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ulkaralakbarova · 4 months ago

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A man obsessed with conspiracy theories becomes a target after one of his theories turns out to be true. Unfortunately, in order to save himself, he has to figure out which theory it is. Credits: TheMovieDb. Film Cast: Jerry Fletcher: Mel Gibson Alice Sutton: Julia Roberts Dr. Jonas: Patrick Stewart Agent Lowry: Cylk Cozart Mr. Wilson: Steve Kahan Flip: Terry Alexander Cynic: Alex McArthur Justice Guard: Rod McLachlan Justice Guard: Michael Potts Justice Guard: Jim Sterling Public Works Man: Rich Hebert Clarke: Brian J. Williams Piper: G. A. Aguilar Henry Finch’s Secretary: Cece Neber Labao Alice’s Secretary: Saxon Trainor Grouchy Nurse: Sage Allen Nurse – Roosevelt Hospital: Joanna Sanchez Cop – Roosevelt Hospital: Michael Shamus Wiles Lawyer: Andrew Lauren Tech: Danny Smith Surveillance Operator: Sean Patrick Thomas Helicopter Pilot: Al Cerullo Cleet: Dean Winters Night Security – Federal Building: Rick Hoffman Surveillance Operator: Peter Jacobson Intern: Troy Garity Alice’s Father: Bert Remsen Jonas’ Aide: J. Mills Goodloe Old Man in Book Store: Leonard Jackson Film Crew: Director of Photography: John Schwartzman First Assistant Director: Jim Van Wyck Original Music Composer: Carter Burwell Producer: Joel Silver Editor: Kevin Stitt Producer: Richard Donner Casting: Marion Dougherty Assistant Editor: Kris Cole Associate Producer: Julie Durk Writer: Brian Helgeland Co-Producer: Richard Solomon Art Direction: Gregory Bolton Editor: Frank J. Urioste Co-Producer: Dan Cracchiolo Co-Producer: J. Mills Goodloe Post Production Supervisor: Ilyse A. Reutlinger Unit Production Manager: Helen Pollak Unit Production Manager: Nan Bernstein Freed Second Assistant Director: John G. Scotti Set Decoration: Casey Hallenbeck Set Designer: Lauren Cory Set Designer: Joseph G. Pacelli Jr. Set Designer: Thomas Betts Leadman: Steven Curtis Husch Still Photographer: Andrew Cooper Video Assist Operator: Martin Glover Underwater Director of Photography: Pete Romano Second Second Assistant Director: Sean McCarron Unit Publicist: Stephanie Pond-Smith Script Supervisor: Sioux Richards Key Grip: Les T. Tomita Best Boy Grip: Audie Aragon Dolly Grip: Brad Rea Location Manager: Robbie Goldstein Location Manager: David E. Kaufman Negative Cutter: Mo Henry Color Timer: David Orr “A” Camera Operator: Mitchell Amundsen Steadicam Operator: Neal Norton First Assistant Camera: Christopher Duskin First Assistant Camera: A. Anthony Cappello Second Assistant Camera: Thomas D. Lairson Jr. Second Assistant Camera: Charles B. Katz Camera Loader: Jacobus Marcus Supervising Sound Editor: Mark A. Mangini Supervising Sound Editor: George Simpson Sound Editor: Richard L. Anderson Sound Editor: Mike Chock Sound Editor: John Dunn Sound Editor: Julia Evershade Sound Editor: Eric Lindemann Sound Editor: Geoffrey G. Rubay Assistant Sound Editor: Oscar Mitt Assistant Sound Editor: Sonny Pettijohn Music Editor: Adam Milo Smalley Scoring Mixer: Michael Farrow Orchestrator: Sonny Kompanek Supervising ADR Editor: James Simcik ADR Editor: William C. Carruth ADR Editor: Denise Horta ADR Mixer: Troy Porter Sound Re-Recording Mixer: John T. Reitz Sound Re-Recording Mixer: David E. Campbell Sound Re-Recording Mixer: Gregg Rudloff Sound Re-Recording Mixer: Jeffrey J. Haboush Sound Re-Recording Mixer: Kevin E. Carpenter Sound Re-Recording Mixer: Dan Hiland Sound Re-Recording Mixer: Gary D. Rogers Foley Editor: Solange S. Schwalbe Foley Editor: Aaron Glascock Production Sound Mixer: Tim Cooney Boom Operator: Todd Bassman Chief Lighting Technician: Andy Ryan Assistant Chief Lighting Technician: Brian Evans Assistant Costume Designer: Christopher J. Kristoff Costume Design: Ha Nguyen Production Design: Paul Sylbert Costume Supervisor: Kimberly Guenther Durkin Makeup Supervisor: Lee Harman Makeup Artist: Richard Dean Makeup Artist: Mel Berns Jr. Key Hair Stylist: Stephen Robinette Hairstylist: Lyndell Quiyou Hairstylist: Monique DeSart Property Master: Erik L. Nelson Assistant Property Master: Christopher Amy Special Effects Coordinator: Michael Meinardus Stunts: S...

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nofatclips · 6 years ago

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Supernova by Meklit from the album When The People Move The Music Moves Too - Director: Pete Lee

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rainingmusic · 7 years ago

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Gwar-Dirty, Filthy

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id3k-anym0re · 2 years ago

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Vegas: you deserve a reward for putting up with me

Pete: i agree, so what are we thinking? Like a new Mercedes or a shopping spree at prada orr???

Vegas: . . . You were meant to say i was your reward

Macau: why would he lie like that?

