#dorothy morris

[erstwhile-punk-guerito]

[gatutor]

Dorothy Morris

I saw her standing there

[letterboxd-loggd]

Main Street After Dark (1945) Edward L. Cahn

June 11th 2023

[fairweathermyth]

FARGO 5.01 The Tragedy of the Commons

[ddesole]

Fargo 5.04 "Insolubilia"

[cycat4077]

Good stories have 3 types of characters. The characters who represent what we should strive to be. The characters who represent the people who are incapable of change. And the characters with the potential to change.

This literary device has fascinated me since I was a high school student reading "In the Heat of the Night". It was then that I realized that some characters are like "Sam Wood"; they start life off with prejudices but have the potential to change their way of thinking and become better individuals.

I have carried this with me ever since, trying to see the humanity in everyone and trying to first understand the cause of someone's actions before jumping to conclusions. 

This does not mean that I condone crimes or racism or prejudices of any sort. People should be held accountable for their actions. Period. However, I also try to uphold an optimistic view of the world and hope that with proper information and facts, those with that potential are able to change in time.

Part of why I enjoyed Fargo season 5 so much was because the characters were complex. No one was perfect. Everyone was fallable.

More specifically, we had several characters who represented the values we should strive for in ourselves: Dot, Witt, Wayne, and Indira. These characters showed us their humanity and willingness to put others before themselves.

We also had characters who represented those who cannot change: Roy and Odin are but two examples. These characters represent those whose view of the world is so twisted that they do not possess the humanity to ever change.

But we also had characters who represented those with the potential to change: Gator, Lorraine, and even Ole Munch. Each started the season set in their ways. They only had one goal in mind but through the events that happened, either to them or to someone close to them, they found it inside themselves to see their world differently; to consider the world from someone else's point of view and how their actions could affect it. In Ole Munch's case, it was the kindness and forgiveness offered by Dot that gives him his path forward. For Lorraine, it was the solidarity of being a woman, and seeing the abuse Dot suffered that allowed her a change of heart. And for Gator, it was his blindness that finally set him free of trying to be like his father.

These characterizations were intentional and, matter-of-factly, a product of excellent writing. 

In my Tumblr world, I like to dive deeper than the good vs evil we see on the surface and try to understand the characters' motivations and trajectories. It just so happened that an actor that I respect was playing one of these morally gray characters. This is why my focus on Gator was so heavy. I enjoyed trying to understand his character and appreciated the way Joe Keery was able to depict it on screen.

I have been raised to see the world from others' point of view before I make conclusions about who they are and how they act. I try to look for the humanity in everyone, even if it may not be immediately apparent.

Tumblr is also my safe space. It is a place I have turned to for 13 years to express my love of fandom and to connect with others who share this excitement. If I have ever made anyone uncomfortable on here, I apologize. It was never my intention. Politics has no place on my blog, and it never will. This is my safe space for enjoying fandom away from real life. I will not judge other Tumblr users, and I expect the same in return. After all, every single one of us is fallable in some way. We can all grow and be better, and my choices, both online and in real life, will always be made with others in mind. 

Tumblr is not a place for judgment before we get to know others. It is a place to respectfully share our love of fandoms without the fear of that judgment or of being labeled. It is a place to support one another. This is how I have, and always will, conduct myself while on this site, and I appreciate all the lovely people I have met along the way. ❤️

[droughtofapathy]

The Gilded Age's Broadway Divas MASTERPOST

Welcome to my passion project. It has come to my attention that some viewers of HBO's The Gilded Age are unfamiliar with the extensive theatre credits, alcoates, and vocal talents many of the actors possess. As the resident Broadway Diva expert, it is my responsibility to fix that.

Pictured: 20 Tony Awards and 52 nominations. Audra McDonald...well, she kind of inflates the numbers a little. Edit: Justice for Tony winner Debra Monk. She's main cast.

Introducing my new series of blog posts where I will be highlighting two theatre veterans per day in the lead-up to our much-anticipated season two finale episode.

This series will heavily focus on a select few musical performances that are widely available for viewing, in addition to a brief career rundown. I will be limiting myself to no more than five videos per Diva, otherwise we'd be here for a lifetime. These performances will include popular songs and hidden gems alike, all curated to specifically show off the actress's considerable range in the theatre, especially juxtaposed against their roles in the show.

With respect to Michael Cerveris, Nathan Lane, and the other theatre gentlemen, I will be focusing this series on the women because I am a lesbian and this show is about the women, dammit. But fear not, they will most certainly be making appearances throughout because everyone has worked with everyone on stage.

The Divas:

Christine Baranski (Agnes van Rhijn) Donna Murphy (Caroline "Lina" Astor) Kelli O'Hara (Aurora Fane) Katie Finneran (Anne Morris) Debra Monk (Armstrong) Celia Keenan-Bolger (Mrs. Bruce) Laura Benanti (Susan Blane) Linda Emond (Clara Barton) Amber Gray (Bea) Denee Benton (Peggy Scott) Audra McDonald (Dorothy Scott) Jeanne Tripplehorn (Sylvia Chamberlain) Bonus: Duets, Trios, and Other Crossovers

[kcuf-ad]

Lotus and Dorothy vs Morris is a fight that I want to see happen in the anime even if it is just a 5 minute fight.

