marlowe on screen ... or is it the other way around. Just whom is esq-ing whom? I suppose you can find out the answer to that, as well as catch a not so STELLA DALLAS anymore Anne Shirley (who adopted her name after her title character Anne Shirley from ANNE OF GREEN GABLES (1934)) here in her last film appearance on screen, tonight on TCM.
VISIT TCM FOR FULL CLAIRE TREVOR SCHEDULE
AUGUST 5th:
SINGIN' IN THE RAIN (1952) On TCM Tonight at 7:00PM CT.
I'll keep the this one, straight, simple and to the point. Donald O'Connor. I know what you're thinking. What about Debbie Reynolds -- and -- and Gene Kelly?! Yes, Debbie proves she can compete, fight and win, next to the big boys; hold her own and come out on top in this one ... Ladies, never bring flats to a heel fight -- real women dance in heels. And Gene Kelly we know is the one to beat when it comes to athletic dancing on screen (SIDE NOTE: Would've loved to see how Eleanor Powell and Kelly would've paired together.) But, if Kelly is the one to beat, for my Mom and I, O'Connor nails it! How could we determine such a factor?
We both noticed that through countless times of watching SITR, our eyes would always come to focus in on O'Connor. It wasn't too long after a regular viewing when both of us finally said it out loud to the other ... "You too?!" It's the "Vowel" scene in particular we'd drop whatever was being done, whatever else was being watched by someone else; turn to, tune in and sit down just to watch O'Connor and Kelly. The pure limberness and ease that O'Connor possess, keeps up with Kelly toe-to-toe, turn-for-turn, tap-for-tap, as if he is bursting to hit the next step. Then again, you're dancing with Kelly here, I'd be bursting too ... "Five, Six -- Five, Six, Seven, Eight!"
Above all else, "Singin'" is a film that can be enjoyed by all ages, and you don't necessarily have to be a Musical fan, a Classic film fan, or even a film fanatic to enjoy this movie. It's that kind of feel good film. With all the elements mixed in at just the right color, cast, dialog, movement and weather. It maybe raining, but where Kelly dances, "the sun is shining all over the place." Just ask O'Connor. Next time you watch O"Connor and Kelly, pay notice to the "Vowel" scene ... tonight on TCM.
VISIT TCM FOR FULL GENE KELLY TCM SCHEDULE
I'll keep the this one, straight, simple and to the point. Donald O'Connor. I know what you're thinking. What about Debbie Reynolds -- and -- and Gene Kelly?! Yes, Debbie proves she can compete, fight and win, next to the big boys; hold her own and come out on top in this one ... Ladies, never bring flats to a heel fight -- real women dance in heels. And Gene Kelly we know is the one to beat when it comes to athletic dancing on screen (SIDE NOTE: Would've loved to see how Eleanor Powell and Kelly would've paired together.) But, if Kelly is the one to beat, for my Mom and I, O'Connor nails it! How could we determine such a factor?
We both noticed that through countless times of watching SITR, our eyes would always come to focus in on O'Connor. It wasn't too long after a regular viewing when both of us finally said it out loud to the other ... "You too?!" It's the "Vowel" scene in particular we'd drop whatever was being done, whatever else was being watched by someone else; turn to, tune in and sit down just to watch O'Connor and Kelly. The pure limberness and ease that O'Connor possess, keeps up with Kelly toe-to-toe, turn-for-turn, tap-for-tap, as if he is bursting to hit the next step. Then again, you're dancing with Kelly here, I'd be bursting too ... "Five, Six -- Five, Six, Seven, Eight!"
Above all else, "Singin'" is a film that can be enjoyed by all ages, and you don't necessarily have to be a Musical fan, a Classic film fan, or even a film fanatic to enjoy this movie. It's that kind of feel good film. With all the elements mixed in at just the right color, cast, dialog, movement and weather. It maybe raining, but where Kelly dances, "the sun is shining all over the place." Just ask O'Connor. Next time you watch O"Connor and Kelly, pay notice to the "Vowel" scene ... tonight on TCM.
VISIT TCM FOR FULL GENE KELLY TCM SCHEDULE
AUGUST 6th:
THE NIGHT OF THE HUNTER (1955) On TCM Tonight at 7:00PM CT.
With The Mitch comes yet again another round of films I could have picked for this purpose, HIS KIND OF WOMAN (1951), OUT OF THE PAST (1947), THUNDER ROAD (1958) ... though HOLIDAY AFFAIR, that would be alllll my own. For me, "adorable" doesn't begin to describe how I find The Mitch in HOLIDAY AFFAIR (1949) ... *ahem* "Janet, my I be your stand-in?" -- Hm? What? What were you saying? Oh me! Yes, I was saying, The Mitch -- Mitchum -- Robert -- yes, well, I was saying, in THE NIGHT OF THE HUNTER, you get not only a packed punch with The Mitch (who never disappoints) but this is the pure, raw, terror of Mitchum's acting unleashed. I may be alone in thought, however, I find Mitchum more terrifying in THE NIGHT OF THE HUNTER than he is in CAPE FEAR. That's saying something.
To add to the power of his performance, this film has everything you could want in a movie. What brought us to the film? Well, sure, Robert Mitchum. But what did we leave with?
Lillian Gish, who shows you just why she was on top of her game during the Silent era, and how she stuck around and kept the newbies on their toes ever since. Sometimes, BigGirlsComeInPetiteSizes. Charles Laughton, in his first, only and may I say brilliant, directorial debut. Can you imagine if he would've continued, what films we would be discussing today?! A loss and a treasure combined. A loss for what could've been, a treasure a film as this is. Nothing leaves you wanting from start to finish. It proves you can have your cake and eat it too. The sets, the backdrops, the cinematography, the acting, the dialog, the entire Cast, the characters ... the kids. Billy Chapin and Sally Jane Bruce. Blew. Us. Away. This is how/when child actors were ACTORS.
If this is new for you, I don't want to spoil anything, but once you reach the end, two words, Mitchum's reaction. That, my friends, is the icing on the cake. At least it was for us. It's what kept us coming back for a second helping. Over and over and over again. So will I #ForMyMom tonight, on TCM.
VISIT TCM FOR FULL ROBERT MITCHUM TCM SCHEDULE
With The Mitch comes yet again another round of films I could have picked for this purpose, HIS KIND OF WOMAN (1951), OUT OF THE PAST (1947), THUNDER ROAD (1958) ... though HOLIDAY AFFAIR, that would be alllll my own. For me, "adorable" doesn't begin to describe how I find The Mitch in HOLIDAY AFFAIR (1949) ... *ahem* "Janet, my I be your stand-in?" -- Hm? What? What were you saying? Oh me! Yes, I was saying, The Mitch -- Mitchum -- Robert -- yes, well, I was saying, in THE NIGHT OF THE HUNTER, you get not only a packed punch with The Mitch (who never disappoints) but this is the pure, raw, terror of Mitchum's acting unleashed. I may be alone in thought, however, I find Mitchum more terrifying in THE NIGHT OF THE HUNTER than he is in CAPE FEAR. That's saying something.
To add to the power of his performance, this film has everything you could want in a movie. What brought us to the film? Well, sure, Robert Mitchum. But what did we leave with?
Lillian Gish, who shows you just why she was on top of her game during the Silent era, and how she stuck around and kept the newbies on their toes ever since. Sometimes, BigGirlsComeInPetiteSizes. Charles Laughton, in his first, only and may I say brilliant, directorial debut. Can you imagine if he would've continued, what films we would be discussing today?! A loss and a treasure combined. A loss for what could've been, a treasure a film as this is. Nothing leaves you wanting from start to finish. It proves you can have your cake and eat it too. The sets, the backdrops, the cinematography, the acting, the dialog, the entire Cast, the characters ... the kids. Billy Chapin and Sally Jane Bruce. Blew. Us. Away. This is how/when child actors were ACTORS.
If this is new for you, I don't want to spoil anything, but once you reach the end, two words, Mitchum's reaction. That, my friends, is the icing on the cake. At least it was for us. It's what kept us coming back for a second helping. Over and over and over again. So will I #ForMyMom tonight, on TCM.
VISIT TCM FOR FULL ROBERT MITCHUM TCM SCHEDULE
AUGUST 7th:
OF HUMAN BONDAGE (1946) - 3:00AM CT.
Based on novel of the same name, by W. Somerset Maugham in 1915, OF HUMAN BONDAGE has been adapted for the screen three times; 1934, Bette Davis and Leslie Howard; 1946, Paul Henreid and Eleanor Parker; and 1964, Laurence Harvey and Kim Novak.
In having seen all three, for our eyes, either of the other two could match its 1934 first edition. Why? Bette Davis. You know the scene:
"You cad, you dirty swine! I never cared for you, not once! I was always makin' a fool of ya! Ya bored me stiff; I hated ya! It made me SICK when I had to let ya kiss me. I only did it because ya begged me, ya hounded me and drove me crazy! And after ya kissed me, I always used to wipe my mouth! WIPE MY MOUTH!"
Talk about dialog we memorized word for word. Because the 1934 film was such a huge part of our film watching diary, it may be apart of yours too. Though having said that, not here to give a review on this film ... today, but I do recommend giving this 1946 adaptation a once over if unseen to judge for yourself. If for no other reason than to say at a certain point, I've seen all three, now I have another check on my film fanatic movie watch list. Starting in the wee hours of the night, tonight on #TCM.
VISIT TCM FOR FULL ELEANOR PARKER SCHEDULE
Based on novel of the same name, by W. Somerset Maugham in 1915, OF HUMAN BONDAGE has been adapted for the screen three times; 1934, Bette Davis and Leslie Howard; 1946, Paul Henreid and Eleanor Parker; and 1964, Laurence Harvey and Kim Novak.
In having seen all three, for our eyes, either of the other two could match its 1934 first edition. Why? Bette Davis. You know the scene:
"You cad, you dirty swine! I never cared for you, not once! I was always makin' a fool of ya! Ya bored me stiff; I hated ya! It made me SICK when I had to let ya kiss me. I only did it because ya begged me, ya hounded me and drove me crazy! And after ya kissed me, I always used to wipe my mouth! WIPE MY MOUTH!"
Talk about dialog we memorized word for word. Because the 1934 film was such a huge part of our film watching diary, it may be apart of yours too. Though having said that, not here to give a review on this film ... today, but I do recommend giving this 1946 adaptation a once over if unseen to judge for yourself. If for no other reason than to say at a certain point, I've seen all three, now I have another check on my film fanatic movie watch list. Starting in the wee hours of the night, tonight on #TCM.
VISIT TCM FOR FULL ELEANOR PARKER SCHEDULE
AUGUST 8th:
FRANCHOT TONE - ALL DAY
Today is a day in which I won't pick a particular film #ForMyMom, but instead, the actual actor himself. Franchot Tone. Why? Straight, simple and to the point. His name.
Because of his name. we fell victim to a slew of films, some which couldn't seem to capture the undoubted talent of this classic film actor. "What a name," we'd say amongst ourselves. Wonder if we're pronouncing it right? Better listen to Robert Osborne next time a Tone film is on. He'll now how it's done ... We hope. In between the wait however, I put on my searching cap and found out Franchot Tone was in part of French descent, born Stanislaus Pascal Franchot Tone. Which made his name more intriguing. "I bet it's a lovely name when said correctly." Thus began us pronouncing the variations in which a name like that can be pronounced vs. how it should be pronounced, to us. In search of "what's in a name," I found there was quite a lot in his name. I discovered that he was under the studying group that of Lee Strasberg and Harold Clurman. Tone was in class of the "Method" ... In. Awe. His career was born as a member of the New York Theatre Guild. His first role came in 1929 in his first major role of the Broadway production of "The Age of Innocence" in 1929.
Now in full search and find of his film works, it made me that much more disappointed to recognize a pattern revealing Hollywood seemed not to know what to do with training such as his in the Pre-Brando years. Unless you were Bette Davis.
While it seems he made the best of the parts he was handed, his breakout into what an actor he really was didn't surface through the lens until films like THREE COMRADES, FIVE GRAVES TO CAIRO, PHANTOM LADY, ADVISE AND CONSENT, or MICKEY ONE came along (IMO). Characters providing him a chance to string away from the Playboy turned worse for wear, reformed Playboy, eye candy, or the "other fellow" type roles. Mind you, thus being so, didn't stop us from enjoying every and all films he appeared in.
Franchot Tone was our favorite underrated actor of them all. He's one actor that we'd call aloud to one another if the other was some place else or nearby to announce his arrival. Just to say his name ... "Franchot Tone." On ALL DAY today and night on TCM.
VISIT TCM FOR FULL FRANCHOT TONE SCHEDULE
Today is a day in which I won't pick a particular film #ForMyMom, but instead, the actual actor himself. Franchot Tone. Why? Straight, simple and to the point. His name.