#vegaspete #macau is an annoying little brother #macau theerapanyakul #pete x vegas #vegas theerapanyakul #kinnporsche

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ozu-teapot · 3 years ago

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Films Watched in December 2021

Spencer | Pablo Larraín | 2021

She'll Have to Go | Robert Asher | 1962

Inadmissible Evidence | Anthony Page | 1968

The Tiger Who Came to Tea | Robin Shaw | 2019

Last Night in Soho | Edgar Wright | 2021

Naughty Nurse (Short) | Paul Bartel | 1969

The Killer Wore Gloves | Juan Bosch | 1974

What the Peeper Saw | James Kelley / Andrea Bianchi | 1972

The Secret Cinema | Paul Bartel | 1968

Assault | Sidney Hayers | 1971

In the Earth | Ben Wheatley | 2021

Something Wild | Jonathan Demme | 1986

Death Race 2000 | Paul Bartel | 1975

Qui? (AKA The Sensuous Assassin) | Léonard Keigel | 1970

Nana | Mac Ahlberg | 1970

Joanna | Michael Sarne | 1968

Road to Saint Tropez (Short) | Michael Sarne | 1966

Demons of the Mind | Peter Sykes | 1972

Twisted Nerve | Roy Boulting | 1968

Home Before Midnight | Pete Walker | 1979

Mystery Men | Kinka Usher | 1999

A Chump at Oxford | Alfred J. Goulding | 1939

From Soup to Nuts (Short) | Edgar Kennedy / Leo McCarey | 1928

Another Fine Mess (Short) | James Parrott | 1930

Christmas at Pee-wee's Playhouse | Wayne Orr / Paul Reubens | 1988

Lamb | Valdimar Jóhannsson | 2021

Eyewitness (AKA Sudden Terror) | John Hough | 1970

County Hospital (Short) | James Parrott | 1932

Them Thar Hills (Short) | Charley Rogers | 1934

Tit for Tat (Short) | Charley Rogers | 1935

Perfect Day (Short) | James Parrott | 1929

They Go Boom! (Short) | James Parrott | 1929

Leave 'em Laughing | Clyde Bruckman / Leo McCarey | 1928

Blade Runner 2049 | Denis Villeneuve | 2017

Twinky (AKA London Affair) | Richard Donner | 1970

All Neat in Black Stockings | Christopher Morahan | 1969

Ban the Sadist Videos! | David Gregory | 2005

Witness for the Prosecution | Billy Wilder | 1957

Bold = Top Ten

Some notes: Feeling like I’d had Christmas shoved in my face since mid October (before Halloween which should be against the law actually) I’d decided to eschew any Christmas themed movies for December other than what I might see by chance on TV. After the self imposed genre strictures of Halloween and Noirvember it was quite a random month with a few very good films but some which were not good and sometimes had rather dubious themes and/or execution (but more on that another time).

#Film Log #Ozu Teapot

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wint3r-h3art · 3 years ago

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@crazycookiecrumbles you will be my downfall with all these unholy thots…Orr preserve me…I cannot unseen Steve beefy ass c***k and Pete tag team in me…like please sir, I’m just a hole 😩

#Amanda you are doing the lords work but girl imma about to nut just thinking about it.

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cinema-tv-etc · 3 years ago

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‘Coco’ is among Pixar’s best movies in years

Coco Is Among Pixar's Best Movies in Years Full of wit, music, and color, this Día de Muertos–themed tribute to family marks a return to form for the studio. By Christopher Orr - November 24, 2017

Well, that’s more like it. As someone who has written at some length about the decline of Pixar Animation Studios since its acquisition by Disney, I am especially pleased to be proven wrong, even if only intermittently. The studio’s latest release, Coco, is one such occasion.

Though Pixar has never acknowledged as much publicly, its cinematic philosophy (and business model) has shifted notably: Where the studio once aspired to excellence with every single picture—Pixar president Ed Catmull wrote an entire book expressing this ideal, Creativity, Inc.—it now seems content to roll out a few profitable, hyper-merchandise-friendly sequels for every genuinely original feature it unveils. (To put it another way, the studio has shifted away from “creativity” and toward “inc.”)

But if Finding Dory and Cars 3 are the price we must pay for a film such as Coco, then so be it. Pixar’s latest is up there with Inside Out among the studio’s best features in years—less complex than Pete Docter’s 2015 film, but perhaps a tad more emotionally resonant.

Miguel Rivera (Anthony Gonzalez) is a 12-year-old boy in Mexico whose greatest desire in life is to be a musician like his idol, the mid-century legend Ernesto de la Cruz (Benjamin Bratt). Alas, Miguel’s great-great-grandmother was abandoned by her musician husband, and the Rivera family has enforced an iron-clad policy against music ever since. Instead, each subsequent generation has gone into the family business of making shoes. (Shades of Hermey, the toy-making elf who wished to become a dentist.)

But could it be that de la Cruz was in fact Miguel’s long since written-off great-great-grandfather? That certainly appears to be the case. So in order to participate in a music competition on Día de Muertos, Miguel “borrows” de la Cruz’s famous guitar, his own having been smashed earlier in the day by his grandmother. But with the very first strum, Miguel is transported to the Land of the Dead. There, he meets departed members of his own family and ultimately, with the help of a trickster named Héctor (Gael García Bernal), de la Cruz himself.

Directed by longtime Pixarian Lee Unkrich (Toy Story 3), the tale that unfolds from these beginnings is not terribly innovative (less so, for instance, than 2014’s similarly themed though less well-realized The Book of Life). But it is a tale told with considerable wit—this is one of Pixar’s funniest films—and genuine tenderness. There are a few nice twists and reversals along the way. And while the movie’s conclusion is not difficult to see coming, anyone whose heart is not warmed by it may wish to consult with an cardio-therapist.

But where Coco shines most brightly—literally—is in its vibrant visuals.

Befitting its subject, this is the most musical feature yet produced by Pixar, with songs co-written by Robert Lopez, of The Book of Mormon, Avenue Q, and Frozen fame. There are clever pop-cultural nuggets scattered throughout: a Mac Plus that is condemned as a “devil box” and smashed with a shoe; a gatehouse between the lands of the living and the dead that bears a distinct resemblance to the entrance to Disneyland; a hilariously avant-garde stage show put on by a deceased Frida Kahlo.

But where Coco shines most brightly—literally—is in its vibrant visuals, which rely on a palette of fluorescent greens, blues, yellows, and oranges. In this telling, the Land of the Dead is not a fearsome place, but rather a never-ending skeleton party conducted in a glorious multi-tiered city that rises from sea-level houseboats to vast, imperious towers inhabited by celebrities such as de la Cruz—all of them connected by arched bridges and aerial trams.

Does Coco rise to the heights of Pixar’s very best work? No. But it is a generous, heartfelt film, full of color and music, one that offers a timely Thanksgiving tribute to the intergenerational importance of family. Its very title lovingly derives from the name of Miguel’s oldest living relative, great-grandmother Mamá Coco, whose importance to the story only becomes clear late in the film.

