#lemmon production

[luckypluckychair]

The Apartment | 1960

Director: Billy Wilder

Production designer: Alexandre Trauner / Set decorator: Edward G. Boyle

[hotvintagepoll]

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

it is vintage times. the powers that be have decided it is time to remake the classic vampire novel Dracula for the big screen once more. in an amazing show of inter-studio solidarity, all of hollywood's hottest elite are up for the starring roles. they know whoever is cast will greatly impact the quality and tone of the finished production, so they are turning to their wisest voice 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

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

[citizenscreen]

Shirley MacLaine and Jack Lemmon during production of Billy Wilder’s IRMA LA DOUCE (1963)

[shoshiwrites]

my dear, I'd like to submit a Touches prompt: "#35 grabbing the other's hand to pull them back to them" for anyone who tickles your fancy. just need that sorta passion in my life 🥹

I just want to apologize for the fact that this actually is not entirely the prompt, but was 100% inspired by it — I owe you one ❤️ Bucky Egan/War correspondent OC, also on Ao3! Set a little bit after this prompt. Featuring Jo with some new mail and Bucky having some thoughts and feelings about that.

The Clarion starts running her picture with the new pieces. 

She doesn’t hate it, but at the same time it doesn’t quite look like her, the posed portrait she’d sat for in London with her hair pinned back her uniform pressed. She’s more herself in the photos Kay takes, under the cloudy English skies. But she can’t argue with it either — a uniform means something official, and isn’t that what they’re working for? To be taken seriously, to get what the boys are given without having to fight tooth and nail for it, without jokes about lipstick or hair products or a million other things on top of it.

The problem with the picture now, though, is that everyone knows who she is. Not a celebrity, that idea is laughable, but named. Josephine R. Brandt, The Clarion’s Woman in England. 

They’re like name-tags too, the adjectives used to describe her and her fellow reporters in bite-sized news items. Marian Brenner is always petite, and Kay is statuesque. Marjory Manning is titian-haired, which always gets a laugh considering Marjory makes no secret that it comes from a bottle. Jo is brunette, and pert. That word always makes Kay choke a little on her cigarette, peering at Jo and the dark circles under her eyes.

She’s spent the last few days amongst the women of the Clubmobile, sleeping in an extra bed dragged in and photographing, rather amateurly, their truck and living quarters. They were much more accommodating to her than they should have been, especially when Jo attempted to work the fryer in the name of journalistic exploration. Thankfully she was much better at cleaning, with no qualms about rolling up her sleeves. 

Her hair still smells like grease as she sits in an empty mess hall, picking at one of her nails and ignoring the stack of letters beside her. Her photographs wouldn’t quite capture what she’d tried to in her writing: the smell of perfume and the lingering fryer grease, hair tonic and newsprint and cold evening air, the blankets and bedrolls and towels hanging, tables with books and magazines and framed photographs, small pots of rouge, rosaries, hair combs and extra socks. A sprig of chicory sitting in a drinking glass, the blue flowers starting to wilt at the edges.

A name. A picture. What she hadn’t been thinking about — fanmail. 

It was ridiculous, the pile Kay had passed along to her in London and the one she was now patently ignoring next to her elbow. Next to a copy of the paper, a newer one with the picture.

She’d always gotten responses to her pieces back home, whether that meant someone arguing with her about a labor statistic she’d quoted or offering their own version of a recipe back when she’d been on the society pages. Now, overseas, with her name and her picture clear as day, it was like a switch had been flipped.

The only thing that she didn’t have to worry about was William.

The ring was sitting at the bottom of her trunk, buried under a sweater. Tatty had offered to run it over with the Clubmobile, but Jo got worried about the tires. Helen had suggested the fryer. A WAC with strawberry blonde hair voted for a storm drain. Biddick had plans that involved Corporal Lemmons and an unknown quantity of explosives. Douglass, inexplicably, had volunteered to make neat work of it on an upcoming mission. She had no idea how he’d even found out. 

Well, she isn’t wearing it anymore, right?

“Thought I’d find you in here.”

She looks up to see Egan making his way through the doors.

“Someone looking for me?”

He glances behind him and smiles, like it’s obvious. “Yeah, me.”

Maybe she knows better by now than to ask what he’s ignoring to be here. Milk run earlier this afternoon. Not flying tomorrow. 

Isn’t it time for beers and darts, right about now?

“Just answering some mail.” Actual mail, from home. Not the other stack. 

Maybe fanmail is a generous term, she thinks. Most of it is opinions, loud, of where she should or shouldn’t be. Home. Doing war work instead if she had to do something. Some less savory suggestions. Being quiet. 

