They prove that the cops, when they can't find the REAL perpetrators, always blame the parents and accuse them of sexual abuse of their kids. These movies always depict the press as a bunch of animals and have the parents coming out of court to feed the press' hunger to humiliate the grief-stricken. Hasn't anybody ever heard of a courthouse back door in these movies? Here, you have a psychic who tells them exactly what happened and WHERE the body can be found, but the police are not told and nobody heeds his findings.
The police are portrayed as blockheads who don't know what they are doing and there's always an outside detective, like Ed Asner, who comes in late on the case, believes in the parents and solves the mystery.
Also, after the parents are cleared, they don't spit in the faces of the dumb cops who put them in jail, took their kid away and accused them of killing their own child.
It looked as if I've see this film MANY times before.
For years, Warner Brothers had to borrow stars from other studios in order to produce musicals. In 1948, they borrowed Judy Garland from MGM for the splashy musical, "Romance On The High Sears," but Miss Garland was not "able" to do the picture. Then, they borrowed Betty Hutton from Paramount, but she became pregnant and had to bow out. A happy accident occurred when Sammy Cahn and Jules Styne brought a young band singer (Doris Day) to see director, Michael Curtiz ("Mildred Pierce," "Casablanca," "Yankee Doodle Dandy," etc.), who finally found a star on par with the MGM musical greats.
This documentary on Warner Brothers shows what happened after Doris Day didn't adhere to the "new image" Hollywood took on during the sexual revolution and the advent of the drug culture. Day was scorned for her "clean image" and in years to follow, was ignored in documentaries like this one about WB, a studio she helped save from extinction. People who contributed less to the studio were included here, of course, and treated like THEY were more significant to the studio than Doris Day ever was. This makes the producers of this "piece" look petty and probably drugged out.
None of the stars featured in this show were bigger than Doris Day, who remains, to this day, the top female box office star of all time. Box office. Isn't that the goal of every actor, if they want a career in films?
About four years ago, this gem became available and I, like the genius I am, bought it from amazon.com, brand new. It seemed to immediately go out of print again and hasn't been seen since. I put mine up for sale and could have sold it for $300 but couldn't part with it and bowed out of the deal.
Today, people are willing to pay practically ANY amount to get this movie, so I might put it back on the market. I'm still not sure...
It's as good as I remembered and it sits quietly on my shelf. Occasionally, I take it down and play it. Each time, I am consumed by Jean Seberg's beauty and that haunting theme music that is heard throughout the movie.
I'm thinking that I'd better sell before it comes out on DVD! But, how many years will THAT be?
Shirley Booth was one of those few actresses that could break your heart with a glance over the shoulder, a flutter of the hand, a stumbling voice.
Like Geraldine Page in "A Trip To Bountiful," Cecily Tyson in "A Woman Called Moses" or Jessica Tandy in "The Gin Game," her performance stays with you for years afterward.
I pitied her in this film - a cheating husband; children who tried their best to protect her from the truth while covering for their dad. She was a woman who lived in the past, longing to return to the happier times in her life in a small town where she first met her husband and a town, New Paris, where she had good friends and family.
Anthony Quinn was like a lot of men, who are addicted to sex and loose women. His wife, heavy-set and clinging was quite aware that she could not compete with the younger, shapelier girls her husband craved.
Eileen Heckart was wonderful as her good friend who tried to give her hope, but knew it wasn't possible, that her friend was doomed to failure with this man.
I believe this movie was from a novel by Lonnie Coleman called "Next of Kin," which I thought was a better title for the film. Hollywood had a tendency to "soup up" titles to make them sound sexy to draw in customers. They did the same thing with Joanne Woodward's "The Stripper," which was based on a Broadway play called "A Loss of Roses," clearly a much better title and probably the reason that the picture didn't get much respect.
When "X Y & Z" opened in New York, it faced unanimous horrible reviews from the film critics. Rex Reed gave it a zero and went after Elizabeth Taylor, Michael Caine, Susannah York and Margaret Leighton with a vengeance.