I wish the movie suggested that all was now well with Pixar, but warning signs are, if anything, multiplying. The studio’s next two films will be sequels, Incredibles 2 and an utterly heretical “franchise reboot,” Toy Story 4. With Coco, even the customary delight of a Pixar short before the movie is missing: In its place is “Olaf’s Frozen Adventure,” which whatever its quality (it did not screen for critics) suggests that the studio is being ever-more subsumed into its Disney parent. And the interlocking news stories that Pixar guru John Lasseter is going on leave due to alleged inappropriate behavior and that Rashida Jones left Toy Story 4 over issues of diversity are depressing on almost every level imaginable.

But those are issues to be addressed in the days to come. In the meantime, my advice is to round up the family, take them to Coco, and together give thanks.

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#Coco #Pixar #pixar rp

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papermoonloveslucy · 4 years ago

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THE BIG STREET

August 13, 1942

Producer: Damon Runyon

Director: Irving Reis

Screenplay: Leonard Spigelgass, based on the short story “Little Pinks” by Damon Runyon, first published in Collier’s magazine.

Dance Staging: Chester Hale

Gowns: Renie

Miss Ball’s Dancing Costume: Freddy Wittop

Miss Ball’s Make-Up: Perc Westmore

The film is sometimes referred to as Damon Runyon’s The Big Street.

The film premiered in New York City at the RKO Palace on August 13, 1942. That same day Disney’s long-awaited Bambi opened at Radio City Music Hall. At the Capitol, Orson Welles’ The Magnificent Ambersons, also starring Agnes Moorehead and Gil Perkins, continued its run. Nearby, at the Albee, a second-run cinema, Top Hat (1935) starring Ginger Rogers and Lucille Ball was playing. The Big Street opened nationally September 4, 1942.

“Love is something that gets you one room, two chins, and three kids.” ~ Gloria Lyons (Lucille Ball)

PRINCIPAL CAST

Lucille Ball (Gloria Lyons aka ‘Her Highness’) was born on August 6, 1911 in Jamestown, New York. She began her screen career in 1933 and was known in Hollywood as ‘Queen of the B’s’ due to her many appearances in ‘B’ movies. With Richard Denning, she starred in a radio program titled “My Favorite Husband” which eventually led to the creation of “I Love Lucy,” a television situation comedy in which she co-starred with her real-life husband, Latin bandleader Desi Arnaz. The program was phenomenally successful, allowing the couple to purchase what was once RKO Studios, re-naming it Desilu. When the show ended in 1960 (in an hour-long format known as “The Lucy-Desi Comedy Hour”) so did Lucy and Desi’s marriage. In 1962, hoping to keep Desilu financially solvent, Lucy returned to the sitcom format with “The Lucy Show,” which lasted six seasons. She followed that with a similar sitcom “Here’s Lucy” co-starring with her real-life children, Lucie and Desi Jr., as well as Gale Gordon, who had joined the cast of “The Lucy Show” during season two. Before her death in 1989, Lucy made one more attempt at a sitcom with “Life With Lucy,” also with Gordon.

Gloria’s singing voice was provided by Martha Mears, who also did Ball’s singing in DuBarry Was a Lady (1944).

Henry Fonda (Augustus Pinkerton II aka ‘Little Pinks’) first worked with Lucille Ball in the 1935 film I Dream Too Much. When Lucille Ball first got to Hollywood, the two actually briefly dated. They collaborated on the TV special “The Good Years” (1962) and the film Yours, Mine and Ours (1968). During the 1970s, Fonda and Ball often turned up on the same awards and tribute shows. Fonda was nominated for three Oscars, winning in 1982 for On Golden Pond. He also won an honorary Oscar in 1981. Fonda died in 1982 at age 77.

Barton MacLane (Case Ables) was seen in the film The Maltese Falcon (1941) but is probably best remembered for his final role, the blustery General Peterson on “I Dream of Jeannie” (1965-69).

“A fat man’s always listening to love stories, but he’s never go any to tell.” ~ Nicely Nicely Johnson

Eugene Pallette (Nicely Nicely Johnson, The Greatest Eater Alive) was seen as Friar Tuck in Robin Hood (1938) and in Mr. Smith Goes To Washington (1939).

The character of Nicely Nicely Johnson was played by Stubby Kaye, who reprised the role he played on Broadway, in the film version of Runyon’s Guys and Dolls (1955). He was so named because his usual reply to the question “How are you doing?” was typically “Nicely nicely, thank you!”

Agnes Moorehead (Violette Shumberg) was a classically trained performer who collaborated with Orson Welles on Citizen Kane (1941) and The Magnificent Ambersons (1942). She is best remembered as Samantha’s exotic mother Endora on the TV series “Bewitched” (1964-72).

Violette weighs 100 pounds, four ounces.

“She has a very large capacity for groceries.” ~ Pinks (about Violette)

Sam Levene (Horsethief) originated the role of Nathan Detroit in the Broadway stage musical of Runyon’s Guys and Dolls. Singing great Frank Sinatra played Nathan Detroit in the movie version in 1955.

Ray Collins (Professor B) also collaborated with Orson Welles on Citizen Kane (1941) and The Magnificent Ambersons (1942), along with Agnes Moorehead. He is best remembered for playing Lieutenant Tragg on “Perry Mason” from 1957 to 1965.

Marion Martin (Mimi Venus) would also be seen with Lucille Ball in Abbott and Costello in Hollywood (1945). Although she was often cast as a brassy stripper, showgirl or tough gun moll, off screen she was known to be extremely shy and retiring.

“That dame is a lump of mud!” ~Gloria (about Mimi)

William Orr (Decatur Reed) was an actor turned executive. As the head of WB Television for nine years, he was executive producer of the studio's early forays into the medium, helping to put ABC on the prime-time map with a steady staple of westerns and detective shows. In 1959 he received a Golden Globe for his contributions to television.

Vera Gordon (Mrs. Lefkowitz) emigrated with her family from Russia when she was seven years old. She became involved in the theatre and was active in silent films and early talkies. She had previously appeared with Lucille Ball in 1938′s Having Wonderful Time.

George Cleveland (Col. Venus) makes his fourth film appearance with Lucille Ball. In 1949 they also did Miss Grant Takes Richmond. He is best remembered for playing Gramps on “Lassie” (1954-57).