Here is a Combo Attack I made up for them.

[Smoke and Dream Combination Magic: World of Hallucination!]

Basically, here is how this attack plays out. Lotus makes sure to create smoke all around the battlefield, small amounts or large, it doesn't matter, as it covers the entire battlefield, as Morris slowly falls asleep as he then shakes his head to see the work of Dorothy, as we see Morris in his laboratory looking over his papers, as then we see Lotus and Dorothy come out of nowhere with weapons, trying to fool Morris that he doesn't have Lucifero's Magic, but the devil says otherwise as they have to hide from him. It even works as a way to make sure that Morris, even if he 'killed' Lotus and Dorothy, he is still in the World Of Hallucination.

[bookjotter6865]

Winding Up the Week #389

An end of week recap “I love borders. August is the border between summer and autumn; it is the most beautiful month I know. Twilight is the border between day and night, and the shore is the border between sea and land. The border is longing: when both have fallen in love but still haven’t said anything. The border is to be on the way. It is the way that is the most important thing.” – Tove…

[twittercomfrnklin2001-blog]

Impact

“Charming” isn’t a word normally associated with film noir, yet it fits Arthur Lubin’s IMPACT (1949, TCM, Tubi, Plex, Prime, YouTube). From the intricate plot in which everything falls neatly into place to the location photography in San Francisco and Larkspur, CA, to, most importantly, the not quite love scenes between Brian Donlevy and Ella Raines, it’s an ongoing delight. Wealthy industrialist Donlevy is driving to Denver for a plant opening when his wife (Helen Walker) contrives to have her lover go along for the ride and kill him. The lover is neither very good with a tire iron nor with a steering wheel and ends up dead in a fiery car crash while Donlevy, stunned to discover what the Mrs. had been doing, wanders the countryside until he winds up at war widow Raines’ filling station. Romance is as inevitable as Hollywood usually makes it. Meanwhile, police detective Charles Coburn, in one of his least fussy performances, tries to make sense out of the plot.

With lots of scenes shot on location (including the same San Francisco hotel where Kim Novak’s character stayed in VERTIGO), IMPACT is a lot sunnier than most film noirs, but the plot is so twisted and Walker such a great femme fatale it doesn’t matter. The script, by Dorothy Davenport (that’s Mrs. Wallace Reid to you) is a masterpiece of efficiency, with key facts and events planted effortlessly and events communicated through telegrams, newspaper headlines and even a radio broadcast by gossip columnist Sheilah Grahame. Raines was never distinctive enough to be a star, but she’s a darned good actress and lots better than you��d expect from a film noir good woman. Donlevy, whose leading man days were largely over by 1949, has beautiful moments as he realizes what’s going on in his life. Anna May Wong deserved a lot better than her brief role as Walker’s maid, but she delivers a solid performance in her next-to-last film. Her friend (and merkin?) Philip Ahn is on-hand in old-age makeup as her uncle. You may also spot Robert Warwick as a police captain, Clarence Kolb as chairman of Donlevy’s board, silent great Mae Marsh as Raines’ mother, Jason Robards, Sr. as a judge, Erskine Sanford as a doctor and horror film standby Morris Ankrum as Donlevy’s assistant.

[whileiamdying]

THE SCREEN: “Mae West Reveals Herself as a Circus Queen in “I’m No Angel” at the Paramount—Saturday's Millions”

I'M NO ANGEL, based on a story by Mae West and supported by Lowell Brentano; music and lyrics by Harvey Brooks, Gladys Du Bois and Ben Ellison; directed by Wesley Ruggles; a Paramount production. At the Times Square and Brooklyn Paramounts.

Tira .... Mae West Jack Clayton .... Cary Grant Bill Barton .... Edward Arnold Slick .... Ralf Harolde Alicia Hatton .... Gertrude Michael Kirk .... Kent Taylor Thelma .... Dorothy Peterson Benny Pinkowitz .... Russell Hopton Beulah .... Gertrud Michael The Chump .... William Davidson Rajah .... Nigel de Bruller Bob .... Irving Pichel Omnes.... George Bruggeman Harry .... Nat Pendleton Chauffeur .... Morrie Cohen Judge .... Walter Walker

by MORDAUNT HALL.

Arrayed in a variety of costumes which set off her sinuous form, Mae West is appearing at the Paramount in her latest screen vehicle, "I'm No Angel," a title which, as might be surmised, fits the leading character. Here Miss West, who wrote the story herself from “suggestions contributed" by Lowell Brentano, is beheld as a circus beauty named Tira, who wins applause and admiration by risking her blond head in a lion's mouth twice daily.

It is a rapid-fire entertainment, with shameless but thoroughly contagious humor, and one in which Tira is always the mistress of the situation, whether it be in the cage with wild beasts, in her boudoir with admirers or in a court of law.

Tira is ever ready with & flip double entendre and' she permits no skeleton to be found behind her cupboard doors. She has an emphatic personality, which proves a magnet for even social lights with millions. She receives costly presents, Including diamond necklaces, but she is hardly a gold-digger. She refrains from posing, preferring to keep to her natural slangy speech in her journey through the story from a tent to a penthouse.