Rex went on about the new wave of sex in the movies and said about this movie: "Well, sex is back in "X Y & Zee," as wretched and slimy a pail of slop as I've ever seen dumped on a movie screen, with the misguided Elizabeth Taylor playing chief pig in the pig sty..."X Y & Zee" is a depraved lesbian horror film with flabby, oatmeal-colored Michael Caine trying vainly to out-weight and out-scream the bloated Miss Taylor before they both get thrown out of the Screen Actors Guild." Believe me, he said plenty more.
Me, the fool, went out and saw this on a double bill and wish I had listened to Mr. Reed. If you were among the pot smokers and free love people who staggered out of the 60s wearing your "I Hate Doris Day" tee shirts, you probably got a big kick out of this trash. I left the theatre disgusted.
Jennifer Followed A Familiar Path: Marry A Rich Man
Her biggest mistake was not grabbing a chair and going after him when he first hit her. If she had hit him so hard he saw stars, he'd at least, THINK about putting his grubby hands on her again.
The mistake a lot of women make is rushing into marriage with men who are handsome, and sometimes, not so "handsome," with money -- money the woman DIDN'T help earn. They want to jump on a bandwagon: rich husband, big house, money, money and more money! Often times, these women end up dead when they try to divorce the man and attempt to end up with his fortune (something she didn't earn, again).
To women: go to school, get a degree and earn your OWN damn money! And, when dating, keep things EQUAL. If he pays for dinner on Monday, you pay for it on Thursday. Women who allow men to BUY them are stupid. If he buys you a present, have one in your purse to give to him. I raised my niece that way and she's never had any problems with men thinking "I PAID FOR YOU! THEREFORE, I OWN YOU!"
I have this on VHS, which I copied accidentally on a slow speed when it was shown on PBS. I'd like to have it on DVD.
Hume Cronyn and Jessica Tandy were absolutely brilliant in this two-character comedy/drama. Yes, I can see the great Julie Harris and Charles Durning in these roles, but I wasn't satisfied with Mary Tyler Moore and Dick Van Dyke playing them.
Cronyn and Tandy LIVED these parts. I often wonder where these types of actors get their inspiration. Cicely Tyson is that kind of an actress who can take you back hundreds of years to a place called slavery and make you believe she actually lived that life. That is what happened here in "The Gin Game." These two actors looked as if they had actually lived the lives they were playing. In short, this was brilliant and I loved every minute of it.
Jack Warner handed this script to Doris Day, but she begged out. It was too much like the other films she had made at Warners (she made "Lullaby of Broadway" that same year and "Tea For Two" right before that). Virgina Mayo, who was free, loved doing musicals, so she stepped in and Dennis Morgan's name went up one step. Doris, by this time was extremely popular, so she would have gotten billing over Morgan.
This was colorful (I saw it once) and Mayo looked incredible, as usual.
Day, after "Calamity Jane" got "picky" about parts. She also turned down "The Helen Morgan Story" with Paul Newman, "The Jazz Singer" with Danny Thomas and WB had planned "Miss America" for Doris and Virginia, a musical.
Doris Day's Glorious Voice and Total Professionalism
I've heard and seen other actresses attempt to sing and play the part of 'Babe Williams,' but none can compare to Doris Day. Her natural instincts of "living the lyric" brought natural body movements, facial expressions, expressive gestures and her film EXPERIENCE and vision of what will look good on the screen, made her performance exceptional.
Her mere interpretation of the lyric and her lilting voice elevates the material, which sounds bland in the hands of even the wonderful Janis Paige, who, when compared to Doris, loses in all departments.
I wonder who's idea it was for Doris to have an apple as her major prop during "I'm Not At All In Love"? It worked beautifully.
When she makes her first appearance on the screen, she takes complete command, just like a MAJOR MOVIE STAR should. Every time she appeared on the screen, the mood changed for the better. I'm so sorry that "The Man Who Invented Love" was cut from the film. Have you ever seen a Doris Day musical where she didn't have a couple of ballads of her own? On Broadway, John Raitt had top billing but equal marquee status with Miss Paige and Eddit Foy, Jr.; but this was Hollywood and Miss Day got sole star billing with Raitt, Carol Haney and Eddie Foy, Jr. relegated to lesser stature.
I love the look of this film, the pajama factory, the old offices, Day's homey home, etc. Why this musical doesn't get more recognition, is beyond me.
