can we talk classics?

**chitowngirl** · 03-23-2006, 03:55 AM

Re: can we talk classics?

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How bout 'Cary and his male "housemate"? [img]/forums/images/graemlins/smirk.gif[/img]

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Cary Grant: A Biography
Marc Eliot

There's no question, in this biography, that Grant and housemate Randolph Scott were lovers and that he had at least one male partner before that.

. . .

It's disappointing that Eliot makes no attempt to figure out why Grant apparently moved on to heterosexual relationships after Scott. Heavily implying that Grant's first two marriages were asexual doesn't answer the underlying question, especially since third wife Betsy Drake is on record that they had plenty of marital intercourse and fourth spouse Dyan Cannon had his baby.

. . .

full story here

**chitowngirl** · 03-23-2006, 04:01 AM

Re: can we talk classics?

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..But..but..but how could you all forget Sabrina with Audery Hepburn and Humphrey Bogart? One of my all time favorite.... [img]/forums/images/graemlins/70409-waytogo.gif[/img]

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(((DC))) [img]/forums/images/graemlins/eek.gif[/img]

Linus and Davis Larrabee are the two sons of a very wealthy family. Linus is all work -- busily running the family corporate empire, he has no time for a wife and family. David is all play -- technically he is employed by the family business, but never shows up for work, spends all his time entertaining, and has been married and divorced three times. Meanwhile, Sabrina Fairchild is the young, shy, and awkward daughter of the household chauffeur, who has been infatuated with David all her life, but David hardly notices her -- "doesn't even know I exist" -- until she goes away to Paris for two years, and returns an elegant, sophisticated, beautiful woman. Suddenly, she finds that she has captured David's attention, but just as she does so, she finds herself falling in love with Linus, and she finds that Linus is also falling in love with her.

**turtledude** · 03-23-2006, 11:49 AM

Re: can we talk classics?

....Cary Grant in "Houseboat"...

Review:
- by Kathy Fox
This is another of my favorite movies and Cary's 65th film. I admit that I go for the love stories. Is there any where else to hang out? And this had to be hard film for Cary Grant to make. He and Sophia Loren had met earlier in 1957 during the filming of their first film together, THE PRIDE AND THE PASSION, in Spain. This was Ms. Loren's first English-speaking role, and Cary fell head over heals in love with his co-star when they were making this movie together. Sophia was of course the product of Carlo Ponti and she owed him everything for her movie career. It is said that Sophia neither encouraged or discouraged Cary with regard to their relationship. We just know that they had one. When Betsy got wind in California of her husband's feelings for his co-star, she rushed to him in Spain where she stayed for a while, trying to rekindle her feelings with her husband. She finally left after several weeks because she was due to start a movie of her own, and booked passage on The Andrea Doria on its ill-fated voyage to America. On July 26, 1956, The Andrea Doria was hit by The Stockholm off Nantucket Island and sank. Betsy was saved along with most of the passengers, but she lost a lot of jewelry that Cary had given her. It was confusing to Cary when he received word of the accident because being in a remote part of Spain, word of the sinking did not reach him right away. He and Betsy were said to have been much closer at this point in time because of the accident that could had tragic consequences. It is also rumored that Ms. Drake wrote the screen play for HOUSEBOAT and she was to play the part of Cinzia, but Cary wanted to make another movie with Sophia and he got his way. When Cary fell for women, he fell hard and it hurt him most of the time! HOUSEBOAT is a love story of a widower, Tom Winters, who reclaims his children after his wife is killed in an auto accident. He has not seen his children on a regular basis for quite some time and hires Ms. Loren, Cinzia Zaccardi, as a housekeeper and sitter for his children. They end up on a houseboat, after the house they were going to move into was destroyed by a train accident. Cary's wife's sister, played by Martha Hyer (Caroline) is also interested in him and has been in love with him for years and now that her marriage is on the rocks she has filed for a divorce. Cinzia is in there taking care of the children, and Tom and she fall in love, and as usual, the man is the last to know. Finally, everything comes to a head when Tom takes Cinzia to a dance where Caroline finally gets Tom to propose, "I'll take you on any basis, Tom." The when Tom asks Cinzia to dance, he finally realizes that he is in love with her but friends tell Cinzia of his forthcoming marriage to Caroline. Cinzia tells Tom to "go to straight to hell" and runs away. Tom chases her, and finally reveals his love for her when they are found in the row boat kissing. However, the children are afraid that Cinzia will not want them any more since she will marry Tom and they boycott the wedding. Also they are afraid of losing Cinzia since their real mother has already been killed. Finally Tom convinces the children that they are a family. The scene where Cary and Sophia are dancing gets me every time. Cary is looking at her and you know that he is in love with her, and I feel that she is with him. At the end of the movie, Tom and Cinzia marry, but in reality, Sophia is being married by proxy to Carlo Ponti in Mexico. This was a blow to Cary and he reunited with Betsy to try to salvage the marriage but it was too late and they separated in 1958, but were not divorced until 1962. Don't miss this one, the love story soars

