There really is no reason at all to rank any artists work in terms of which works are the ‘greatest’ (‘worst’ is unquestionably easier to determine). Honestly it’s simply a way to attract attention and provoke discussion/disagreement and thus readership/viewership. But in this case I make an exception. Despite the
Above I’ve posted a brief excerpt of an interview Orson Welles gave in 1958 after ostensibly seeing “Touch Of Evil” for the first time (at the Belgian World Film Festival no less) since the studio took the film away from him. This is Welles in his pre ”Oja Kodar/swinging 70s/move
Enjoy Tex Avery’s brilliant Conga-mad caricature-crazed 1941 ‘Hollywood Steps Out.’ Enough said.
Behold the only striptease (sort of) performed by Cyd Charisse, from the opening credits of the Dean Martin Matt Helm spoof ‘The Silencers’ (Phil Karlson, 1966). Once again it’s Cyd dancing, not singing. Cyd’s voice seems to have always been dubbed–by India Adams in ‘The Bandwagon’ and Carol Richards in
The above dance number from ‘Party Girl’ (1958, directed by Nicholas Ray) may be the most stunning display of the inimitable Cyd’s virtuosic grace mixed with astonishing athleticism–a combo that I don’t think I’ve ever seen surpassed–captured on film. As you can see from this weeks obsessive postings I’ve been
I had no idea the above existed. It’s a dropped number from ‘The Bandwagon’ called ‘Two Faced Woman’ featuring Cyd. This is especially surprising given the fact that ‘The Bandwagon’ is far and away my favorite movie musical (I can’t remember who said this but I heartily concur: “Singing In
https://www.youtube.com/watch?v=XOTKDgrdvdg Here’s an appearance from the Colgate Comedy Hour in 1967 of Mel Brooks and Carl Reiner doing their famous ‘2000 Year Old Man’ routine. This is a year before ‘The Producers’ was released and Mel was not yet the household name he was shortly to become. Rather he was
What better way to start a week then with a robust dose of Cyd Charisse dancing up a storm in a clip from ‘It’s Always Fair Weather’. The less said about the actual song, a pugilistic-inspired piece of silliness called ‘Baby You Knock Me Out’, the better. It’s Cyd’s powerful
” ‘Boy Meets Girl, Boy Loses Girl, Boy Gets Girl’. Or ‘Love will find a way, love never loses, put your money on love!’ “ For no particular reason I awoke this AM with the above snappy, oft-repeated refrain from 1938’s ‘Boy Meets Girl’ stuck in my head. It serves
Here’s Jackie Gleason appearing on The Tonight Show in 1985 and smoking more in this appearance than most people smoke in a lifetime (or at least in a few months). By this time Carson, a smoker of Pall Mall unfiltereds, had refrained from on-camera smoking but could often be seen