#Conway Joan

[anthonysperkins]

Richard Basehart as William Williams Repeat Performance (1947) dir. Alfred L. Werker

[evilhorse]

Relax, you guys. She’s his wife.

(All-Star Comics #61)

[c-nv-s07]

Wentworth text posts pt. 5

[scintillulae]

[madcat-world]

Jeanne Dark (1 of 6) - Harry Conway and Helene.Let

[letterboxd-loggd]

Repeat Performance (1947) Alfred L. Werker

December 13th 2023

[black-is-no-colour]

Joan Smalls, photographed by Jack Waterlot and styled by Brian Conway for Numéro Netherlands N°8 Spring Summer 2023

[krispyweiss]

Former Fairport Convention and Jethro Tull Drummer Gerry Conway Dies at 76

Drummer Gerry Conway, who spent nearly a quarter-century with Fairport Convention and also played with Cat Stevens, Jethro Tull and others, has died, his son said.

Conway, 76, died March 29; no cause was given.

“Rest in peace, Gerry,” said Fairport Convention, the band Conway left in 2022 after 24 years.

“Thank you for your music and friendship. Our thoughts are with Gerry’s family and friends at this extremely sad time.”

Winter Wilson toured with Fairport in 2018 and Dave Wilson was profoundly impacted by watching Conway at work.

“What struck me about his playing was the subtleties; he wasn’t afraid of silence, he knew how effective a gentle brush across a cymbal could be,” Wilson said of Conway. “And then, when he did go all guns blazing, it had an amazing impact.”

The drummer got his start in the 1970s with Fotheringay and appeared on the debut albums of Sandy Denny and Joan Armatrading. He went on to spend several years in Stevens’ band, drum for Jethro Tull in the 1980s and record and tour alongside Richard Thompson and others before joining Fairport in 1998.

The artist now known as Yusuf/Cat Stevens eulogized his “great old drummer” on social media.

“What a lad, and what ingenuity and style,” Stevens wrote of Conway. “May God grant him the beautiful reward of peace everlasting.”

Martin Barre was “devastated” at the loss of his “dear friend” and onetime bandmate.

“I have been so lucky to have shared a stage with (Conway) so many times, and I always had a big smile when I would look over to him playing next to me,” the former Tull guitarist said.

“He was one of those rare people who gave out so much warmth and friendship.”

3/30/24

[mariocki]

Larceny (1948)

"No hard feelings, Rick, I'm just doing a job. I had to check."

"OK, you've checked. Now check out of here. And don't let anybody notice you."

"Nobody ever does. I got an ordinary face."

[twittercomfrnklin2001-blog]

Repeat Performance

Eddie Muller has called Alfred L. Werker’s REPEAT PERFORMANCE (1947, TCM, YouTube) the noir IT’S A WONDERFUL LIFE (1946). The main difference is that instead of envisioning a world in which she hadn’t lived, protagonist Joan Leslie relives the last year of her life, which had led to her killing husband Louis Hayward on New Year’s Eve. It’s also not quite as masochistic as the Frank Capra film. Leslie actively attempts to change the future by changing her choices, and no matter how much things go wrong, she keeps trying. Leslie is a sweet, likable actress, though she wasn’t there the day they were handing out star quality, so it’s a little hard to believe her as a Broadway diva whose shows regularly sell out. Still, you can’t help rooting for her. The film starts with Hayward dead, so his first scene is a year earlier and he’s quite appealingly vulnerable. But then he starts drinking and carrying on with playwright Virginia Field, and by the time the picture is half over, you’re rooting for Leslie to plug him again. That’s a very modern reaction. In the 1940s, besides the old “sanctity of marriage” myth promoted under the Production Code, Leslie didn’t have any alternative. Living alone would be out of the question, even though she’s the clear breadwinner. She has to have a man to whom she can belong. And her only fallback guys, producer Tom Conway and poet Richard Basehart (in his film debut), seem to be coded gay characters. Basehart’s character in the original novel by William O’Farrell was a cross-dresser. That wouldn’t fly in Hollywood, though, but even though his character develops a relationship with a wealthy, older woman (Natalie Schaffer, who’s quite delicious as the libidinous society woman on the prowl for her next protégé), he plays up the effete mannerisms and gives his character’s bon mots a distinct lavender tinge. He’s marvelous in the role, and the producers were so impressed they gave him extra scenes. In the restored print shown on TCM, the picture looks terrific, with great camera work by L. William O’Connell. And Leslie is ravishing in a series of Oleg Cassini gowns. Who wouldn’t want to relive a year in which you got to dress that well?