**turtledude** · 03-23-2006, 12:53 PM

Re: can we talk classics?

Thanks Sue, for this escapism!!! Great thread! [img]/forums/images/graemlins/smile.gif[/img] Gotta get to my "housework" soon...one last post here...a reality check before entering the cold, cruel world [img]/forums/images/graemlins/smirk.gif[/img]...
........Francis Farmer....in the movie: "Come and Get It"...

Come and Get It - 1936

Re-released as Roaring Timber

Frances Farmer - Lotta Morgan/Lotta Bostrom

Edward Arnold - Barney Glasgow

Walter Brennan - Swan Bostrom - (Academy Award: Best Supporting Actor)

Andrea Leeds - Evvie Glasgow

Mady Christians - Karie

Frank Shields - Tony Schwerke

Producer - Samuel Goldwyn

Directors - Howard Hawks/William Wyler

Crowded with every requisite for excellent entertainment, this is an indelible landmark in motion picture progress. A cast of new players, supporting Edward Arnold and Joel McCrea, offer such individually superlative performances as to insure for themselves great futures; but purely as a production it is technically fine, beautifully directed, superbly synthesized.

Picturing with graphic detail the significant tempo of 1884 to 1907, the story concerns a clear-minded ambitious lumberman who falls in love with a dance-hall girl. Caught in the need for power, he marries his boss' daughter, whom he doesn't love but who can aid him in his career; many years later, successful and bitter, he meets the honky-tonk belle's lovely daughter and toward her directs the bleak passion of his middle-age.

Edward Arnold is outstandingly good as the ruthless business man who sacrifices personal happiness for achievement; and Frances Farmer, cast in the dual role of the vulgar cabaret singer and her ambitious daughter, is sensationally brilliant.

Against a background of gripping beauty Edna Ferber's bestseller becomes a living reality, with Walter Brennan excitingly authentic as a Swede friend of Arnold's, Joel McCrea good as Arnold's son, and newly discovered Andrea Leeds delightfully refreshing in her small role.

You'll cheer at the log-rolling sequences, at the really great performances of the cast, and the vivid effectiveness of the picture as a whole.

...........A Ravaged Life....commentary by Tom Barresi

Back in December last year 2000, I wrote President Clinton a thank- you note, for his kind "recognition" of my efforts in Civil Rights. In it, I enticed him to turn on his P.C. and briefly examine the tragedy of a life, named Frances Farmer. I guess feeling one letter to me, might just be enough, he chose politely, not to respond; but had our former President taken my suggestion, he would have witnessed the following story:

Born in 1914, in Seattle, of rather "difficult", parents, the beautiful Frances led a life, typical of a young girl, of the age. Enjoying the arts, and literature, she came to some literary acclaim, (and her lifelong demise), when her piece entitled, "God Dies", appeared around Seattle, while just 16 years old. Being controlling, and very spiteful, Frances' mother seized this opportunity of her daughter's professed atheism, (as seen in this above poem), to "label" her gifted daughter, as "crazy" perhaps, and thereby start the endless cycle of institutionalizing her daughter pretty much at her own discretion; for with this package came something we still have today: legal guardianship.