Ozzie Nelson (Himself) was considered the pre-eminent TV dad of the 1950s thanks to his successful family sitcom “The Adventures of Ozzie and Harriet” (1952-66). Before TV fame, he was a bandleader with his wife Harriet the lead singer. Nelson later appeared on several talk shows with Lucille Ball.

UNCREDITED CAST (with connections to Lucille Ball)

Baby (Gloria’s Pekingese Dog)

Louise Beavers (Ruby, Gloria’s Maid) went on to appear in three more films with Lucille Ball: DuBarry Was a Lady (1943), Lover Come Back (1946), and The Facts of Life (1960).

Charles Cane (McCarty, Holland Tunnel Policeman) also appeared with Lucille Ball in The Dark Corner (1946) and as one of the theatre patrons at “Over The Teacups” in “Ethel’s Birthday” (1954) which also featured Big Street extras Bess Flowers, James Conaty, Sam Harris, and Harold Miller.

Jack Chefe was seen as a Paris waiter in “Lucy Meets Charles Boyer” (ILL S5;E19) and played a bellhop in “Lucy and John Wayne” (ILL S5;E2) and had also appeared in five films with Lucille Ball, including playing a waiter in Forever, Darling. Of Chefe’s 358 film roles, 165 were waiters!

James Conaty (Nightclub Patron) was also seen with Lucille in I Dreamed Too Much (1935), Lured (1947), and The Long Long Trailer (1953). He was one of the theatre patrons at “Over The Teacups” in “Ethel’s Birthday” (1954) which also featured Big Street extras Bess Flowers, Charles Cane, Sam Harris, and Harold Miller.

Hans Conried (Waiter) played Harry Martin in “Redecorating” (ILL S2;E8) and Percy Livermore in “Lucy Hires an English Tutor” (ILL S2;E13), both in 1952. He also did two episodes of “The Lucy Show,” both as her music tutor Dr. Gitterman in 1963.

Pedro de Cordoba (Doctor) was also seen with Lucille Ball in Five Came Back (1939).

Helen Dickson (Florida Club Patron) had appeared with Lucille Ball in Carnival (1935) and Two Smart People (1946). She was one of the aging flapper showgirls in “Ricky Loses His Voice” (ILL S2;E9) in 1952.

Jimmy Dime (Truck Driver / Stunts) was seen with Lucille Ball in 1951′s The Magic Carpet. He did a half dozen episodes as a background players on Desilu’s “The Untouchables” (1959-61).

Eddie Dunn (Mulvaney) was also part of Ziegfeld Follies (1945) featuring Lucille Ball.

Jay Eaton (Late Night New York Nightclub Patron) did a total of nine films with Lucille Ball between 1934 and 1949, including her other Damon Runyon film Sorrowful Jones (1949).

Bess Flowers (Florida Nightclub Patron) aka 'Queen of the Extras’ made numerous uncredited background appearances on both “I Love Lucy” and “The Lucy Show.” She holds the record of the most film collaborations with Lucille Ball: 17.

Karen X. Gaylord (Florida Club Patron) was also part of Ziegfeld Follies (1945) featuring Lucille Ball.

Charlie Hall (Caviar Waiter) also did Kid Millions with Lucille Ball and went on to do four more films with her until 1942.

William Halligan (Detective) was also with Lucille Ball in 1940′s You Can’t Fool Your Wife.

Art Hamburger (Joe Duffle, Eating Contest Opponent) makes his final of three screen appearances. He became an associate director. This is his only time working with Lucille Ball.

Joe Duffle is from Boston and weighs 337 and a half pounds. There is some irony that Nicely Nicely (then Violette’s) eating contest opponent is actually named Hamburger.

Mary Halsey (Showgirl) also did Seven Days Leave with Lucille Ball in 1942.

Sam Harris (Passerby on Florida Boardwalk) was in the background of a dozen Lucille Ball films, as well as being seen on “I Love Lucy,” “The Lucy-Desi Comedy Hour” and “The Lucy Show.” He was one of the theatre patrons at “Over The Teacups” in “Ethel’s Birthday” (1954) which also featured Big Street extras Bess Flowers, Charles Cane, James Conaty, and Harold Miller.

Jack Herrick (Mindy’s Customer) was also seen with Lucille Ball in The Bowery (1933).

John Indrisano (Mug at Mindy's) was also seen with Lucille Ball in The Facts of Life (1960).

Tiny Jones (Small Friendly Neighbor) was seen with Lucille Ball in A Girl, A Guy, and a Gob (1934) and Five Came Back (1939).

Donald Kerr (Pete the Passer) appeared in eight films with Lucille Ball between 1936 and 1954.

Wilbur Mack (Florida Club Patron) appeared in three more films with Lucille Ball: Thousands Cheer (1943), Ziegfeld Follies (1945), and Lured (1947).

George Magrill (Mug at Mindy's / Stunts) appeared with Lucille Ball in ten films between 1933 and 1949.

Richard Martin also did Seven Days Leave with Lucille Ball in 1942

Tony Merlo (Mug at Mindy's) was also seen with Lucille Ball in Dance, Girl, Dance (1940) and Broadway Bill (1934).

John ‘Skins’ Miller (Truck Driver) was also with Lucille Ball in Fancy Pants (1950) and Sorrowful Jones (1949).

Harold Miller (Florida Club Patron) shares 13 film credits with Lucille Ball. He was one of the theatre patrons at “Over The Teacups” in “Ethel’s Birthday” (1954) which also featured Big Street extras Bess Flowers, Charles Cane, James Conaty, and Harold Miller. Harris would return for “Lucy and the Loving Cup” (S6;E12) as a subway strap hanger. He appeared in six episodes of “The Lucy Show,” the last one being as a party guest on “My Fair Lucy” (1965).

Bert Moorhouse (Florida Club Waiter) did nine films with Lucille Ball from 1933 to 1954.

Frank Moran (Mug at Mindy’s) makes his final of five film appearances with Lucille Ball.

George Noisome (Newsboy) also appeared with Lucille Ball in That’s Right, You’re Wrong (1939).

Barry Norton (Florida Club Patron) was also seen with Lucille Ball in Nana (1934) and Dance, Girl, Dance (1940).

Frank O’Connor (Police Captain at Holland Tunnel) did nine films with Lucille Ball from 1933 to 1946.