[brokehorrorfan]

Tod Browning's Sideshow Shockers will be released on Blu-ray and DVD on October 17 via The Criterion Collection. The set collects three films directed by Tod Browning: Freaks, The Unknown, and The Mystic.

Freaks (also known as The Monster Story, Forbidden Love, and Nature's Mistake) is a 1932 horror film written by Willis Goldbeck and Leon Gordon. Wallace Ford, Leila Hyams, Olga Baclanova, and Roscoe Ates star.

The Unknown is a 1927 silent horror film written by Waldemar Young. Lon Chaney, Norman Kerry, Joan Crawford, and Nick De Ruiz star.

The Mystic is a 1925 silent drama film written by Browning and Young. Aileen Pringle, Conway Tearle, and Mitchell Lewis star.

Freaks has been digitally restored in 2K with uncompressed monaural sound. The Unknown has been digitally reconstructed and restored in 2K with a new score by composer Philip Carli. The Mystic has been digitally restored in 2K with a new score by composer Dean Hurley.

Raphael Geroni designed the cover art. Special features are detailed below.

Special features:

Freaks audio commentary by film scholar David J. Skal

The Unknown audio commentary by film scholar David J. Skal

The Mystic introduction by film scholar David J. Skal

Interview with author Megan Abbott about director Tod Browning and pre-Code horror (new)

Freaks archival documentary

"Spurs" - Reading of Tod Robbins' short story on which Freaks is based

Freaks prolgue, added to the film in 1947

Freaks alternate endings featurette

Freaks portrait video glalery

Essay by film critic Farran Smith Nehme

The most transgressive film produced by a major American studio in the 1930s, Tod Browning’s crowning achievement has haunted the margins of cinema for nearly one hundred years. An unforgettable cast of real-life sideshow performers portray the entertainers in a traveling circus who, shunned by mainstream society, live according to their own code—one of radical acceptance for the fellow oppressed and, as the show’s beautiful but cruel trapeze artist learns, of terrifying retribution for those who cross them. Received with revulsion by viewers upon its initial release, Freaks effectively ended Browning’s career but can now be seen for what it is: an audacious cry for understanding and a singular experience of nightmarish, almost avant-garde power.

The most celebrated and exquisitely perverse of the many collaborations between Tod Browning and his legendary leading man Lon Chaney, The Unknown features a wrenchingly physical performance from “the Man of a Thousand Faces” as the armless Spanish knife thrower Alonzo (he flings daggers with his feet) whose dastardly infatuation with his beautiful assistant (Joan Crawford)—a woman, it just so happens, who cannot bear to be touched by the hands of any man—drives him to unspeakable extremes. Sadomasochistic obsession, deception, murder, disfigurement, and a spectacular Grand Guignol climax—Browning wrings every last frisson from the lurid premise.

A fantastically atmospheric but rarely seen missing link in the development of Tod Browning’s artistry, set amid his favored milieu of shadowy sideshows and clever criminals, The Mystic provides a striking showcase for silent-era diva Aileen Pringle, who sports a series of memorably outré looks (courtesy of art-deco designer Erté) as Zara, a phony psychic in a Hungarian carnival who, under the guidance of a Svengali-like con man (Conway Tearle), crashes—and proceeds to swindle—American high society. Browning’s fascination with the weird is on full display in the eerie séance sequences, while his subversive moral ambiguity extends surprising sympathy to even the most seemingly irredeemable of antiheroes.

[friendlessghoul]

Oh, to be in California, on the long and empty sands when two such perfect example of God's handiwork are roaming about, You've guessed it, they belong to Metro-Goldwyn-Mayor and their names are Joan Crawford and Dorothy Sebastian. Joan is John Gilbert's leading lady in "Twelve Miles Out" a Metro-Goldwyn-Mayor starring vehicle for Gilbert, directed by Jack Conway. It is an adaptation of the stage play by William Anthony McGuire. Dorothy is working with Tim McCoy in "California," a frontier drama.

