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    • An Interview with Christopher Plummer on His Recently Published Memoirs

    • On Friday, December 5th, TCM interviewed Christopher Plummer by phone about his new autobiography, IN SPITE OF MYSELF (published by Knopf). An actor of great range and versatility, Plummer has worked in every facet of the industry - theatre, television, radio and film - and we covered everything from John Barrymore to Plummer's appearance in STAR TREK 6: THE UNDISCOVERED COUNTRY with fellow Canadian William Shatner to unsung stage legends such as Laurette Taylor to THE SOUND OF MUSIC to his upcoming title role in Terry Gilliam's THE IMAGINARIUM OF DOCTOR PARNASSUS and much more.

      TCM: What was the main reason that compelled you to write IN SPITE OF MYSELF?

      Christopher Plummer: Well, I wanted to write about the old guard that had gone before television had come into play. All the great stars that I had worked with in the past because that really is history. Because they themselves have such links with the past that you feel like you know the past by knowing them. And I knew that a lot of young people - if they ever bother to pick up the book to read - will probably not know who the hell I'm talking about. But it doesn't matter because anybody who's interested in the arts, they should know and that's why I wanted to tell those stories.

      Well, it's great to have accounts of all these theatre people because there are no film records of them.

      CP: No, there's not. Kathreen Cornell, for example, only appeared in one movie. I think it was STAGE DOOR CANTEEN and she had a guest appearance like everyone else in that.

      Your book fills me with regret at not being able to have seen some of these great people on the stage.

      CP: Yes, I know, I know, and I was so lucky to have met them and some of them at the end of their careers. They were all still living that rich and extraordinary life that the theatre had in those days. Kathreen Cornell, for example, was the last actress to have her own private train which we traveled in across the U.S. and Canada before hitting Broadway. It was like a fairy story.

      TCM: I wanted to ask you about growing up in Canada. From your memoirs, it seems that music and theatre were your favorite arts as a teenager but there was little mention of cinema. There was one comment you made, "I shunned celluloid and adopted toward it a repulsively snobbish disregard." I was curious where that attitude came from? CP:(laughs) Well, that attitude came from almost everyone in the theatre in those days. Don't forget that we still had an almost snobbish disregard for the cinema. The theatre was the senior art and the cinema was this kind of brash newcomer that had come in and made a lot of people famous without a hell of a lot of training. And here we were in a profession where you had to train otherwise you wouldn't be tolerated. It was a very old-fashioned, extraordinary [attitude]...and it still hung on with a lot of Broadway actors in guys like Jason [Robards, Jr.] and George C. Scott. When I was on Broadway and they were my friends and they were a part of the rhythm of life in New York in the fifties, even they made movies to make money in order to be able to go back to the theatre and do great plays. That sort of stayed with me through the fifties and then you grow up and say, "C'mon on, the movies are [legitimate work].." Secretly, of course, I was lying because I went to the movies all the time as a kid. I saw thousands of films. I became a sort of boring film buff when I was fifteen or sixteen. It all changed in the sixties and seventies and we began to revere the cinema. But I still held on to that truth about the theatre and the training. That holds true to today.

      TCM: One comment you made in the book was that you read the John Barrymore biography, Good Night, Sweet Prince and that influenced you to want to become a stage actor.

      CP: Oh yes, hugely. It was the first book about an actor I had ever read and - my god - I thought that if this guy could look that good and be that good on the stage and still be a drunk - god love him! That was my idea of absolute heaven. To be able to drink, act, look handsome...and get girls!

      TCM: But you never had a chance to see him on stage did you?

      CP: No, but I knew his daughter Diana which I write about in the book. And she was full of stories about her dad even though she didn't know him that well either. But the little she knew of him she was obsessed by him and certainly shared a huge history of stories about him. I was very fond of Diana, such a self-destructive nature. It was a Barrymore disease, I guess, for awhile and she inherited it, I suppose. When I was in my sixties, I played him [John Barrymore] on the stage on Broadway and I somehow wish Diana could have seen me. I think she might have been proud of me. I hope so.

      TCM: Did you ever see the film version of Diana Barrymore's autobiography Too Much Too Soon? I was curious if Dorothy Malone captured what she might have been like?

      CP: Yes, she wasn't quite as flamboyant as Diana in life or on the screen. She was very good in it but I see Diana in other movies as herself and she's sometimes good and sometimes a little theatrical because she hadn't done that many films and was primarily a stage actress.

      TCM: In terms of John Barrymore on film, is there a particular performance that you most admire?

      CP: Well, it's such a shame that we couldn't see him when he was playing Hamlet on the stage, when he was in full control of his powers. I know that by the time he arrived on the screen he was kind of dissipated a bit..but I loved him in TWENTIETH CENTURY. I thought all of his theatricality was..given its true importance in that movie. And I liked his performance in a picture called MIDNIGHT. He was terribly good in that and I think he had a ball in MIDNIGHT. COUNSELLOR AT LAW, you can see every now and then, a touch of greatness in him. There are flashes of it, you know, as you watch it. There are certain scenes, particularly almost at the end, in that tension before he tries to commit suicide. And he's on that telephone call to the ship. There are moments in there of such pain and reality that you say, "Hey, wait a minute that must have been part of what he was like as Hamlet." So it crosses your mind. But then he goes back to being a ham. And one enjoys that in a way but there's something sad about it. I thought his Mercutio [in ROMEO AND JULIET, 1936] was a little over the top. But I knew - god who played Benvolio in that? - Basil Rathbone played Tybalt and he told me that he and Reginald Denny, he played Benvolio...they had to support Jack while he did his soliloquy. So the director said "Look, just stay out of frame and just hold him still for christsake, will you, so he can get through this speech?" So what you see is Jack doing the great Queen mab speech alone, of course, but what you don't see is Benvolio and Tybalt supporting him on either side. I mean, Basil Rathbone told me that story. Awful! (laughs)

      TCM: With you being such a classically trained actor, I was curious about your opinion of "The Method" and Marlon Brando's impact on the theatre world with A Streetcar Named Desire.