“You’re a popular correspondent,” he says, sitting down across from her. 

She snorts. 

“I’m just seeing that there’s lot of letters here.”

“Astute observation, Major.” But she’s smiling. 

“Friends back home?”

“Yeah. The rest is-” she gestures, almost sighing out the answer in a sudden yawn, the light outside the soft gold of early evening. “I don’t know. People have a lot to say.”

“They do, do they?”

“Sometimes I forget that I’m not just a disembodied voice, is all.”

He looks a little puzzled, but still amused. She throws the paper in front of him, and his eyes catch the column. He whistles. “Front page, huh.”

“They haven’t used a picture before.” She nods back at the stack of letters.

“Oh.” She can’t tell if he’s about to make a joke or not.

“Might just toss them,” she says. They’d be good for the paper pulp if nothing else.

He grabs one off the top, his expression clouding over as he reads.

“They write this kinda stuff to you?” he says after a minute. One of the ones that had ideas about where she should be, namely the writer’s bed. He tosses it down on the table.

She thinks of London, and Norwich, and Pittsburgh, and Philadelphia. “They say it, too.”

He exhales, the sour expression still on his face. Like a lemon. “Sure.”

“You didn’t get to the marriage proposals yet.”

“The what?”

“They’re in there, I promise. They’re nicer.” He laughs a little, just this side of bitter. She tries to look offended, tries to lighten the mood. “Maybe I ought to be insulted.”

“No, no, I just-”

“Just what?”

He’s tapping his foot a little, she can feel it under the table. Fidgeting.

“I just feel lucky, is all.” The question of it is clear on her face. Lucky, sure, to go through hell every day and make it back here, to the ground and the summer-faded English fields. “That you’re not just a picture to me.”

Oh.

Something feels caught in her throat; it takes what feels like too many seconds. “You’re awfully sweet.”

“I mean it.” She wishes she had a little crabapple to pick at, something to do with her hands. “Don’t think a picture could’ve kissed that good either-”

She tries to whack the back of her hand against his arm, but he pulls away — hey, too quick — before he leans forward again, pulls her face to his. 

“Not here-” she says, a little too belatedly. He’s grinning, all wolfish. His hands are warm. 

“Will you go dancing with me, then?” 

A place where they can do this, she assumes, out of sight, or amongst a crowd. She says it because it feels like something she should say. “There’s something planned here for the weekend, right?”

He makes a gentle scoffing sound. “Nah, I don’t-”

“What?”

“I mean, sure, but. You know. Just be prepared for me to keep stealing you away, ok?”

“And how will that look?”Her stomach swoops, out of something like nervousness, the feel of him close to her again. 

He looks, maybe, the most boyish she’s seen him. “Like I don’t like sharing.”

Like she makes that space for anyone else. That exception. “You can reserve a spot or two on your dance card for me,” she says, diplomacy betrayed by the half-waver of her voice. 

He assents, not entirely satisfied, but doesn’t try for another kiss. Not here, at least. She feels a chill go through her then, when he pulls away from her, lets go. 

[rwby-is-the-best]

i bet corporations in the rwby universe have a list of like 20 colors that every product has to come in otherwise everyone shopping will think "oh this microwave is really nice but it doesn't come in dark green. what am i supposed to do, get the teal one?? that's my dad's color!!" or parents shopping for school supplies with their kids and sure maybe one brand of backpack has really good back support but it doesn't come in yellow and little Amarillo Sunflower Lemmone is going to cry in aisle 12

[lazzarella]

Top 10 Things

For some reason, I've decided to compile lists of my various top ten things, a completely pointless venture because I highly doubt anyone will read it, and I already know what they are, but I'm doing it anyway! lol

(I've included: bands; solo artists; albums; books; poems; graphic novels/comics; tv shows; BL series; murder mystery shows; movies; actors; actresses; directors; musicals)