This is a very good remake of the 1950 Warner Brothers film noir drama, "Storm Warning" starring Ginger Rogers, Doris Day, Ronald Reagan and Steve Cochran.
I was surprised how good this was, for I had never appreciated Loni Anderson and didn't think she LOOKED the part, but her acting was very convincing in this.
The story has changed slightly, but the premise is the same about the KKK and its intimidation tactics. The ending in this one is not as dramatic as the former film in which the Doris Day character is killed by the Klan. Here, she lives and we have a "happy ending." Note: "Storm Warning" is now out on DVD. It's interesting to see Doris play against her childhood heroine, Ginger Rogers, who, like Loni is good in the leading role. Also of interest, Loni says that "Doris Day is my hero, I love everything about her. She's my favorite movie star."
Color takes the "mystery" out of the "film noir" quality that was ever present in its b/w predecessor.
When I saw this advertised, I was excited, but then remembered that we were still in the throws of "I hate Doris Day" which started in the late '60s during the sexual revolution.
I had seen other features on Warner Brothers and they showed more Streisand, Minnelli, even Judy Garlalnd (an MGM star), more than they showed Doris Day, who was in fact, after Bette Davis, their biggest female money-maker. For years, WB did not have musical stars on par with the MGM crowd. As a matter of fact, they borrowed leading ladies from Paramount, Fox and MGM to star in their musicals. When Judy couldn't do "Romance on The High Seas," 23 year old Day was tested and got the role. Rave reviews made a star out of her, but more importantly, finally WB had a singing, dancing star that could go toe to toe with anybody at MGM.
So why in these documentaries on WB, does Doris Day get ignored? I'll tell you why. When Doris was #1 at the box office during the 1960s, the sexual revolution swept the nation. Day's husband, Martin Melcher, signed her name to scripts that she didn't want to make, but was forced to or be sued. One of them, "That Touch of Mink" was a huge hit, but an insulting film. It moved Doris to step on the "downerlator" as a result of her character in the film being terrified of sex, but at the same time, accepting expensive gifts and trips from a near total, RICH stranger (Cary Grant). Comics had a field day in clubs and on TV about Day's "virginal" persona. This feeling about her became part of the Hollywood culture, which was drugging it up AND sexing it up -- Day didn't fit in.
When the drugged-out, snot-nosed kids of the Moguls took over Hollywood, the legendary Doris Day's name was mud. Young filmmakers who produced film documentaries, authors who wrote Hollywood books would conveniently omit Doris Day or merely mention her in passing, or build up lesser stars in an attempt to disparage Miss Day. They felt obligated to "not like Doris Day." There are other documentaries, like this one, and books on Hollywood that have chapters on people like Streisand, Natalie Wood, Audrey Hepburn, Cher, Jody Foster, Sandra Dee, etc. none of whom had Day's popularity or box office power. Doris, to this day, remains the top female box office star of all time. But you'd never know it by the way she's treated. With all the hooplah surrounding Marilyn Monroe or Audrey Hepburn, you'd think that THEY were bigger than Doris Day. They were not. Ms. Hepburn never appeared among the top ten box office stars. Being a movie star boils down to how many people you bring into the theatres BECAUSE of your name.
People didn't want to THINK about this movie at the time it first came out. The idea that a childless couple, so desperate to have a baby, would have the husband meet a young surrogate at a hotel room to "make a baby" while the wife sits nervously at home, looking at the clock, anticipating his return home. That was too much for people. It was titillating and had a sleaziness to it.
Sex can do a lot of things. Barbara Hershey was very good in her part and started to have "feelings" for the husband (this often happens after sex). She has a boyfriend (Scott Glenn), whom she catches in bed with another woman, which sends her over the edge.
I don't remember the end, but I used to have this on tape. I wouldn't mind seeing it again.
The Delightful Gale Storm and Cute Little Old Lady, Gertrude Hoffman.
Someone said that Margie was almost 30 and still living at home. Actually Gale Storm was playing a 21 year old "taking care" of her "old" father, played by silent screen star, Charles Farrell.
I've bought three of the DVD boxes so far and have enjoyed these episodes in between watching the antics of Joan Davis in "I Married Joan." I enjoy these shows much better than the junk they call comedies on today's TV.