      CP: Listen, to me "The Method" is usually totally misunderstood. It doesn't mean that you have to mumble and not be heard. It means that you use it when you're in deep trouble, when you can't bring your imagination to work then you try and have a sense memory of your own that can help and I think that's true of any instinctive actor. You don't have to go to a method school to learn that. But when Marlon came to the fore and became the second - actually - very real actor, the first being Montgomery Clift...Monty and Marlon Brando were the two supremely realistic actors on the screen at that time. And it was just wonderful to watch and you realized they knew how to treat the medium. The Medium needed that then. Now I'm going to switch back a few decades before that to an actor not a lot of people will know but an actor called Robert Williams who was one of the most realistic comedians the screen had. He made Cary Grant look like he was overacting. Robert Williams was the lead opposite Jean Harlow in PLATINUM BLONDE which was directed by Frank Capra. To watch Robert Williams act was like seeing a comic using the Method, long before the Method became famous with Marlon and Monty. So people were doing it already, that's my point. Brando was great and I would have liked to use both my classical knowledge and Brando's kind of wonderful imaginative reality and mix them up and that would have been the perfect mix for any artist.

      TCM: I love the idea of actors playing characters in Shakespeare's plays that you don't ordinarily associate with Shakespeare such as Brando playing Mark Anthony in JULIUS CAESAR or Jack Palance in the same play which you talk about in your book.

      CP: Well, that is a true story you know and I'll never forget him [Palance] throwing his costume offstage in a rage because the critics hadn't recognized that he had worked very hard. And they were miserable to him. However, I do redeem Jack and I became very fond of Jack but it wasn't easy in the beginning because he was a pretty forbidding fellow. That stare would freeze anybody in their tracks. But I became very fond of him because there was a vulnerability about him. He redeemed himself as Caliban [in Shakespeare's THE TEMPEST]. He was terribly good as Caliban. He used all of his sort of hissing (makes vocal sounds like Palance)...and the thing he did in westerns. He used that and it worked. Raymond Massey was Prospero, he was Caliban. So he redeemed himself and I think the critics came back and praised him for that, which they should, because they were very unkind to him in JULIUS CAESAR.

      TCM: I've noticed that you've played some of the same characters over and over again on stage and in film - Oedipus Rex, Cyrano - and was curious if you liked replaying the role at different points in your life as you got older because you brought a different perspective to the character and got a new idea of how to approach him? Or was it something else?

      CP: Oh, god no. You're exactly right. Also, different people in different countries. I did Benedick twice [in Much Ado About Nothing], once in Stratford in Canada, and once in Stratford-on-Avon in England with totally different people, casts, and all that. Hamlet, you know, I've done twice. And Hamlet you can never do well enough until you are my age. For instance, I think I'd be terrific as Hamlet now because I've learned so much since that I could put it into Hamlet. Do you know what I mean? I don't think anybody can play that part and be the right age for it. It's not possible that anybody could be so witty, urbane, moving, touching, wise, all the things that Hamlet is...princely, cultured, way beyond his years. How can you do all that until you're old enough to have the technique in which to make it look all so simple? Everybody has to work so goddamn hard when they play Hamlet and I'm just as guilty as anybody else.

      TCM: Yes, it would be hard to accept a 20-year-old actor as a character like King Lear.

      CP: Yes, in a sense, because you would look right - he was about 26 - and I played him when I was 26 or 27. And then the next time I played him I was 30 and still looked ok. The booze hadn't gotten to me yet. (laughs) And I was better the second time. Of course. You learn more in the interum. And now I think I'm ready but sadly the movies have killed that you see because now they want you to look the part. Edwin Booth, the great American actor of the 19th century, played Lear until he was 65 or certainly into his sixties, and with long, white hair and nobody complained. He was wonderful in it.

      TCM: Now one play I wanted to ask about was THE ROYAL HUNT OF THE SUN where you played Pizarro on the stage but in the film version of it you played the Inca King Atahualpa. Was that a different transition to make?

      CP: Yes, but I kept thinking when I was Pizarro on Broadway..I kept watching young David Carradine who was playing Atahualpa, the Inca king, and making all sorts of weird sounds. It was wonderful stuff he was doing. And I kept thinking if this was ever a movie, THAT'S the film part. He doesn't have much dialogue. All he does is come on and make these weird noises and look strange and wonderful. And those poor Pizarro has all these speeches to make, which in the theatre work great but on screen they're too long. You'd have to cut them. So I said Atahualpa for me. And then Bob [Robert] Shaw put it together with some other people and said would you want to come and play Atahualpa? And I said yes, absolutely. No, I had a fascinating time playing both those characters because I think Peter Shaffer wrote a play that was way ahead of its time although it was a hit in both London and New York. But it didn't quite hit the mark with its story about diverse cultures needing each other...societies dependent on one another. I think a few years later it would have worked better.

      TCM: There is a photo in IN SPITE OF MYSELF of William Shatner with the caption reading, "My rebellious understudy," and wanted to know about your experiences together in theatre in Canada.

      CP: No, in radio. We grew up in radio together in Montreal in both French and in English. So there was a lot of work going on. But rebellious understudy, by that I meant that Bill Shatner, who was my understudy, when he went on, he broke all the rules. He did everything I didn't do. So he was totally different from me in every single way. Even from sitting down to standing up. So I knew he was a rebel. And I knew that he was going to be a star.

      TCM: So that must have been a fun reunion when you starred together in STAR TREK 6: THE UNDISCOVERED COUNTRY?

      CP: Oh, god yes. It really was fun. I enjoyed that and it was a good script too, a funny script.

      TCM: And now it's time for a few inevitable SOUND OF MUSIC questions. Did you ever have an inkling while you were filming it that it was going to be the huge boxoffice hit it became?

      CP: Well, I do mention in the book that during the last two days of shooting in California where we did most of the interiors people started coming to visit the set. Journalists would turn up, actors would turn up. Shirley MacLaine was there a lot because she was making a movie next door and...there was suddenly a strange interest in the thing which I thought very mysterious. And I remember Julie [Andrews] saying to me, "I have a feeling that we might be famous." And of course we had no idea the bloody thing was going to take off like it did. But I begain to have an inkling that something was afoot in California toward the end.

      TCM: And after THE SOUND OF MUSIC was a hit, did you receive a lot of screenplays with characters similar to the Captain Von Trapp character?