BANDS

The Beatles

ABBA

Belle and Sebastian

Led Zeppelin

The Raveonettes

The Decemberists

Ramones

Blondie

Sparks

Judas Priest

SOLO ARTISTS

John Grant

Rufus Wainwright

Connie Francis

Kylie Minogue

Angel Olsen

Prince

Sufjan Stevens

Kate Bush

David Bowie

Keaton Henson

ALBUMS

Queen of Denmark by John Grant

69 Love Songs by The Magnetic Fields

In the Aeroplane Over the Sea by Neutral Milk Hotel

Rubber Soul by The Beatles

Picaresque by The Decemberists

Houses of the Holy by Led Zeppelin

You Could Have It So Much Better by Franz Ferdinand

Purple Rain by Prince

Transformer by Lou Reed

If You're Feeling Sinister by Belle and Sebastian

BOOKS

The Haunting of Hill House by Shirley Jackson

Grief is the Thing With Feathers by Max Porter

Rebecca by Daphne du Maurier

The Blind Assassin by Margaret Atwood

Sharp Objects by Gillian Flynn

The Murder of Roger Ackroyd by Agatha Christie

The Hobbit by JRR Tolkien

The Bloody Chamber and Other Stories by Angela Carter

The Charioteer by Mary Renault

The Big Sleep by Raymond Chandler

POEMS

Having a Coke With You by Frank O'Hara

Every poem in Crush by Richard Siken

The Second Coming by WB Yeats (alternatively, The Mermaid)

The Love Song of J. Alfred Prufrock by T. S. Eliot

Dulce et Decorum Est by Wilfred Owen

Love Sonnet XI by Pablo Neruda

somewhere i have never travelled, gladly beyond by e.e. cummings

Wild Geese by Mary Oliver

Tired by Langston Hughes

Perhaps the World Ends Here by Joy Harjo

GRAPHIC NOVELS/COMICS

Paper Girls

Ghost World

Persepolis

Bandette series

Delilah Dirk and the Turkish Lieutenant + sequels

The Fade Out

The Case of the Missing Men

The Less Than Epic Adventures of TJ and Amal

It's a Good Life, If You Don't Weaken

Nimona

TV SHOWS (that are not BLs or murder mysteries XD)

Spaced

Supernatural

The Hour

Buffy

Life on Mars/Ashes to Ashes

This is England 86/88/90

I Love Lucy

Pushing Daisies

Dark

In the Flesh OR The Young Ones OR Xena (I was going to choose but meh)

(A full list of my favourite TV shows on Serializd)

BL SERIES (MASTERLIST HERE)

Moonlight Chicken

My Personal Weatherman

KinnPorsche

Cherry Magic (Thailand)

Century of Love

Wandee Goodday

Old Fashion Cupcake

A Tale of Thousand Stars

Only Friends

Jack O'Frost

(I have a feeling Kidnap is going to take the place of one of these though)

MURDER MYSTERY SHOWS

Poirot

Marple

Rosemary and Thyme

Twin Peaks (it counts XD)

Miss Fisher's Murder Mysteries

Endeavour

Beyond Evil

Murder, She Wrote

Jonathan Creek

George Gently

MOVIES

(if I do subcategories for this, we'd be here all day! But ftr my favourite genres are film noir, musicals, rom-coms, horror—mostly slashers and gialli, 50s/60s sci-fi...)

The Rocky Horror Picture Show

Clue

Strictly Ballroom

Charade

Velvet Goldmine

Hedwig and the Angry Inch

Call Me By Your Name

God's Own Country

Secretary

That Thing You Do!

(A full list of my favourite films on Letterboxd)

ACTORS

Robert Redford

Colin Farrell

James Spader

Keanu Reeves

Danny Kaye

Humphrey Bogart

Dirk Bogarde

Frank Sinatra

Jack Lemmon

Ben Whishaw

ACTRESSES

(only separating by gender to get more in XD)

Doris Day

Audrey Hepburn

Amy Adams

Lucille Ball

Jane Fonda

Kirsten Dunst

Marilyn Monroe

Nicole Kidman

Michelle Williams

Cate Blanchett

DIRECTORS

Gregg Araki

Alfred Hitchcock

John Waters

Sofia Coppola

Agnès Varda

Wes Anderson

Billy Wilder

Pedro Almodóvar

Stanley Donen

Dario Argento

MUSICALS

(only counting ones I've seen productions of myself)

The Rocky Horror Show

Little Shop of Horrors

Aladdin

Matilda

Cats

Chicago

Hairspray

Wicked

Singin' in the Rain

9 to 5 tied with Priscilla: Queen of the Desert

[usafphantom2]

U.S. Navy awards Boeing $1.3 billion contract for 17 new F/A-18E/F Super Hornet fighter jets to help address strike fighter shortfall.

The deal also includes a technical data package vital for sustaining the Super Hornet fleet well into the 2040s.

"Data package necessary for operational readiness & post-production sustainment" - Rear Adm. John Lemmon, PEO Tac Air.

Undefinitized contract action now, with the plan to definitize the terms in the next few months using Congressional funding.

Deliveries of the new Block III Super Hornets are scheduled from winter 2026 through spring 2027.