Because of his name. we fell victim to a slew of films, some which couldn't seem to capture the undoubted talent of this classic film actor. "What a name," we'd say amongst ourselves. Wonder if we're pronouncing it right? Better listen to Robert Osborne next time a Tone film is on. He'll now how it's done ... We hope. In between the wait however, I put on my searching cap and found out Franchot Tone was in part of French descent, born Stanislaus Pascal Franchot Tone. Which made his name more intriguing. "I bet it's a lovely name when said correctly." Thus began us pronouncing the variations in which a name like that can be pronounced vs. how it should be pronounced, to us. In search of "what's in a name," I found there was quite a lot in his name. I discovered that he was under the studying group that of Lee Strasberg and Harold Clurman. Tone was in class of the "Method" ... In. Awe. His career was born as a member of the New York Theatre Guild. His first role came in 1929 in his first major role of the Broadway production of "The Age of Innocence" in 1929.
Now in full search and find of his film works, it made me that much more disappointed to recognize a pattern revealing Hollywood seemed not to know what to do with training such as his in the Pre-Brando years. Unless you were Bette Davis.
While it seems he made the best of the parts he was handed, his breakout into what an actor he really was didn't surface through the lens until films like THREE COMRADES, FIVE GRAVES TO CAIRO, PHANTOM LADY, ADVISE AND CONSENT, or MICKEY ONE came along (IMO). Characters providing him a chance to string away from the Playboy turned worse for wear, reformed Playboy, eye candy, or the "other fellow" type roles. Mind you, thus being so, didn't stop us from enjoying every and all films he appeared in.
Franchot Tone was our favorite underrated actor of them all. He's one actor that we'd call aloud to one another if the other was some place else or nearby to announce his arrival. Just to say his name ... "Franchot Tone." On ALL DAY today and night on TCM.
VISIT TCM FOR FULL FRANCHOT TONE SCHEDULE
AUGUST 9th:
ITIMATION OF LIFE (1959) - 4:45PM CT
My #ForMyMom pick for the day comes not on the sole purpose of the Actress, Sandra Dee herself (for that, I would may have chosen UNTIL THEY SAIL, THE RELUCTANT DEBUTANTE, THAT FUNNY FEELING, TAMMY TELL ME TRUE or GIDGET), but the film itself in which she is in, IMITATION OF LIFE (a remake to its 1934 counterpart).
IMITATION OF LIFE comes from the structured foundation of film watching I grew up on. This film was absolutely a family affair between my Mom, Dad and I. True, it was required watching during my school years. Yet, it only helped weave the fabric between school and home. For as far as I can remember, IMITATION OF LIFE was always watched by my family and I. No matter how many times it came on in a short or long course of time.
The significance in the film spreads wider than just the actors as individuals, but the story as a whole. You can never watch it too many times and fall short of the emotional overturn you experience the first time you saw it. Nor can you simply turn it on and turn away. It captures you in that sort of a way. As will be the same tonight on TCM.
VISIT TCM FOR FULL SANDRA DEE SCHEDULE
My #ForMyMom pick for the day comes not on the sole purpose of the Actress, Sandra Dee herself (for that, I would may have chosen UNTIL THEY SAIL, THE RELUCTANT DEBUTANTE, THAT FUNNY FEELING, TAMMY TELL ME TRUE or GIDGET), but the film itself in which she is in, IMITATION OF LIFE (a remake to its 1934 counterpart).
IMITATION OF LIFE comes from the structured foundation of film watching I grew up on. This film was absolutely a family affair between my Mom, Dad and I. True, it was required watching during my school years. Yet, it only helped weave the fabric between school and home. For as far as I can remember, IMITATION OF LIFE was always watched by my family and I. No matter how many times it came on in a short or long course of time.
The significance in the film spreads wider than just the actors as individuals, but the story as a whole. You can never watch it too many times and fall short of the emotional overturn you experience the first time you saw it. Nor can you simply turn it on and turn away. It captures you in that sort of a way. As will be the same tonight on TCM.
VISIT TCM FOR FULL SANDRA DEE SCHEDULE
AUGUST 10th:
BROTHER JOHN (1971) 5:00AM CT
Many Sidney Poitier films are equivalent to the phrase "worth the watch." In fact, Sidney Poitier is worth the watch. And I could still tag that #ForMyMom and it would be relevant, i.e. EDGE OF THE CITY, A PATCH OF BLUE, TO SIR, WITH LOVE, IN THE HEAT OF THE NIGHT. Be it as a film fan in general, or an aspiring filmmaker in particular, one could not just recommend a film of Poitier's, but his body of work as whole, BUCK AND THE PREACHER, NO WAY OUT, RED BALL EXPRESS, DUEL IN DIABLO, A SLENDER THREAD. Not even mentioning his more well known films, Oscar win (LILIES OF THE FIELD), and Director Poitier, STIR CRAZY, I'm looking at you. That's how Sidney Poitier comes. The full package.
BROTHER JOHN however is a film rarely mentioned when you think/talk Sidney Poitier ... depending on who you talk to. And in those rare moments/mentions of BROTHER JOHN, you can literally see the person on the other end of that conversation's face light up. "You know that movie too?!" it exclaims! And you don't even discuss the film itself, in awe that someone out there too has seen this film. As if you are in a secret club. Exclusively for Sidney Poitier fans. Which is what brought my Mom and I to watch BROTHER JOHN one night on TCM, after hearing about it numerous times for so long on TCM between films when they air their extra features.
Was it worth the wait? Yes. Was it worth the watch? Yes.
After watching BROTHER JOHN, you can actually feel that you are now officially in the Sidney Poitier club. I can't/won't give anything away about the film, who he is, or what it is about. This film is best discovered as you watch. Which I encourage highly that you too may become a part of the club and redeem your Poitier VIP card in the morn (via watch or DVR) on TCM.
VISIT TCM FOR FULL SIDNEY POITIER SCHEDULE
Many Sidney Poitier films are equivalent to the phrase "worth the watch." In fact, Sidney Poitier is worth the watch. And I could still tag that #ForMyMom and it would be relevant, i.e. EDGE OF THE CITY, A PATCH OF BLUE, TO SIR, WITH LOVE, IN THE HEAT OF THE NIGHT. Be it as a film fan in general, or an aspiring filmmaker in particular, one could not just recommend a film of Poitier's, but his body of work as whole, BUCK AND THE PREACHER, NO WAY OUT, RED BALL EXPRESS, DUEL IN DIABLO, A SLENDER THREAD. Not even mentioning his more well known films, Oscar win (LILIES OF THE FIELD), and Director Poitier, STIR CRAZY, I'm looking at you. That's how Sidney Poitier comes. The full package.
BROTHER JOHN however is a film rarely mentioned when you think/talk Sidney Poitier ... depending on who you talk to. And in those rare moments/mentions of BROTHER JOHN, you can literally see the person on the other end of that conversation's face light up. "You know that movie too?!" it exclaims! And you don't even discuss the film itself, in awe that someone out there too has seen this film. As if you are in a secret club. Exclusively for Sidney Poitier fans. Which is what brought my Mom and I to watch BROTHER JOHN one night on TCM, after hearing about it numerous times for so long on TCM between films when they air their extra features.
Was it worth the wait? Yes. Was it worth the watch? Yes.
After watching BROTHER JOHN, you can actually feel that you are now officially in the Sidney Poitier club. I can't/won't give anything away about the film, who he is, or what it is about. This film is best discovered as you watch. Which I encourage highly that you too may become a part of the club and redeem your Poitier VIP card in the morn (via watch or DVR) on TCM.
VISIT TCM FOR FULL SIDNEY POITIER SCHEDULE
AUGUST 11th:
FOLLOW THE FLEET (1936) On TCM Today at 1:15PM CT.
Truly could pick any of the films from today's line and would recommend it as a WorthTheWatch: DREAMBOAT, TIGHT SPOT, TWENTY MILLION SWEETHEARS ... in fact, I have! STAR OF MIDNIGHT and ONCE UPON A HONEYMOON In particular. And between those two, I still could hashtag them #ForMyMom (SOM we discovered together, OUAH, I introduced to her. #Teamwork)
In hopes of doing some team work today with anyone who has not yet seen FOLLOW THE FLEET (1936).
What did it for us, was it being an introduction of sorts to a "new" side of Randy, (as we called him after seeing this film *wolf whistle*), Randolph Scott. Prior to, we'd only looked upon Scott as primarily cowboy only actor, bar MY FAVORITE WIFE, which has been a longtime repeated watch for me. Those DVD buys that stay in your player for weeks. Yep. Having said that, my Mom was NOT a Western film fan. Unless you were talkin' TOMBSTONE, "That's just my speed," or 3:10 TO YUMA (2007) "You look a little bent, rancher. Come to wake some snakes?" Then you were talking the same language. Dad, however, refused to accept Randolph Scott as anything but a cowboy. This didn't hinder, only enhanced. My Mom and I loved the saucy Randy after seeing this one (following our ROBERTA watch the film prior. Also with Fred and Ginger).
With this new discovery of Randy, came an opportunity to see Fred and Ginger as a part of an "ensemble" as opposed to them being almost solely the primary central focus so to speak, i.e. TOP HAT, SWING TIME, SHALL WE DANCE. FOLLOW THE FLEET coasting along the lines of a more ROBERTA and FLYING DOWN TO RIO touch. Almost in a comedy-duo-esque fashion. Which for us was a refreshing discovery. #Teamwork. Yep. Yet again. Consider it another diamond in the crown of pure cut carats that are Fred and Ginger today on TCM.
VISIT TCM FOR FULL GINGER ROGERS TCM SCHEDULE
Truly could pick any of the films from today's line and would recommend it as a WorthTheWatch: DREAMBOAT, TIGHT SPOT, TWENTY MILLION SWEETHEARS ... in fact, I have! STAR OF MIDNIGHT and ONCE UPON A HONEYMOON In particular. And between those two, I still could hashtag them #ForMyMom (SOM we discovered together, OUAH, I introduced to her. #Teamwork)
In hopes of doing some team work today with anyone who has not yet seen FOLLOW THE FLEET (1936).
What did it for us, was it being an introduction of sorts to a "new" side of Randy, (as we called him after seeing this film *wolf whistle*), Randolph Scott. Prior to, we'd only looked upon Scott as primarily cowboy only actor, bar MY FAVORITE WIFE, which has been a longtime repeated watch for me. Those DVD buys that stay in your player for weeks. Yep. Having said that, my Mom was NOT a Western film fan. Unless you were talkin' TOMBSTONE, "That's just my speed," or 3:10 TO YUMA (2007) "You look a little bent, rancher. Come to wake some snakes?" Then you were talking the same language. Dad, however, refused to accept Randolph Scott as anything but a cowboy. This didn't hinder, only enhanced. My Mom and I loved the saucy Randy after seeing this one (following our ROBERTA watch the film prior. Also with Fred and Ginger).
With this new discovery of Randy, came an opportunity to see Fred and Ginger as a part of an "ensemble" as opposed to them being almost solely the primary central focus so to speak, i.e. TOP HAT, SWING TIME, SHALL WE DANCE. FOLLOW THE FLEET coasting along the lines of a more ROBERTA and FLYING DOWN TO RIO touch. Almost in a comedy-duo-esque fashion. Which for us was a refreshing discovery. #Teamwork. Yep. Yet again. Consider it another diamond in the crown of pure cut carats that are Fred and Ginger today on TCM.
VISIT TCM FOR FULL GINGER ROGERS TCM SCHEDULE
AUGUST 12th:
RED RIVER (1948)
There's no reason to hide it. When it came to John Wayne, I admit, my Mom and Dad, nor myself were fans. For now, I'll leave it there. Having said that, I can give a #ForMyMom recommend that even all three of us enjoyed watching, RED RIVER (1948).
A film that further showed the sincerity in the emotional journey Montgomery Clift takes you on when in a scene with him. You believe everything he's going through, telling you, showing you. It's all laid out in every look, movement, and gesture of his face.
The film itself, based on a serial story by Borden Chase in 1946 in 'The Saturday Evening Post', titled "Blazing Guns on the Chisholm Trail" does differ in its ending. The film, the two main characters, Thomas Dunson (John Wayne) and Matt Garth (Clift) settle their feud and come away friends (father/son-esque) again. As with the original story written in the Post, Cherry Valance (acted by John Ireland in the film) shoots Thomas Dunson (Wayne in film), leaving Matt (Clift in film) to bury Dunson's body back on the ranch in Texas.
A solid recommend worth the watch, whether you're a John Wayne fan or not.
There's no reason to hide it. When it came to John Wayne, I admit, my Mom and Dad, nor myself were fans. For now, I'll leave it there. Having said that, I can give a #ForMyMom recommend that even all three of us enjoyed watching, RED RIVER (1948).
A film that further showed the sincerity in the emotional journey Montgomery Clift takes you on when in a scene with him. You believe everything he's going through, telling you, showing you. It's all laid out in every look, movement, and gesture of his face.
The film itself, based on a serial story by Borden Chase in 1946 in 'The Saturday Evening Post', titled "Blazing Guns on the Chisholm Trail" does differ in its ending. The film, the two main characters, Thomas Dunson (John Wayne) and Matt Garth (Clift) settle their feud and come away friends (father/son-esque) again. As with the original story written in the Post, Cherry Valance (acted by John Ireland in the film) shoots Thomas Dunson (Wayne in film), leaving Matt (Clift in film) to bury Dunson's body back on the ranch in Texas.
A solid recommend worth the watch, whether you're a John Wayne fan or not.
AUGUST 13th:
BABY FACE (1933) On TCM Tonight at 12:30AM CT.