Gil Perkins (Mug / Stunts) was aboard the train when Lucy and Ricky headed home from California in “The Great Train Robbery” (ILL S5;E5). He was seen in The Fuller Brush Girl (1950) with Lucille Ball. He made one appearance on “Here’s Lucy” (above right) in 1970.

Bob Perry (Toupee, Associate of Ables / Stunts) was also seen with Lucille Ball in Stage Door (1937) and Joy of Living (1938).

Ralph Peters (Florist) was also with Lucille Ball in Sorrowful Jones (1949).

Addison Richards (Dr. Mitchell) played the American Consul in “Lucy Goes To Mexico” (LDCH 1959) as well as three other films with Lucille Ball.

Dewey Robinson (Truck Driver) did five other films with Lucille Ball.

Shimen Ruskin (Waiter Captain at Florida Club) was previously seen with Lucille Ball in Having Wonderful Time (1938) but is best remembered as Mordcha in the film Fiddler on the Roof (1971).

Hector V. Sarno (Friendly Neighbor) was also with Lucille Ball in Muss ‘em Up (1936).

Harry Shannon (Florida Doctor) was seen with Lucille Ball and Desi Arnaz in Too Many Girls (1940). He played Jim White (above center), photographer in “Men Are Messy” (ILL S1;E8) in 1951. He is probably best remembered as the father of Rose (Rosalind Russell) in Gypsy (1962).

Walter Soderling (Doctor at Mindy’s) was with Lucille Ball in Easy To Wed (1946).

Mary Stuart (Showgirl) was also seen with Lucille Ball in Seven Days Leave (1942). She is best remembered for her four decade run as Mary on “Search for Tomorrow”.

Elliott Sullivan (Tramp) was also in That’s Right, You’re Wrong (1939) and Next Time I Marry (1938) with Lucille Ball.

Harry Wilson (Fethington) did four other films with Lucille Ball between 1934 and 1950. He was also an extra on Desilu’s “Untouchables” (1959-62).

Marie Windsor (Florida Club Patron) was also in Critic’s Choice (1963) with Lucille Ball.

BIG STREET OPENING

"Loser's Lane - the sidewalk in front of Mindy's Restaurant on Broadway - is not as high-toned a trading center as Wall Street, but the brokers are a lot more colorful. Generally they prefer to put their money on a prizefight or horse race, but when the action slows, anything can happen and it usually does. Tonight, for example, the citizens of the Lane are discussing the latest contest in their usual quiet way..."

BIG STREET TRIVIA

The Big Street was a nickname for Broadway, where this movie's plot starts, and where all Runyon's stories take place. The film opens at West 50th and Broadway in New York City, with the marquee of the Capitol Theatre in the background.

Damon Runyon originally wanted to cast Charles Laughton and Carole Lombard in the lead roles, but neither one was interested in the project. The two had previously paired on White Women (1933) and They Knew What They Wanted (1940), Lombard suggested the producer consider her friend Lucille Ball and, despite pressure by RKO to hire a better-known actress, Runyon offered her the role. Unaccustomed to playing series roles, Lucille asked advice from Laughton on how to approach such a difficult part. Laughton told her not to hold back: “If you are going to play a bitch, play a bitch!”

Ball later recalled that at the time she was cast, "nothing much seemed to be happening for me at the studio. My $1000 weekly paycheck came regularly, but I was still a regular among the Bs."

Philadelphia Daily News ~ June 6, 1942

Reports that Lucille Ball sent a $25 War Bond to each of the ten girls that were fired from backing her up on “The Big Street”.

During filming, Lucy’s new husband Desi Arnaz felt so insecure about leaving Lucy and Fonda alone together that he’d often pop by the set to keep an eye on them. His paranoia so exasperated director Irving Reis that he finally banned him from the set.

This was Lucille Ball’s favorite of her nearly 80 films. She felt her performance was unjustly ignored by the Academy.

The vocals for "Who Knows?" by Harry Revel and Mort Greene, performed by Gloria in Case's Manhattan club, were provided by Martha Mears. The character later reprises the song with Ozzie Nelson and his orchestra in the Miami nightspot.

The film was re-released in 1955, at the height of Lucille Ball’s television success. Although Fonda remains first billed, Ball’s photo clearly indicates that she is the drawing card.

Damon Runyon also created the source material for the hit Broadway musical Guys and Dolls (1950), which starred Robert Alda, who went on to make several appearances on “The Lucy Show.” The two stories share the character of Nicely Nicely Johnson. When the film version was made by MGM in 1955, Lucy and Desi were also under contract to the studio. A brief clip of the film was inserted into the middle of an episode of “I Love Lucy” called “Lucy and the Dummy” (S5;E3), although the clip was removed after its initial airing. Further, when Lucille Ball first came to Hollywood, before becoming a contract player at RKO, she worked for Sam Goldwyn as one of the Goldwyn Girls. In Guys and Dolls, the Hot Box Girls are played by the Goldwyn Girls.

In 1949, Lucille Ball starred in another film based on a Damon Runyon story, Sorrowful Jones, a remake of the 1934 Shirley Temple film, Little Miss Marker.

Damon Runyon was a big fan of Lindy’s, a Manhattan restaurant famous for their cheesecake, and wrote the eatery into his books as Mindy's. The musical Guys and Dolls, based on Runyon's writings, immortalizes Lindy's in one of its songs. In “Ricky’s Contract” (ILL S4;E10), Lucy tells Fred and Ethel that Ricky took his entire band to Lindy’s to celebrate learning that he had been offered a movie contract.

In The Big Street, a sympathetic Pinks decides to take Gloria to Florida to recuperate - by pushing her wheelchair the entire way - starting with the Holland Tunnel! Although Lucy and Fonda never left Hollywood, the locations are achieved by rear projection and establishing footage.

The Holland Tunnel figures into “I Love Lucy,” not once - but twice. In “The Marriage License” (ILL S ), after finding out that her marriage license may be invalid, Lucy goes on a twelve hour walk to East Orange, New Jersey. “How I ever got through the Holland Tunnel, I don’t know.”

The Holland Tunnel will be mentioned again three years later in “Lucy Learns to Drive” (ILL S4;E11). Reportedly, she tried to make a u-turn in the Holland Tunnel resulting in traffic being tied up to East Orange, New Jersey.

