Reviews

My neice didn't want to watch "Waterloo Bridge," but I convinced her. After half an hour, she was hooked. This lovely film is on my top thirteen list, right along with "The Trip to Bountiful," "All About Eve," "Rain," "Gone with the Wind," "The Star," "Last of Mrs. Lincoln," "The Royal Family," (with Eva LeGelliane, Rosemary Harris),"Death on the Nile," "Auntie Mame," "The Old Settler," "Powder," "A Woman Called Moses" and "Calamity Jane."

Vivien Leigh's wonderful performance will always be with me. And, I thought that Robert Taylor had his finest hour here.

By the end of the film, both my neice and I were in tears. All she could muster to say was "beautiful, just beautiful."

I was studying acting with Stephen Strimpell at the HB Studio in New York City when he got the offer to fly to Hollywood to do MR. TERRIFIC. He was a wonderful instructor and told me, "you don't need to study anymore, really. You need to go out and ACT. That's the best way to become a good actor." I took his advice and struck out on my own. But, not before studying with William Hickey ("Prizzi's Honor" "Hat Full of Rain"). Mostly, he'd observe my classroom scenes and then start talking about HIMSELF! He was not in the same class as Strimpell.

Of course, since I knew Stephen, I watched MR. TERRIFIC religiously every week and thought it was cute, but a waste of good talent. Looking at Mr. Strimpell's film output surprised me. An actor THIS good, should have been used to better advantage by Hollywood.

As a result, I auditioned and got many parts on the New York stage. For that, I am eternally grateful to Stephen Strimpell. My experience on stage will live with me forever.

In 1978, the nominees for Best Supporting Actress were: Maggie Smith in "California Suite" (winner), Dyan Cannon in "Heaven Can Wait," Penelope Milford in "Coming Home," Maureen Stapleton in "Interiors," and Meryl Streep in "The Deer Hunter." I agree that Maggie was wonderful, of course, but Angela Lansbury deserved a nomination in this category as well, in truth, the win.

Perhaps, the reason Jack Warden wasn't nominated for "Nile" is that he was up for "Shampoo." But, John Hurt's performance in "Midnight Run" was not superior to David Niven's in "Nile."

I never understood Jill Clayburgh's nod for Best Actress in "An Unmarried Woman" in 1978. That spot should have been taken by Mia Farrow in "Death on the Nile." To be honest, Peter Ustinov deserved to be nominated for his incredible perfomance as Hercule Periot. When you watch it, he doesn't miss a trick. Just look at his "set up" as he accuses Angela Lansbury of killing Lois Chiles. Just watch the screen! If they had to add one name to the list, it should have been his.

In my opinion, "Death on the Nile" should have been up for best picture of the year. It was perfect.

Lauren Bacall was not the first actress that was offered the Joan Collins' role. Shirley MacLaine personally offered the role to Doris Day, the #1 Boxoffice Star of All Time. Doris turned it down flat. She smelled a rat and avoided it.

I saw this picture and watch it in horror. The funny thing is that June Allyson was offered to play the Collin's character's mother. Just think, if June had accepted it, she would have been playing Doris Day's mother! That struck me as toooooooooo funny.

June felt that the role was too dowdy and she didn't want her fans to see her like that.

Now that I think about it, there would have been some real billing problems if Doris had taken the role. None of the actresses ever had Day's boxoffice power (10 times on the the coveted Hearld's List of top ten box office stars - she was #1 five times - a record for a woman). The billing would have been like this: Doris Day, Shirley MacLaine, Debbie Reynolds and special guest star, Elizabeth Taylor. I really wish they had had a better script, perhaps a juicy, bitchy murder mystery. Day might have accepted, especially if they'd have shot it in Carmel, CA (since she refuses to make another film in Hollywood.)

I felt "These Old Broads" was overacted throughout and the whole thing looked 'gaudy.' Doris, your instincts were right on. Also, I agree with you for not taking "Mother." After Day became a superstar, she NEVER played second fiddle to ANY actor and "Mother" would have had to have been REWRITTEN to make Day the star, not Albert Brooks.