With Barbara Stanwyck comes a lot of #ForMyMom watches that we mostly discovered together. In Babs, she had a fan in us, be it simply admiring how well she aged when seeing her in photos or footage (my Mom loved how striking she looked with white hair as she matured) or watching her in films, STELLA DALLAS, FORBIDDEN, SORRY WRONG NUMBER, THE GOLDEN BOY, or any of her Pre-Code films, just pick a feature ... Which is exactly what I'm doing. BABY FACE (1933).
It was with BABY FACE, we got a new look at Barbara Stanwyck during a highlight of the film on TCM during their FORBIDDEN HOLLYWOOD: PRE CODE spotlight several years ago. I had seen the film before, but I don't think either one of us paid as close attention to its significance until hearing it talked about before its run time. Suddenly, everything Barbara Stanwyck became, "I get it now." This is why people love to watch her. This is what people see in her. This is Barbara Stanwyck in action. This is acting. And while watching, you can NOT go without noticing the way in which Barbara Stanwyck's character 'Lily Powers' stands beside her best friend 'Chico', acted by equally talented (and underrated/not given the same opportunity) Theresa Harris. Even though it sets me back that later 'Chico' does play role of "maid" with full dress applied (sign of the times), I appreciate/applaud that Barbara Stanwyck's 'Lily' pulls no punches that wherever I go, 'Chico' goes. Period. If you've ever under appreciated Barbara Stanwyck, ever "didn't get it," I encourage you to watch BABY FACE tonight on TCM.
VISIT TCM FOR FULL BARBARA STANWYCK TCM SCHEDULE
With Barbara Stanwyck comes a lot of #ForMyMom watches that we mostly discovered together. In Babs, she had a fan in us, be it simply admiring how well she aged when seeing her in photos or footage (my Mom loved how striking she looked with white hair as she matured) or watching her in films, STELLA DALLAS, FORBIDDEN, SORRY WRONG NUMBER, THE GOLDEN BOY, or any of her Pre-Code films, just pick a feature ... Which is exactly what I'm doing. BABY FACE (1933).
It was with BABY FACE, we got a new look at Barbara Stanwyck during a highlight of the film on TCM during their FORBIDDEN HOLLYWOOD: PRE CODE spotlight several years ago. I had seen the film before, but I don't think either one of us paid as close attention to its significance until hearing it talked about before its run time. Suddenly, everything Barbara Stanwyck became, "I get it now." This is why people love to watch her. This is what people see in her. This is Barbara Stanwyck in action. This is acting. And while watching, you can NOT go without noticing the way in which Barbara Stanwyck's character 'Lily Powers' stands beside her best friend 'Chico', acted by equally talented (and underrated/not given the same opportunity) Theresa Harris. Even though it sets me back that later 'Chico' does play role of "maid" with full dress applied (sign of the times), I appreciate/applaud that Barbara Stanwyck's 'Lily' pulls no punches that wherever I go, 'Chico' goes. Period. If you've ever under appreciated Barbara Stanwyck, ever "didn't get it," I encourage you to watch BABY FACE tonight on TCM.
VISIT TCM FOR FULL BARBARA STANWYCK TCM SCHEDULE
AUGUST 14th:
VANESSA REDGRAVE On TCM.
Without having to chose a film from today's lineup in particular, I can say that for my Mom and I, what drew us to a certain film where Vanessa Redgrave was concerned, was that she was in it. Might I mention, yes, that Redgrave. Daughter to the Michael Redgrave.
When searching to find out who was acting in a particular film that we may not have seen before when setting up a movie night or just movie watching, if her name was included, we knew it was worth taking a chance on. Be it one of her older films, or a more recent film, as we did with ANONYMOUS (2011). We went into seeing ANONYMOUS with all the mixed reviews floating the river around us (which never stopped us, we made up our own, not the critic doing it for us). Not knowing what we would think of the film ourselves coming out of it, we were shocked to come out in awe. We really enjoyed it. Not surprising for me I suppose, but I was surprised by my Mom. She too enjoyed it. Thoroughly. Yet, it was Vanessa Redgrave's performance/appearance that weaved it all together. For us. And to have her Vanessa real daughter, Joely Richardson, in the role of Young Queen Elizabeth I, to Vanessa's Queen Elizabeth I in her older years. Perfect.
She is a delight to watch in any film she is a part of. Even if the film itself isn't on point. She is. Always. Find out all day today on TCM.
VISIT TCM FOR FULL VANESSA REDGRAVE TCM SCHEDULE
Without having to chose a film from today's lineup in particular, I can say that for my Mom and I, what drew us to a certain film where Vanessa Redgrave was concerned, was that she was in it. Might I mention, yes, that Redgrave. Daughter to the Michael Redgrave.
When searching to find out who was acting in a particular film that we may not have seen before when setting up a movie night or just movie watching, if her name was included, we knew it was worth taking a chance on. Be it one of her older films, or a more recent film, as we did with ANONYMOUS (2011). We went into seeing ANONYMOUS with all the mixed reviews floating the river around us (which never stopped us, we made up our own, not the critic doing it for us). Not knowing what we would think of the film ourselves coming out of it, we were shocked to come out in awe. We really enjoyed it. Not surprising for me I suppose, but I was surprised by my Mom. She too enjoyed it. Thoroughly. Yet, it was Vanessa Redgrave's performance/appearance that weaved it all together. For us. And to have her Vanessa real daughter, Joely Richardson, in the role of Young Queen Elizabeth I, to Vanessa's Queen Elizabeth I in her older years. Perfect.
She is a delight to watch in any film she is a part of. Even if the film itself isn't on point. She is. Always. Find out all day today on TCM.
VISIT TCM FOR FULL VANESSA REDGRAVE TCM SCHEDULE
AUGUST 15h:
FIESTA (1947) and ON AN ISLAND WITH YOU (1948) On TCM Today at 5:00AM and 7AM CT.
If I had to pick one #ForMyMom film from the Ricardo Montalbán lineup for the day, it would undoubtedly have to be SAYONARA (1957), for the most obvious reason ... Marlon Brando, I'm looking at you. By now, it's no secret about my Marlon Brando ... obsession? But if you don't know the backstory, this shall fill you in: ALL ABOUT MY STELLA: The Marlon Brando Way. That reason alone places it as my pick. She sat through more Marlon Brando viewings with me than any other actor there was. And that's saying something. Too much!
But to be fair, however, I could also choose FIESTA (1947) and ON AN ISLAND WITH YOU (1948) because it's what introduced me to what my Mom already knew. Ricardo Montalbán, The Dancer! And what a dancer. He captures your attention just as a Fred Astaire or Gene Kelly. And when he's partnered with Cyd Charisse -- look out. My Fred and Ginger. The chemistry is explosive! Deliciously so. Though my Mom knew he was a dancer "back in the day," I can safely say, she didn't discover to what true essence of the word he was until we watched him in ON AN ISLAND WITH YOU. "Whoa!" is all she could say. While I on the other hand, remained mute. First wondering -- where can I find a Ricardo Montalbán? Second, can I do that lift trick on the counter between Cyd Charisse and Ricardo in my next Theatrical Production? Result: Nowhere; and I did choreograph that "flip" bit in the next production I did ... with a twist.
What you find when watching Ricardo Montalbán, in his Golden Age of Hollywood days, is how underrated he was ... still is! Watch him in BATTLEGROUND (personally, one of my Top 5 War Films of all time), MYSTERY STREET, BORDER INCIDENT -- the man could act!
Though an accident while filming in 1951 (ACROSS THE WIDE MISSOURI) prevented him from continuing dancing to such an excessive extent as in the former years, and later unfortunately paralyzed him, he never missed a beat. Not many Actors could/can pull that off successfully.
Start with FIESTA, ON AN ISLAND WITH YOU and stick around for the duration. In short, make sure your DVR has a lot of free space for Ricardo Montalbán. You're going to need it today on TCM.
VISIT TCM FOR FULL RICARDO MONTALBÁN TCM SCHEDULE
If I had to pick one #ForMyMom film from the Ricardo Montalbán lineup for the day, it would undoubtedly have to be SAYONARA (1957), for the most obvious reason ... Marlon Brando, I'm looking at you. By now, it's no secret about my Marlon Brando ... obsession? But if you don't know the backstory, this shall fill you in: ALL ABOUT MY STELLA: The Marlon Brando Way. That reason alone places it as my pick. She sat through more Marlon Brando viewings with me than any other actor there was. And that's saying something. Too much!
But to be fair, however, I could also choose FIESTA (1947) and ON AN ISLAND WITH YOU (1948) because it's what introduced me to what my Mom already knew. Ricardo Montalbán, The Dancer! And what a dancer. He captures your attention just as a Fred Astaire or Gene Kelly. And when he's partnered with Cyd Charisse -- look out. My Fred and Ginger. The chemistry is explosive! Deliciously so. Though my Mom knew he was a dancer "back in the day," I can safely say, she didn't discover to what true essence of the word he was until we watched him in ON AN ISLAND WITH YOU. "Whoa!" is all she could say. While I on the other hand, remained mute. First wondering -- where can I find a Ricardo Montalbán? Second, can I do that lift trick on the counter between Cyd Charisse and Ricardo in my next Theatrical Production? Result: Nowhere; and I did choreograph that "flip" bit in the next production I did ... with a twist.
What you find when watching Ricardo Montalbán, in his Golden Age of Hollywood days, is how underrated he was ... still is! Watch him in BATTLEGROUND (personally, one of my Top 5 War Films of all time), MYSTERY STREET, BORDER INCIDENT -- the man could act!
Though an accident while filming in 1951 (ACROSS THE WIDE MISSOURI) prevented him from continuing dancing to such an excessive extent as in the former years, and later unfortunately paralyzed him, he never missed a beat. Not many Actors could/can pull that off successfully.
Start with FIESTA, ON AN ISLAND WITH YOU and stick around for the duration. In short, make sure your DVR has a lot of free space for Ricardo Montalbán. You're going to need it today on TCM.
VISIT TCM FOR FULL RICARDO MONTALBÁN TCM SCHEDULE
AUGUST 17h:
THE WOMEN (1939) On TCM Today at 8:15AM CT.
Anything where Rosalind Russell is concerned is vulnerable to a #ForMyMom pick. Not only a fan of Rosalind Russell herself, Ros worked with some of my favorite Co Stars, which in turn were some of my Mom's too. Usually what one liked, the other came to follow, upon solid reason. Cary Grant, Clark Gable, Robert Montgomery, Brian Aherne, Franchot Tone, William Powell, Don Ameche -- I mean, it's pretty much MGM and all other Studio loan outs in the male department, take your pick when you see the Co Stars of Rosalind Russell. Most of which, if not all, Franchot Tone, William Powell, Brian Aherne, Clark Gable, Cary Grant we both found the happier once they were on screen.
But the Rosalind Russell Classic Movie fans know today, may not have been if it weren't for THE WOMEN (1939), my #ForMyMom pick. A film we never missed, quoted from whenever it was time to paint our nails ... you know the color, a film where we kept our eyes on Norma Shearer, JoanieJoan (Joan Crawford), the Fashion Show, aaaaand "Mrs. Prowler." -- "Fowler!" Rosalind Russell.
Beforehand, a Dramatic Actress, (NIGHT MUST FALL, we're looking at you -- our favorite Ros and Rob(ert Montgomery) film of them all), THE WOMEN was Rosalind Russell's turning point in genres. So outlandish was she in one of her screen tests for the role, she didn't honestly think that particular test would be taken seriously, or picked out in comparison to her other test for the role of Sylvia. When told/asked, if she were to act the character out as she did in her screwball performance of the character, she'd get the role, she initially thought, no way. Think goodness that wasn't the end of it.
Her performance? One you never tire of. Every piece of her performance, from vocal tones to body arrangement, results in a genuine "watch how she does this," reaction from the audience. Every. Single. Time. See for yourself, no matter what number this marks for you in in seeing THE WOMEN, today on TCM.
VISIT TCM FOR FULL ROSALIND RUSSELL TCM SCHEDULE
Anything where Rosalind Russell is concerned is vulnerable to a #ForMyMom pick. Not only a fan of Rosalind Russell herself, Ros worked with some of my favorite Co Stars, which in turn were some of my Mom's too. Usually what one liked, the other came to follow, upon solid reason. Cary Grant, Clark Gable, Robert Montgomery, Brian Aherne, Franchot Tone, William Powell, Don Ameche -- I mean, it's pretty much MGM and all other Studio loan outs in the male department, take your pick when you see the Co Stars of Rosalind Russell. Most of which, if not all, Franchot Tone, William Powell, Brian Aherne, Clark Gable, Cary Grant we both found the happier once they were on screen.
But the Rosalind Russell Classic Movie fans know today, may not have been if it weren't for THE WOMEN (1939), my #ForMyMom pick. A film we never missed, quoted from whenever it was time to paint our nails ... you know the color, a film where we kept our eyes on Norma Shearer, JoanieJoan (Joan Crawford), the Fashion Show, aaaaand "Mrs. Prowler." -- "Fowler!" Rosalind Russell.