"Ensures our warfighters have resources to defend the nation & return home safely" - Capt. Michael Burks, F/A-18 Program Manager.

The purchase sustains Boeing's F/A-18E/F production line as Navy bridges to next-generation fighters like the F-35C and F/A-XX.

#USNavy #USA

@Defence_IDA via X

[byneddiedingo]

Good Neighbor Sam (David Swift, 1964)

Cast: Jack Lemmon, Romy Schneider, Dorothy Provine, Mike Connors, Edward G. Robinson, Edward Andrews, Louis Nye, Robert Q. Lewis, Charles Lane, Linda Watkins, Joyce Jameson. Screenplay: James Fritzell, Everett Greenbaum, David Swift, based on a novel by Jack Finney. Cinematography: Burnett Guffey. Production design: Dale Hennesy. Film editing: Charles Nelson. Music: Frank De Vol. 

[pepperbag76]

“ Tony Curtis and Jack Lemmon on the studio lot during production of Some Like It Hot (1959) “

Source: tooldhollywoodandbeyond

[illustraction]

The GREAT RACE (1965) - PETER FALK POSTERS (Part 9/10)

By 1962 PETER FALK was a famous name in Hollywood having had two Oscar nominations for Best Supporting Actor in 1961 and 1962.

This allowed him to get second Top billing in the big production movie she was cast on such as the whacky race comedy directed by Blake Edwards in which he plays Jack Lemmon's evil sidekick Maximilian Meen which directly inspired Hanna and Barbera to create Dastardly and Muttley in the Wacky Races animated series.

Above are original movie posters from Belgium, Finland, France, Germany, Italy and Japan (click on each image for details).

Director: Blake Edwards Actors: Peter Falk, Tony Curtis, Jack Lemmon, Natalie Wood

ALL OUR PETER FALK POSTERS ARE HERE

If you like this entry, check the other 9 parts of this week’s Blog as well as our Blog Archives

All our NEW POSTERS are here All our ON SALE posters are here

The posters above courtesy of ILLUSTRACTION GALLERY

[thishadoscarbuzz]

290 - The Front Page (w/ Roxana Hadadi) (70s Spectacular - 1974)

1974 brings us to one of the final films of Billy Wilder, which also reunited a screen duo beloved by both Oscar and audiences, Jack Lemmon and Walter Matthau. Vulture writer Roxana Hadadi is back to the show to talk about The Front Page, an oft-adapted farce about newspapermen getting wrapped up in the case of an escaped convict. Most famously retold in a gender swapped version in His Girl Friday, this version stumbles to deliver the best of this director-star trio and missed Oscar's good graces despite multiple nominations in the decade for Mathau and Lemmon, including Lemmon's win the previous year.

This episode, we talk about the victory lap made by Francis Ford Coppola with The Godfather Part II and The Conversation both earning Oscar love. We also talk about the film's apoliticism was atypical of the moment, our love for Ingrid Bergman's Supporting Actress speech, and the hubbub over the acceptance speech for Best Documentary Feature Hearts and Minds.

Topics also include disaster movies becoming the splashy Hollywood product, The Godfather Part II Supporting Actor nominations, and Anderson Cooper talking about his mom hooking up with Marlon Brando.

The 1974 Academy Awards

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[citizenscreen]

Betsy Blair and Jack Lemmon in the stage production “Face of a Hero” in 1960.

[oscarupsets]

Hello, 1960s! New decade, new vibes.

Widely acclaimed Best Picture winner The Apartment left me upset-less for this year. While critics are lukewarm about the other nominees, one source did hint towards another fan-favorite: Psycho.

I will not hide it, I LOVE The Apartment. I think it's the humor that gets to me. There's also something Jack Lemmon brings to his characters that is just SO good. He's quirky, he's funny, I just can't explain it. Caught between Lemmon and past-Upset star Fred MacMurray, Shirley MacLaine delivers an equally endearing performance.

Released 20 years after his Best Picture winner Rebecca, Alfred Hitchcock's Psycho is one of his many later films that missed out a Best Picture nomination.

In 1960, Psycho was groundbreaking in terms of violence and sex in film. The violence in question is some stabbing that doesn't actually produce wounds, while the sex is two unmarried people sharing a bed. Not knocking it, just interesting how far we've come from 1960.

The production also felt groundbreaking for the time, especially the camera angles. They were all over the place and super fun, especially the really low shots and the birds-eye-like staircase shots.

Alfred Hitchcock implemented strict standards during the showings of Psycho. People were not allowed to be admitted into the theater once the film had begun, and even pay-per-view equivalent televisions would not allow viewers to start a showing after the start time.