Two of the best looking stars in Hollywood, Debra Paget and Jeffrey Hunter burn up the screen in "Princess of the Nile." It's not much of a movie, but if you love looking at God's most gorgeous, feast your eyes on these two! Technicolor never had it so good.

Miss Paget should have had a longer career. She appeared in some landmark films like "The Ten Commandments," "Love Me Tender," "White Feather," "Demetrius and the Gladiators," etc. Her ultra lewd dance in "Princess...Nile" is the most erotic in the history of films! At the same time, Jane Russell was also getting censored for her hip-shaking dance in "The French Line."

I didn't like Doris Day in "Move Over, Darling" and I didn't like Shelley Long in "Hello Again." But, Doris Day, when under the direction of say, Norman Jewison, was brilliant. He kept the reins tight on her in films like "The Thrill of It All" and eliminated a lot of the "cuteness" or "dorisdayisms" that were annoying to so many people.

With a better script, "Hello Again" would have been a fun picture for Miss Day, who when regulated, was the best at this sort of nonsense. Miss Long, God bless her, is no Doris Day in the comedy department and was not able to believably handle the slapstick like Miss Day (who was as good as Lucille Ball in that area).

I would like to have seen Janis Paige or Dorothy Louden play the Judith Ivy part. Ivy was a little TOO weird-looking in this and I didn't believe her for a minute as Shelly's sister.

Byrne was good as the doctor, but Shelley Long has never been movie star material. She's strictly small screen. Look at the hairstyle she was burdened with -- too high school girlish.

The picture isn't that bad if there's nothing else to watch at the time. It's really a TV movie disguising itself as a big Hollywood screen comedy.

If one of today's "actresses" gave half as good a performance as Doris Day gives in "The Thrill of it All," they'd be nominated for an Oscar. Just look at what wins Academy Awards today! Day's acting in "Thrill" is just as good, or better, than Helen Hunt in "As Good As it Gets."

Hollywood seems to have "had it in" for Doris. In this film, she was so natural, so damn good, and above all, FUNNY. She and James Garner made a handsome couple and gave this film that extra sparkle. Thanks to the clever script/screenplay by Carl Reiner, this comedy had lots to say.

I enjoyed all of the performers here. Zazu Pitts was extremely funny as Olivia, the maid. Doris has always had wonderful support in her films and this one was no exception. Arlene Francis was great as the expectant older mother and Edward Andrews deserved a best supporting Oscar nod. Why he didn't get one is beyond me. It's similar to the way the Oscars ignored Tony Randall's superb work in all three Day/Hudson flicks.

Alice Pearce ("Bewitched") was a scream as the money hungry wife during the traffic jam. This is the scene where Andrews displayed his expertise in comedy (this should have been Oscar time for him).

One of my favorite scenes in the picture was when Beverly and her Dr. husband were besieged by Bev's fans in the restaurant. Very effective and not overdone.

Day was wonderful in most of her scenes and really broke me up when she first did her soap commercial. The whole picture is a delight and director, Norman Jewison was right on target. Boy, do I wish he'd directed "Pillow Talk," for he would have kept a tight reign on Doris' tendency to get "too cutesy." Here, she was appropriately mature AND sexy.

Very touching was the scene after the baby was born in the back of the limo. Day is overwhelmed by the experience of assisting in the birth and just wants her Dr. husband to hold her. Beautiful. This one gets the highest rating in my book.

I saw this when I was a small boy, when it was revived in a neighborhood theatre, and then many years later on TV. Finally, with the advent of the VCR, I purchased this entertaining musical.

This is probably the picture that caused me fall in love with Doris Day. That personality! That smile! That Voice! From the opening number, "Just One of Those Things," to the last spectacular song and dance of "Lullaby of Broadway," this is a delight.

I especially enjoyed Doris' scenes with Gladys George (not "Cooper") as someone else reported. "It's tough being a mother. I need a couple more rehearsals." She was wonderful as Jessica Howard, has-been star of Broadway, now singing in a Greenwich Village dive.