[citizenscreen]

Joan Crawford and Robert Montgomery for Jack Conway’s UNTAMED (1929)

[leonardcohenofficial]

i watched 120 new-to-me films this year; here are the posters from a few of my favorites in no particular order!!

faults (riley stearns, 2014) out of the blue (dennis hopper, 1980) wake in fright (ted kotcheff, 1971) entergalactic (fletcher moules, 2022) histoires d'amérique: food, family and philosophy (chantal akerman, 1989) the woman king (gina prince-bythewood, 2022) waking life (richard linklater, 2001) on the count of three (jerrod carmichael, 2021)  thank you and good night (jan oxenberg, 1991)

i’ll tag @lesbiancolumbo / @draftdodgerag / @localpubliclibrary / @calicoskiesacoustic / @jerrylandis / @columbosunday / @harrierdoobie  / @sightofsea and anyone else who’d like to do this!! 🌟

entire watchlist from 2022 is below the cut:

the world to come (mona fastvold, 2020)

nancy (christina choe, 2018)

la bouche de jean-pierre (lucile hadžihalilović, 1996)

run (aneesh chaganty, 2020)

the mosquito coast (peter weir, 1986)

mass (fran kanz, 2021) 

a field in england (ben wheatley, 2014) 

angels wear white (vivian qu, 2017)

a cape cod christmas (john stimpson, 2021) 

shook (jennifer harrington, 2021)

outing riley (pete jones, 2004)

love & mercy (bill pohlad, 2014) 

small engine repair (john pollono, 2021) 

the fallout (megan park, 2021) 

clemency (chinonye chukwu, 2019)

red elvis (thomas latter, 2022) 

calendar girls (nigel cole, 2003) 

the little hours (jeff baena, 2017)

out of the blue (dennis hopper, 1980) 

aya of yop city (marguerite abouet and clement oubrerie, 2013) 

fresh (mimi cave, 2022)

jesus camp (rachel grady, 2006) 

bamboozled (spike lee, 2000)

master (mariama diallo, 2022)

the world of us (yoon ga-eun, 2016) 

jezebel (numa perrier, 2019)

the cat, the reverend and the slave (alain della negra and kaori kinoshita, 2009)

cohabitation (lauren barker, 2022)

the queen of versailles (lauren greenfield, 2012)

secret ceremony (joseph losey, 1968)

the northman (robert eggers, 2022)

the silent partner (daryl duke, 1978)

in secret (charlie stratton, 2013)

the ground beneath my feet (marie kreutzer, 2019)

the man who haunted himself (basil dearden, 1970)

woodlands dark and days bewitched: a history of folk horror (kier-la janisse, 2021)

the miseducation of cameron post (desiree akhavan, 2018)

roadrunner: a film about anthony bourdain (morgan neville, 2021) 

karen dalton: in my own time (richard peete and robert yapkowitz, 2020) 

fire music (tom surgal, 2018)

histoires d'amérique: food, family and philosophy (chantal akerman, 1989)

fruit of paradise (věra chytilová, 1969)

a different image (alile sharon larkin, 1982)

preparations to be together for an unknown period of time (lili horvát, 2020) 

candyman (nia dacosta, 2021)

fan girl (antoinette jadaone, 2020)

chicago 10 (brett morgen, 2007)

pray away (kristine stolakis, 2021)

mavis! (jessica edwards, 2015)

M (yolande zauberman, 2018)

wake in fright (ted kotcheff, 1971)

thomasine & bushrod (gordon parks, 1974)

desire me (released uncredited; jack conway, george cukor, mervyn le roy, and victor saville, 1947)

faults (riley stearns, 2014)

premature (rashaad ernesto green, 2019) 

mother joan of the angels (jerzy kawalerowicz, 1961) 

the loft (erik van looy, 2014)

the black phone (scott derrickson, 2022) 

no exit (damien power, 2022)

nope (jordan peele, 2022)

paprika (satoshi kon, 2006)

our eternal summer (émilie aussel, 2021)

playground (laura wandel, 2021) 

not okay (quinn shephard, 2022) 

everything everywhere all at once (daniel kwan and daniel scheinert, 2022)

pressure point (hubert cornfield, 1962)

sharp stick (lena dunham, 2022) 

on the count of three (jerrod carmichael, 2021) 

martha marcy may marlene (sean durkin, 2011)

waking life (richard linklater, 2001)

sicaro (denis villeneuve, 2015)

arrival (denis villeneuve, 2016)

this magnificent cake! (emma de swaef and marc james roels, 2018) 

chevalier (athina rachel tsangari, 2015)

young and wild (marialy rivas, 2012)

alice (krystin ver linden, 2022)

shame (steve mcqueen, 2011)

good madam (jenna cato bass, 2022) 

black bear (lawrence michael levine, 2020)

speak no evil (christian tafdrup, 2022)

wet sand (elene naveriani, 2021)

the catholic school (stefano mordini, 2021)

poly styrene: i am a cliché (celeste bell and paul sng, 2021)

the violators (helen walsh, 2015)

the woman king (gina prince-bythewood, 2022)