In "Margie," I especially love the episodes with Gertrude Hoffman, who lives across the hall from the Albrights and plays Margie's 'Ethel Mertz' even though she is probably in her 80s! She's a hip old lady who'd look quite comfortable riding a hog with a Hell's Angel.
Once Margie said to Mrs. Odets (Hoffman), "Mrs. Odets, you still have that "certain something" that draws men to you." Odets smiles slyly and says, "Yes, Margie, but I've had it a long, LONG time."
Gertrude Hoffman brings to mind her wonderful performance in the movie "Caged," where she played "Millie, the old lifer." After the prison matron draws her hand back to slap Millie, she stares up at her and says, "Hit me, and I'll put your lights out." And she MEANT it! Why she wasn't nominated for an Oscar for that I'll never know.
Gale Storm is still living as this is being written. If she ever comes to IMDb, I want her to know that I loved her on both of her series, this one and "Oh, Susanna!" Also, I have on video, her surprise by Ralph Edwards when he featured her on This Is Your Life. Gale, you were beautiful and a delight to watch.
Trivia: "My Little Margie" was a summer replacement for "I Love Lucy" and was such a hit with the public, the network picked it up and gave it its own time slot.
Duff Paxton was one of the best gay porn stars of the 70s and 80s. Tho' I have heard nothing about a death, he remains, in my mind, as one of the best actors and sexual performers ever.
"The Kid from L. A." was directed by Steve Scott and produced by an old friend of mine, "Taylor Benson." It concerned Toby, a sensitive guy from New York, who parents are worried about him, but glad that he's out of the "concrete jungle." He's picked up by blond, David Daniels and has an anonymous tryst in the back of a van, while David's roommate is busy with another guy inside the house.
Toby also has sex with a drug dealer when he stops by to buy $20 worth of pot. Later, Toby arrives home and gets a strange phone call from a "sex talker." At first put off, he is mesmerized by the voice and message at the other end and eventually "participates."
Steve Scott was a wonderful director and the photography was right on. The models were very natural, not over buffed and shaved all over as many are today.
For a "dated" film, this one belongs on DVD. It clearly shows why Duff was in much demand during his brief stay on the blue screen.
He makes it look so easy! He's naturally "wicked," but trustworthy. His art is where most young actors want to end up. What he does is so understated, it doesn't look like acting anymore. This is the quality that many great actors said that inhabited late stage star, Laurette Taylor.
Recently, I saw Mr. Gossett in ROOTS and he brought the same quality to that role as "Fidler." Sara Gilbert has always impressed me as a formidable actress. She needs to be given more dramatic roles and move in the direction of the great actresses like Geraldine Page. This role with Gossett was a complete opposite of what she was doing on ROSEANNE.
Incredible Performances from Eli Wallach and Anne Jackson
I believe this was first presented off-Broadway in New York and after it got such rave reviews, was re-created for PBS TV's Great Performances (I might be wrong with the program). But, it was wonderful. It shows why Wallach and Jackson are among the great acting duos in theater history like Hume Cronyn and Jessica Tandy, Ossie Davis and Ruby Dee, Alfred Lunt & Lynn Fontaine, even George Burns and Gracie Allen! The realism in these performances was especially striking. For anyone who has studied acting, THIS is where you want to end up, like these two: KNOWING YOUR CRAFT. Getting yourself INSIDE the character and becoming that person is the goal and that's exactly where Jackson and Wallach are in this play. They know how to use props, just HOW to react to a line and they are perfectly prepared to give just enough to bring these people to life. I studied at the HB Studio in NY and recognize their technique. It works!
Working every day can be a tough grind. In a small office like this one (two people) and a boss you never see in the inner office, you get to know one another very well. During the course of the movie (play) these two not-so-young adults, laugh, argue, share stories, have lunch, get involved in office politics, power-grabbing, grow older, and eventually, face hard realities as the years drift by, leaving them two old people, still working at the same job 40 years later. It teaches people in their 20s that youth is fleeting and before one realizes it, middled-age arrives and suddenly, out of nowhere, you're old. All the hopes and dreams of "becoming a lawyer" or "having my own business" are nothing but childhood dreams, unless you have adult support to attain those goals. This is a heartbreaking play -- joyous, sad, funny and thought-provoking. The whole effect here is like sitting in a theater.