Beforehand, a Dramatic Actress, (NIGHT MUST FALL, we're looking at you -- our favorite Ros and Rob(ert Montgomery) film of them all), THE WOMEN was Rosalind Russell's turning point in genres. So outlandish was she in one of her screen tests for the role, she didn't honestly think that particular test would be taken seriously, or picked out in comparison to her other test for the role of Sylvia. When told/asked, if she were to act the character out as she did in her screwball performance of the character, she'd get the role, she initially thought, no way. Think goodness that wasn't the end of it.
Her performance? One you never tire of. Every piece of her performance, from vocal tones to body arrangement, results in a genuine "watch how she does this," reaction from the audience. Every. Single. Time. See for yourself, no matter what number this marks for you in in seeing THE WOMEN, today on TCM.
VISIT TCM FOR FULL ROSALIND RUSSELL TCM SCHEDULE
AUGUST 18th:
THE TIME MACHINE (1960) 11:00AM CT and THE BIRDS (1963) 7:00PM
Giving an honorary mention here to THE GLASS BOTTOM BOAT in addition to my #ForMyMom picks, because since my "discovery" of Rod Taylor outside of THE BIRDS, and my becoming aware of Doris Day, I have since then found Doris Day and Rod Taylor together so delightful and natural. Which seems to be the case for every Doris Day leading man, right? Even though the two only did two films together, DO NOT DISTURB in 1965 and THE GLASS BOTTOM BOAT the following year.
As I said briefly, knew Rod Taylor exclusively from watching THE BIRDS all my life. It followed in stages in my life. First as a kid because was on in the house, then you reach the age where you finally sit down and watch it, then there comes the time you turn it on every time it airs (that was Mom and I), even if it's just on as "background music." My surprise of Rod Taylor came in THE TIME MACHINE one year, not that long ago, while I was sick with a Summer cold ... Who even gets those?!?! The. Worst. In all my life I've never had a cold in the Summer, enter my adulthood and WHAM! HappySummerWhileIt's100AndWhatDegrees! ... However, had I not been sick in bed, I wouldn't have found Rod Taylor when I did. Leading to the inquiring question to my Mom, "Have you seen THE TIME MACHINE?" She told me she had, and not too long after, when all was right side up with the world again, I came in, asked my Mom what was she watching, and she replied THE TIME MACHINE (2002 adaptation). I curled up on the sofa, and we began our discussion, critique and comparison panel. And for a course of time thereafter, it became our topic of current events in the language of films whenever we saw anything "time machine" related. I always loved doing "discussion panel" with my Mom. With us, it was so ... comical yet sincere. Like us.
Between two films, THE BIRDS and THE TIME MACHINE, budded a whole new appreciation for an Actor that was there, right in front of my eyes, waiting to be discovered.
With the strong foundation of Rod Taylor in THE BIRDS, made his electric performance in THE TIME MACHINE not only worth watching, but built a curiosity into seeking out Rod Taylor the Actor. Wanting to watch more of his work in film. Leading me on a path of so many of his films I enjoyed watching for the first time so much. I'm sure that feeling is universal with any film lover. The enjoyment of watching a film you genuinely enjoy the first time around. Which I'm hoping so many others will follow along and do today on TCM.
VISIT TCM FOR FULL ROD TAYLOR TCM SCHEDULE
Giving an honorary mention here to THE GLASS BOTTOM BOAT in addition to my #ForMyMom picks, because since my "discovery" of Rod Taylor outside of THE BIRDS, and my becoming aware of Doris Day, I have since then found Doris Day and Rod Taylor together so delightful and natural. Which seems to be the case for every Doris Day leading man, right? Even though the two only did two films together, DO NOT DISTURB in 1965 and THE GLASS BOTTOM BOAT the following year.
As I said briefly, knew Rod Taylor exclusively from watching THE BIRDS all my life. It followed in stages in my life. First as a kid because was on in the house, then you reach the age where you finally sit down and watch it, then there comes the time you turn it on every time it airs (that was Mom and I), even if it's just on as "background music." My surprise of Rod Taylor came in THE TIME MACHINE one year, not that long ago, while I was sick with a Summer cold ... Who even gets those?!?! The. Worst. In all my life I've never had a cold in the Summer, enter my adulthood and WHAM! HappySummerWhileIt's100AndWhatDegrees! ... However, had I not been sick in bed, I wouldn't have found Rod Taylor when I did. Leading to the inquiring question to my Mom, "Have you seen THE TIME MACHINE?" She told me she had, and not too long after, when all was right side up with the world again, I came in, asked my Mom what was she watching, and she replied THE TIME MACHINE (2002 adaptation). I curled up on the sofa, and we began our discussion, critique and comparison panel. And for a course of time thereafter, it became our topic of current events in the language of films whenever we saw anything "time machine" related. I always loved doing "discussion panel" with my Mom. With us, it was so ... comical yet sincere. Like us.
Between two films, THE BIRDS and THE TIME MACHINE, budded a whole new appreciation for an Actor that was there, right in front of my eyes, waiting to be discovered.
With the strong foundation of Rod Taylor in THE BIRDS, made his electric performance in THE TIME MACHINE not only worth watching, but built a curiosity into seeking out Rod Taylor the Actor. Wanting to watch more of his work in film. Leading me on a path of so many of his films I enjoyed watching for the first time so much. I'm sure that feeling is universal with any film lover. The enjoyment of watching a film you genuinely enjoy the first time around. Which I'm hoping so many others will follow along and do today on TCM.
VISIT TCM FOR FULL ROD TAYLOR TCM SCHEDULE
AUGUST 19th:
GASLIGHT (1944) 9:30PM CT and SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (1982) 1:30AM CT.
GASLIGHT, originally adapted from Stage to Screen in the 1940 British adaptation, starring Austrian actor Anton Walbrook, and English actors Diana Wynyard, Robert Newton, and Frank Pettingell, remade in the US with Charles Boyer, Ingrid Bergman, Joseph Cotten and Angela Lansbury, holds a rather long history between my Mom and I (Dad included ... :-) ). First having seen GASLIGHT "in passing" one day on TCM, a film that was, in a way, "on in the background" while my Mom and I were working on some garments for a Theatrical Production I had coming up, seemed to snatch us up by the collar and we didn't look away. There is something about Boyer's voice that puts a stop to traffic when he speaks. This was no exception.
From that moment on "Gaslight" became common vocabulary in our lives. Be it quoting from the film itself (even in public -- especially in public), making Charles Boyer's sharp head jerks at one another in comical banter whenever we were sitting in one place for too long and caught each other's eye, or hearing Drew Barrymore talk about the term "gaslighting" to Robert Osborne on The Essentials in regard to a previous relationship she was in, the film GASLIGHT seemed to follow my Mom and I, gladly, as we moved along in life. Even when my Mom was in the hospital, GASLIGHT came on, and we joked, played and quoted the film together as if we were in our living room again, all right with the world ... sorry, I can't -- have to leave this one here for now ...
In short, though the original adaptation holds the better of the two for many people, and we not only had seen the original, but have it on DVD, for us its 1944 counter partner reigns the premium of the two because we had created this whole moment in time around it. A place that we'd "walk into" wherever we traveled when needed. In addition to the 1944 adaptation of THE PICTURE OF DORIAN GRAY (also one of our top favorite films) it is GASLIGHT that brought us a whole new light that flamed there since, with Angela Lansbury. In her, we didn't see MURDER, SHE WROTE, we saw "Up in a balloon boys, up in a balloon." or her classic beauty when singing to Dorian as if he were the only man in the room in "Dorian Gray". That, along with hearing her talk about both films to Robert Osborne, we learned a lot about her earlier career, that up until that point, we knew very limited of. From there, we never looked back. We loved Angela. And it can't go without mentioning Ol' Joe (Joseph Cotten) in the film GASLIGHT, which we were still riding high from during that time after our introduction to SHADOW OF A DOUBT"Are they Charlie? Are they?" Yes, Ol' Joe became a permeant fixture from that film on.
SWEENEY TODD: THE DEMON BARBAR OF FLEET STREET comes somewhat by a different avenue, as we had not so long before seeing Angela Lansbury talk to Robert Osborne too about her performance in this Broadway Production in 1982, had come from the theater seeing the 2007 Tim Burton adaptation of the film starring, "my brother from another mother" (it's a long story), Johnny Depp (a film I have expressed before, Mom, though too a HUGE JDepp fan, did NOT like. For that story, I'll see you at #ForMyMom Film Memories). I on the other hand, loved it. After I bought the soundtrack it was all I could sing out loud for months. It became a comedic practice around my Mom during the time, "Oh no! Not again!" as she'd say as she'd start to walk away from me as I danced and singed. The DVD Delux Edition was also my Christmas present that year as we went Black Friday shopping (yep, we went every year, coffee, make up on, and all). "Oh, Mr. Todd, I'm so happy, I could eat you up, I really could." But because it was Lansbury, because it was on Stage, and because she had talked so sincerely about it to Robert Osborne, my Mom watched the Broadway adaptation with me when it aired later that night on TCM, as both will do on this day! Hope to see you there tonight on TCM.
VISIT TCM FOR FULL ANGELA LANSBURY TCM SCHEDULE
GASLIGHT, originally adapted from Stage to Screen in the 1940 British adaptation, starring Austrian actor Anton Walbrook, and English actors Diana Wynyard, Robert Newton, and Frank Pettingell, remade in the US with Charles Boyer, Ingrid Bergman, Joseph Cotten and Angela Lansbury, holds a rather long history between my Mom and I (Dad included ... :-) ). First having seen GASLIGHT "in passing" one day on TCM, a film that was, in a way, "on in the background" while my Mom and I were working on some garments for a Theatrical Production I had coming up, seemed to snatch us up by the collar and we didn't look away. There is something about Boyer's voice that puts a stop to traffic when he speaks. This was no exception.
From that moment on "Gaslight" became common vocabulary in our lives. Be it quoting from the film itself (even in public -- especially in public), making Charles Boyer's sharp head jerks at one another in comical banter whenever we were sitting in one place for too long and caught each other's eye, or hearing Drew Barrymore talk about the term "gaslighting" to Robert Osborne on The Essentials in regard to a previous relationship she was in, the film GASLIGHT seemed to follow my Mom and I, gladly, as we moved along in life. Even when my Mom was in the hospital, GASLIGHT came on, and we joked, played and quoted the film together as if we were in our living room again, all right with the world ... sorry, I can't -- have to leave this one here for now ...
In short, though the original adaptation holds the better of the two for many people, and we not only had seen the original, but have it on DVD, for us its 1944 counter partner reigns the premium of the two because we had created this whole moment in time around it. A place that we'd "walk into" wherever we traveled when needed. In addition to the 1944 adaptation of THE PICTURE OF DORIAN GRAY (also one of our top favorite films) it is GASLIGHT that brought us a whole new light that flamed there since, with Angela Lansbury. In her, we didn't see MURDER, SHE WROTE, we saw "Up in a balloon boys, up in a balloon." or her classic beauty when singing to Dorian as if he were the only man in the room in "Dorian Gray". That, along with hearing her talk about both films to Robert Osborne, we learned a lot about her earlier career, that up until that point, we knew very limited of. From there, we never looked back. We loved Angela. And it can't go without mentioning Ol' Joe (Joseph Cotten) in the film GASLIGHT, which we were still riding high from during that time after our introduction to SHADOW OF A DOUBT"Are they Charlie? Are they?" Yes, Ol' Joe became a permeant fixture from that film on.
SWEENEY TODD: THE DEMON BARBAR OF FLEET STREET comes somewhat by a different avenue, as we had not so long before seeing Angela Lansbury talk to Robert Osborne too about her performance in this Broadway Production in 1982, had come from the theater seeing the 2007 Tim Burton adaptation of the film starring, "my brother from another mother" (it's a long story), Johnny Depp (a film I have expressed before, Mom, though too a HUGE JDepp fan, did NOT like. For that story, I'll see you at #ForMyMom Film Memories). I on the other hand, loved it. After I bought the soundtrack it was all I could sing out loud for months. It became a comedic practice around my Mom during the time, "Oh no! Not again!" as she'd say as she'd start to walk away from me as I danced and singed. The DVD Delux Edition was also my Christmas present that year as we went Black Friday shopping (yep, we went every year, coffee, make up on, and all). "Oh, Mr. Todd, I'm so happy, I could eat you up, I really could." But because it was Lansbury, because it was on Stage, and because she had talked so sincerely about it to Robert Osborne, my Mom watched the Broadway adaptation with me when it aired later that night on TCM, as both will do on this day! Hope to see you there tonight on TCM.
VISIT TCM FOR FULL ANGELA LANSBURY TCM SCHEDULE
AUGUST 20th:
CARY GRANT - ALL DAY
Because this is Cary Grant, there comes no "one pick." Cary Grant didn't, doesn't and never will work that way in the house. It's Cary Grant.
Cary Grant was my first Classic Hollywood crush, before I knew what a crush was. He was the Actor I picked out when my family and I went to the video shop on the weekends when I was a kid to rent VHS' (don't age me). Not knowing what the film was or what it was about, but I recognized the face, the name; Cary Grant. I remember going to my Mom and Dad for advice finding them in another aisle as to whether I should rent THE PHILADELPHIA STORY or ARSENIC AND OLD LACE, I was allowed both.