      CP: Yes, that's sort of why I decried my role as the Captain a lot. I don't decry the movie because it was a very well made movie.

      TCM: But you wisely turned all of those scripts down.

      CP: Well, not all of them. I did some of them because, you know, you have to make a living. But my type of roles are sort of uptight, urbane, sophisticated young men...sort of boring and dull. People don't have any imagination in this business, do they? I can do comedy. I can do all sorts of things. Why are they giving me this uptight crap? So I was so happy when I arrived at a certain age and I could become a character actor and be free of all that nonsense.

      TCM: One person you mention in your book that I love and have only seen rarely on screen but he's always wonderful is Michael Kidd. Of course he's more famous as a choreographer but you worked with him on your musical Cyrano and he was so great in IT'S ALWAYS FAIR WEATHER with Gene Kelly. What are your memories of him?

      CP: Oh, Michael Kidd was a gem. I mean I haven't heard anybody say anything about Michael Kidd that wasn't absolutely magical for them. Fred Astaire was over the moon about Michael Kidd when he worked with him as a choreographer. I was when he did Cyrano. He was absolutely wonderful the way he moved that whole evening. And his taste in it was extraordinary. He had a lovely human taste about everything. I've put his name down every year on a ballot to be honored, you know, by the Kennedy Center honors. And now he's gone and he's never been honored. To me, he was one of the very original, great choreographers of our history. It was Agnes DeMille and Michael Kidd. He did the original GUYS AND DOLLS, the movie version of it, SEVEN BRIDES FOR SEVEN BROTHERS...I mean, I can't believe that he has not been honored in the way he deserved to be. Yeah, I loved him. He was a great guy and he was the kind of guy who would say to you (imitated his voice), "Oh, I don't want that done, please" - he was so modest. And he shunned the limelight. Maybe that was why.

      TCM: One of my favorite directors that you worked with - Anthony Mann - had moved into big budget films at the time you made THE FALL OF THE ROMAN EMPIRE with him. Your chapter on the making of that film was fascinating and would make a great film as well. But I was curious, since he was fired from SPARTACUS a few years before that, if you felt he had gotten in over his head with directing these epics? Having worked with him closely, do you feel it was harder for him to manage these big productions or that his style had changed from his earlier, more intimate noirs and westerns?

      CP: Well I loved working with him and don't think so at all. I think THE FALL OF THE ROMAN EMPIRE was wonderfully directed. It looked wonderful, it moved well. The only problem with THE FALL OF THE ROMAN EMPIRE was that the script wasn't very good. It was badly written because there was a huge conglomerate of writers on it that had come out of every hole in the wall. I don't know how they managed to stay in one room - one cigarette smoke filled room - as they all penned with very mundane script with a huge and wonderful cast. A terrific director. And I thought EL CID was an absolutely wonderful epic. That had classic porportions to it in its simplicity. No, I don't think so at all. I think Anthony Mann was a very, very unsung versatile director who could do the epic drama as equally well as he did film noir and westerns. He was good at all three. And you know the funny thing is he was one of the few Hollywood directors that I've ever met who adored the theatre because he started in the theatre.

      TCM: I didn't realize that. As a director or actor?

      CP: I think as an actor. But I didn't mention that in my book because I wasn't sure if he was a director or an actor but I do know that he started in the theatre as a young man.

      TCM: I'm going to jump ahead to something more recent, your performance as "60 Minutes" Reporter Mike Wallace in THE INSIDER. Was that intimidating to play someone who is still quite active and visible in their profession and would probably see your performance?

      CP: Well, it was kind of dangerous and I like danger because, you know, I think you have to go in where angels fear to tread. And I met Michael and have even been interviewed by him. And I watched him when I was a youngster...and he was barely a youngster too then...as the angry young man of television. So I didn't have to do much research because I remembered very well how his voice sounded...and how he attacked everybody and was an extraordinary, probing commentator. No, that was wonderfully challenging and greatly helped I was by Michael Mann [the director] who kept me from imitating him. He insisted that I put some of my own personality into the Mike Wallace character which is correct..because otherwise that's just a simple imitation of the man and that's cheap. So he guided me very well though that and I admired him. And of course my friendship began with Russell Crowe and Al Pacino, both of whom I admire enormously. It goes without saying about Al Pacino and Russell Crowe, who is probably the most talented leading man that Hollywood has had in a long time.

      TCM: In 2005 both you and your daughter Amanda were both nominated for Emmy awards in separate television productions. Have you ever worked together on stage or in film or have any plans to?

      CP: No, we never have and I do want to very much. One avoided it for a while because it looked like we were pushing the family. You know, "Oh yes, I'll team up with my daughter and I'll get my grandmother to play all the other parts." So we avoided it and I think there is a sort of shyness about being related that can sometimes interfere with your work or with your freedom in your work. But now I think I would love to and there are a couple of plays that I am very much thinking about doing with her. Because I admire her enormously. She's a very original talent. She's extraordinary.

      TCM: There's a little independent film you made in Canada in 1978 that I'm quite fond of called THE SILENT PARTNER with Elliott Gould and Susannah York. You are very frightening in that film. At the time I saw it, it seemed like Canada was developing into a very active filmmaking location with lots of directors like David Cronenberg and Darryl Duke emerging.

      CP: Yes, The Canadian film industry was beginning. It started mostly in Montreal and the French film industry had started even before that in Montreal - the French-Canadian film industry - and they'd done some wonderful local movies which were shown in several French speaking countries such as France for example. And several of them were prize winning movies but then the English followed suit. I starred in an earlier Montreal movie, THE PYX, which I did with Karen Black. That was sort of the beginning of this new resurgence in English filmmaking. Then THE SILENT PARTNER came along several years later with Darryl Duke directing. He was a very talented director. And that script was written by our friend who is now a very big Hollywood director - Curtis Hanson. He was a very young guy then and had written a script - a really fascinating script. My wife's idea was to put me in a Chanel dress in the last scene - that was Elaine's idea - and I took it to Darryl and he said, "Oh, god, I don't think our friend the writer is going to like that" but he said, "I love it" and finally I think we won both of them over. It did work. It was a great idea.

      TCM: I'm curious if you've ever had the desire to direct after so many years of film and stage experience?