Gene Nelson was mischievous as the lecherous dancer who chases Miss Day and Billy DeWolfe was inappropriately prissy as the "boyfriend" of Ann Triola. Of course, I always enjoy watching S. Z. "Cuddles" Sakall. This was his third time appearing with Miss Day.

Doris looked fantastic in Technicolor and the many closeups they gave her underscored her natural beauty, even though her freckles were covered up. She sang very nicely and danced up a storm with Gene Nelson, something that if done today, would get Oscar nominations. I especially enjoyed "You're Getting to Be a Habit with Me" and "I Love The Way You Say Goodnight." I was disappointed that Miss Day didn't have a ballad in this picture. What an oversight!

Day and her ilk made it look too easy, even though a LOT of work went into making these films.

The story is well known, so I won't go into that part. The only aspect of the story that was hard to believe, was that Jo Conway would give up a successful career to marry a small town doctor and move to Indiana. All the talk about gallbladders paying for the trip, etc. disturbed me. How selfish Dr. McKenna was to allow her to give up the money and fame she obviously loved.

People who don't care for Doris Day thought that she was not right for the part of "Jo McKenna." Unfortunately for her, she does look like a movie star in this part, but certainly showed the affection and concern of a mother in distress about her son's kidnapping.

In my opinion, if Meryl Streep or any of today's actresses gave the identical performance as Miss Day in "Man...Much," they would be praised and nominated for an Oscar. It has always been popular to disparage Doris Day, no matter how great her performances. Helen Hunt was no better in "As Good As It Gets" than Day was in "The Thrill of It All."

Day was just right in "Man...Much." As a student of acting, I watched her and Jimmy Stewart very closely and with the DVD version, it was easy to replay scenes over and over, just to study them. As a result, two magnificent acting jobs.

The rest of the cast was sterling as well. Some people have criticized the way Day sang "Whatever Will...Be" at the Albert Hall. Didn't you get it? She was singing so loud so as to alert her son! Nobody really heard the lovely ballad she followed with because it was sung during the rescue of the son upstairs. The song is "We'll Love Again," and it is available on one of Day's CDs.

The DVD is wonderful and has many extras, including "The Making of 'Man...Much." Day got praise for her acting from Hitchcock's daughter, who was interviewed for the documentary.

In my opinion "Man...Much" is a lot better than the dull, "Vertigo" and right up there with "Rear Window" and "The Birds."

Yes, this is a brutal film. It's scary to us who are not criminals or have not been around these types for any length of time. Since I am a fan of HBO's "OZ," I felt that I'd partake in this much talked about flick. I ordered the DVD and I'm pleased to have it in my collection, mainly because it introduced me to a couple of really good actors. Bill Nunn, as Charles, the college scout, I've seen for years on TV and in the movies.

Richard T. Jones was new to me. If he is going to be a star, he shouldn't do what Sidney Poitier did: ignore his own lighting. The star MUST always be lit correctly, especially if he is darker skinned. Mr. Jones is a good-looking leading man type and he should "tend to his business" and make sure HE looks good on that screen.

"Lockdown" is an okay movie. Gabriel Casseus as Cashmere was appropriately ignorant and vacuous. His "don't care" attitude is pervasive in poor neighborhoods where people feel helpless and hopeless in America. It was not surprising that he, a drug dealer, with a violent demeanor ended up in jail and adapted easily to that macabre world behind bars.

Of course it was different for Dre (De'Aundre Bonds) as the sensitive brother of Jones' girlfriend, Krista (Melissa De Sousa). Dre is not gay, but his good looks scream "woman" to brutes behind bars. He is viciously raped by two Aryan thugs the first day he arrives in the big house. He is immediately frightened into becoming Graffiti's "bitch," sexually available at "his man's" will. Graffiti (David "Shark" Fralick) is a muscular and insane drug dealer who is in competition with the head black dealer, Clean Up (played by rapper, Master P) who is a psychotic, disgusting character who would kill you for a nickle, no problem. His speech is as brutal as the part he portrays.