Through the years, Cary Grant became a part of the family. I'm sure I'm not alone here. So wherever Cary Grant went, I was sure to follow. And where I followed with film, Mom was right along with me, and I with her. In Cary Grant we discovered some of favorite films that either one of us could go without: ARSENIC AND OLD LACE (quoted from everyday "Johnny, it's too heavy for me." ... "I don't want to lick the bowl! I want to know what we're gonna do!" Every. Day.). NOTORIOUS (quoted from often, "Take me with you."), SUSPICION (hated the ending, but loved his performance), SHE DONE HIM WRONG, I'M NO ANGEL (there is no reason. It's Mae West and Cary Grant. That's reason enough), TOPPER (a film you never tire of)... you know, the basic stuff. We even discovered Cary Grant films we didn't even know where "laying around" after we thought we'd seen them all, HOT SATURDAY, SUZY (did someone say Franchot Tone?), ROOM FOR ONE MORE, THE AMAZING ADVENTURE. which turned into a purchase while she and I were at Fry's Electronics and I saw it before we hit the checkout. So followed a Saturday Night Movie Night viewing of the film.
On my own, there are slim to none Cary Grant films I haven't seen now. Through them all I can't think of one I wouldn't recommend as a worth the watch. Did I not mention, this is Cary Grant. It was through my ever ongoing searches for Cary Grant films throughout my film fan quest, I discovered WINGS IN THE DARK, MONKEY BUSINESS, NONE BUT THE LONELY HEART, PEOPLE WILL TALK, EVERY GIRL SHOULD BE MARRIED, BORN TO BE BAD, ONCE UPON A HONEYMOON, THE TOAST OF NEW YORK, oh it's too many to name all, before I came upon TALK OF THE TOWN (another film I found at Fry's). Bringing this to my Mom's attention, she inquires sassily, "What? You mean you haven't seen him in that. Uh-oh." That was taken care of right then. And through the films I discovered of Cary Grant on my own, I was all too readily to share with my Mom soon thereafter. Coffee, cappuccino and all.
But it's WALK, DON'T RUN, that neither of us had seen. I had my reservations about it, because I had reached a point in my Cary Grant career where, because I had seen every Cary Grant film, with the exception of that slim few, I felt by watching WALK, DON'T RUN, I'd be saying "goodbye" to Cary since that was his last film before retiring. Then one day a couple of years ago, my Mom and I decided, why not, let's do this. And my, how we laughed. A remake to THE MORE THE MERRIER with Joel McCrea and Jean Arthur, a film we both liked, WALK, DON'T RUN was a perfect film for Cary to end with. And it didn't feel like "goodbye" at all, it felt, complete. As if, from now on, we'd meet all the time, often. That part of the family would be there at breakfast, lunch, dinner, or late-night snack if you needed him ... or all day like today and night on TCM.
So how about this, my #ForMyMom picks for today's line up:
IN NAME ONLY
SUSPICION
I WAS A MALE WAR BRIDE
WALK, DON'T RUN
The rest, are all on me, especially MR. LUCKY and PEOPLE WILL TALK for anyone who hasn't seen it.
VISIT TCM FOR FULL CARY GRANT TCM SCHEDULE
Because this is Cary Grant, there comes no "one pick." Cary Grant didn't, doesn't and never will work that way in the house. It's Cary Grant.
Cary Grant was my first Classic Hollywood crush, before I knew what a crush was. He was the Actor I picked out when my family and I went to the video shop on the weekends when I was a kid to rent VHS' (don't age me). Not knowing what the film was or what it was about, but I recognized the face, the name; Cary Grant. I remember going to my Mom and Dad for advice finding them in another aisle as to whether I should rent THE PHILADELPHIA STORY or ARSENIC AND OLD LACE, I was allowed both.
Through the years, Cary Grant became a part of the family. I'm sure I'm not alone here. So wherever Cary Grant went, I was sure to follow. And where I followed with film, Mom was right along with me, and I with her. In Cary Grant we discovered some of favorite films that either one of us could go without: ARSENIC AND OLD LACE (quoted from everyday "Johnny, it's too heavy for me." ... "I don't want to lick the bowl! I want to know what we're gonna do!" Every. Day.). NOTORIOUS (quoted from often, "Take me with you."), SUSPICION (hated the ending, but loved his performance), SHE DONE HIM WRONG, I'M NO ANGEL (there is no reason. It's Mae West and Cary Grant. That's reason enough), TOPPER (a film you never tire of)... you know, the basic stuff. We even discovered Cary Grant films we didn't even know where "laying around" after we thought we'd seen them all, HOT SATURDAY, SUZY (did someone say Franchot Tone?), ROOM FOR ONE MORE, THE AMAZING ADVENTURE. which turned into a purchase while she and I were at Fry's Electronics and I saw it before we hit the checkout. So followed a Saturday Night Movie Night viewing of the film.
On my own, there are slim to none Cary Grant films I haven't seen now. Through them all I can't think of one I wouldn't recommend as a worth the watch. Did I not mention, this is Cary Grant. It was through my ever ongoing searches for Cary Grant films throughout my film fan quest, I discovered WINGS IN THE DARK, MONKEY BUSINESS, NONE BUT THE LONELY HEART, PEOPLE WILL TALK, EVERY GIRL SHOULD BE MARRIED, BORN TO BE BAD, ONCE UPON A HONEYMOON, THE TOAST OF NEW YORK, oh it's too many to name all, before I came upon TALK OF THE TOWN (another film I found at Fry's). Bringing this to my Mom's attention, she inquires sassily, "What? You mean you haven't seen him in that. Uh-oh." That was taken care of right then. And through the films I discovered of Cary Grant on my own, I was all too readily to share with my Mom soon thereafter. Coffee, cappuccino and all.
But it's WALK, DON'T RUN, that neither of us had seen. I had my reservations about it, because I had reached a point in my Cary Grant career where, because I had seen every Cary Grant film, with the exception of that slim few, I felt by watching WALK, DON'T RUN, I'd be saying "goodbye" to Cary since that was his last film before retiring. Then one day a couple of years ago, my Mom and I decided, why not, let's do this. And my, how we laughed. A remake to THE MORE THE MERRIER with Joel McCrea and Jean Arthur, a film we both liked, WALK, DON'T RUN was a perfect film for Cary to end with. And it didn't feel like "goodbye" at all, it felt, complete. As if, from now on, we'd meet all the time, often. That part of the family would be there at breakfast, lunch, dinner, or late-night snack if you needed him ... or all day like today and night on TCM.
So how about this, my #ForMyMom picks for today's line up:
IN NAME ONLY
SUSPICION
I WAS A MALE WAR BRIDE
WALK, DON'T RUN
The rest, are all on me, especially MR. LUCKY and PEOPLE WILL TALK for anyone who hasn't seen it.
VISIT TCM FOR FULL CARY GRANT TCM SCHEDULE
AUGUST 21th:
DOUBLE HARNESS (1933) 1:30AM CT
Today's pick comes without a continuous backstory. Only a light, simple reason, aside from it starred one of our favorites William Powell. It was ... The story. We thought it an enjoyable watch. Nothing "fancy" per se, not over dramatized, but told in its 1930's fashion. My Mom loved songs and films that "told a story." She'd always say, "that was cute," after hearing something or seeing something with a simple albeit clear telling storyline. "That was a cute little entertaining story," she'd go on to say. And because of William Powell, trusting his name in film, we chanced, watched and liked DOUBLE HARNESS enough to see it on the occasions it was shown again thereafter. Like a light read of a good book you pull out from time to time when in need of some of the reliable stuff that doesn't let you down.
From here, I can say Ann Harding found a place amongst friends with us. Going on to watch her in any other film I found her in myself, from THE ANIMAL KINDOM (which I enjoyed) to something more cozy like IT HAPPENED ON 5TH AVE. Or, alas, THE MAN IN THE GREY FLANNEL SUIT (that's a whole other #ForMyMom story I'll save for another time. An ongoing gag between she and I for quite some time). Until then, I'll leave you with Ann Harding and William Powell tonight on TCM. (Oh and by the way, if you see her with Robert Montgomery hanging about sometime around 7:00 PM CT and 11:15PM CT -- stick around. BIOGRAPHY OF A BACHELOR GIRL and WHEN LADIES MEET ... I'm looking at you (whaddya gonna do, I'm a Robert Montgomery fan too)!
VISIT TCM FOR FULL ANN HARDING TCM SCHEDULE
Today's pick comes without a continuous backstory. Only a light, simple reason, aside from it starred one of our favorites William Powell. It was ... The story. We thought it an enjoyable watch. Nothing "fancy" per se, not over dramatized, but told in its 1930's fashion. My Mom loved songs and films that "told a story." She'd always say, "that was cute," after hearing something or seeing something with a simple albeit clear telling storyline. "That was a cute little entertaining story," she'd go on to say. And because of William Powell, trusting his name in film, we chanced, watched and liked DOUBLE HARNESS enough to see it on the occasions it was shown again thereafter. Like a light read of a good book you pull out from time to time when in need of some of the reliable stuff that doesn't let you down.
From here, I can say Ann Harding found a place amongst friends with us. Going on to watch her in any other film I found her in myself, from THE ANIMAL KINDOM (which I enjoyed) to something more cozy like IT HAPPENED ON 5TH AVE. Or, alas, THE MAN IN THE GREY FLANNEL SUIT (that's a whole other #ForMyMom story I'll save for another time. An ongoing gag between she and I for quite some time). Until then, I'll leave you with Ann Harding and William Powell tonight on TCM. (Oh and by the way, if you see her with Robert Montgomery hanging about sometime around 7:00 PM CT and 11:15PM CT -- stick around. BIOGRAPHY OF A BACHELOR GIRL and WHEN LADIES MEET ... I'm looking at you (whaddya gonna do, I'm a Robert Montgomery fan too)!
VISIT TCM FOR FULL ANN HARDING TCM SCHEDULE
AUGUST 22nd:
GILDA (1946) On TCM Tonight at 11:00PM CT
A film we didn't just watch, we lived ... GILDA. From the first moment we met, I fell in love with everything about GILDA. The sets, the design, the style, the angles, the cinematography, the dialogue, the songs, the charters, the supporting Actors -- Hayworth and Ford. These two together (for the 2nd of 5 films) exploded everything I had ever seen on screen before. Their chemistry ignited in me an ever burning flame for Classic Movies no other film had done before or since, in that way. It's magnetic. (A STREETCAR NAMED DESIRE to come later was a different story entirely).
Through my hunger of GILDA, the fire only spread with no intention of burning out. I immediately got to work on talking this film up to anyone who would listen. Which didn't need much talking up when in the premises of the home during those years. Because it was forever being played on repeat wherever my viewing eyes were concerned. It was one of the first films I knew the dialogue of from beginning to end. Every character. Every part. I'd go as far as acting the film out, scene-by-scene in front of the camera while the film itself played behind me on the tele. With Glenn Ford as "Johnny" and myself as "Gilda".
So identified did I become with this film, where my Mom (and Dad) were concerned, when in public, if someone got on the subject of Classic Movies, the next sound you hear, will be my Mother's voice saying, "My daughter knows GILDA from beginning to end, all the way through. Hit it Dominique." And so my hair would flip and the show would begin. Hahaha.
All in good fun we had with this film.
Soon my love for GILDA expanded not only beyond the walls of the house, but into the view of anyone who'd ask me why did I love Classic Films so much. Not that that is a question you can answer. It's an emotion you feel. Movies. So when approached by friends, "We need to have a movie night with you. To see what you see," my starter kit always includes, A STREETCAR NAMED DESIRE, ARSENIC AND OLD LACE, NOTORIOUS, ON THE WATERFRONT and it all begins with GILDA. A film my Mom (and Dad) began to love as much as I did. (I'm telling you, I was on a tour with this film I was.)
The scene where "Johnny" (Glenn Ford) explains to the board, "You see, Mrs. Munson is marrying me this afternoon," never once passed without my Mom's full attention. Nor mine. Paired with the sweeping shot between Glenn Ford and George Macready, "I taught her everything she knows Ballin," that we both loved so much we'd from then on call it "The Gilda Shot" if we saw it used in another film (TOMBSTONE, we're looking at you) and to hear Johnny yell, "Cut that!" when being told how Gilda looks by Joe Sawyer's character "Casey" while Ford is dressing. Earning all three moments in film at times, an extra "rewind" moment.
I admit, and have voiced aloud aplenty before, I have worn out the wear on more than one GILDA purchase. They seemed to keep getting overplayed ... *sigh* A STREETCAR NAMED DESIRE knows the struggle.
Not to take away from Rita Hayworth, whom we adored, but the performance of Ford's body of work, especially GILDA, proves him to be an underrated Actor by far. Then and now. Glenn Ford should have and should be way more well known by name and films than he is today. Thanks to GILDA and THE GAZEBO (another Ford recommend), my Mom and I would watch anything with Glenn Ford in it after watching those. He's absolutely worth it. So glad he gets his day today on TCM.