That Ms. Farmer was a brilliant actress of the 1930's and 1940's is unquestionable. That a harmless poem written in 1931, destroyed her life forever, is also not in dispute, and that her alcoholism, and pill addiction, combined with several failed marriages certainly did little to ease her emotional status. But what will one day be contested, as a clear result of her traumas, is the emotional devastation on a person when "turned over' to the control of another. Be that "guardian", a parent, a public defender, or a court ordered official; you simply have no right to do such a thing, to a human life.

In Frances Farmer's case she was sent to hospitals on as little as a whim. Suffering lobotomies, insulin shock treatments, rape and other abuses, she finally "gave up" with the following statement: "Psychiatry has systematically destroyed the only thing I have ever been able to hold onto in life....my faith in my artistic creativity"

She died, as we all do in mental health, broke, friendless and despised at age 56. But she did not lose her "creativity", for some of us still remember and love her. No she kept her talent.....it was the hospital attendant, who brutalized her....that lost his.

Regards, Tom Barresi

**Nunya** · 03-23-2006, 01:06 PM

Re: can we talk classics?

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In Frances Farmer's case she was sent to hospitals on as little as a whim. Suffering lobotomies, insulin shock treatments, rape and other abuses, she finally "gave up" with the following statement: "Psychiatry has systematically destroyed the only thing I have ever been able to hold onto in life....my faith in my artistic creativity"

She died, as we all do in mental health, broke, friendless and despised at age 56. But she did not lose her "creativity", for some of us still remember and love her. No she kept her talent.....it was the hospital attendant, who brutalized her....that lost his.

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A movie was made about this, wasn't there? [img]/forums/images/graemlins/70402-thinking.gif[/img] Sometime in the 80s I think... [img]/forums/images/graemlins/70402-thinking.gif[/img] And was she abused by just one attendant, as the article implies, or was it a series of attendants...

**turtledude** · 03-23-2006, 01:57 PM

Re: can we talk classics?

...uh,...ya...I kinda remember seeing it a while back...I don't know the specifics of the deal...I remember reading something about her way back when, then saw "Come and Get It"...and was blown away by the acting and "subject matter" of the film...it seemed really "risque" to me...considering the time period in which it was made...I think I saw another film of hers...and then the biography....I guess Kurt Cobaine wrote a song or something too.... [img]/forums/images/graemlins/70456-eyebrows.gif[/img]

**Judea** · 03-23-2006, 06:03 PM

Re: can we talk classics?

I'm not too familiar with classic movies but how about "The Sound of Music" - 1965 I still know every song in that movie word for word.

**tsophra** · 03-24-2006, 12:49 AM

Re: can we talk classics?

nice ones guys..
Audrey Hepburn [img]/forums/images/graemlins/70459-hugs.gif[/img]
cho..wha you mean Turtledude..dis lis nah done fi a while..eh juss start..

Speaking of Classics look what's coming up on TCM Channel [img]/forums/images/graemlins/bannana_purple.gif[/img]

Seven Samurai (1954) [img]/forums/images/graemlins/70409-waytogo.gif[/img] [img]/forums/images/graemlins/notworthy.gif[/img]
Japanese villagers hire a team of traveling samurai to defend them against a bandit attack.
Cast: Toshiro Mifune, Takashi Shimura, Kuninori Kodo. Dir: Akira Kurosawa. BW-141 mins, TV-PG

9:30am Throne of Blood (1957) [img]/forums/images/graemlins/70409-waytogo.gif[/img]
Spurred by his wife and a witch's prediction, a samurai murders his lord to steal the throne.
Cast: Toshiro Mifune, Isuzu Yamada, Takashi Shimura. Dir: Akira Kurosawa. BW-105 mins, TV-14