The Apartment was the most nominated and awarded film of the night at the 33rd Academy Awards. And while the actors missed out on wins at the Oscars, they were thankfully recognized previously at the Golden Globes and the BAFTAs. Psycho's one major award for the season came from the Golden Globes for Janet Leigh.

Psycho was not named as a Top 10 Film by the National Board of Review in 1960, but has been recognized alongside The Apartment in many other, more recent lists.

Unofficial Review: I enjoyed both very much, but I still prefer The Apartment. This should not, however, dismiss the impact Psycho had on film!

[kickmag]

R.I.P Ellen Holly

Ellen Holly, the first Black soap opera star, has died at age 92. Holly changed television with her role on the daytime soap One Life To Live. The New York City native came from a family of achievers; her paternal great-grandmother, Susan Smith McKinney Steward, was the first African-American woman to earn a medical doctorate in New York and the third in the country. Her great-aunt, Minsarah Smith Thompson, was the first Black woman principal of a New York City school. She was a graduate of Hunter College and had pledged to the Delta Theta Sigma Sorority Inc. while she was there.

Holly started her acting career in New York City and Boston. She made her Broadway debut in Too Late the Phalarope in 1956 and went on to have starring roles in other Broadway productions, including Face Of A Hero, Tiger Tiger Burning Bright, and A Hand Is On The Gate. From the late '50s until the early '70s, she led several Joseph Papp New York Shakespeare Festival Productions. During this time, she worked with prominent actors of the day, such as Roscoe Lee Browne, James Earl Jones, Jack Lemmon, Barry Sullivan, and Cicely Tyson. Holly also studied with dance pioneer Katherine Dunham and discovered her passion for dance and its richness within African-American culture. 

Holly's first television roles were in The Big Story, The Defenders, Sam Benedict, Dr Kildare, and The Doctors and the Nurses. She took on the groundbreaking role of Carla Gray on ABC's One Life To Live from 1968 until 1980 and from 1983 to 1985. Television producer Agnes Nixon handpicked her for the role after reading an opinion piece Holly wrote for the New York Times titled, How Black Do You Have To Be," which aired her challenges finding work as a light-skinned Black woman. It was the first time a Black person starred in a soap opera, and Holly was written about in the pages of Ebony, Soap Opera Digest, TV Guide, and the New York Times. Her moment led to stories about Black life on All My Children and General Hospital. Holly made history with her high-profile role, but she later revealed that she and others like her still encountered racism when it came to their pay and other forms of disrespect. 

In the late '80s, she had a recurring role as a judge on The Guiding Light. She also appeared on the television shows In The Heat Of The Night and the made-for-TV movie 10,000 Black Men Named George alongside Andre Braugher and Marion Van Pebbles. Holly was a regular contributor to the New York Times, and her autobiography, One Life: The Autobiography of an African-American Actress, was published in 1996. She also became a librarian before the decade was over. 

Holly wanted family, friends, and fans to make donations to The Obama Presidential Center or St. Jude Children's Research Hospital in lieu of a funeral. 

[kwebtv]

Piper Laurie (born Rosetta Jacobs; January 22, 1932 – October 14, 2023) Film and television actress. She is known for her roles in the films The Hustler (1961), Carrie (1976), and Children of a Lesser God (1986), and the miniseries The Thorn Birds (1983).

She received various accolades, including a Primetime Emmy Award and a Golden Globe Award, in addition to nominations for three Academy Awards and a BAFTA Award. She is also known for her performances as Kirsten Arnesen in the original TV production of Days of Wine and Roses, and as Catherine Martell in the television series Twin Peaks.

During the early 1950's she appeared predominantly in film but later moved to New York to study acting and seek stage and television work. She appeared in Twelfth Night, produced by Hallmark Hall of Fame; in Days of Wine and Roses with Cliff Robertson, presented by Playhouse 90 on October 2, 1958[16] (in the film version, their roles were taken over by Jack Lemmon and Lee Remick); and in Winterset, presented by Playhouse 90 in 1959.

in the 1990's she made guest appearances on television shows such as Frasier, Matlock, State of Grace, and Will & Grace. Laurie also appeared in Cold Case and in a 2001 episode of Law & Order: Special Victims Unit titled "Care", in which she played an adoptive mother and foster grandmother who killed one of the foster granddaughters in her daughter's charge and who abused her adoptive son and foster grandchildren. (Wikipedia)

IMDb Listing

[70s80sandbeyond]

Jack Lemmon, Natalie Wood, Tony Curtis on location in Paris during production of Blake Edwards’s The Great Race (1965)