#tom drake

[ediths-shades]

Costumes in MEET ME IN ST. LOUIS (1944) [4/4].

Costume design by Irene Sharaff

[thursdaymurderbub]

Motion Picture magazine, January 1946

[gatutor]

Donna Reed-Tom Drake "Faithful in my fashion" 1946, de Sidney Salkow.

[citizenscreen]

Remembering Tom Drake on his birthday #botd

[darkphoenix180]

Random DC Titans post because the series finale came out today.

[erstwhile-punk-guerito]

[shy-and-reserved]

Movie Icons: Judy Garland and Tom Drake as Esther Smith and John Truett in Meet Me in St.Louis (1944)

[movie--posters]

[maverick-werewolf]

Made these a while back! They’re silly and simple, but I love making them. I call them “sparkleboxes,” but really it’s more appropriate to call them “character boxes.” All accompanying minifigs are custom and made by me, as well.

These are for Caiden Voros, Thomakos Drake (perhaps better known as Tom Drake), and Djedar Rath

Lots of my characters have duality in some form, so these boxes are fun to play around with for that reason. All characters are from my universe of Wulfgard. Be sure to follow @wulfgard-fantasy for updates on that; we try to update a lot! And I’ve got new books coming out soon, especially about Djedar in The Curse of Ankhu and Tom Drake in the revised edition of Knightfall.

Until next time!

[nantynova]

Beautiful Tom Drake. I fell in love with him when I was 12. Sadly I've read he was closeted and not necessarily able to live the full life he deserved.

[comicbooksaregood]

Batman Incorporated

Volume: 2

Issue: 8

The Boy Wonder Returns

Writers: Grant Morrison

Pencils: Chris Burnham, Jason Masters

Inks: Chris Burnham, Jason Masters

Colours: Nathan Fairbairn

Covers: Chris Burnham, Nathan Fairbairn

DC

[justmetheguywhoread4120dccomics]

damian and babs

babs: so damian killed anyone lately tim: if he did bruce would not let him stand unsupervised in the cave right now babs: hes not "unsupervised" we are right here damian: One blow to your right thigh from my left foot and a strike to the temple with my right and your down. tim: thats why we dont count babs to damian:well what about tim? damian:hes still recovering. it would be cruel to defeat him again while he is still wounded. babs:Agaiinn...? damian:either way father would never think to look in my cupboard for dead bodies. babs:wait what?! damian: the reason i am here...unsupervised that is...is because father does not know of this. babs:*leaves to tel bruce while watching damian* damian:*flicks hand* babs:*falls over unconscious as batarang hits the side of her head*

[anneliesengland]

[gatutor]

Terry Moore-Tom Drake "El gran Rupert" (The great Rupert) 1950, de Irving Pichel.

[citizenscreen]

Brian Donlevy, Audrey Totter, Robert Walker, Beverly Tyler, and Tom Drake during filming of Norman Taurog’s THE BEGINNING OR THE END (1947)

[twittercomfrnklin2001-blog]

Words and Music

MGM’s four songwriter biographies work better as collections of music videos than as movies. They pulled in audiences because most of their musical stars drop in for numbers that far outshine the book scenes. WORDS AND MUSIC (1948, TCM, YouTube) — you can’t really credit a film like this to even as good a director as Norman Taurog — is no exception. It has, arguably, the worst script of any of their musical bios, but also some of the best numbers.

This is supposed to be the story of Richard Rodgers (Tom Drake) and Lorenz Hart (Mickey Rooney), but there was so little they could do with the former’s life he comes off as something of a bore and so little they could show of the latter’s his psychological problems make no sense. In the film he moons over a failed singer (Betty Garrett), and though in real life Broadway star Vivienne Segal’s refusal of his marriage proposal triggered the binge that led to his death from pneumonia, his falling apart over Garrett makes about as much sense as casting her as a failed anything. Rooney tries hard to make it all work, but absent Hart’s struggles to deny his homosexuality, there’s no there there. Only one sequence generates a believable sense of loneliness. The guests leave at the end of a lavish party he’s thrown, and he’s left alone with the band and Mel Torme, who sings “Blue Moon” as Rooney somehow seems to sink into himself.

For the rest, you can probably fix snacks or step out for a smoke during the dialog scenes and pop back in for the better musical numbers with the likes of June Allyson, Ann Sothern and, briefly, the young Allyn Ann McLerie. Their hoofing is mostly fine, but Gene Kelly and Vera-Ellen take all honors in the dance department with their seven-minute “Slaughter on Tenth Avenue.” Lena Horne turns up to show you how to sing a standard (two, in fact), and then Judy Garland shows up and says “Hold my beer.” The film also marked MGM’s attempt to launch Perry Como’s career as a film star. It’s like trying to shoot someone with a wet noodle. His relaxed charm, perfect for TV, is all wrong for movie musicals, and he keeps getting upstaged by the scenery. As a crowning insult to Hart, Como comes out to sing the final tribute at his memorial. Fortunately, that’s cut up with brief reprises from the other numbers, though why a celebration of the great lyricist includes a clip from “Slaughter on Tenth Avenue,” a wordless ballet, is anybody’s guess.