I hope this is out on DVD. I have a good VHS copy from PBS, but I'd love to have it on DVD, hopefully with comments from my former neighbors, Wallach & Jackson, from the west 70s and 80s (I used to see them walking their dog when I lived up there).
Doris Day, in my opinion has given only two "bad performances." One was in "Do Not Disturb" and the other in "That Touch of Mink." And, it wasn't so much Doris' fault...it was the scripts and unwise directors who tried to keep her pure as the driven sunshine.
"Ballad of Josie" had spunk. It was about a woman who decided to take control of her own life after having been a battered wife. She needed to take care of her little boy and she felt that she didn't NEED A MAN to do anything FOR her. We should be applauding, not hissing this independent woman.
Day didn't want to make this film (her husband had signed for her to do it), but she felt, "a deal's a deal." She put 110% into Josie Minick and she gave a VERY professional performance. No surprise to me, because Day always gave her all, even with drivel like "Disturb" and "Mink." As an actress, she fulfilled her obligation and then some in this part. Could Shirley MacLaine or Debbie Reynolds have given a more convincing performance? I think not. Doris' approach to any scene is so natural, people forget that she's acting. Therefore, audiences and critics ignore what an incredible job she's done, despite poor scripts.
This is not among Doris Day's great films, but she was wonderful in all of her scenes. The script? It wasn't the greatest, but it wasn't the worse. I felt that her supporting cast was well-represented by some of the best character actors in the business. She got marvelous support from Andy Devine, William Talman, Peter Graves, George Kennedy, John Fiedler, Audrey Christie, David Hartman, Elizabeth Fraiser, Paul Fix, etc. And, didn't she look incredible in those jeans?!!!!!!!!
I agree with most that has been said here about this touching film. I'm old enough to remember the silence that came from the White House as gay men were dying of AIDS while family and friends were grieving. Still, silence from President Ronald Reagan. We know that if this had been any OTHER group that was afflicted with a communicative ailment, he would have been on that TV pronto. Can you imagine President Bill Clinton NOT making several nationally televised speeches about this epidemic? I lost many friends, who couldn't believe that there could be a disease that could only affect gay people...they knew that THEY were people too, no different than their hetero counterparts. Where was the leadership from the White House? I won't talk about the film, it speaks for itself. The last scene on the beach at Fire Island gives us hope that we will see our friends again. It broke my heart and made me wonder what we'd say if something like that was possible. Unashamedly, I cry every time I see this scene, for I remember people who died needlessly in an atmosphere in which Washington, D.C. showed it's ignorance and bias against a PARTICULAR group of American-born, taxpaying citizens.
Many of the films of the 60s were boring as hell. It took a star like Bette Davis to bring the necessary fire to this double role as twins in "Dead Ringer." In other hands, this might have been unworthy, but with Davis' magical screen presence, you can't take your eyes off her (both of her!) Even in small scenes, she's real and radiant (when Jim gives her the watch for her birthday). Andre Previn's score is superb. I loved the music after Edith storms out of Margaret's bedroom in the beginning of the film when she sees the portrait of her sister's dead husband and HER former lover, followed by that tender moment with the butler.
With the performances that got Oscar nominations during the '60s, some were pretty dull. Compared to them, Bette deserved a nod for best actress. Davis was wonderful in this. Her years of acting experience before the cameras was on full display in every scene...she was the consummate professional.
Did you notice Perry Blackwell at the organ? She also appeared in the Doris Day/Rock Hudson hit,"Pillow Talk" as the nightclub singer a few years prior. The drummer in this was married to Nancy Wilson!
Two very big names and a complete bore! Lucy and Bob were both lifeless in this "romantic comedy." A better script with funnier situations would have made this a real winner.
I only remember a couple of kisses from these two, some "affair." With a better script, I'd like to have seen Doris Day and Tony Curtis in this film with a different title. Those two stars never made a picture together. I think that Doris and Tony could have brought the energy that this film lacked. Plus, it should have been done in color.
Lucy looked marvelous here. It's hard to believe that she changed so much between this (1960) and "Mame" (1970). At times, Miss Ball look just like Lucy Ricardo!