VISIT TCM FOR FULL GLENN FORD TCM SCHEDULE
A film we didn't just watch, we lived ... GILDA. From the first moment we met, I fell in love with everything about GILDA. The sets, the design, the style, the angles, the cinematography, the dialogue, the songs, the charters, the supporting Actors -- Hayworth and Ford. These two together (for the 2nd of 5 films) exploded everything I had ever seen on screen before. Their chemistry ignited in me an ever burning flame for Classic Movies no other film had done before or since, in that way. It's magnetic. (A STREETCAR NAMED DESIRE to come later was a different story entirely).
Through my hunger of GILDA, the fire only spread with no intention of burning out. I immediately got to work on talking this film up to anyone who would listen. Which didn't need much talking up when in the premises of the home during those years. Because it was forever being played on repeat wherever my viewing eyes were concerned. It was one of the first films I knew the dialogue of from beginning to end. Every character. Every part. I'd go as far as acting the film out, scene-by-scene in front of the camera while the film itself played behind me on the tele. With Glenn Ford as "Johnny" and myself as "Gilda".
So identified did I become with this film, where my Mom (and Dad) were concerned, when in public, if someone got on the subject of Classic Movies, the next sound you hear, will be my Mother's voice saying, "My daughter knows GILDA from beginning to end, all the way through. Hit it Dominique." And so my hair would flip and the show would begin. Hahaha.
All in good fun we had with this film.
Soon my love for GILDA expanded not only beyond the walls of the house, but into the view of anyone who'd ask me why did I love Classic Films so much. Not that that is a question you can answer. It's an emotion you feel. Movies. So when approached by friends, "We need to have a movie night with you. To see what you see," my starter kit always includes, A STREETCAR NAMED DESIRE, ARSENIC AND OLD LACE, NOTORIOUS, ON THE WATERFRONT and it all begins with GILDA. A film my Mom (and Dad) began to love as much as I did. (I'm telling you, I was on a tour with this film I was.)
The scene where "Johnny" (Glenn Ford) explains to the board, "You see, Mrs. Munson is marrying me this afternoon," never once passed without my Mom's full attention. Nor mine. Paired with the sweeping shot between Glenn Ford and George Macready, "I taught her everything she knows Ballin," that we both loved so much we'd from then on call it "The Gilda Shot" if we saw it used in another film (TOMBSTONE, we're looking at you) and to hear Johnny yell, "Cut that!" when being told how Gilda looks by Joe Sawyer's character "Casey" while Ford is dressing. Earning all three moments in film at times, an extra "rewind" moment.
I admit, and have voiced aloud aplenty before, I have worn out the wear on more than one GILDA purchase. They seemed to keep getting overplayed ... *sigh* A STREETCAR NAMED DESIRE knows the struggle.
Not to take away from Rita Hayworth, whom we adored, but the performance of Ford's body of work, especially GILDA, proves him to be an underrated Actor by far. Then and now. Glenn Ford should have and should be way more well known by name and films than he is today. Thanks to GILDA and THE GAZEBO (another Ford recommend), my Mom and I would watch anything with Glenn Ford in it after watching those. He's absolutely worth it. So glad he gets his day today on TCM.
VISIT TCM FOR FULL GLENN FORD TCM SCHEDULE
AUGUST 23rd:
MRS. MINIVER (1942) On TCM Today at 12:00PM CT
Will start off by saying, all the films featured today for Greer Garson, I've seen. And would recommend all 12. But that is because I'm a Greer Garson fan. And so was my Mom. I know that because when we were going through a binge watching phase of FATHER KNOWS BEST on DVD several years ago, the episode where Greer makes an appearance as herself, my Mom, in awe, "Ahhhh! There's your girl." And to know my Mom, is to know, you've "made it" when she says that. And such a delight we found Greer on WHAT'S MY LINE? as the Mystery Guest when we'd stay up late to watch those Classic Games Shows on GSN when they used to air them nightly. So sassy in a sophisticated way.
But MRS. MINIVER sort of went on ahead without me as it came on one Saturday night on TCM during (or the next film after) The Essentials with Robert Osborne. I had just finished an all day rehearsal for an upcoming Theatrical Production I rehearsing for, and that day had me beat. Had to teach the routine over and over and over again for a new addition in the line up. All in fun, because I lived for this stuff and everyone was such a good sport about it. When all was said and done, over and finished, showered and settled, I sat down ready for our (Mom and I) regular Saturday Night Movie Night film for the week, MRS. MINIVER. We both had seen it before, but had not watched it before. My eyes began to grow so heavy, I didn't know I had fallen asleep for a little while until I woke up. In waking however, quiet, I saw my Mom, arms crossed on her lap, her body tilted a bit, and her eyes on the screen. Focused. That's when I knew. MRS. MINIVER was far better than I must have ever given it credit for. I called out to my Mom, who knew I had fallen asleep, but said she could tell I was tired and thought to let me sleep, followed by, "This is really good. I never watched it all the way through before." Focused back in she went.
I followed that statement up myself the same night by watching it all over again, without falling asleep and ... it got me. I was already a Greer Garson fan before, GOODBYE, MR. CHIPS, PRIDE AND PREJUDICE, RANDOM HARVEST, DESIRE ME, THAT FORSYTE WOMAN, well, I'm not going to run down the whole list, because it is the whole list, but if you walk into MRS. MINIVER unsure of whether you're a Garson fan or not, you walk out a fan. Confidently so. The pose of how she carries the role is so regal. And Greer Garson with Walter Pidgeon (together for 9, including a cameo in one of the nine) is one of the greatest pairings on screen in the history of cinema (IMO).
If you haven't seen MRS. MINIVER, make plans to watch it. It's worth it. If you have seen it, you know how it captivates you. Characters, storyline, acting and all.
After that night, I could never go without thinking of seeing my Mom watch MRS. MINIVER as I watched her focused in whenever it came the tele thereafter. We'd joke about the part where I fell asleep. I have no doubt now it will be even more so pressed in my mind. Not to mention, my Mom and I were Dame May Whitty fans (NIGHT MUST FALL ... we're looking at you "DANNY! DANNY! DANNY!"). Make your own memories today with Greer Garson, who is worth the watch today on TCM.
VISIT TCM FOR FULL GREER GARSON TCM SCHEDULE
Will start off by saying, all the films featured today for Greer Garson, I've seen. And would recommend all 12. But that is because I'm a Greer Garson fan. And so was my Mom. I know that because when we were going through a binge watching phase of FATHER KNOWS BEST on DVD several years ago, the episode where Greer makes an appearance as herself, my Mom, in awe, "Ahhhh! There's your girl." And to know my Mom, is to know, you've "made it" when she says that. And such a delight we found Greer on WHAT'S MY LINE? as the Mystery Guest when we'd stay up late to watch those Classic Games Shows on GSN when they used to air them nightly. So sassy in a sophisticated way.
But MRS. MINIVER sort of went on ahead without me as it came on one Saturday night on TCM during (or the next film after) The Essentials with Robert Osborne. I had just finished an all day rehearsal for an upcoming Theatrical Production I rehearsing for, and that day had me beat. Had to teach the routine over and over and over again for a new addition in the line up. All in fun, because I lived for this stuff and everyone was such a good sport about it. When all was said and done, over and finished, showered and settled, I sat down ready for our (Mom and I) regular Saturday Night Movie Night film for the week, MRS. MINIVER. We both had seen it before, but had not watched it before. My eyes began to grow so heavy, I didn't know I had fallen asleep for a little while until I woke up. In waking however, quiet, I saw my Mom, arms crossed on her lap, her body tilted a bit, and her eyes on the screen. Focused. That's when I knew. MRS. MINIVER was far better than I must have ever given it credit for. I called out to my Mom, who knew I had fallen asleep, but said she could tell I was tired and thought to let me sleep, followed by, "This is really good. I never watched it all the way through before." Focused back in she went.
I followed that statement up myself the same night by watching it all over again, without falling asleep and ... it got me. I was already a Greer Garson fan before, GOODBYE, MR. CHIPS, PRIDE AND PREJUDICE, RANDOM HARVEST, DESIRE ME, THAT FORSYTE WOMAN, well, I'm not going to run down the whole list, because it is the whole list, but if you walk into MRS. MINIVER unsure of whether you're a Garson fan or not, you walk out a fan. Confidently so. The pose of how she carries the role is so regal. And Greer Garson with Walter Pidgeon (together for 9, including a cameo in one of the nine) is one of the greatest pairings on screen in the history of cinema (IMO).
If you haven't seen MRS. MINIVER, make plans to watch it. It's worth it. If you have seen it, you know how it captivates you. Characters, storyline, acting and all.
After that night, I could never go without thinking of seeing my Mom watch MRS. MINIVER as I watched her focused in whenever it came the tele thereafter. We'd joke about the part where I fell asleep. I have no doubt now it will be even more so pressed in my mind. Not to mention, my Mom and I were Dame May Whitty fans (NIGHT MUST FALL ... we're looking at you "DANNY! DANNY! DANNY!"). Make your own memories today with Greer Garson, who is worth the watch today on TCM.
VISIT TCM FOR FULL GREER GARSON TCM SCHEDULE
AUGUST 24th:
CHRISTMAS IN CONNECTICUT (1945) 11:30AM CT On TCM Today.
My #ForMyMom pick today ... Why? For the Christmas of it all. A film that totally wraps you up in a blanket from beginning to end in the warmth of its lightness, romance and comedy. A film watched in the house during the Christmas season in the years after we discovered it. And for too many good reasons to point out why we watched. We were fans of Barbara Stanwyck, always enjoyed S. Z. "Cuddles" Sakall (my Mom would always smile a little when he came on screen. That face.) and for me personally, Dennis Morgan. The film really sells itself here today on TCM.
VISIT TCM FOR THE FULL DENNIS MORGAN SCHEDULE.
My #ForMyMom pick today ... Why? For the Christmas of it all. A film that totally wraps you up in a blanket from beginning to end in the warmth of its lightness, romance and comedy. A film watched in the house during the Christmas season in the years after we discovered it. And for too many good reasons to point out why we watched. We were fans of Barbara Stanwyck, always enjoyed S. Z. "Cuddles" Sakall (my Mom would always smile a little when he came on screen. That face.) and for me personally, Dennis Morgan. The film really sells itself here today on TCM.
VISIT TCM FOR THE FULL DENNIS MORGAN SCHEDULE.
AUGUST 25th:
SHIP OF FOOLS (1965) 2:30PM CT On TCM Today.
As I've mentioned before, my Mom didn't watch too many International Films, except on occasion, if the storyline got under her skin, or if it were Sophie (Sophia Loren), Charles Boyer, someone she knew/liked, or a International Film I had seen, liked, and shared with her, trusting my judgment, LA NOTTE, I'm looking at you. And though I know my Mom knew of Simone Signoret, I can't say that she watched many of her films. The one's she did see, aren't being highlighted in today's lineup, with the exception of a film my Mom and I have seen together with Simone, though the reason for watching it was for Vivien Leigh, the film that would ultimately unknowingly be the last in her whirlwind career. Mirroring the real life of Vivien Leigh in so many ways as we have come to learn now. Fragile, troubled, insecurities, but truthfully, sincerely acted ... SHIP OF FOOLS.
Also have to say we did see GUNMAN IN THE STREET (due to I wanting to take a broader look at Dane Clark, who I knew up to that point only as the +1 in most Warner Bros. pictures during his 1940's career). This being the case, I'll sprinkle some Simone Signoret on top for any of you who aren't familiar with the actress (and wife to actor Yves Montand).
Let the class begin with some worth the DVR space: LA RONDE, which if you are an International Film fan like myself, you will see a lot of "names" on screen in this one (Simone Simon, Anton Walbrook, Fernand Gravey, Danielle Darrieux (who is still with us at 100yo), as it is a compilation piece, made up of several different short stories, all in topic of the same subject. Watch Simone Signoret for the segment titled, "The Prostitute and the Soldier". Also, shoutout to CASQUE d'OR, and AGAINST THE WIND. All of which I consider my, Coffee Cinema flicks or late night watch films. Don't know why, but enjoy them best that way. When all is quiet and at rest. Then settle in for the night for your graduation watch, the film that inspired PSYCHO (I'll leave that one on the coffee table for you to study when its over), LES DIABOLIQUES or simply DIABOLIQUE. But be sure to have ROOM AT THE TOP and THE CONFESSION (here with her husband Yves Montand) ready for you when you get home for the evening. Today, and night, on TCM.
VISIT TCM FOR THE FULL SIMONE SIGNORET SCHEDULE.
As I've mentioned before, my Mom didn't watch too many International Films, except on occasion, if the storyline got under her skin, or if it were Sophie (Sophia Loren), Charles Boyer, someone she knew/liked, or a International Film I had seen, liked, and shared with her, trusting my judgment, LA NOTTE, I'm looking at you. And though I know my Mom knew of Simone Signoret, I can't say that she watched many of her films. The one's she did see, aren't being highlighted in today's lineup, with the exception of a film my Mom and I have seen together with Simone, though the reason for watching it was for Vivien Leigh, the film that would ultimately unknowingly be the last in her whirlwind career. Mirroring the real life of Vivien Leigh in so many ways as we have come to learn now. Fragile, troubled, insecurities, but truthfully, sincerely acted ... SHIP OF FOOLS.