She admits that she has thrown discretion to the winds, and she sometimes finds herself in an awkward predicament, but through a wily lawyer she succeeds in proving that she is guiltless. The feeble parts of this picture are those in which a criminal known as Slick is introduced. The less one sees of him the better one feels, for the production is interesting only as long as it proceeds on its merry route.

The glimpses of Tira making her impressive entry to the circus arena and then proceeding to the big cage with the roaring lions are depicted shrewdly. Tira does not actually stick her whole head in the lion's mouth, but contents herself by putting her face between the beast's jaws, which is quite enough.

Even this is set forth with a certain degree of fun, and one feels that Tira probably has a pistol ready for an emergency and that other circus employees are ready to shoot in the event that the beast starts to close its mouth. But one is apt to wonder whether they could possibly be quick enough. Society among the spectators is thrilled, all except one snobbish girl, who is furious because her fiancé is very enthusiastic over the performer's courage-and her beauty.

Later there comes the time when Tira puts her fair head into a court of law as the plaintiff in a breach-of-promise case. She sues Jack Clayton, whom she really loves, for $1,000,000, and it is not Tira's artful counsel who wins the case, but the circus queen herself. She cross-examines the defendant's witnesses and turns their testimony in her own favor, the unusual proceeding being countenanced by a judge whose sympathy Tira wins with the utmost ease.

Miss West plays her part with the same brightness and naturalness that attended her second film role. There is no lack of spontaneity in her actions or in the utterance of her lines. She is a remarkable wit, after her fashion. Cary Grant is pleasing as Clayton and Walter Walker is excellent as the considerate old judge. Gregory Ratoff does well as Tara’s lawyer. Wesley Ruggles has directed the film with his usual intelligence.

[tv-moments]

Extrapolations

Season 1, “2070: Ecocide”

Director: Michael Morris

DoP: Jaime Reynoso

[queer-ragnelle]

The Arthurian Companion by Phyllis Ann Karr | A Companion to Malory edited by Elizabeth Archibald | Illuminated Manuscript | La Tavola Ritonda | Tristano Riccardiano | Byelorussian Tristan | Merlin and The Sword (1985) | Palomydes' Quest by William Morris | The Post-Vulgate Quest for The Holy Grail | The Romance of King Arthur and His Knights of the Round Table by Alfred W. Pollard | Illuminated Manuscript | Sir Galahad Christmas Mystery by William Morris | Illustration by Florence Harrison | The Enchanted Cup by Dorothy James Roberts | Arthur & Merlin: Knights of Camelot (2020) | Le Morte d'Arthur by Sir Thomas Malory | The Book of Mordred by Peter Hanratty | Illustration by Aubrey Beardsley | The Romance of Tristan by Renee L. Curtis | The Bright Sword by Lev Grossman

[letterboxd-loggd]

Pursuit (1935) Edwin L. Marin

February 10th 2023

[hotvintagepoll]

this is a poll for a movie that doesn't exist.

It is vintage times. The powers that be have decided to again remake the classic vampire novel Dracula for the screen. in an amazing show of inter-studio solidarity, Hollywood’s most elite hotties are up for the starring roles. the producers know whoever they cast will greatly impact the genre, quality, and tone of the finished film, so they are turning to their wisest voices for guidance.

you are the new casting director for this star-studded epic. choose your players wisely.

Previously cast:

Jonathan Harker—Jimmy Stewart

The Old Woman—Martita Hunt

Count Dracula—Gloria Holden

Mina Murray—Setsuko Hara

Lucy Westenra—Judy Garland (rip)

The Three Voluptuous Women—Betty Grable, Marilyn Monroe, and Lauren Bacall

The Agonized Mother—Mary Philbin (rip)

Dr. Jack Seward—Vincent Price

Quincey P. Morris—Toshiro Mifune

Arthur Holmwood—Sidney Poitier

R.M. Renfield—Conrad Veidt

The Captain of the Demeter—Omar Sharif (rip)

The First Mate of the Demeter—Leonard Nimoy (rip)

Mr. Swales—Ed Wynn (rip)

The Correspondent for The Daily Graph—Ethel Waters

Dracula in dog form—Frank Oz with a puppet

Sister Agatha—Angela Lansbury

Mrs. Westenra—Gladys Cooper (rip)

Dracula's solicitors—Peter Cushing and Christopher Lee

Dr. Van Helsing—Orson Welles

Thomas Bilder, zookeeper—Lon Chaney Jr.

Thomas Bilder's wife—Elsa Lanchester

The Reporter from the Pall Mall Gazette—Hattie McDaniel

Patrick Hennessey M. D., M. R. C. S. L. K. Q. C. P. I.—George Takei

The Cockneys from the carrier's cart—Wilkins and Wontkins

This character does not speak, but Mina is so enraptured by her she doesn't notice the nearby Dracula, so I’m including her for kicks.

[milksockets]

robert lee morris in the art of fashion accessories - joanne dubbs ball + dorothy hehl torem (1993)