11:30am Yojimbo (1961) [img]/forums/images/graemlins/70409-waytogo.gif[/img]
A samurai-for-hire sets the warring factions of a Japanese town against each other.
Cast: Toshiro Mifune, Eijiro Tono, Seizaburo Kawazu. Dir: Akira Kurosawa. BW-75 mins, TV-14

1:30pm Outrage The (1964)
A Mexican bandit's crimes receive wildly different interpretations from four witnesses. [img]/forums/images/graemlins/70409-waytogo.gif[/img]
, Edward G. Robinson. Dir: Martin Ritt. BW-97 mins, TV-PG

3:15pm Hustler, The (1961) [img]/forums/images/graemlins/70377-loveeyes.gif[/img] what a hottie
A pool shark falls into the clutches of a crooked gambler.
Cast: Paul Newman, Jackie Gleason, George C. Scott. Dir: Robert Rossen. BW-134 mins, TV-PG

5:45pm Winning (1969)..
A racecar driver risks his marriage in pursuit of speed and success.
Cast: Paul Newman, Joanne Woodward, Robert Wagner. Dir: James Goldstone. C-123 mins, TV-14

**tsophra** · 03-24-2006, 01:10 AM

Re: can we talk classics?

Speaking of Monsieur Newman..

did I mention [img]/forums/images/graemlins/70377-loveeyes.gif[/img] [img]/forums/images/graemlins/70377-loveeyes.gif[/img]

Martin Ritt's HUD is an adaptation of Larry McMurtry's novel HORSEMAN, PASS BY, successfully transformed into an entertaining and ambitious contemporary Western. Set on a Texas ranch where Cadillacs, cattle, and transistor radios coexist uneasily, the film stars Paul Newman as the hedonistic, arrogant, and rebellious farmhand Hud Bannon. Hud is constantly at odds with his kind father Homer (Melvyn Douglas), who blames him for the death of his brother. Hud further strains their relationship when he begins taking his nephew out drinking and chasing women. But when it appears that Homer's herd of cattle may have contracted hoof-and-mouth disease, he asks his son's help and advice. Predictably, Homer and Hud disagree about what should be done with the cattle, so Hud tries to gain ownership of the ranch--which could mean taking away his father's sole possession and livelihood. Beautifully photographed, the film has a clean visual style, emphasizing both the open spaces of the Texan landscape and the Cadillacs and Dr. Pepper signs that adorn it. Patricia Neal won an oscar for her role, and Newman's performance gives the film its wit and considerable velocity; his character, Hud, is morally reprehensible but still likeable and charismatic, and he carries the film forward to its surprising and poignant ending.

MOVIE QUOTES

"Well I always say the law was meant to be interpreted in a lenient manner, and that's what I try to do. Sometimes I lean to one side of it, sometimes I lean to the other." -- Hud Bannon (Paul Newman)

"How many honest men you know? You take the sinners away from the saints, you're lucky to end up with Abraham Lincoln." -- Hud (Paul Newman) to his father Homer Bannon (Melvyn Douglas)

"Nobody gets out of life alive." -- Hud (Paul Newman)
Hud (to Lon): "The world's so full of crap a man's going to get into it sooner or later, whether he's careful or not."

"Man like that sounds no better than a heel. Aren't you all? Honey, don't go shootin' all the dogs 'cause one of 'ems got fleas." -- Hud (Paul Newman) to Alma (Patricia Neal)

In this classic Southern prison drama, social misfit Lucas "Luke" Jackson (Paul Newman) is incarcerated for a petty crime and sentenced to a chain gang. Luke is a sullen and laconic young man whose cool defiance of the sadistic warden and bullying inmates earns him the title "Cool Hand Luke." But as the prisoners' respect for Luke grows into hero worship, he finds that he must risk everything in order to live up to their expectations. Filled with dozens of memorable scenes (Luke eating 50 eggs) and quotable lines ("What we have here is a failure to communicate."), COOL HAND LUKE is a testament to excellent screenwriting (Donn Pearce and Frank Pierson) and Newman's charm and skill as an actor. The film also features an outstanding supporting cast that includes George Kennedy, Strother Martin, and early screen appearances by Dennis Hopper and Harry Dean Stanton.