Also have to say we did see GUNMAN IN THE STREET (due to I wanting to take a broader look at Dane Clark, who I knew up to that point only as the +1 in most Warner Bros. pictures during his 1940's career). This being the case, I'll sprinkle some Simone Signoret on top for any of you who aren't familiar with the actress (and wife to actor Yves Montand).
Let the class begin with some worth the DVR space: LA RONDE, which if you are an International Film fan like myself, you will see a lot of "names" on screen in this one (Simone Simon, Anton Walbrook, Fernand Gravey, Danielle Darrieux (who is still with us at 100yo), as it is a compilation piece, made up of several different short stories, all in topic of the same subject. Watch Simone Signoret for the segment titled, "The Prostitute and the Soldier". Also, shoutout to CASQUE d'OR, and AGAINST THE WIND. All of which I consider my, Coffee Cinema flicks or late night watch films. Don't know why, but enjoy them best that way. When all is quiet and at rest. Then settle in for the night for your graduation watch, the film that inspired PSYCHO (I'll leave that one on the coffee table for you to study when its over), LES DIABOLIQUES or simply DIABOLIQUE. But be sure to have ROOM AT THE TOP and THE CONFESSION (here with her husband Yves Montand) ready for you when you get home for the evening. Today, and night, on TCM.
VISIT TCM FOR THE FULL SIMONE SIGNORET SCHEDULE.
AUGUST 26th:
JAMES CAGNEY On TCM Today.
There are certain actors who became such a common name in the house, it didn't matter what they were in for us to watch. We just watched because they were in it. Such is the case with names like (believe me, not limited to) Humphrey Bogart, Franchot Tone, Bette Davis, Charles Boyer, Jean Harlow, Joan Crawford ... James Cagney. I could pick out a particular film that stood out above the others where my Mom and I were concerned in the field of films with any of the above mentioned actor's, but with names as these, you don't have to.
Aside from she and I liking Cagney after seeing his biography outside of being an actor, his love and talent for painting (my Mom was an oil painter, her appreciation of Cagney's work was admirable), our "go to" film for Cagney however isn't being highlighted today. Billy Wilder's ONE, TWO, THREE (1961). If you have not seen this film and are a James Cagney fan, you have a gift under the tree for you. It is a true gifted performance by Cagney. It brings out every performance you have ever seen from him before. A true "this is what I've been waiting for" in the experience of James Cagney. Not that he falls short in any of the films you've seen him in before BLONDE CRAZY, THE PUBLIC ENEMY, FOOTLIGHT PARADE, ANGELS WITH DIRTY FACES, MAN OF A THOUSAND FACES even STRAWBERRY BLONDE or ... ahem ... yes ... A MIDSUMMER NIGHT'S DREAM. But because now, that you've gotten to know him through the months or years (as I had) of film watching, story reading, blog posts, you feel you know his style, his character, his persona on screen to a "T", once you've arrived to ONE, TWO, THREE it's as if you've arrived to the main attraction. To know all that work before now brought him to this. Like Marlon Brando in THE GODFATHER. A performance that Cagney brings his A game in every word, every look, every gesture, so on point, it's, to borrow an old phrase, sharp as a tact. Literally.
There comes a scene where Cagney gives a list of things in need to be done to prepare Horst Buchholz for the arrival of his father-in-law and mother-in-law. When Cagney sounds off, "One. Two. Three." Magnetic. Never in the whole scene does he miss a beat. It's as if during the whole counting call of arrangements that need to be made, he never takes a breath. Your eyes are glued to Cagney. Even my Mom was impressed, "Woooow." ... followed by a round of applause from both of us when it was over.
After hearing Jack Lemmon (another favorite of ours) talk about Cagney, the Actor, one day on TCM as an "extra" feature between films, Lemmon, who in addition to being a great working team with Wilder, actor and director, also a good friend of Wilder's, mentioned visiting Cagney during filming of that snapping off "One. Two. Three." scene, and how he and Cagney were talking after the scene was finished. He said Cagney told him this is it, this would be his last picture. Lemmon couldn't understand why, he was great just now. Cagney told him, anytime I can't get a scene like this on the first take, it's time for me to hang up my hat. It would be Cagney's last film until 1981 in RAGTIME, where he came out of retirement to play the character of the Police Commissioner. This would be Cagney's last until his death in 1986. I'll save that #ForMyMom story for another time (but recommend it as a worth the watch in the meantime. We'll chat about it later.) So for today, Cagney away on TCM. VISIT TCM FOR THE FULL JAMES CAGNEY SCHEDULE.
There are certain actors who became such a common name in the house, it didn't matter what they were in for us to watch. We just watched because they were in it. Such is the case with names like (believe me, not limited to) Humphrey Bogart, Franchot Tone, Bette Davis, Charles Boyer, Jean Harlow, Joan Crawford ... James Cagney. I could pick out a particular film that stood out above the others where my Mom and I were concerned in the field of films with any of the above mentioned actor's, but with names as these, you don't have to.
Aside from she and I liking Cagney after seeing his biography outside of being an actor, his love and talent for painting (my Mom was an oil painter, her appreciation of Cagney's work was admirable), our "go to" film for Cagney however isn't being highlighted today. Billy Wilder's ONE, TWO, THREE (1961). If you have not seen this film and are a James Cagney fan, you have a gift under the tree for you. It is a true gifted performance by Cagney. It brings out every performance you have ever seen from him before. A true "this is what I've been waiting for" in the experience of James Cagney. Not that he falls short in any of the films you've seen him in before BLONDE CRAZY, THE PUBLIC ENEMY, FOOTLIGHT PARADE, ANGELS WITH DIRTY FACES, MAN OF A THOUSAND FACES even STRAWBERRY BLONDE or ... ahem ... yes ... A MIDSUMMER NIGHT'S DREAM. But because now, that you've gotten to know him through the months or years (as I had) of film watching, story reading, blog posts, you feel you know his style, his character, his persona on screen to a "T", once you've arrived to ONE, TWO, THREE it's as if you've arrived to the main attraction. To know all that work before now brought him to this. Like Marlon Brando in THE GODFATHER. A performance that Cagney brings his A game in every word, every look, every gesture, so on point, it's, to borrow an old phrase, sharp as a tact. Literally.
There comes a scene where Cagney gives a list of things in need to be done to prepare Horst Buchholz for the arrival of his father-in-law and mother-in-law. When Cagney sounds off, "One. Two. Three." Magnetic. Never in the whole scene does he miss a beat. It's as if during the whole counting call of arrangements that need to be made, he never takes a breath. Your eyes are glued to Cagney. Even my Mom was impressed, "Woooow." ... followed by a round of applause from both of us when it was over.
After hearing Jack Lemmon (another favorite of ours) talk about Cagney, the Actor, one day on TCM as an "extra" feature between films, Lemmon, who in addition to being a great working team with Wilder, actor and director, also a good friend of Wilder's, mentioned visiting Cagney during filming of that snapping off "One. Two. Three." scene, and how he and Cagney were talking after the scene was finished. He said Cagney told him this is it, this would be his last picture. Lemmon couldn't understand why, he was great just now. Cagney told him, anytime I can't get a scene like this on the first take, it's time for me to hang up my hat. It would be Cagney's last film until 1981 in RAGTIME, where he came out of retirement to play the character of the Police Commissioner. This would be Cagney's last until his death in 1986. I'll save that #ForMyMom story for another time (but recommend it as a worth the watch in the meantime. We'll chat about it later.) So for today, Cagney away on TCM. VISIT TCM FOR THE FULL JAMES CAGNEY SCHEDULE.
AUGUST 27th:
FANNY (1961) On TCM Tonight at 2:30AM CT.
I'll try to make this as simple as possible, considering the film in discussion runs wide and deep as a Mom and I film. FANNY, above any other Leslie Caron film I can recommend today, not only wraps you by the heart, but was our favorite Caron film. Keep in mind, we had known her before from (naturally) AN AMERICAN IN PARIS and through us being Johnny Depp fans, Caron in a supporting role in CHOCOLAT (200). But FANNY did something the others didn't. It showcased to us another side of Leslie Caron that we had not noticed or seen on screen from her yet. From this film on, whenever my Mom would see Leslie Caron in anything (and there were many follow up Caron films after this one), she'd only and always call her "Fanny" as if she were an old friend. And considering how many times we watched FANNY, it sure seemed like it.
As I've mentioned before, not to take away from the 1931/1932 French adaptations of the Play-turned-Film, MARIUS and FANNY, which are just as lovely. But in this adaptation, in English, was a first for both of us. Leslie Caron does such a beautiful job in this film. The expertise she cares in her dancing, she carries in this romantic drama just as well. The same as you see her transformed from dancer to actress in THE DOCTOR'S DILEMMA, THE L-SHAPED ROOM, IS PARIS BURNING?. Her poise, her lines, her emotions, her laughter, her sadness, plays across the screen the same way her body sails in motion when you see her dance a ballet.
It is not only Leslie Caron's performance that sells this film so high, but the chemistry between her and "Marius" played by Horst Buccholz (another name you should get to know on screen through his work), and a chemistry of a different kind with Charles Boyer and Maurice Chevalier. It is hard to impossible not to fall in love with both of the matured leading men of their time while watching. Our favorite lines in the entire film come from both:
"Don't cry on the rolls. They're salty enough." -César (Charles Boyer)
"And once more! We're going to have a seventh month baby!" - Panisse (Maurice Chevalier)
Through the comics of being mother and daughter who so happened to be best friends ... we found a way to incorporate those two lines of dialogue on a regular basis. Don't ask. Just know.
I could not recommend FANNY more with all the words in the dictionary. It's a film you have to discover and fall in love with for yourself, for your own reasons, in your own way. It's worth staying up for, but if you can't, it's worth even more to DVR tonight on TCM.
VISIT TCM FOR FULL LESLIE CARON SCHEDULE.
I'll try to make this as simple as possible, considering the film in discussion runs wide and deep as a Mom and I film. FANNY, above any other Leslie Caron film I can recommend today, not only wraps you by the heart, but was our favorite Caron film. Keep in mind, we had known her before from (naturally) AN AMERICAN IN PARIS and through us being Johnny Depp fans, Caron in a supporting role in CHOCOLAT (200). But FANNY did something the others didn't. It showcased to us another side of Leslie Caron that we had not noticed or seen on screen from her yet. From this film on, whenever my Mom would see Leslie Caron in anything (and there were many follow up Caron films after this one), she'd only and always call her "Fanny" as if she were an old friend. And considering how many times we watched FANNY, it sure seemed like it.
As I've mentioned before, not to take away from the 1931/1932 French adaptations of the Play-turned-Film, MARIUS and FANNY, which are just as lovely. But in this adaptation, in English, was a first for both of us. Leslie Caron does such a beautiful job in this film. The expertise she cares in her dancing, she carries in this romantic drama just as well. The same as you see her transformed from dancer to actress in THE DOCTOR'S DILEMMA, THE L-SHAPED ROOM, IS PARIS BURNING?. Her poise, her lines, her emotions, her laughter, her sadness, plays across the screen the same way her body sails in motion when you see her dance a ballet.
It is not only Leslie Caron's performance that sells this film so high, but the chemistry between her and "Marius" played by Horst Buccholz (another name you should get to know on screen through his work), and a chemistry of a different kind with Charles Boyer and Maurice Chevalier. It is hard to impossible not to fall in love with both of the matured leading men of their time while watching. Our favorite lines in the entire film come from both:
"Don't cry on the rolls. They're salty enough." -César (Charles Boyer)
"And once more! We're going to have a seventh month baby!" - Panisse (Maurice Chevalier)
Through the comics of being mother and daughter who so happened to be best friends ... we found a way to incorporate those two lines of dialogue on a regular basis. Don't ask. Just know.
I could not recommend FANNY more with all the words in the dictionary. It's a film you have to discover and fall in love with for yourself, for your own reasons, in your own way. It's worth staying up for, but if you can't, it's worth even more to DVR tonight on TCM.
VISIT TCM FOR FULL LESLIE CARON SCHEDULE.
AUGUST 29th:
BLONDIE OF THE FOLLIES (1932) - On TCM Tonight at 1:00AM CT
"She's very, very good in the Follies." as Robert Montgomery's character "Larry" says to Marion Davies as "Blondie McClune" about Billie Dove's character "Lottie" in BLONDIE OF THE FOLLIES. Which is not too far from the truth, even if he were talking of Davies herself, as it is so happens, Marion Davies signed a contract in 1916 as a Ziegfeld Girl in the Ziegfeld Follies. BLONDIE OF THE FOLLIES, based on a story written by Anita Loos and Frances Marion, whom both were also good friends of Davies in real life, served as a perfect fit for Davies, as it was a subject Davies knew personally about.
A film in addition to starring in, Marion Davies also Produced, at least on paper, as mentioned by Robert Osborne in regard to this film once.
Today, instead of telling you why it was a pick for my Mom and I, I want to share why it should be a pick for you. BLONDIE OF THE FOLLIES, (IMO) serves as a great film for any newbie to Classic Films or someone who may not be well rounded in the field of watching Marion Davies, Robert Montgomery or Billie Dove (too once a Ziegfeld Girl). All three who were, in their time (and for a lot of Classic Film Fans today, still are) at the top of their class.