The movie is about survival, and that is what Avery (Jones) has to do, if he wants any kind of life and future. Yes, the characters are sterotypical, but aren't they always in this kind of vehicle?

The sex was played down in this, as it is in all American-made prison films. Americans are very squemish about man/man sex and DO NOT want to see it on the screen. Two woman. That's okay. When are we going to grow up?

If you liked "OZ" you might like this. But be prepared. It's not an easy watch.

Aretha Franklin proved that she and only she was the only 'diva' on that stage. The critics who watched the show all agreed that she was truly regal and the only singer on the show who could honesty be called a true "diva." The others were obviously "in training."

She didn't have much competition and the other ladies seemed a bit intimidated by her presence. By the last half hour of the two hour show, it had become "the Aretha Franklin show." Her command was so strong, her co-stars materialized into background dancers when Aretha went into a surprise gospel number that none of the women seem to know.

The finale included the Carol King classic, "A Natural Woman," a huge hit for Franklin, on which Aretha "went to church," leaving the others to watch in awe (or was it disgust?) Gospel singers are notorious for "stealing the show."

Aretha, by her standards, was just average, really. If she had had to "compete" with say, Patti LaBelle, Bettye LaVette, Etta James, Yolanda Adams and some other soulful divas, you might have had a show that would have gone down "in infamy."

With Celine Dion, Gloria Estaphen, Carol King, Shania Twain and Mariah Carey as her competition, all Aretha had to do was glide through this one.

This is the type of movie that causes you to scream out loud at how stupid people can be. You are familiar with the type of story where a woman is being chased by a man and she ALWAYS falls and gets caught?

Where the police knows who the killer is, but they can't arrest him, "for lack of evidence?" Why is it that the killer or rapist is always smarter than the cops? Why is it that in these stories, the rape victims continue to put themselves in harm's way? It looks as if they are TRYING to have the crime repeated.

Peri Gilpin as Ellen Hayward, the rape victim who finds out that she is pregnant and that the rapist might be the father gives an adequate performance, but as written, she's very unwise. D. W. Moffett, as Mitch, her husband, is the same as all husbands are in this type of movie, understanding, but doubtful. Jere Burns is excellent as the rapist/psycho Lewis Snow, who is a lot smarter than the police.

Mr. Burns, I have seen for years in various roles, even in TV series as a regular ("Dear John"). I'd like to see him play more normal, challenging roles for a change. Mr. Moffett has movie star good looks and I'm very surprised that his career hasn't been more prominent. He's certainly as good an actor as many of those who are making big bucks today.

Even when movies are based on real-life characters, we realize how our laws shield the guilty and the innocent is left without protection. In this film, Ellen has poor support from the police and continually places herself in vulnerable positions which gives the rapist easy access. After the initial rape, she has two additional in-person encounters with him! This is what makes the viewer want to pick up a hammer and attack the TV screen.

This is the type of movie that causes you to scream out loud at how stupid people can be. You are familiar with the type of story where a woman is being chased by a man and she ALWAYS falls and gets caught?

Where the police knows who the killer is, but they can't arrest him, "for lack of evidence?" Why is it that the killer or rapist is always smarter than the cops? Why is it that in these stories, the rape victims continue to put themselves in harm's way? It looks as if they are TRYING to have the crime repeated.

Peri Gilpin as Ellen Hayward, the rape victim who finds out that she is pregnant and that the rapist might be the father gives an adequate performance, but as written, she's very unwise. D. W. Moffett, as Mitch, her husband, is the same as all husbands are in this type of movie, understanding, but doubtful. Jere Burns is excellent as the rapist/psycho Lewis Snow, who is a lot smarter than the police.

Mr. Burns, I have seen for years in various roles, even in TV series as a regular ("Dear John"). I'd like to see him play more normal, challenging roles for a change. Mr. Moffett has movie star good looks and I'm very surprised that his career hasn't been more prominent. He's certainly as good an actor as many of those who are making big bucks today.