I sort of liked this, but I don't believe in actors/actresses trying to get by imitating other actors. Lorri Bagley as Judy, has studied Marilyn Monroe and is trying to pass this little girl voice off as her own: it's Marilyn Monroe's. Everything she did here was Monroe.
I just wonder if she thinks that she can have a career doing this? I was in a drama class once (HB Studio in NY) and this girl was imitating the young Bette Davis: popping eyes, snatching cigarettes out of her mouth, the staccato speech, even the Bette Davis strut. Our acting teacher, Steven Shrimpell, stopped her and said, "you are NOT Bette Davis, stop it." That's what I'd like to say to Miss Bagley: stop doing Marilyn!
I wanted these two to get together and found Tori Spelling's character, very annoying. As a matter of fact, everybody was annoying in this except the two leads.
This was one of the first of countless documentaries that have been produced on Aretha Franklin, the undisputed Queen of Soul. It traces her back to her beginnings singing in church through her rise as one of the top female vocalists in history.
Interesting interviews with Cecil Franklin, her brother and two sisters Erma and Carolyn Franklin. There is a great deal of footage of Aretha in performance AND at the piano. There are also brief comments from Dionne Warwick and Whitney Houston. Unfortunately, many of these clips of Franklin performing have been used repeatedly. There are so many great filmed performances by Ms. Franklin, why don't they use them?
I have this on VHS and would love to have it on DVD.
I remember seeing this show and marveling at how incredible Aretha Franklin looked. Aretha had lost a LOT of weight and looked like a model. She hosted the show along with Glen Campbell and Helen Reddy, I believe. Franklin's latest album was one that most critics called a "dud," but it was not as bad as they said it was. YOU had some very nice tunes and Aretha sang one of the up tempo songs on the show, "It Only Happens When I Look At You" which you can view on Google Videos.
This show was done during a period when the "best" artist won the award, not the one who had sold the most records. All of the "award shows" today seem to be about who sold the most. And, then too, today, we have all that riff raft (hip/hop and rock junkies) parading on stage wearing God knows what. These shows are unfortunately freak shows now, with people showing up, just to be seen, not because they have any musical talent. This particular program shows you how MUCH award shows have changed. The audience is dress and looking good and the performers were polished and serious musicians.
This was a wonderful show, but like most of the documentaries on Hollywood stars, the true legends don't get their due. Mr. James DID point out one fact that is true, but if you asked anyone today, they wouldn't believe it: Doris Day was, in fact, a bigger star than Marilyn Monroe.
The way the tragic Monroe is portrayed in countless books, documentaries, etc., you'd think that she was the biggest box office star in the history of films. She wasn't. Doris Day holds that record. In fact, the three biggest female names to this day are: Day, Shirley Temple and Betty Grable.
During the mid-50s, everybody was fascinated with James Dean, including, obviously, Paul Newman. I have never seen such blatant flirting between two men on the screen.
Paul wanted this role as Dean's brother in "East of Eden," and it showed. The "test" was nothing more than Dean and Newman standing side by side taking direction from an off-screen voice. "Now, turn and look at one another," the director orders. Dean, whom we know was gay, was smitten with the ultra-handsome Paul. When their eyes met, Newman could certainly sense Dean's "interest" in him. Isn't it always IN THE EYES? Newman boldly flirted back (oh, those blue eyes!) But then, Dean was equally as handsome. I tell you - those eyes were COMMUNICATING!!!
At one point, while staring into one another's eyes, Dean says to Newman, "kiss me." Newman smiles and whispers, "can't here." They both laugh. Several homo-erotic moves and comments follow, something about "I can't let this guy (Newman) get behind me!".
When I showed this to a female friend, she was floored. "I can't BELIEVE they did that," she quipped. Now, I saw Paul Newman in person coming out of Sardi's in New York one evening. You just wouldn't believe how handsome he was and how mesmerizing his blue eyes were. And, going back to 1953, he was at his zenith in good looks. I suppose Jimmy had good taste. Wait 'till you see this screen test! Paul didn't get the part, but did show up the next year in "The Silver Chalice," his first film, co-starring with the gorgeous, Virginia Mayo, who was top-billed. Newman was "introduced."