#norman lloyd

[citizenscreen]

Norman Lloyd and Robert Cummings struggle atop Lady Liberty in Hitchcock’s SABOTEUR (1942)

[dadsinsuits]

Norman Lloyd

[countesspetofi]

Today in the Department of Before They Were Star Trek Stars, William Shatner guest stars in "Mother, May I Go Out to Swim?" episode 26 of the fifth season of Alfred Hitchcock Presents (original air date April 10, 1960). He channels his inner Norman Bates as a mama's boy with an "artistic temperament" who falls in love on vacation, but ends up killing his girlfriend when his domineering mother disapproves. Like the last episode of AHP I screencapped, this story is told in flashback, framed by scenes from the coroner's inquest, with Shatner narrating the flashback sequences.

Within the episode, the girlfriend's death is ruled an accident, but in what I assume was an attempt to placate the network censors, Hitchcock's outro says that the decision was later overturned. (TV Standards & Practices at the time hewed closely to the Motion Picture Code, which frowned on criminals going unpunished.)

Other Trek connections: The Associate Producer of this episode is the multitalented actor/producer/director Norman Lloyd, who played Captain Picard's old mentor Professor Galen in the Next Generation episode "The Chase."

[oldshowbiz]

Norman Lloyd's Companions in Nightmare (1968) starring Gig Young and Anne Baxter

[of-fear-and-love]

Some of the matte shots from Saboteur (1942)

Associate art director Robert F. Boyle Illustrations by (according to imdb) John DeCuir, Dorothea Holt Visual effects by John P. Fulton

[johngarfieldtribute]

Julie doing “stuff” with famous people (21st post)

Julie shows spirit at a Sinatra Swooner’s charity softball game. He’s pictured here with Frankie, Virginia Mayo and Jane Russell. Wake up, Frank!!

Julie and Joan Crawford get their expressions down in a scene from HUMORESQUE above.

On the DESTINATION TOKYO set with Robert Hutton.

Walking with his Group Theatre colleague, Lee Strasberg, shown on the left. Julie was the first actor to bring THE METHOD to film and Strasberg helmed THE ACTORS STUDIO.

At an event with Rosalind Russell somewhere.

Backstage with George Coloris on NOBODY LIVES FOREVER.

HE RAN ALL THE WAY with Norman Lloyd.

Brenda Marshall doesn’t feel like toasting in EAST OF THE RIVER.

Ida’s mad too in THE SEA WOLF.

But Frances Farmer is all loving looks in this photo anyway. They were friends from THE GROUP THEATRE. This photo promotes FLOWING GOLD.

[camyfilms]

DEAD POETS SOCIETY 1989

Boys, you must strive to find your own voice. Because the longer you wait to begin, the less likely you are to find it at all. Thoreau said, "Most men lead lives of quiet desperation." Don't be resigned to that. Break out!

[letterboxd-loggd]

The Age of Innocence (1993) Martin Scorsese

June 4th 2023

[1day1movie]

Columbo: Lady in Waiting (1971) Norman Lloyd.

[michaelcoffeysthoughts]

Colombo: Season 1 + Pilots (1968, 1971-72)

This is a very good season that gives the series a nice start. The inverted whodunnit stories are engaging and play with the audience in exciting ways. There are some great moments of suspense throughout the series and the direction brings energy that stands out among tv movies of the time. The character of Columbo is very endearing and this leads to some levity that works with the series' tone. Peter Falk is fantastic here and the guest stars are a who's who of reliable character actors from this era. This is a good season that is worth watching for fans of cozier murder mysteries.

Episodes Ranked:

9. Dead Weight

8. Prescription: Murder

7. Blueprint for Murder

6. Ransom for a Dead Man

5. Lady in Waiting

4. Short Fuse

3. Death Lends a Hand

2. Suitable for Framing

Murder by the Book

[dannyreviews]

The Age of Innocence (1993)

1993 was the second coming of 1939 when it came to the number of American films that were released. Martin Scorsese's "The Age of Innocence" remains one of that year's absolute gems, a departure (no pun intended) from the famed director's usual gritty nature. Replacing gunfire with passing glances and mafia dealings with upper class gossip, "The Age of Innocence" is classic Scorsese and in my opinion, among his best films ever.

Based on the novel by Edith Wharton, "The Age of Innocence" , focuses on the impending union of the two most important families in New York society. Lawyer Newland Archer (Daniel Day-Lewis) is engaged to be married to the sweet and quiet May Welland (Winona Ryder) and their marriage is the talk of the town. At the same time, May's cousin Ellen (Michelle Pfeiffer) has returned to New York to non-stop gossip pertaining to her impending divorce. Steeped in a world of customs and tradition, Newland is drawn to Ellen's unconventional lifestyle and while handling the matters of her divorce, the two begin an affair. Newland must decide which moral route to take, one that will maintain his place in the hierarchy of the upper crust, or the other sizzling in passion, yet tainted in scandal.

"The Age of Innocence" may be gentile in its appearance, but it's every bit the nail biter as "Raging Bull" or "Goodfellas". The adaptation by Scorsese and Jay Cocks shows dynasties pitted up against one another like mob families, favors that are made to keep up appearances and a family matriarch and high end couple with all the power in the world like mafia dons. At the same time, the art direction by Dante Ferrets and costume design by Gabrielle Pessucci, doesn't merely recreate late 19th century New York, but embraces every facet it possesses, from vast estates filled with art collections, fine china and chandeliers to ornate opera houses where their audience and actors don the most glamorous haute couture. When it comes to matching the authenticity of its period, there is not one false note. Having culminated from decades of prior period pieces, "The Age of Innocence" takes the genre to a whole new level of appearance that has rarely ever been repeated.