BLONDIE OF THE FOLLIES showcases such with all three actors to great advantage, especially where Marion Davies is concerned. You get a first hand look, so to speak, at her (not only acting as the character "Blondie") but also a look into a similar POV of her beginnings as a Ziegfeld Girl, as well as a front row seat to watch her do some Classic Hollywood impersonations that she was known to do at parties during those years of Hollywood's Golden Age. Her Garbo is fantastic.
Take full advantage of Marion Davies today in whatever film you can, but please don't let BLONDIE OF THE FOLLIES go without your time "in person" or on the DVR. You really get an all around view of Marion Davies as more than being the inspiration for CITIZEN KANE's "Susan" ... which in the long run may speak more volumes than one may realize. The phenomenon that is CITIZEN KANE is after all ground breaking. So is Marion Davies as you can witness in BLONDIE OF THE FOLLIES tonight on TCM. Oh, and when you see the backgammon scene with Robert Montgomery, send a shout out to my Mom. That was our game on the regular from a kid on through. It never stopped. She taught me everything I know. Acey Deucey my friends.
VISIT TCM FOR FULL MARION DAVIES SCHEDULE.
"She's very, very good in the Follies." as Robert Montgomery's character "Larry" says to Marion Davies as "Blondie McClune" about Billie Dove's character "Lottie" in BLONDIE OF THE FOLLIES. Which is not too far from the truth, even if he were talking of Davies herself, as it is so happens, Marion Davies signed a contract in 1916 as a Ziegfeld Girl in the Ziegfeld Follies. BLONDIE OF THE FOLLIES, based on a story written by Anita Loos and Frances Marion, whom both were also good friends of Davies in real life, served as a perfect fit for Davies, as it was a subject Davies knew personally about.
A film in addition to starring in, Marion Davies also Produced, at least on paper, as mentioned by Robert Osborne in regard to this film once.
Today, instead of telling you why it was a pick for my Mom and I, I want to share why it should be a pick for you. BLONDIE OF THE FOLLIES, (IMO) serves as a great film for any newbie to Classic Films or someone who may not be well rounded in the field of watching Marion Davies, Robert Montgomery or Billie Dove (too once a Ziegfeld Girl). All three who were, in their time (and for a lot of Classic Film Fans today, still are) at the top of their class.
BLONDIE OF THE FOLLIES showcases such with all three actors to great advantage, especially where Marion Davies is concerned. You get a first hand look, so to speak, at her (not only acting as the character "Blondie") but also a look into a similar POV of her beginnings as a Ziegfeld Girl, as well as a front row seat to watch her do some Classic Hollywood impersonations that she was known to do at parties during those years of Hollywood's Golden Age. Her Garbo is fantastic.
Take full advantage of Marion Davies today in whatever film you can, but please don't let BLONDIE OF THE FOLLIES go without your time "in person" or on the DVR. You really get an all around view of Marion Davies as more than being the inspiration for CITIZEN KANE's "Susan" ... which in the long run may speak more volumes than one may realize. The phenomenon that is CITIZEN KANE is after all ground breaking. So is Marion Davies as you can witness in BLONDIE OF THE FOLLIES tonight on TCM. Oh, and when you see the backgammon scene with Robert Montgomery, send a shout out to my Mom. That was our game on the regular from a kid on through. It never stopped. She taught me everything I know. Acey Deucey my friends.
VISIT TCM FOR FULL MARION DAVIES SCHEDULE.
AUGUST 30th:
THE PICTURE OF DORIAN GRAY (1945) and LURED (1947) On TCM Today at 1:00PM CT and 1:00AM CT.
George Sanders gets a double feature today #ForMyMom. And Sanders on any day is a good day in the land of film watching. When you follow the body of George Sander's work, his ability to change from villain, as in MAN HUNT opposite Walter Pidgeon, to sleuth in THE SAINT or THE FALCON Series, seemingly without effort, yet find him in a Cult Classic like VILLAGE OF THE DAMNED to singing in a Musical with Ethel Merman in CALL ME MADAM. All with that same tone of voice you await the moment before he even speaks. The voice, I've phrased that, after he speaks, stays with you and lingers for a while.
THE PICTURE OF DORIAN GRAY was an unexpected watch for my Mom and I one night on TCM, that forever followed us from then on. As haunting and beautiful as Dorian Gray and the film itself.
THE PICTURE OF DORIAN GRAY, written by Oscar Wilde, published June 20, 1890, only grew more and more beautiful, haunting and enchanting with every watch. The beauty of Hurd Hatfield as the title character, paired with the cherub-esque beauty of a young Angela Landsbury, captivates you, just as her character captivates Dorian the first time he lays eyes on her. Nevermind the beautiful sets and costumes. This film only gets better, more personal with each viewing. For anyone of us could be Dorian Gray. His complexity, his mistakes, his hunger for eternity, his wanting to return back to what once was. This, was a film we never missed. Ever.
LURED was just as attractive. Being a long time I LOVE LUCY fanatic myself (yes, we've talked about this before, so I won't bore you with the details all over again) I was stunned, shocked and happily excited to discover she had a whole other career as an on screen actress when I was younger seeing she and husband, Desi in THE LONG, LONG TRAILER. That peak of knowledge only grew with the arrival of TCM as the years went on. Being able to see Lucille Ball in films so untied from her Lucy Ricardo character and I LOVE LUCY was popcorn material. Don't underestimate her playing the Leading Lady. Watch her in THE BIG STREET (another "Mom and I" film), TWO SMART PEOPLE (yet another "Mom and I" film), EASY LIVING, THE DARK CORNER, and ... LURED. She with George Sanders (whom you never know what you're going to get when he's on the scene) are paired perfectly (IMO) in this film, which makes you wish they'd done more, and yet, don't want to ruin the moment of them at least being in this one together. It plays as an excuse to watch over and over again. As in today and tonight on TCM. VISIT TCM FOR THE FULL GEORGE SANDERS SCHEDULE.
George Sanders gets a double feature today #ForMyMom. And Sanders on any day is a good day in the land of film watching. When you follow the body of George Sander's work, his ability to change from villain, as in MAN HUNT opposite Walter Pidgeon, to sleuth in THE SAINT or THE FALCON Series, seemingly without effort, yet find him in a Cult Classic like VILLAGE OF THE DAMNED to singing in a Musical with Ethel Merman in CALL ME MADAM. All with that same tone of voice you await the moment before he even speaks. The voice, I've phrased that, after he speaks, stays with you and lingers for a while.
THE PICTURE OF DORIAN GRAY was an unexpected watch for my Mom and I one night on TCM, that forever followed us from then on. As haunting and beautiful as Dorian Gray and the film itself.
THE PICTURE OF DORIAN GRAY, written by Oscar Wilde, published June 20, 1890, only grew more and more beautiful, haunting and enchanting with every watch. The beauty of Hurd Hatfield as the title character, paired with the cherub-esque beauty of a young Angela Landsbury, captivates you, just as her character captivates Dorian the first time he lays eyes on her. Nevermind the beautiful sets and costumes. This film only gets better, more personal with each viewing. For anyone of us could be Dorian Gray. His complexity, his mistakes, his hunger for eternity, his wanting to return back to what once was. This, was a film we never missed. Ever.
LURED was just as attractive. Being a long time I LOVE LUCY fanatic myself (yes, we've talked about this before, so I won't bore you with the details all over again) I was stunned, shocked and happily excited to discover she had a whole other career as an on screen actress when I was younger seeing she and husband, Desi in THE LONG, LONG TRAILER. That peak of knowledge only grew with the arrival of TCM as the years went on. Being able to see Lucille Ball in films so untied from her Lucy Ricardo character and I LOVE LUCY was popcorn material. Don't underestimate her playing the Leading Lady. Watch her in THE BIG STREET (another "Mom and I" film), TWO SMART PEOPLE (yet another "Mom and I" film), EASY LIVING, THE DARK CORNER, and ... LURED. She with George Sanders (whom you never know what you're going to get when he's on the scene) are paired perfectly (IMO) in this film, which makes you wish they'd done more, and yet, don't want to ruin the moment of them at least being in this one together. It plays as an excuse to watch over and over again. As in today and tonight on TCM. VISIT TCM FOR THE FULL GEORGE SANDERS SCHEDULE.
AUGUST 31th:
CAT ON A HOT TIN ROOF (1958) On TCM Today at 9:00PM CT
There's no need for me to run down the road in what I've already said continuously on a regular basis. When it came to Elizabeth Taylor, this was an actress whose name I heard from a child into adulthood with my Mom. I remember asking her once, "Why Elizabeth Taylor?" She only answered, "I don't know, I always thought she was classy." I watched a lot of Taylor films in the process of collecting Classic Film images into the memory of my brain, but it wasn't until I saw her and Montgomery Clift in A PLACE IN THE SUN, I can remember going to my Mom, in awe, saying "I get it." She didn't know what I meant at first. Then I explained how I had just watched A PLACE IN THE SUN all the way through for the first time, and I see the beauty that is captured on screen. The beauty that was Elizabeth Taylor. Which, in so many ways, is exactly how I saw/see my Mom. Her beauty, generosity, sincerity. In the distance, as if almost out of reach. Something you see from afar and admire, strive to acquire such a quality in relation to you yourself. Your own. In your own way.
To make the story you didn't ask for short, my Mom would come to school when I was a kid to talk to the class about painting (my Mom was an oil painter) and when she came in the room, all the kids would turn to me and say, "Is that your Mom?" Their jaws literally dropped. I'd beam, in disbelief myself. Yep. That's my Mom.
In my new discovery of Liz, came CAT ON A HOT TIN ROOF, a film Liz so captures your attention, you almost forget Paul Newman is there. Then again, no, you never forget Paul Newman is there. Ever. Those two on screen, in the same shot, is nothing short of hypnotizing. Have you seen the way he looks at her in the mirror when she's standing there talking about "Sister Woman"? And the way she catches him looking, and returns with a look of her own to him? You drink those two in together as if you've never had water before. They could've been in a film together with no dialogue and you'd understand the entire plot. Perfection.
So heavily rooted did CAT ON A HOT TIN ROOF become for us, I had to use the quote, by Liz and Paul in a Theatrical Production I had written at the time that was to go into production:
"What is the victory of a cat on a hot tin roof?"
"Just stayin' on it I guess ... Long as she can."
That was a quote my Mom and I began to use so much around the time of my creating that particular show, it didn't feel right to go without a shoutout to Liz and Paul.
If you've not seen this film or have ever not seen what it is about Elizabeth Taylor that makes her so attractive as a person, as an actress, don't stop or start with CAT ON A HOT TIN ROOF tonight on TCM, go for it all today on TCM. VISIT TCM FOR THE FULL ELIZABETH TAYLOR SCHEDULE.
There's no need for me to run down the road in what I've already said continuously on a regular basis. When it came to Elizabeth Taylor, this was an actress whose name I heard from a child into adulthood with my Mom. I remember asking her once, "Why Elizabeth Taylor?" She only answered, "I don't know, I always thought she was classy." I watched a lot of Taylor films in the process of collecting Classic Film images into the memory of my brain, but it wasn't until I saw her and Montgomery Clift in A PLACE IN THE SUN, I can remember going to my Mom, in awe, saying "I get it." She didn't know what I meant at first. Then I explained how I had just watched A PLACE IN THE SUN all the way through for the first time, and I see the beauty that is captured on screen. The beauty that was Elizabeth Taylor. Which, in so many ways, is exactly how I saw/see my Mom. Her beauty, generosity, sincerity. In the distance, as if almost out of reach. Something you see from afar and admire, strive to acquire such a quality in relation to you yourself. Your own. In your own way.
To make the story you didn't ask for short, my Mom would come to school when I was a kid to talk to the class about painting (my Mom was an oil painter) and when she came in the room, all the kids would turn to me and say, "Is that your Mom?" Their jaws literally dropped. I'd beam, in disbelief myself. Yep. That's my Mom.
In my new discovery of Liz, came CAT ON A HOT TIN ROOF, a film Liz so captures your attention, you almost forget Paul Newman is there. Then again, no, you never forget Paul Newman is there. Ever. Those two on screen, in the same shot, is nothing short of hypnotizing. Have you seen the way he looks at her in the mirror when she's standing there talking about "Sister Woman"? And the way she catches him looking, and returns with a look of her own to him? You drink those two in together as if you've never had water before. They could've been in a film together with no dialogue and you'd understand the entire plot. Perfection.
So heavily rooted did CAT ON A HOT TIN ROOF become for us, I had to use the quote, by Liz and Paul in a Theatrical Production I had written at the time that was to go into production:
"What is the victory of a cat on a hot tin roof?"
"Just stayin' on it I guess ... Long as she can."
That was a quote my Mom and I began to use so much around the time of my creating that particular show, it didn't feel right to go without a shoutout to Liz and Paul.
If you've not seen this film or have ever not seen what it is about Elizabeth Taylor that makes her so attractive as a person, as an actress, don't stop or start with CAT ON A HOT TIN ROOF tonight on TCM, go for it all today on TCM. VISIT TCM FOR THE FULL ELIZABETH TAYLOR SCHEDULE.
#ForMyMom
(Miss her everyday ... To watch the Short Film inspired by My Mom, click the hashtag above.)
(Miss her everyday ... To watch the Short Film inspired by My Mom, click the hashtag above.)