Action is also set in Miami Beach, Florida. Pinks and Gloria hitchhike there to visit with Nicely Nicely and Violette who are operating a night spot there.

In “Off To Florida” (ILL S6;E6), Lucy and Ethel also hitchhike to Miami Beach Florida after being left on the side of the road by their ride share, a suspected hatchet murderess. They arrive at the North Miami train station covered in chicken feathers from riding in the back of a poultry truck.

Doting Pinks has a pet name for haughty Gloria: 'Your Highness'. In Florida, her friends conspire to get people to come and hear her sing by fibbing that she is the Princess of Corolia, a fictional place.

In “The Publicity Agent” (ILL S1;E31), Lucy conspires to get Ricky more publicity by pretending to be a fawning fan of royal blood: ‘The Maharincess of Franistan’!

FAST FORWARD!

On a 1971 episode of “The Dick Cavett Show" with guests Lucille Ball, Carol Burnett, and Lucie Arnaz, Lucie compliments her mother's dramatic performance in the film.

The film is referenced in the television film Lucy & Desi: Before the Laughter (1991)

A poster for the film is on Lucy’s dressing room wall in Lucy, a 2003 TV movie.

The Big Street turns up in the TV listings in the low budget film Hollywood Mouth (2008) starring Joe Bologna.

A clip from the film is featured in a montage during “AFI Life Achievement Award: A Tribute to Henry Fonda” a 1978 special attended by Lucille Ball.

Henry Fonda: The Man and His Movies (1982) contains dressing room and dance floor scenes with Lucille Ball.

The Emmy-winning documentary Lucy and Desi: A Home Movie (1993) features a brief clip from the movie.

When Cher is TCM Guest Programmer in 2011, she selects The Big Street as one of her films to be aired.

In December 1948, Lucille Ball reprised her role on radio with John Garfield taking the role of Pinks.

The Big Street on VHS.

The Big Street is available on DVD from Warner Home Video. It is also part of the Lucille Ball Collection DVD, which also includes Dance, Girl, Dance, DuBarry Was A Lady, Critic’s Choice, and Mame.

#The Big Street #lucille ball

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literature-islit · 4 years ago

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Ursula K. Le Guin - The Lathe of Heaven (1971)

I’ve been reading a lot about the future lately and unfortunately things don’t exactly look fantastic for us homo sapiens as a species.

TLDR summary: once companies are able to replace human workers with machine robots and algorithms, it’s over for us as human workers because why wouldn't they want to make the cash money savings, and even with the universal basic income they only want to introduce so we don’t hunt down the 0.001% of business owners that will remain, social mobility will be eviscerated and we will live in a feudal society. Except at least in a feudal society the monarchs needed the labour of the plebs to get resources. We’ll basically be surplus to the requirements of the people on the top of the ladder. Economies will crash, because a healthy economy needs the workers to have enough purchasing power to support other industries. There’s a huge argument in this book FOR the eradication of crony capitalism and the reversal of all cuts to government services, arts bodies, etc because the more secure our jobs and the better wages the average person is able to earn, the more wealth inside the community generally BUT NOBODY WANTS TO TELL YOU ABOUT THAT WEARING THEIR CHINOS AND RM WILLIAMS BOOTS DEBATING WITH YOU ABOUT THE ECONOMY ONLINE FROM EITHER SIDE OF THE SPECTRUM. Sorry for getting heated.

And this book

In one word: terrifying. Like the atomic bomb dance, Bostrom sees a super intelligence as an inevitability, and argues we need to get there before threatening foreign powers get there first. He thinks we will inevitably (without presenting evidence as to why) be ruled by a superintelligence under a one world government, but basically acknowledges that a truly super superintelligence would be much smarter than its controllers, would know how to spread its tentacles through everything and basically achieve world domination over us poor human beings, the children playing with blocks who accidentally press the wrong buttons and eviscerate ourselves.

Bro, I just want to be Amish.

Like, seriously, sometimes i think about the future and find comfort in the idea of becoming Amish, or joining a Monastery, or moving to Pete Evan’s commune in the NSW hinterlands.

I am more serious than you’ll ever know.

Because right now our species is fxxxing around with some stuff that we have the technical knowledge to understand, without countering that arrogance with an understanding of the soul.

And Urusla K Le Guin knows that, and has been knowing that for a long time. And that’s why this book is a cautionary tale that I think is more applicable now, than ever before.

So, The Lathe of Heaven is about this guy who has dreams that change the world. He’ll go to sleep, the world will be one way, he’ll have a dream and wake up to find that the events of his dream have changed reality completely.

Understandably, this makes him terrified of sleep.

He overdoses on a drug that stops you from dreaming and has to go to a therapist, who convinces him that he thinks he is insane. BUT - the therapist actually believes him - and sees a way to harness this power for his own benefit. Soon, the therapist is manipulating his dreams for his own benefit. The therapist first improves his own material position, then sets himself about using the dreams to bring about desirable outcomes for humanity like world peace. Only, things always have sneaky little inadvertent outcomes, don’t they?

Problem --> solution --> solution creates bigger problem - the summary of many of humanity’s efforts to “fix” the world so far

He wants to eliminate racism, so everyone’s skin becomes grey and the beautiful diversity of different cultures on the planets is lost.

An attempt to solve “overpopulation” reduces the population via devastating plague (lil too close for comfort in our current times)

And, desiring world peace, he inadvertently creates an alien invasion on the moon, which unites the people of earth against this existential threat.

(side note - the aliens are truly my favourite characters in the book. LOVE them.)

Says George Orr the protagonist, witnessing the problem after problem caused by his therapist’s ignorant, egotistical efforts to play God and fix things that are not his to solve:

“To be God you have to know what you’re doing. And to do any good at all, just believing you’re right and your motives are good isn’t enough. You have to … be in touch. “

IMO the true mysteries of the world are the sacred knowledge of the people who knew how to live in harmony with the earth’s natural processes.

And i really hope our scientists and tech barons realise that before we’re all left behind.