MOVIE QUOTES

" What we have here is a failure to communicate."--Captain (Strother Martin) to Luke (Paul Newman) [img]/forums/images/graemlins/70409-waytogo.gif[/img] [img]/forums/images/graemlins/grin.gif[/img] love it

"Small town, not much to do in the evenin'."--Luke, explaining why he cut the heads off parking meters

"I can eat fifty eggs."--Luke
"Nobody can eat fifty eggs."--Dragline (George Kennedy)

"Wish you'd stop bein' so good to me, cap'n." Luke to Captain, after he's been put in chains

"He's a natural born world-shaker."--Dragline, about Luke

**turtledude** · 03-24-2006, 10:10 AM

Re: can we talk classics?

" What we have here is a failure to communicate."--Captain (Strother Martin) to Luke

[img]/forums/images/graemlins/704555_dwl.gif[/img] I use that line about 3 times a week!!!!

**turtledude** · 03-24-2006, 12:13 PM

Re: can we talk classics?

MID-LIFE MOVIE CRISIS:
...in case you were wondering where your gonads went..... 

 Lines that cure all:
Marshall J.D. Cahill (Cahill, U.S. Marshall):Col. Michael Kirby (The Green Berets):"Out here, due process is a bullet." [img]/forums/images/graemlins/wink.gif[/img]
John T. Chance (Rio Bravo):Hondo Lane (Hondo):"Yup. The end of a way of life. Too bad. It's a good way. Wagons forward! Yo!" [img]/forums/images/graemlins/cool.gif[/img]
......and my personal favorite:...."Sorry don't get it done, Dude.".............. [img]/forums/images/graemlins/cool.gif[/img]
FROM: "Ron Pulliam"Ringo Kid (Stagecoach):
"Well, there are some things a man just can't run away from." 

From another website: If "Hush, Hush...Sweet Charlotte" is one of the 60s' "menopausal horror films" (and presumably "Whatever Happened to Babby Jane" and "Die! Die! My Darling" and "Lady in a Cage" can be numbered with them), would it be fair to say that "McClintock" and all other John Wayne movies of the 60s were "male menopausal westerns?"
I haven't seen McClintock since I was a kid, and all I remember is Wayne and Maureen O'Hara rassling in the mud. For all those "menopausal horror films" of the '60s and early '70s (also including What's the Matter with Helen, Who Slew Auntie Roo, Whatever Happened to Aunt Alice, The Anniversary, The Nanny and The Mad Room), the age and gender of the principal characters were a key factor in the story. Certainly Wayne's age was key to the plots of The Cowboys and The Shootist, though they might actually be "retirement Westerns."
[img]/forums/images/graemlins/smirk.gif[/img]
 From the Waynesworld male blogsite:

 Poking around, I was pleased to see that Roger Ebert understands John Wayne movies:

We go to a classic John Wayne Western not to see anything new, but to see the old done again, done well, so that we can sink into the genre and feel confident we won't be betrayed. To some degree Wayne movies are rituals, and so it is fitting that they resemble each other. "El Dorado" was a remake of Hawks' "Rio Bravo" (1958), and "Rio Lobo" draws from both of them. (It is said that when Hawks called Wayne and offered to send over the script, Wayne replied, "Why bother? I've already made the movie twice.")
Ya got that right, pilgrim. And even with all the fussing and cooing and baby-talk I'm going to have to hear over the damned cat, I reckon that with the Duke riding shotgun (and maybe some Beam and a cigar), I can make it through.

[img]/forums/images/graemlins/smile.gif[/img][i] So here is one of my my all time Duke favorites: 
McClintock — 1963
McClintock, Wayne’s best comedy Western, gives testimony that its creators also had the guts to play certain scenes straight. In a way this film is the second of an unofficial trilogy that started with Hondo in 1953 and ends with Big Jake in 1970. Wayne plays a cattle baron with an estranged wife, Maureen O’Hara, and they wage marital war over their marriage and a daughter who is returning home from school in the East. Wayne and O’Hara were so much the perfect on-screen couple that many fans thought they were married in real life. Character actor Chill Wills replaces Ward Bond as the best friend and major-domo. Michael Dante reprises his role from Hondo, here as a Ute chief instead of an Apache chief. Wills and Dante do several verbal reprises of major scenes from Hondo that fit perfectly into the story. The big mud fight in the center of the film is a classic, with O’Hara and Wayne taking just a much glee getting muddied as does the army of stunt people, involved.