      CP: I've sort of collaborated on some of the television productions I've done particularly one-man shows such as Nabokov...Vladimir Nabokov, a wonderful writer. I did a one-man show on him [Nabokov on Kafka, 1989) for television which I loved doing because he was such a fascinating creature. So I've directed a little bit and directed on stage but I would rather go on being an actor. The agony of being a movie director - I don't envy them. I really don't because they spend at least two years of their lives and unless you're a hugely popular director with final cut and there are very few now that have that. You work hard and put your life into it and what happens? Some committee comes along and changes it all, particularly in the movies. And I think my god, I'm not going to do that. By the time this guy's in his third year of being cut by a committee, I've made 25 plays as an actor. I mean I can work so much harder and quicker. So I modestly remain an actor.

      TCM: In terms of your current projects, is the new Terry Gilliam film, THE IMAGINARIUM OF DOCTOR PARNASSUS completed yet?

      CP: No, he's waiting for all sorts of insurance problems to be cleared because of Heath Ledger's death. And although Heath Ledger was replaced by three actors as you know - Jude Law, Johnny Depp and Colin Farrell - which is terrific replacing, my god. There are still some monetary problems over insurance. Otherwise, it's almost ready to be released. And poor Terry has gone through torture.

      TCM: He seems to go through torture on all of his movies.

      CP: Oh, I know and I adore Terry because he has such a wild, wild imagination. And I keep saying to him, you know, it's so much easier Terry if you just scrap the movie and make the documentary.

      TCM: That's what they did about his La Mancha film.

      CP: That's right....which I loved that documentary. It was just wonderful. So that's coming out this year. And I just finished a movie with Helen Mirren who I adore about Tolstoy and his wife [THE LAST STATION]..and a very good script by Michael Hoffman which we made in Germany last winter and spring. That should be coming out soon and I'm looking forward to that because I think there was some depth in that and some fun. And the Tolstoys have not been written about that very much on the screen as a family. Order the television serial.

      TCM: I noticed you have another new project on your slate, a film version of Shaw's CAESAR AND CLEOPATRA.

      CP: Yes, we did it this summer up in Stratford, Canada with a wonderful young Black actress named Nikki James who looks sixteen..just the age that Shaw imagined her to be in his play and we're going to bring it to New York which we're trying to negotiate right now. It's a very funny play and a very timely one too. The references to the Egyptian takeover brings a response from the audience. You can hear them thinking "ah ha Iraq" which immediately springs to mind.

      TCM: One last question: In terms of all the great Broadway and theatre actors you've known and worked with, is there one that you'd love to introduce to somebody who knew nothing about the theatre? Or more than one?

      CP: Yes, it can't be one. It started in France because I grew up watching French cinema and French theatre and we got a lot of French theatre in Montreal you know that came over from Paris and our own French theatre. I would say one of the most exciting French actors was Pierre Brasseur. He did the most extraordinary work. If you saw him as Keen, he just electrified the house. They all had the grand manner of the theatre which you don't see anymore. And he was also marvelous in - you remember his performance in LES ENFANTS DU PARADIS [Children of Paradise]? He played the great ham actor Frederick Lemaitre and wiped the floor with everybody. He was so funny. That sort of acting I would say influenced me greatly. Of course, Laurence Olivier. When one was young one was influenced by him. Wonderful way with Shakespeare. He made it so attractive as well as Shakespearian. And He made it attractive for the world so Shakespeare was given a huge resurgiance by his movie HENRY V. He influenced a huge generation of actors which I was one. And soon you get to kick the habit and become your own master. Even beefy old Donald Wolfit was a great King Lear. I mean I saw him on the stage and he was extraordinary. When I played King Lear many, many years later I'm afraid I stole some things from Donald Wolfit. I thought "Oh boy, I didn't do him justice" but he was wonderful too. The people I would have loved to have seen were Laurette Taylor who I understand from everyone who worked with her that I knew was the greatest actress that America ever produced. She was so real when she came on that you thought she was giving a documentary performance. You'd thought she'd come in straight off the street. She was that real that Anthony Ross who played the gentleman caller in Tennessee Williams original production of THE GLASS MENAGERIE of which Laurette Taylor starred in told me that on the stage she would suddenly turn to you and say something by Tennessee Williams but say it with such reality that you thought she was speaking to you in confidence.

      Interview conducted by Jeff Stafford

      *This originally appeared on TCM's Movie Morlocks blog on December 13, 2008. You can View It Here..

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  1. New Books

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    • Hooked on Hollywood: Discoveries from a Lifetime of Film Fandom


    • by Leonard Maltin

      Leonard Maltin is one of the world's most respected film critics and historians. From his thirty-year tenure on the hit TV show Entertainment Tonight to his annual paperback reference work Leonard Maltin's Movie Guide (and its companion volume, Leonard Maltin's Classic Movie Guide), Maltin stands without equal as a thought leader on Hollywood's past and present.

      On July 2, 2018, Maltin - a New York Times bestselling author several times over with over 7 millions books sold - will release a gorgeously produced 400-plus page trade paperback, HOOKED ON HOLLYWOOD: Discoveries from a Lifetime of Film Fandom. This newest work of Maltin's will be released by GoodKnight Books, an award-winning boutique American publisher, which in recent years has become well-known for their expertly curated catalog of biographies and non-fiction books about Hollywood's Golden Era (including the 2016 bestseller, Mission: Jimmy Stewart and the Fight for Europe by Robert Matzen).

      In HOOKED ON HOLLYWOOD, Maltin opens up his vast and illustrious personal archive to take readers on a fascinating journey through film history. A pioneer of "self-publishing," Maltin began interviewing greats of Hollywood as a precocious teenager in 1960s New York City. At only thirteen-years-old he became a regular contributor to the magazines Film Fan Monthly and The 8mm Collector (known today as Classic Images), as well as publishing his own humble journal called Profile - "literally cranked out by a mimeograph machine," he reveals. He has since gone on to enjoy a prolific freelance writing career with regular bylines in publications including The New York Times, The Los Angeles Times, Esquire, Smithsonian, and Playboy magazine (where he served as film critic for six years).