#ursula k le guin #the lathe of heaven #aliens

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daggerzine · 4 years ago

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You Gotta Lose? Hell, Some Of Us Ain’t Dead Yet by Mary Leary

https://www.youtube.com/watch?v=f0fz3FVBlOE

NRBQ has done so many amazing songs. I never thought much about “Roll Call,” from Tiddlywinks - for one thing, it has a lighter, almost Billy Joel sound that’s more about latter day Terry Adams style than what I think of as the classic Q. Yet just as Adams’ work has grown on me, this track has made its way into my consciousness. The lyrics speak to me more in 2020 than they did when Tiddlywinks was released in 1980, before the D.C.-area music scene had lost Robert Goldstein (Urban Verbs), Kevin MacDonald (brilliant visual artist and scene stalwart who helped me design and layout [The] Infiltrator), Danny Gatton disciple/guitar maverick Evan Johns, bassist Michael Maye from the original H-Bombs, Rick Dreyfuss (Half Japanese/Chumps/Shakemore), Libby Hatch and Michael Mariotte (Tru Fax and the Insaniacs), Sally Be/Berg - REM/Egoslavia/SHE/Robert Palmer), Nurses member Marc Halpern (heroin, 1982), Lorenzo (Pee- Wee) Jones (Tiny Desk Unit) and hybrid rocker Jim Altman (HIV, 1990s). Goldstein, Dreyfuss, Maye and MacDonald succumbed to cancer, while Evan Johns’ deterioration followed years of touring, hard drinking and pushing himself past the limit.

(Top to bottom: Tommy Keene, Kevin MacDonald, Susan Mumford)

Those named above have been joined by Tommy Keene (the Rage/the Razz/solo/Paul Westerberg/Matthew Sweet - cardiac arrest at the age of 59; 2017), TDU’s Susan Mumford (cancer, 2018), David Byers (Psychotics/H.R./Bad Brains), and Skip Groff (Yesterday and Today/ Limp Records/Dischord - seizure, 2019). This is just an imperfect/incomplete naming of D.C.-area losses - I’m sure journalists from other cities could make lists. A horde of New Wave and early alternative musicians have died within the past few years. Whether through the stress of hard living/poverty, substance abuse, cancer or Covid-19, we’re seeing artists pass much earlier than I, anyway, expected them to.

(Top to bottom: Fred "Freak” Smith, Michael Maye with Evan Johns, Tru Fax and the Insaniacs)

We’re already past the loss of all the original Ramones. All the Cramps less Poison Ivy. Joe Strummer. Robert Quine. Hilly Kristal. Lou Reed. As of July, 2020, since 2018 we’ve also lost Andy Gill, Ivan Kral, Genesis P-Orridge, Adam Schlesinger, Danny Mihm, Ric Ocasek, Daniel Johnston, Kim Shattuck, Lorna Doom, Mark Hollis, Keith Flint, Ranking Roger, Mark E. Smith, Glenn Branca, Randy Rampage, Hardy Fox, Pete Shelley, Matthew Seligman, Bill Rieflin, Dave Greenfield, Florian Schneider, Ian Dury, Benjamin Orr, Kirsty McColl and David Roback.

(Top to bottom: Sally Be/Berg, Ranking Roger, Danny Mihm)

Talking about the deaths of talented, gifted creatives is a helluva way to start a column. But here we are. Older performers don’t always get the attention afforded newer, so the rest of this piece shares and celebrates artists from the original New Wave/punk scenes who are still around and active. Many are from the D.C.-area cornucopia I know best, while others have just come to my attention, or seem especially noteworthy.

https://www.youtube.com/watch?v=MED9_XK_JVQ

The Zeros’ Javier Escovedo has been steadily emitting tasty Americana-ish rock while occasionally dropping some Zeros sturm-’n’-drang - most recently with Munster Records single “In The Spotlight” and a track on Burger Records’ Quarantunes compilation. Quarantunes is a seven-album affair featuring 140 alternative/punk performers old and new, all of whom wrote songs between March-April 2020. A cursory listen to Volume 2 reveals the recorded version of a good night at a very wild bar, with Zeros still handily kicking ass of all ages.

https://velvetmonkeys.bandcamp.com/album/legacy-of-success?fbclid=IwAR0lJyS0YDE4e3o7LJiITEtw1lhBWMkUX47Vuag1Lf9fs2QozJJKD1lwkes

Velvet Monkeys/B.A.L.L. player and Sonic Youth/Teenage Fanclub producer Don Fleming reports, “We’ve put out new tracks ‘Theories of Rummanetics’ and ‘Legacy of Success.’ Jay has written a few ‘modules’ and Malcolm and I are having fun doing the music,” adding, “I play some electric six string on the new Rob Moss album - it’s fun to be on, with lots of guitar slingers from the DC daze.”

Yup, Rob Moss of Skin-Tight Skin has solicited contributions from Fleming and from Marshall Keith (Slickee Boys), along with a pile of talent including Stuart Casson (Psychotics/Dove/Meatmen), Franz Stahl (Foo Fighters/Scream), Billy Loosigian (Nervous Eaters, the Boom-Boom Band), Nels Cline (Wilco) and Saul Koll (the guy who made guitars for Henry Kaiser and Lee Ranaldo). The set is called We’ve Come Back To Rock ‘n’ Roll.

https://www.youtube.com/watch?v=XdIB8a_0Q4c

Chumps/Workdogs/Jam Messengers player Rob Kennedy apparently has too much energy to throw in the towel - he’s kept recording, performing and making various sorts of lo-fi, DIY mischief that never loses that fresh, ‘70s feeling. Jam Messengers released Night And Day on vinyl in 2017. One of my fave Kennedy tracks, “A Low Down Dirty Shame” speaks to this moment as well as any.

https://www.youtube.com/watch?v=e-CRBEGVLE4

Former Tiny Desk Unit/Fuji’s Navy/Rhoda & the Bad Seeds members Bob Boilen, Kevin Lay, Michael Barron and Bob Harvey have released a new Danger Painters joint, Thank Speak Love This Record. Lay joked, “I have a voice made for Morse Code” before revealing his recent work with Rhoda and the Bad Seeds material, released June 30 as Live at Nightclub 9:30. Boilen continues to introduce artists both vital and obscure via Tiny Desk Concerts and All Songs Considered/NPR.

https://www.youtube.com/watch?v=ejQ1GajwfB0

I’ve seen David Arnson play recently and can attest to his proclivity for unfettered growth via Insect Surfers, the instrumental group that originally had some trouble establishing cred. with younger D.C. punks. The Surfers’ most recent release was Living Fossils (2019). Arnson celebrated the band’s 40 years of existence with a European tour in 2019.

https://www.youtube.com/watch?v=5SkIuWIZVkM

Jad Fair says, “Half Japanese will have a new album released in November on Fire Records.” Jad’s art was recently featured at the Hiromart Gallery/Tokyo, while David has created a Facebook page where fans can pick up his colorful images for, well, mere bags o’ shells, as far as we can see - https://www.facebook.com/David-Fair-Painting-107055447700859/

Despite health issues for several members, Bad Brains has collaborated with Element to make BB themed skate wear https://www.elementbrand.com/mens-collection-bad-brains/ and added some killer live tracks to its YouTube channel.