Scorsese assembled one of the most diverse casts of recent years. In addition to the 3 main actors, there are Golden Age of Hollywood stars (Norman Lloyd, Alexis Smith), veteran British actors (Michael Gough, Alec McCowen) and the new crop (Richard E. Grant, Robert Sean Leonard) and each brings their own craft to this unique film. Robert De Niro or Joe Pesci would have seemed out of place if they were included in the cast, so it was wise to delve further in the variety of acting styles and backgrounds and have each of them adapt to the lingo of Edith Wharton's New York. Also, to have the calming voice of Joanne Woodward narrate the story transitions the film into Merchant-Ivory territory, which I'm sure Scorsese studied up on prior to filming.

As for the main cast, Daniel Day-Lewis is absolutely terrific in playing the emotionally repressed Newland Archer, who must balance his double life amidst its open secrecy. Winona Ryder also shines in an Oscar nominated turn as May in all of its Golden Age of Hollywood charm. And then there's Michelle Pfeiffer, who is absolutely mesmerizing in portraying Ellen's liberal personality, in a performance that the Academy should have considered. The supporting cast standouts include Stuart Wilson as Ellen's "other man" Julius Beaufort, a lecherous scoundrel, Miriam Margoyles' BAFTA winning performance as Mrs. Mingott, May's grandmother, and Sian Phillips as Newland's mother.

"The Age of Innocence", along with Jane Campion's "The Piano", Jim Sheridan's "In The Name of the Father" (also with Daniel Day-Lewis) and James Ivory's "The Remains of the Day", represent in my opinion, the best of cinema in 1993. Out of those films, "The Age of Innocence" isn't the top one (that honor belongs to "The Piano"), but it represents the most expertly made. The acting, direction, novel adaptation and authentically honored period are all building blocks to the neatly tied packaged result.

9/10

[citizenscreen]

Norman Lloyd would have celebrated a birthday today #botd ❤️

[dadsinsuits]

Norman Lloyd

[old-movies-stuff]

Dead poets society - 1989

[oldshowbiz]

If you didn’t know any better, if there weren’t any opening and closing credits, this episode of The Alfred Hitchcock Hour could easily pass for an episode of the Twilight Zone.

The Jar was written by Ray Bradbury, features an original score by Bernard Herrmann, and stars Pat Buttram, William Marshall, Jane Darwell, George Lindsey, Slim Pickens, and Billy Barty.

[byneddiedingo]

Robert Cummings and Norman Lloyd in Saboteur (Alfred Hitchcock, 1942)

Cast: Priscilla Lane, Robert Cummings, Otto Kruger, Alan Baxter, Clem Bevans, Norman Lloyd, Alma Kruger, Vaughan Glaser, Dorothy Peterson, Ian Wolfe. Screenplay: Peter Viertel, Joan Harrison, Dorothy Parker. Cinematography: Joseph A. Valentine. Art direction: Jack Otterson. Film editing: Otto Ludwig, Edward Curtiss. Music: Frank Skinner. 

It's heresy to suggest it, but Alfred Hitchcock needed movie stars. It's no accident that some of his most admired films featured Cary Grant, James Stewart, Grace Kelly, and Ingrid Bergman. They seemed to inspire him to do his best work. I don't know if Saboteur would have been a better movie if Hitchcock had got his first choice of leads: Gary Cooper and Barbara Stanwyck. But I do know that they would have supplied the kind of charisma and finesse that are sorely lacking in Robert Cummings and Priscilla Lane. Cooper and Stanwyck might also have inspired Hitchcock to give the film more than just more than a few now-familiar suspense tricks and one deservedly famous set piece -- the final scene on the torch of the Statue of Liberty. He might have been moved to prod his usually more-than-competent screenwriters -- Peter Viertel, Joan Harrison, and Dorothy Parker -- to shape the story into something that makes a little more sense. It's the familiar Hitchcockian "wrong man" premise, one that was done far more skillfully in The 39 Steps (1935), would be improved on in Strangers on a Train (1951), and reach its apotheosis in North by Northwest (1959) -- whose climactic struggle on Mount Rushmore was surely inspired by Saboteur's Statue of Liberty sequence, one national monument standing in for another. Cummings and Lane don't strike any sparks with each other, but they aren't bad considering since they're flung into absurd situations -- his initial flight from prosecution, his encounter with a truck driver and a kindly blind man who are mysteriously motivated to help someone suspected of treason, their rescue by a troupe of circus sideshow performers, their blithely elided cross-country journey, their entrapment in a mansion full of high-society fascists, their perfunctorily treated escape, and the loony decision of the villain (Norman Lloyd) to flee to what amounts to a cul-de-sac, i.e., the Statue. Granted, almost every Hitchcock film can be picked apart on the grounds of plausibility, but he usually does a better job of covering it up. In the end, Saboteur reminds me of his earlier film, Young and Innocent (1937), another movie with charisma-deficient stars and a jury-rigged plot in which the director seems to be trying out things he will accomplish with more skill in his later work.