      Featuring over 200 rare photos and a veritable treasure trove of never-before-seen material, HOOKED ON HOLLYWOOD is divided into four key sections:

      "Hollywood Featurettes" - key feature articles from Maltin's Movie Crazy newsletter are shared for the first time, providing new perspectives on such topics as the masterful soundtrack subtleties of Casablanca and Hollywood's long standing love affair with remakes.

      "Early Interviews" - which shines the spotlight on teenaged Maltin's interactions with movie stars, directors, and movers and shakers in Hollywood's Golden Age, including Warner Bros. sexy, wise-cracking pre-Code siren Joan Blondell, Emmy-winning and Oscar-nominated actor Burgess Meredith, early screen heartthrob George O'Brien, and Cecil B. DeMille's right-hand-man Henry Wilcoxon, among others.

      "Later In-Depth Interviews" - where Maltin shares first-hand stories of working with Orson Welles, how Buster Keaton forged a new career for himself in the television era, and what life was like under Louis B. Mayer, Jack Warner, Harry Cohn, and other titans of Tinseltown through seven carefully selected conversation transcripts with some of Hollywood's most significant behind-the-scenes players.

      "The Forgotten Studio" - an eye-opening look at RKO Radio Pictures, which gave us such classics as King Kong and the many dance musicals of Fred Astaire and Ginger Rogers.

      Leonard Maltin's love of movies and vast knowledge of their history shines through from HOOKED ON HOLLYWOOD's first page to the last, which is sure to prove as wildly entertaining to readers as it does deeply informative to future film scholars.


      Leonard Maltin is one of the world's most respected film critics and historians. He is best known for his widely used reference work, Leonard Maltin's Movie Guide and its companion volume Leonard Maltin's Classic Movie Guide, as well as his thirty-year run on television's Entertainment Tonight. He teaches at the USC School of Cinematic Arts, appears regularly on Turner Classic Movies, and hosts the weekly podcast Maltin on Movies for the Nerdist network with his daughter Jessie. His books include The 151 Best Movies You've Never Seen, Of Mice and Magic: A History of American Animated Cartoons, The Great Movie Comedians, The Disney Films, The Art of the Cinematographer, Movie Comedy Teams, The Great American Broadcast, and Leonard Maltin's Movie Encyclopedia. He served two terms as President of the Los Angeles Film Critics Association, votes for films to be selected for the National Film Registry, and was appointed by the Librarian of Congress to sit on the Board of Directors of the National Film Preservation Foundation. He hosted and co-produced the popular Walt Disney Treasures DVD series and has appeared on innumerable television programs and documentaries. He is the recipient of awards from the Los Angeles Film Critics Association, American Society of Cinematographers, the Telluride Film Festival, George Eastman House, Anthology Film Archives, and San Diego's Comic-Con International. Perhaps the pinnacle of his career was his appearance in a now-classic episode of South Park (or was it Carmela consulting his Movie Guide on an episode of The Sopranos?)

      He holds court at www.leonardmaltin.com. Follow him on Twitter (@LeonardMaltin) and Facebook (/LeonardMaltin).

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    • Herbert Marshall - A Biography


    • by Scott O'Brien

      Herbert Marshall - A Biography (BearManor, 2018) details the unique twists and turns in the career of a man who reluctantly became an actor. "My father was responsible for making me dread the theater," he admitted. After being sacked as an office boy for a London accountant, Bart Marshall (as friends called him) finally followed in his father's footsteps. That is, until King and Country stepped in during WWI. "I was a Lady from Hell," he mused years later. "The London Scottish, a kilted infantry regiment." On the Western Front, shrapnel destroyed Bart's knee. His leg was amputated. What Marshall brought to the screen was rooted in the unforeseen consequences of this traumatic war injury.

      Film historian/author Kevin Brownlow (who wrote the book's Foreword) notes how Marshall played subtlety with audiences emotions. Norma Shearer rhapsodized, "The first time I ever saw Mr. Marshall on screen ... I thought I had never seen a lady so thoroughly and convincingly loved." Her sentiments were echoed by Garbo, Dietrich, Colbert, Stanwyck, Crawford, Bette Davis--all clamoring for his service as leading man. Off-screen, Bart was seduced into a scandalous affair with Gloria Swanson. Marshall's forte, as director Edmund Goulding pointed out, was having "the most seductive voice on the screen." Marshall could coax moonlight into champagne for the Lubitsch classic Trouble in Paradise (1932). He was equally adept at stripping away one's sense of security, playing the menace in Hitchcock's Foreign Correspondent (1940).

      Not to be overlooked is Marshall's dedication helping hundreds of amputees and vets during WWII. He was more candid about himself in these situations, and made a tremendous hit with the men. While Marshall cast his spell on moviegoers, he was adamant about one thing. "I am not a gentleman," he insisted. "To me the term implies artificiality--a studied pose, and I'm damned if I'm artificial!" As the late Robert Osborne aptly stated, "Marshall's personal story is a fascinating one."


      Scott O'Brien's biographies on Kay Francis, Virginia Bruce, Ann Harding, Ruth Chatterton, George Brent and Sylvia Sidney made the "Best of the Year" category in various publications. Herbert Marshall - A Biography is illustrated with 170 photos from the actor's private life and professional career.

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    • Wayne and Ford: The Films, the Friendship, and the Forging of an American Hero


    • By Nancy Schoenberger

      For over twenty years John Ford and John Wayne were a blockbuster Hollywood team, turning out many of the finest Western films ever made. Their most productive years saw the release of one iconic film after another: Rio Grande, The Quiet Man, The Searchers, She Wore a Yellow Ribbon, The Man Who Shot Liberty Valence. But by 1960, the bond of their friendship had frayed, and Wayne felt he could move beyond his mentor with his first solo project, The Alamo. Few of Wayne's following films would have the brilliance or the cachet of a John Ford Western but, taken collectively, the careers of these two men changed movie making in ways that endure to this day. Drawing on previously untapped caches of letters and personal documents, Nancy Schoenberger dramatically narrates a complicated, poignant, and iconic friendship, and the lasting legacy of that friendship on American culture.


      Nancy Schoenberger is a professor of English and creative writing at the College of William and Mary. She is the author of Dangerous Muse: The Life of Lady Caroline Blackwood, and coauthor with her husband, Sam Kashner, of books on Oscar Levant, George Reeves, and the relationship between Elizabeth Taylor and Richard Burton. She lives in Williamsburg, Virginia.