Former WGTB programmers John Paige and Steve Lorber have been presenting Rock Continuum on WOWD-LP FM 94.3 since 2017.

Mike Stax continues to give excellent motivation for hunting down a pair of Beatle boots - Munster released the Loons’ 7” EP, A Dream In Jade Green, last year. The latest issue of Ugly Things, said by Stax to be heavily focused on the Pretty Things’ Phil May, was reported in early July to be nearing publication.

https://www.youtube.com/watch?v=-6jSc7gEAv0

Razz (the) Documentary will tell the story of how an uncommonly combustible rock band - especially with the Bill Craig/Abaad Behram line-up - helped spread the Flamin’ Groovies gospel while throwing down oddly compelling originals and taking the two-guitar thing up several notches - the producers are purportedly seeing the light at the end of the tunnel. Whether anyone can ever recreate the experience of being in an altered state via obsessive, sometimes conversational repetition of certain chords, anchored by Ted Nicely rethinking just what can be done with a bass guitar, given girth by Doug Tull’s intuitive drumming; with Mike Reidy the heat-seeking missile somewhere near the center... well, I doubt it. ‘Cause at this point you’re feeling no pain and it’s not about drinking; there is no room for anything but water - the beer will be knocked over when you’re this busy matching David Arnson’s other-side-of-the-front-line’s leaps into joydum while PCP’d out yahoos from the sticks learn the hard way that hugging Marshall amps can lead to lifelong repercussions. There (in case nothing I want to say about [the] Razz makes it into the film) - I’ve said it.

Discussions among old friends have confirmed that I’m not alone in being happily surprised at this development - we never expected our actions - which led to the hardcore explosion that’s received a lot more attention... would ever make it into any history book. Yet coverage of many of the D.C.-area musicians featured in this piece also comes with Punk The Capitol, A History of D.C. Punk and Hardcore, 1976-1983. Spring 2021 is the projected date for streaming/DVD release.

Ivan Julian came back from a scary 2015 bout with cancer to do a show in New York in 2016. The cancer has returned. Friends have organized a GoFundMe to raise money for surgery and basic needs.

https://www.youtube.com/watch?v=pDB_3by-xkI

The Shakemore fest also refuses to fade, promising “eight hours of streaming steaming video” on August 1. Sounds will be provided by R. Stevie Moore, Velvet Monkeys, Tav Falco’s Panther Burns, Half Japanese, Johnny Spampinato, Weird Paul and the Chumps, among many, many others.

Despite having played at CBGB and other alternative venues in 1979, at the height of the New Wave, Gary Wilson’s work is so distinctive, he’s rarely been included with any musical genre other than the oft-vague “experimental” category. Folks were too unmoored by his visceral performances to get behind him. Wilson’s 14th album, Tormented, was released by Cleopatra in February.

Paul Collins recently published a book that he wrote with Chuck Nolan; I Don’t Fit In: My Wild Ride Through the Punk and Power Pop Trenches with the Nerves and the Beat (Hozac Books).

As “Heath,” Michael Layne Heath, a journalist who contributed to (the) Infiltrator and many other ‘zines, published My Week Beats Your Year: Encounters with Lou Reed in May (Hat & Beard Press).

In April, X released its first album in 35 years; Alphabetland.

https://www.youtube.com/watch?v=pZ1I-laItPI

As exciting for me as any of the above is Richard Hell with the Heartbreakers’ 2019 release of Yonkers Demo 1976. Hell’s “You Gotta Lose” is one of my picks for best punk/new wave singles of all time. The Heartbreakers version is, predictably, messier than the Robert Quine guitar-spiked classic. Its more excessive charms are growing on me...

https://www.youtube.com/watch?v=48QnsysCN_A

This piece could go on and on - compiling it has been exhausting. The best part has been the response to my social media call for any info I didn’t have re: the D.C.-centric scene I left for New York in 1983. Musicians anxious to keep their compadres’ names alive have hammered that post with 138 comments to date. Urban Verbs percussionist Danny Frankel, who’s played with a colorful spread of artists including Beck, Marianne Faithful, Lou Reed, John Cale and k.d. Lang, made a point of being sure I knew about the passing of Marc Halpern, a source of obvious pain. People were worried I wouldn’t mention John Stabb (Government Issue - 2016), rockabilly player Billy Hancock (2018), Fred “Freak” Smith (Strange Boutique/Beefeater - murdered in Los Angeles, 2017), John Hansen (Slickee Boys - 2010), record store owner/Wasp Records starter/music supporter Bill Asp, Jimmy Barnett of The Killer Bees, and David Byers.

One of the hardest for me to write about is Chris Morse, whose 1984 passing from a drug overdose wrenched so many - I managed to get an obituary into, I think, The New York Rocker (that physical trek was part of a long-ago blur; a very hot day of traipsing over steaming concrete in a narrow-skirted dress to deliver the copy). Chris popped up in my dreams for years - one “visitation” pushed me to write a poem about it in the ‘90s. Morse, who played in Rhoda & The Bad Seeds and worked as a doorman at The Pyramid after moving to NYC in the early ‘80s, was on one of the Urban Verbs’ early flyers. I’m on another.

(Top to bottom: Me in an early Verbs flyer/photo shot at the Atlantis; Chris Morse on another Verbs flyer)

I ended up getting so burnt out on the responsibility of populating this sad roll call, I’ve started a memorial page for them all on Facebook. The nature of truly alternative music is such that many of its lights still fail to fill the pages of major publications. Many of these lights gave a great deal of their lives, if not everything, for the art they believed in. It’s good to remember them, and those heady early days. It’s good to enjoy what we still can.

https://www.youtube.com/watch?v=cA3IfK76mmI

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