Even when movies are based on real-life characters, we realize how our laws shield the guilty and the innocent is left without protection. In this film, Ellen has poor support from the police and continually places herself in vulnerable positions which gives the rapist easy access. After the initial rape, she has two additional in-person encounters with him! This is what makes the viewer want to pick up a hammer and attack the TV screen.

I loved this movie! I campaigned 20th Century Fox to bring it out on video because my copy was on BETA and my Betamax has long since broke. What's interesting about this movie is that it was first offered to Joan Crawford who turned it down flat. At the same time, "Sudden Fear" was presented to Davis, who didn't like the script. Davis also turned down "Come Back, Little Sheba". Well, guess what? Davis accepted "The Star", Joan accepted "Sudden Fear" and Shirley Booth got the chance to repeat her stage success in "Sheba" and all three got nominated for the Best Actress Oscar in 1952! Amazing.

Bette Davis did everything but hit the ceiling in "The Star". She was trying her best to give an Academy Award-type performance. And it was. Margaret to her agent: "You can do everything but get me a picture, can't you?! Harry Stone, the big star-maker, the gentleman agent, my friend!" That was one of the early great lines uttered by has-been movie queen, Margaret Elliot. There were many more to come. Davis turned in a realistic performance as the aging star and conveyed the frustrations that many older performers feel when they realize the truth about their failing careers.

Margaret is torn between her fear of age, her devotion to her young daughter and her drive to be "put back where I belong." She is saddled with a family that she had cared for, financially, since she became a star and their inability to understand that she was no longer a rich and famous actress. I loved the scene when she throws out her sister and brother-in-law in a fit of screaming anger, then grabs her Oscar and takes a drunken ride through the streets of Beverly Hills. After her arrest, Margaret pays a visit to her agent's office. He tell her that she's had his office "running around in circles". Margaret retorts, "Well I'VE been 'running around in circles', too! But not MARGARET ELLIOT circles!"

When Margaret gets the chance to tryout for a movie ("The Fatal Winter") she's wanted for years, she's informed that she is not reading for the lead, but the lead's older sister, Sara. Elliot plots to convince the producers that she should play the younger part by botching the screen test, playing the older sister like a young siren.

Sara: "It isn't like you to pay a social visit, Jed Garfield, what are you doing here?" Jed: "You got it fixed up real nice, Sara, real nice". Sara: "I like things nice. What do you want?" Jed: "You used to be quite a girl, you still think you are, don't you?" Sara: "I still know what's right from wrong." Jed: "You think it's right to tell folks you were in the lane the night of the murder?" Sara: "I was there, Jed Garfield, you KNOW I was there..." Jed: "Well, if you was there, what was you doin' there?" Sara: "None of your business what I was doing there." Jed: "Well, it's my business if you're tryin' to ruin my brother." Sara: "Maybe I was thinking what he tried to do to me." Jed: "You don't know Lance, when he's crossed." Sara: "I know Lance Garfield, pretty well! You don't know HOW well, I know your brother."

She played this like a flirting, young teenager and the test was awful. But it was wonderful ACTING by Miss Bette Davis!

For those who expect to see Margo Channing of "All About Eve", they won't see her here. Davis IS Margaret Elliot! When she said to the old women at the department store, "I AM Margaret Elliot, and I intend to STAY 'Margaret Elliot'!" she meant it.

I am crazy about the entire movie. The ending is contrived, but so what? This is what Davis herself described: A GOOD OLD-FASHIONED BETTE DAVIS MOVIE! Pop some corn, get a candy bar and a big soda and watch this on a very rainy day.

I started not to watch this movie, but didn't get up to change channels once I saw the ever-talented C.C. Pounder as the radio host. I have long admired Tony Perkins since I saw him years ago in "Phaedra" with Melina Mercouri. I also saw the original "Psycho" and the unnecessary remake with Anne Heche and Vince Vaughan.

The movie was rather interesting because of the premise. Many people probably wondered why Norman Bates turned out the way he did. This movie explains it, sort of. Incest always disturbs me and I felt very uneasy during those scenes between mother and son. What a fool Mrs. Bates was to ignore the fact that her son was maturing and that his sexual awakening was inevitable. Olivia Hussey was appropriately weird as the mother and Henry Thomas was astounding as young Norman. I had never seen him before, but hope to see more of him in the future.