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    • Hank & Jim: The Fifty-Year Friendship of Henry Fonda and James Stewart


    • By Scott Eyman

      Henry Fonda and James Stewart were two of the biggest stars in Hollywood for forty years. They became friends and then roommates as stage actors in New York, and when they began making films in Hollywood, they roomed together again. Between them they made such memorable films as The Grapes of Wrath, Mister Roberts, Twelve Angry Men, and On Golden Pond; and Mr. Smith Goes to Washington, Destry Rides Again, The Philadelphia Story, It's a Wonderful Life, Vertigo, and Rear Window.

      They got along famously, with a shared interest in elaborate practical jokes and model airplanes, among other things. Fonda was a liberal Democrat, Stewart a conservative Republican, but after one memorable blow-up over politics, they agreed never to discuss that subject again. Fonda was a ladies' man who was married five times; Stewart remained married to the same woman for forty-five years. Both men volunteered during World War II and were decorated for their service. When Stewart returned home, still unmarried, he once again moved in with Fonda, his wife, and his two children, Jane and Peter, who knew him as Uncle Jimmy.

      For Hank and Jim, biographer and film historian Scott Eyman spoke with Fonda's widow and children as well as three of Stewart's children, plus actors and directors who had worked with the men--in addition to doing extensive archival research to get the full details of their time together. This is not another Hollywood story, but a fascinating portrait of an extraordinary friendship that lasted through war, marriages, children, careers, and everything else.


      Scott Eyman has written fifteen books, three of them New York Times bestsellers, including John Wayne: The Life and Legend. His most recent book is Hank and Jim. He has been awarded the William K. Everson Award for Film History by the National Board of Review. He teaches film history at the University of Miami and lives in West Palm Beach with his wife, Lynn.

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  1. DVD Reviews

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    • Dick Dinman Salutes the Scott/Boetticher Blu-ray Collection!

    • DICK DINMAN SALUTES THE SCOTT/BOETTICHER BLU-RAY COLLECTION: British home video label Indicator/Powerhouse has just released FIVE TALL TALES: BUDD BOETTICHER & RANDOLPH SCOTT AT COLUMBIA BLU-RAY COLLECTION and to celebrate this long-awaited occasion legendary western star Randolph Scott is saluted along with the director of seven of Scott's finest cinema classics Budd Boetticher. Dick Dinman's guests are Michael Dante who costarred with Scott in a Boetticher directed western and has some great stories to tell, as well as Senior Vice President In Charge Of Restoration for Sony Pictures Entertainment Grover Crisp who describes the arduous and time-consuming process it took to bring the Scott-Boetticher cinema milestones to home video.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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    • Dick Dinman & Bob Furmanek Survive the Horror of the 3D MAZE!


    • DICK DINMAN & BOB FURMANEK SURVIVE THE HORROR OF THE 3D "MAZE"!: With their amazingly immersive 4K 3D Blu-ray release of the terror-filled chiller THE MAZE (distributed by Kino Lorber Entertainment) the 3D Film Archive continues their acclaimed tradition of painstakingly restoring the original 50's 3D classics to their visual sensation-inducing brilliance and to celebrate the occasion the 3D Film Archive's head honcho Robert Furmanek rejoins producer/host Dick Dinman with his account of the challenges inherent in restoring not only 3D picture but 3 Channel Stereo Sound to this much requested creep-fest.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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    • Dick Dinman & Eddie Muller Dispense a Double Dose of Dana!

    • DICK DINMAN & EDDIE MULLER DISPENSE A DOUBLE DOSE OF DANA: The Warner Archive has just released on Blu-ray legendary director Fritz Lang's last two American-made edge-of-your-seat thrillers WHILE THE CITY SLEEPS and BEYOND A REASONABLE DOUBT in their original wide screen SuperScope incarnations and popular film noir author and TCM host Eddie Muller rejoins producer/host Dick Dinman as they both salute the unjustly underrated star of both films, Dana Andrews.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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    • Dick Dinman & Jane Russell Revisit a Controversial "Outlaw"!

    • DICK DINMAN & JANE RUSSELL REVISIT A CONTROVERSIAL "OUTLAW"! Kino Lorber's KL Classics division adds a new 2K Blu-ray restoration of Howard Hughes' incendiary and controversial western epic THE OUTLAW to their impressive list of film classic home video releases and to celebrate the occasion producer/host Dick Dinman revisits his previous chat with the late OUTLAW sensation Jane Russell which is presented uncut and unedited for the very first time.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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    • Dick Dinman Salutes Gary Cooper's Blu THE HANGING TREE!

    • DICK DINMAN SALUTES GARY COOPER'S BLU "THE HANGING TREE": Producer/host Dick Dinman and Warner Home Video's Senior Vice President of Classic and Theatrical Marketing George Feltenstein celebrate the Warner Archive's lustrously restored Blu-ray release of THE HANGING TREE one of legendary superstar Gary Cooper's most unjustly forgotten masterworks and actress Joan Leslie (who at the tender age of 16 costarred with Cooper in SERGEANT YORK) and acclaimed director Michael Anderson (who directed Cooper's final two films) regale Dick with their praise of Cooper's uniquely invisible acting technique.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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  1. Press Release

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    • Web Reviewer Glenn Erickson Launches 'CineSavant'


    • Web reviewer Glenn Erickson, aka 'DVD Savant' has established a new home under a new identity, 'CineSavant.' Reviewing independently since 1998, the Savant database has grown to over five thousand reviews and articles, and become one of the most respected and sought-out review pages on the web for news and opinions about classic films on disc. Readership boomed when the page Trailers from Hell picked up Glenn's reviews as featured content in 2015.

      A varied background helps add perspective to Glenn's reviews; from the UCLA Film School he worked in special effects, and then moved on to TV commercial work, and trailers for The Cannon Group. A long stint with MGM/UA Home Video led to editing large-scale DVD extras and other special projects. He began writing for the web in 1997 as 'MGM Video Savant.' Working with the film curators at MGM, Glenn helped detect and produced the restoration of the original ending of the film noir classic Kiss Me Deadly. Glenn has published two books of reviews, and has been writing and researching for TCM since 2004.