Since Wayne’s death in 1979, the annual Harris Poll that ranks the popularity of movie stars has placed him consistently in the top 10 stars against current superstars like Mel Gibson and Harrison Ford. In November 2003 the Harris survey rated Wayne seventh overall and still the most popular male star among American men. Twenty-five years after his death, his final resting place in Southern California left unmarked, the Duke’s Western iconography still strikes Americans as strong as ever. “It’s not how you’re buried. It’s how they remember you.”

**Suesumba** · 03-24-2006, 12:47 PM

Re: can we talk classics?

you guys are gonna keep me inside watching movies all summer? [img]/forums/images/graemlins/mad.gif[/img]

these are sooooooooooooooo good.

the book was fantastic [img]/forums/images/graemlins/70409-waytogo.gif[/img]

Petty criminal Henri Charriere (Steve McQueen) bears the nickname Papillon, because of the large butterfly tattoo on his chest, which symbolizes freedom. Wrongly convicted of murder, Charriere is sentenced to life. He is transported from France to Guyana in northern South America, to a prison known as Devil's Island. Determined to escape, Papillon manages to get away but is recaptured. Rather than live his life in chains, suffering brutality at the hands of the guards and solitary confinement, he perseveres, vowing to successfully escape or die trying. [img]/forums/images/graemlins/70409-waytogo.gif[/img]

and who can forget

steve mcqueen was soooo sexy. why do all the sexy men like yul bryner and steve mcqueen have to die?

[img]/forums/images/graemlins/70394-bawlout.gif[/img] leaving us with bad teet dreck like kevin costner? [img]/forums/images/graemlins/mad.gif[/img]

Trivia: The director called for speeds of about 75-80 mph, but the cars (including the ones containing the cameras) reached speeds of over 110 mph. Filming of the chase scene took three weeks, resulting in 9 minutes and 42 seconds of footage. They were denied permission to film on the Golden Gate Bridge. (more)

Goofs: Continuity: During the pursuing through the airport, Bullitt wears a trench coat, jacket and blue shirt. At the end, when he gets closer to his apartment, he's still wearing the trench coat and the jacket is in his hand. Inside the apartment he is wearing a brown cardigan over the shirt and the trench coat is in his hand. (more)

**Suesumba** · 03-24-2006, 12:52 PM

Re: can we talk classics?

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what about this new cult classic? [img]/forums/images/graemlins/70402-thinking.gif[/img]

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'cult' classics?...this one has got to be at the top of the list
I must admit, I did pay admission to see it... [img]/forums/images/graemlins/rolleyes.gif[/img] back in the day [img]/forums/images/graemlins/704555_dwl.gif[/img]

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i've even done the time warp. nuff sed [img]/forums/images/graemlins/70361-embarassed.gif[/img]

**Suesumba** · 03-24-2006, 12:57 PM

Re: can we talk classics?

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I'm not too familiar with classic movies but how about "The Sound of Music" - 1965 I still know every song in that movie word for word.

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[img]/forums/images/graemlins/70409-waytogo.gif[/img]

**turtledude** · 03-24-2006, 01:21 PM

Re: can we talk classics?

and coming soon to home theaters!!!!

[img]/forums/images/graemlins/bannana_purple.gif[/img] SEVEN YEARS IN TIBET [img]/forums/images/graemlins/bannana_purple.gif[/img]

 movie trailer to follow! 
take your seats...its raining outside anyway!...(shouldn't I be paying bills now,or something more productive?.... [img]/forums/images/graemlins/smirk.gif[/img])

can we talk classics?

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