the killing kind (curtis harrington, 1973)

oleanna (david mamet, 1994)

entergalactic (fletcher moules, 2022)

the more the merrier (george stevens, 1943)

primrose path (gregory la cava, 1940)

watcher (chloe okuno, 2022)

enemy (dennis villenueve, 2013)

darlin' (pollyanna mcintosh, 2019)

sissy (kane senes and hannah barlow, 2022)

till (chinonye chukwu, 2022)

black panther: wakanda forever (ryan coogler, 2022)

the hunt (thomas vinterberg, 2012)

the other side of the underneath (jane arden, 1972)

barbarian (zach cregger, 2022) 

the intervention (clea duvall, 2016)

sorry to bother you (boots riley, 2018)

the silent twins (agnieszka smoczyńska, 2022)

tahara (olivia peace, 2020)

arranged (diane crespo and stefan schaefer, 2007)

swimming (luzie loose, 2018)

#like (sarah pirozek, 2019)

babysitter (monia chokri, 2022)

chico and rita (tono errando, fernando trueba, and javier mariscal, 2010)

pleasure (ninja thyberg, 2021)

john the violent (tonia marketaki, 1967)

fat girl (catherine breillat, 2001)

lemon (janicza bravo, 2017)

thank you and good night (jan oxenberg, 1991)

what about me (rachel amodeo, 1993)

the KKK boutique ain’t just rednecks (camille billops and james hatch, 1994)

sun don’t shine (amy seimetz, 2012)

zero fucks given (emmanuel marre and julie lecoustre, 2021)

piggy (carlota pereda, 2022)

ladyworld (amanda kramer, 2018)

wolf's hole (věra chytilová, 1987)

[byneddiedingo]

Louis Hayward and Joan Leslie in Repeat Performance (Alfred L. Werker, 1947)

Cast: Joan Leslie, Louis Hayward, Virginia Field, Tom Conway, Richard Basehart, Natalie Schafer, Benay Venuta, Ilka Grüning. Screenplay: Walter Bullock, based on a novel by William O'Farrell. Cinematography: L. William O'Connell. Art direction: Edward C. Jewell. Film editing: Lewis Sackin. Music: George Antheil. 

When Repeat Performance ended, I thought, "That was different. I wish it were better." The premise is a good one: the time loop, usually the stuff of sci-fi movies and seldom of noirish melodramas. And who hasn't wished to live a year (or day or week or month) over, knowing what you know now. That happens to Broadway star Sheila Page (Joan Leslie), who shoots her husband, a blocked playwright and alcoholic philanderer named Barney Page (Louis Hayward) just before midnight on New Year's Eve in 1946. She flees into the night, wishing that she had the year that had led up to the shooting to live over again, sure that she could prevent what had just happened. Well, sure enough she can. As New Year's Day arrives, she discovers that it's not 1947 but January 1, 1946 again. And that she's not wearing the nightgown that she threw a coat over when she ran from the apartment, but instead the new party dress she bought for New Year's. Of course, she can't convince anyone else what has happened, though she does manage to interest her Gay Best Friend, the poet William Williams (Richard Basehart), with her story that he's going to meet a woman, Eloise Shaw (Natalie Schafer), who will have him committed to a mental institution. She also knows that in the first 1946 she and Barney went to London where they met a playwright, Paula Costello (Virginia Field), who wrote the play she starred in but also started an affair with Barney. So can the past be course-corrected? Would there be a movie if it could be? What Repeat Performance needs is a somewhat better script and much better actors. Leslie doesn't make Sheila into a credible figure: She's too much the suffering wife and not enough the resourceful woman who rose to the top on Broadway. And Hayward gabbles some of the soap operatic dialogue and never shows us what Sheila saw in Barney in the first place. The best performance in the movie is Basehart, who handles the coded role of the gay man well enough to let the audience glimpse his secret life. To its credit, the screenplay handles the coding well, too, although we never find out why he was committed to the asylum: Something happened in a toy store, it seems, so maybe we're supposed to infer that William was a pedophile rather than gay. (Although in 1946, the two were often regarded as synonymous.) But despite these flaws, Repeat Performance is a watchable, if frustrating, movie. 

[rhaenyrz]

dancing barefoor in the snow cold can't touch her, high or low she's bluеs dressed up like rock 'n' roll 𝓾𝓷𝓽𝓸𝓾𝓬𝓱𝓪𝓫𝓵𝓮, she'll never fold

⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀    ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀ ⠀james “jimi” castro lowe and elizabeth “elsie” joan conway.

@daisyjoners