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    • Vic Damone (1928-2018)

    • Vic Damone, the legendary singer who came up in the big band era and saw his popularity as a crooner develop into a long career as a recording artist, nightclub entertainer, actor and radio-TV presenter, died February 11, 2018 in Miami Beach, FL at the age of 89.

      No less a figure than Frank Sinatra once proclaimed singer Vic Damone as possessing the "best pipes in the business," which he parlayed into a popular recording career in the late 1940s and 1950s with such hits as "You're Breaking My Heart," "Again" and "My Heart Cries for You," among many other lush romantic ballads. Damone also enjoyed a secondary career as an actor, largely as lovestruck youth in such Hollywood musicals as Deep in My Heart (1954) and Kismet (1955). Like many pop crooners, Damone was unmoored by the rise of rock-n-roll in the early 1960s, though he segued successfully into the casino circuit in the 1970s, where he remained active and in fine voice until his retirement following a stroke in 2001. Though never a cultural institution like Sinatra or Nat "King" Cole, Vic Damone's rich baritone provided him with a slew of hits in the 1950s and a career on stage that compared with and even outlasted many of his contemporaries.

      Born Vito Rocco Farinola on June 12, 1928 in Brooklyn, NY, Vic Damone was one of five children and the only son of electrician Rocco Farinola and his wife, Mamie Damone, both of whom were immigrants who hailed from Sicily. Music was an important component of Damone's life from an early age; his mother taught piano, while his father played guitar. However, he drew his greatest inspiration from Frank Sinatra, whose meteoric rise to pop stardom inspired the younger man to take singing lessons. These were cut short when his father suffered a serious injury in a work accident, prompting Damone to drop out of school and work as an usher and elevator operator at the Paramount Theater in Manhattan. While bringing Perry Como to his dressing room following a performance at the theater, Damone asked the singer if he would hear him sing in order to judge if he had talent. His rendition of "There Must Be a Way" impressed Como, who referred Damone to a local bandleader. After adopting the stage moniker of Vic Damone, he made his professional debut as a singer in early 1947 with a performance on WHN radio in New York shortly before capturing first place on "Arthur Godfrey's Talent Scouts" in April of that year. This in turn led to regular appearances on the Godfrey show, where he met Milton Berle. The comic helped to broker a contract for Damone to perform at the La Martinique and Aquarium nightclubs, which afforded him major exposure. By the summer of 1947, Damone had signed with Mercury Records, which released his debut single, "I Have But One Heart." The record reached No. 7 on the Billboard Hot 100, as did its immediate follow-up, "You Do."

      Damone was soon hosting his own radio program, Saturday Night Serenade, while playing live dates at major New York theaters such as the Copa and even his previous employers, the Paramount. In 1948, he scored four Top 30 singles, including a duet with Patti Page on "Say Something Sweet to Your Sweetheart," before returning to the Top 10 with the million-seller "Again" in 1949. His next release that year, "You're Breaking My Heart," became his first and only single to top the pop charts, though he would visit the Top 10 on several occasions in the late '40s and early '50s, most notably with a 1950 cover of "Tzena, Tzena, Tzena," an Israeli folk song adapted by the Weavers, and "My Heart Cries for You," which reached No. 4 in 1950. That same year, he signed a film contract with MGM, which led to his screen debut as an amorous Frenchman in pursuit of Jane Powell in Rich, Young and Pretty (1951). After scoring one more Top 5 hit with "My Truly Truly Fair" in 1951, Damone was inducted into the Army, where he served until 1953. Mercury kept him in the spotlight during this period by releasing a steady string of material recorded by Damone prior to his tour of duty, including the Top 10 hits "Here in My Heart" (1952) and "April in Portugal" and "Ebb Tide," both in 1953.

      Upon his return from military service, Damone resumed his film career, enjoying featured or co-starring roles in major musical productions like Hit the Deck (1955) and the screen adaptation of Kismet (1955). His singing career, however, entered the doldrums, prompting him to leave Mercury for Columbia in 1956. That year, Damone would score a No. 4 hit with "On the Street Where You Live," from the musical "My Fair Lady," but the single would prove his final visit to the Top 10 pop charts. Though his albums performed well, Damone had lost his ground on the singles chart to the growing rock-n-roll movement, and by 1961, he had left Columbia for Capitol. The label attempted to groom Damone into a mature balladeer with 1962's "Linger Awhile with Vic Damone" (1962), which, like its five follow-ups, earned him critical acclaim but few record sales. From 1962 to 1963, he hosted an NBC variety series called "The Lively Ones," which featured an impressive array of jazz and folk performers.

      Damone again changed labels in 1965, moving to Warner Bros., where he earned a Top 30 hit with "You Were Only Fooling." It also reached No. 8 on the adult contemporary charts, where he would consistently place in the Top 40 for the next half-decade, until earning his final U.S. chart hit with "To Make a Big Man Cry," which reached No. 31 on the adult contemporary charts in 1969. Damone's finances took a downward turn in the early 1970s, forcing him to declare bankruptcy. But after staging a major concert in Las Vegas in 1971, he became a staple of the casino and nightclub circuit, which returned him to solvency. Damone soon became such a popular figure in this arena that he expanded his touring to the United Kingdom, where he was received warmly by audiences. Damone's popularity overseas prompted him to return to recording, issuing several albums through RCA between 1992 and 1995. He remained active until 2000, when a minor stroke brought his stage career to a close with a farewell concert in Palm Beach, FL. In 2009, he penned his autobiography, Singing Was the Easy Part, shortly before breaking his retirement with a special one-off performance in 2011.

      by Paul Gaita

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    • Easterseals Disability Film Challenge, April 13-15

    • TCM members and supporters Get 20% Discount on Entry Fee for Easterseals Disability Film Challenge, April 13-15

      Prizes Include Hollywood Mentorships, Festival Screenings, Cash & Other Prizes


      One in five Americans have a disability, making it today's largest minority, yet far too often their important and varied stories go untold ... Until now!

      In its 5th year and supported by some of Hollywood's biggest names, the Easterseals Disability Film Challenge addresses this underrepresentation by giving filmmakers the platform to collaborate and tell unique stories to help Change the Way You View Disability.