C.C. Pounder turned in another sterling performance, as expected, but John Landis showed that he's no Sidney Pollack, shifting from director to actor, giving an amatuerish, high school calibre performance.

Anthony Perkins probably consented to do this because he is so closely associated with the "Psycho" legend and wanted this to be apart of it. His performance was first rate.

Now, let's keep an eye out for HENRY THOMAS. He has the stuff to become a big star.

For those of you who feel that these characters should be shown as normal gay people who get up in the morning, use the bathroom, brush teeth, go to the mall, etc. Forget it. This is a tv show! No one would be interested in regular gay people, they are just like regular straight people.

This group is like a lot of single people, gay or straight. They go out every night looking for sex. Since, in this case, with the concentration being on MEN ONLY, you don't have the cat and mouse games that straights play. In the straight world, women are calling ALL of the shots, sexually. Yes, they are out to get laid, but they also have in the back of their heads (he might be the guy I might marry).

Gay men have it easier, they are just like straight men: I WANT SEX NOW!!!! As you can see from "Queer as Folk", there is little game-playing. Men look at each other and the next thing you know, they are in bed having fun. If this was a straight show, the guy would probably end up with a wrong phone number at the end of the evening.

The show is very real in depicting ONE segment of gay life. These men pretend that they are "looking for love", but will not allow sex to take a backseat. Poor Michael is so in love with Brian, I feel sorry for him. Hal Sparks is brilliant in his role (but is sometimes annoying with his naivete and childish behavior). Gale Harold is wonderfully wicked as Brian and the others are perfect in their roles, especially Sharon Gless (so wonderful to see her back).

The quality of the show is top notch. I don't know what critics expect, but I can find little to complain about with this show. Obviously, this is very popular with other actors, just look at the intros each week and you can sense that all of Beverly Hills is watching.

The actors on the show are probably hetero and must be given credit for playing love/sex scenes realistically. The kissing doesn't look fake and the actors don't seem to mind kissing one another. This realism is evident also on "Oz". Kudos for Christopher Meloni and the other actors who throw themselves into their roles, without reservation.

I'm just hoping that the quality of the scripts doesn't decline in the coming months and too many new characters introduced. They were bold and correct to show that a guy like Brian doesn't discriminate, ethnically, when he bedded the handsome black stud. A couple of black and/or latin characters would make it more realistic for me. Gay culture is more inclusive than the straight world.

All in all, I love the show.

I came back to read my original review of "The Trip to Bountiful" after I viewed the film again the other night. I read the other accounts of the movie and I couldn't help by get very emotional reading the words of praise for Geraldine Page's memorable performance.

The night she won the Oscar was big news in New York, where she lived and taught. One news program's crew visited a cafe where Miss Page's students were watching the ceremonies on tv. When F. Murray Abraham opened the envelope and said, "...and the winner is the greatest actress.." her students began to scream and cry BEFORE her name was called. They KNEW who had won, and so did I. I wept right along with them, just as I had done when I, a former actor, realized that very few actors would ever reach her level of artistry.

I watched "Bountiful" over and over in disbelief. Her scenes on the bus with Rebecca de Mornay were wonderful and very touching. I kept wondering HOW did she prepared herself for this?!!! When she rode, with the Sheriff through what was left of Bountiful and uttered, "My God, will you look at Bountiful..." Her walk through the old house and her gaze as she looked at the land, the trees and the birds reminded me of a visit to the old country town of my childhood, reminding me that everywhere I've ever been is still there, perhaps in a different form, but it's still there.

The reason that she got that standing ovation from the Academy Awards audience, is that it was appropriate to honor greatness and that the Oscar was going to an actor that TRULY deserved to win.

In an age that Oscars are won for okay performances, when, in other years, Oscars were truly given to deserving achievements, AND, the competition was much, much stronger.

I cannot recommend this picture more. For any aspiring actor that wants to set a goal standard for greatest, he or she must see this performance.