      Judged by a noted and diverse group of entertainment industry talent, films are not required to include disability in the storyline, but must include at least one person with a disability in front of or behind the camera.

      REGISTER TODAY for the annual, weekend-long competition, April 13-15. Entry deadline: April 11, 2018. Entrants are given 55 hours to write and produce a 3-5 minute short film based on an assigned genre. RULES:
      www.DisabilityFilmChallenge.com

      Finalists will be announced and screened at the Bentonville Film Festival (May 1-6), which champions inclusion in all form of media; will be invited to an exclusive roundtable discussion with agents at United Talent Agency; and receive a one-year subscription to Variety Magazine.

      Winners, announced at a red-carpet event May 10, hosted by United Talent Agency in Beverly Hills, are awarded industry mentorships; the opportunity to screen their film at the Los Angeles-based HollyShorts Film Festival (August 9-18), an Academy Award-qualifying competition; $1,000 grants provided by Universal Filmed Entertainment Group towards their next production; and other prizes, including Dell computers and a Nike gift bag with assorted products, including a pair of shoes from the new FlyEase line!

      2018 MENTORS: A top Universal Pictures executive (TBA),casting director Pam Dixon (Green Lantern, The Mask of Zorro, The Punisher, Angels in the Outfield, City Slickers) and Tiffany Smith Anoa'i, VP Entertainment Diversity, Inclusion & Communications, CBS Entertainment. Additional mentors TBA.

      TCM Members and Supporters get 20% off the entry fee and special arrangements have been made for the films to be produced under the SAG-AFTRA short film agreement. DISCOUNT CODE: TCM2018

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    • Martin Scorsese to be Presented the First Annual Robert Osborne Award


    • Turner Classic Movies is proud to honor our late host, Robert Osborne, with the creation of the Robert Osborne Award. This annual award will be presented at the TCM Classic Film Festival to an individual whose work has helped keep the cultural heritage of classic films alive and thriving for generations to come. Osborne served as the host of Turner Classic Movies for 23 years, and his passion for film and wealth of knowledge as a film historian helped preserve the legacy of classic film. For the inaugural award, TCM will celebrate world-renowned filmmaker director Martin Scorsese and his longtime dedication to preserving and protecting motion picture history at the ninth annual Festival. This presentation will be made as part of the official Opening Night Gala at the TCL Chinese Theatre IMAX.

      Scorsese's career began in New York City at NYU where he made a series of short films. In 1968, he wrote and directed his debut feature, Who's That Knocking At My Door. Since then, he has directed critically acclaimed, award-winning films including Mean Streets, Taxi Driver, Raging Bull, The Last Temptation of Christ, Goodfellas, Gangs of New York, The Aviator, The Departed, for which he won an Academy Award for Best Director and Best Picture, The Wolf of Wall Street, and Silence. Scorsese has also directed numerous documentaries including the Peabody Award winning No Direction Home: Bob Dylan and Elia Kazan: A Letter to Elia; as well as Italianamerican, The Last Waltz, A Personal Journey with Martin Scorsese through American Movies, Il Mio Viaggio in Italia, Public Speaking, Shine a Light and George Harrison: Living in the Material World, for which Scorsese received Emmy Awards for Outstanding Directing for Nonfiction Programming and Outstanding Nonfiction Special. Scorsese's inventiveness, bold vision, and mastery of the form have solidified his place in cinematic history.

      Founded by Martin Scorsese in 1990, The Film Foundation has helped restore over 800 films, making available classic and independent films thought to be lost. In 2007, Scorsese expanded The Film Foundation's work globally, creating the World Cinema Project, which has preserved, restored, and distributed over 30 films from over 20 countries.

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    • Acclaimed documentary TAB HUNTER CONFIDENTIAL released on DVD & Blu-ray

    • FilmRise has announced the September 1 Blu-Ray and DVD release of Tab Hunter Confidential. After an incredible year on the film festival circuit and a theatrical run across fifty cities in the United States, the acclaimed documentary will be available to rent or own from all major retailers. Based on Hunter's New York Times best selling memoir, producer Allan Glaser and director Jeffrey Schwarz (I Am Divine) have assembled dozens of past and present Hollywood stars, and most importantly the man himself, to talk frankly about being a survivor of the Hollywood roller coaster. The Blu-Ray & DVD will be available nationwide at all major retailers, with autographed copies only available on Tab Hunter's official website, www.tabhunter.com. Click here to learn more and order Tab Hunter Confidential on Blu-Ray & DVD (with optional autograph).

      Throughout the 1950s, Tab Hunter reigned as Hollywood's ultimate heartthrob. In dozens of films, and in the pages of countless magazines, Hunter's astonishing looks and golden-boy sex appeal drove his fans to screaming, delirious frenzy, solidifying him the prototype for all young matinee idols to come. Bristling against being just another pretty face and wanting to be taken seriously, Hunter was one of the few to be able to transcend pin-up boy status. He earned his stripes as an actor to become a major movie star and recording artist. But throughout his years of stardom, Hunter had a secret. He was gay, and spent his Hollywood years in a precarious closet that repeatedly threatened to implode and destroy him. Decades later, Hunter's dramatic, turbulent and ultimately inspiring life story has become an explosive documentary feature.

      Tab Hunter Confidential offers unprecedented access to the man behind the marquee smile, who shares first hand what it was like to be a manufactured movie star during the Golden Age of Hollywood and the consequences of being someone totally different from his studio image. The film traces Hunter's dizzying rise to Hollywood super-stardom, his secret life in an era when being openly gay was unthinkable, and his ultimate triumph when the limelight finally passed him by and true love won.

      Punctuating Tab's on-screen presence are rare film clips and provocative interviews with friends and co-stars including John Waters, Clint Eastwood, George Takei, Debbie Reynolds, Robert Wagner, Portia de Rossi, Noah Wyle, Connie Stevens, Robert Osborne, and dozens more.

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To Kill a Mockingbird - 50th Anniversary DVD
$8.55
was $14.98
Out of the Past DVD
$14.36
was $17.99
Rear Window DVD
$10.47
was $14.98
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  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca
  •  
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca
  •  
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca