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    • Elizabeth Taylor Memorial Program on 4/10

    • Turner Classic Movies will remember the life and career of two-time Academy Award®-winning actress and beloved humanitarian Elizabeth Taylor on Sunday, April 10. The 24-hour memorial tribute, which is set to begin at 6 a.m. (ET/PT), will include both of Taylor's Oscar®-winning performances, with Butterfield 8 (1960) at 8 p.m. (ET) and Who's Afraid of Virginia Woolf? (1966) at 10 p.m. (ET).

      TCM's tribute will also feature Taylor in such memorable films as the family classics Lassie Come Home (1943) and National Velvet (1944); the delightful comedies Father of the Bride (1950) and Father's Little Dividend (1951); the historical epic Ivanhoe (1952); and the powerful dramas Giant (1956), Raintree County (1957) and Cat on a Hot Tin Roof (1958). Also included is the spy drama Conspirator (1949), with Taylor in her first adult role.

      The following is a complete schedule of TCM's April 10 memorial tribute to Elizabeth Taylor (all times Eastern):
      6 a.m. - Lassie Come Home (1943), with Roddy McDowall and Edmund Gwenn; directed by Fred M. Wilcox.
      7:30 a.m. - National Velvet (1944), with Mickey Rooney, Anne Revere and Angela Lansbury; directed by Clarence Brown.
      10 a.m. - Conspirator (1952), with Robert Taylor and Robert Flemyng; directed by Victor Saville.
      11:30 a.m. - Father of the Bride (1950), with Spencer Tracy, Billie Burke, Joan Bennett and Don Taylor; directed by Vincente Minnelli.
      1:15 a.m. - Father's Little Dividend (1951), with Spencer Tracy, Billie Burke, Joan Bennett and Don Taylor; directed by Vincente Minnelli.
      2:45 p.m. - Raintree County (1957), with Montgomery Clift, Eva Marie Saint, Lee Marvin, Rod Taylor and Agnes Moorehead; directed by Edward Dmytryk.
      6 p.m. - Cat on a Hot Tin Roof (1958), with Paul Newman and Burl Ives; directed by Richard Brooks.
      8 p.m. - Butterfield 8 (1960), with Laurence Harvey and Eddie Fisher; directed by Daniel Mann.
      10 p.m. - Who's Afraid of Virginia Woolf? (1966), with Richard Burton, George Segal and Sandy Dennis; directed by Mike Nichols.
      12:30 a.m. - Giant (1956), with James Dean and Rock Hudson; directed by George Stevens.
      4 a.m. - Ivanhoe (1952), with Robert Taylor and Joan Fontaine; directed by Richard Thorpe.

      In addition to TCM's on-air tribute to Taylor, the 2011 TCM Classic Film Festival in Hollywood will feature a special 60th anniversary screening of her brilliant performance opposite Montgomery Clift in George Stevens' A Place in the Sun (1951). The TCM Classic Film Festival takes place April 28-May 1.

      TCM REMEMBERS ELIZABETH TAYLOR (1932-2011)

      There may be other contenders for the honor, but if you want the definitive picture to put next to the phrase "movie star" in the dictionary, there's only one person who truly fills the bill -- Elizabeth Taylor. One of the last of the great studio stars, Taylor encompasses all of the glamour and all of the contradictions of stardom. A beautiful child who never went through an awkward phase, she grew up to become one of the most desired women in Hollywood. Even as she matured as an actress of surprising depth, she was generating headlines that made her the focus of unbridled idolatry and unreasoning hatred.

      In her 79 years, she has dazzled audiences with her talents for acting and living large, and inspired them with her refusal to give in to heartache or illness. Like every great star she has re-invented herself as needed, ranging from child beauty to budding actress to fallen woman to diva to respected leader in the fight against AIDS. Through it all, the studio manipulations, the broken marriages, and the constant headlines, her greatest accomplishment is simply being her own woman.

      Taylor's legendary beauty preceded her first films. According to legend, a talent scout spotted her playing as a child and tried to interest her mother in putting her up for the role of Bonnie Blue Butler in Gone with the Wind (1939). She started dancing at three in her native London, where she performed in a recital for Princesses Elizabeth and Margaret. When World War II started, her art dealer father sent the girl and her mother to California to escape the Blitz.

      As more and more people commented on the child's beauty, her mother finally decided to make the rounds, winning her a screen test at Universal, where she made her big-screen debut opposite "Our Gang" star Carl "Alfalfa" Switzer in There's One Born Every Minute (1942). When the studio didn't have any other roles for her, Taylor's father, now in the U.S., ran into MGM executive Sam Marx while volunteering as an air warden. That led to another test and a contract. Studio head Louis B. Mayer kept a stable of child stars that at various times included Mickey Rooney, Judy Garland and Lana Turner to play out variations on his dreams of the perfect American family. With her dark hair, perfect face and violet eyes, Taylor was a welcome addition to Mayer's vision. Her first Metro film was Lassie Come Home (1943), which started a lifelong friendship with co-star Roddy McDowall.

      Taylor worked out for months to win the role of Velvet Brown in National Velvet (1944), a project that years earlier had been planned for Katharine Hepburn. At 13, however, Taylor was perfect as the young girl devoted to her horse. She so loved the film that the studio gave her the horse that played Pie after the picture wrapped. The critical and box-office success made it clear that Taylor was a very special child indeed. The studio didn't always heed that lesson. Some of her early films, like Cynthia (1947), were pedestrian at best. But in the right vehicle, as when she tried to rehabilitate Lassie after wartime service in Courage of Lassie (1946), she was dazzling.

      Taylor matured early. By the time she was 16, she seemed adult enough to win Robert Stack from Jane Powell in A Date with Judy (1948), even though both leading ladies were cast as high-school girls. At 18, she graduated to adult roles as Spencer Tracy's daughter in Father of the Bride (1950), a film that got a big publicity boost out of her marriage to hotel heir Conrad "Nicky" Hilton, and as Robert Taylor's wife in Conspirator (1949). While filming the latter, she also had to deal with her co-star's very adult ardor for her.

      Taylor's first grown-up roles were mainly built around her beauty. All she had to do was look good while Robert Taylor fought for her honor in Ivanhoe (1952) or Stewart Granger tried to make his fortune in Beau Brummell (1954). But the talents that had made National Velvet so successful were still there, waiting for the right vehicle. She found one such part when MGM loaned her to Paramount for A Place in the Sun (1951). She showed surprising passion and subtlety as the wealthy young woman who falls for social-climbing Montgomery Clift and even impressed her very serious co-star, who became another close friend. Taylor would credit the F. Scott Fitzgerald adaptation The Last Time I Saw Paris (1954) as the first film in which she realized how much she wanted to be respected as an actress, but there are hints of a more mature approach to her work in Rhapsody (1954), in which she plays an heiress involved with the classical music world, and Elephant Walk (1954), as a plantation owner's wife torn between her husband and his plantation manager. In the latter, she replaced an ailing Vivien Leigh and had to match footage already shot with the other actress. The film made her more beautiful than ever, which may have blinded critics to the quality of her work.

      MGM finally realized they had an actress on their hands when a loan to Warner Bros. for Giant (1956) earned her critical raves. The studio began developing projects to exploit both her beauty and her acting, helping her to her first Oscar® nomination with Raintree County (1957), a Civil War tale about a Southern belle who goes mad.

      When Grace Kelly retired from films to marry Prince Rainier of Monaco, the studio projects she left unfilmed included Tennessee Williams' Cat on a Hot Tin Roof (1958). Taylor's third husband, showman Mike Todd, convinced the studio to cast her in the role, and she scored another triumph. Making her accomplishment more amazing was the fact that she shot the film while mourning for Todd, who was killed in a plane crash during the making of Cat. By the time the film came out, Taylor was making headlines again, this time as the scarlet woman who had stolen Todd's friend, singer Eddie Fisher, from wife Debbie Reynolds. Although she was denounced by some, the publicity drove ticket sales for the adult drama, and the film brought her a second Oscar® nomination.

      Taylor took another stab at a Tennessee Williams adaptation, co-starring with Clift and Katharine Hepburn in Suddenly, Last Summer (1959). Again, she turned in a surprisingly good performance, pulling off a lengthy final monologue about her cousin's tragic fate. The film brought her third Oscar® nomination. 20th Century-Fox had offered her the title role in their epic Cleopatra (1963), prompting her to jokingly demand $1 million, the highest fee ever paid an actor at that time. When they compromised on $750,000 and a percentage, she couldn't say, "No." But she still owed MGM one more film. With no time to turn anything down, they stuck her in Butterfield 8 (1960), a turgid adaptation of John O'Hara's novel about a high-priced call girl. Taylor hated the film. When the studio screened it for her, she threw a drink at the screen. Still, she gave a respectable performance and won her fourth Oscar® nomination in as many years.

      By the time Butterfield 8 came out, she was already working on Cleopatra in England. The harsh English winter gave her a cold that turned into pneumonia. Suddenly headlines proclaimed that she was at death's door. She survived, and the publicity brought her first Oscar® win against some very strong competition. At last, the world seemed to have forgiven her "stealing" Fisher from Debbie Reynolds.

      By the time she returned to work on Cleopatra, there had been some changes. Director Rouben Mamoulian had dropped out and been replaced by Joseph L. Mankiewicz, and leading men Peter Finch and Stephen Boyd had gone off to work on other films. To replace them, Fox hired Rex Harrison and Richard Burton. That's when the headlines started all over again. A few days after they filmed their first scenes as legendary lovers Cleopatra and Marc Antony, Taylor and Burton were engaged in a passionate affair. Before long, Fisher left the location in Rome, followed later by Burton's wife. By the time the film ended, both marriages were over, and Taylor was a pariah once again. The bloated production's box office failure didn't help, either, and Fox tried to sue her for slowing production and causing bad publicity.

      As soon as Taylor and Burton had finished Cleopatra, however, they played an estranged couple in The V.I.P.s (1963), a Grand Hotel in an airport with an all-star cast including Orson Welles, Margaret Rutherford, Rod Taylor and Maggie Smith. Critics hated the film, but audiences bought tickets thinking they were getting an inside look at the infamous couple. The same attraction worked with The Sandpiper (1965), a turgid romance with bohemian artist Taylor falling for married priest Burton, and Who's Afraid of Virginia Woolf? (1966), their best film together. For her role as the slatternly wife of a college professor, Taylor gained weight, grayed her hair and had the makeup men add rather than hide wrinkles. Her searing performance brought her a second Oscar®, and this time she could feel that it was deserved.

      After Virginia Woolf, however, their box office popularity started to decline. By now married, the pair continued to generate headlines with their expensive purchases and jet-set socializing, but their films grew steadily worse. For one thing, she and Burton priced themselves out of many interesting mid-budget films. For another, his drinking impaired his judgment. Scripts like Boom (1968) and Hammersmith Is Out (1972) had critics lamenting the betrayal of both stars' abilities and talent. Oddly, when they announced their separation in 1973, they each got some of their best reviews for their TV movie, Divorce His - Divorce Hers; Taylor also received plaudits for the plastic surgery drama Ash Wednesday (1973) but it wasn't enough to restore her waning career.

      As film work dried up, Taylor explored other acting opportunities, guesting on the soap opera General Hospital and starring in an acclaimed revival of The Little Foxes on Broadway. She even reunited with Burton for a stage tour of Private Lives. But she soon found a more productive outlet for her talents. The death of her friend Rock Hudson from AIDS complications in 1985 put Taylor in the center of the controversy over the disease. She soon became a tireless worker for AIDS-related charities, eventually winning a third Oscar®, the Jean Hersholt Humanitarian Award, for her efforts.

      Even in semi-retirement, Taylor has remained a star and will always be one even after more acclaimed actors are long forgotten. She died at the age of 79 at Los Angeles' Cedars-Sinai Hospital on March 23, 2011.

      by Frank Miller

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  1. New Books

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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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    • Michael Curtiz: A Life in Film

    • by Alan K. Rode

      Academy Award®-winning director Michael Curtiz (1886-1962)--whose best-known films include Casablanca (1942), Yankee Doodle Dandy (1942), Mildred Pierce (1945) and White Christmas (1954)--was in many ways the anti-auteur. During his unprecedented twenty-seven-year tenure at Warner Bros., he directed swashbuckling adventures, westerns, musicals, war epics, historical dramas, horror films, melodramas, comedies, and film noir masterpieces. The director's staggering output of 180 films surpasses that of the legendary John Ford and exceeds the combined total of films directed by George Cukor, Victor Fleming, and Howard Hawks.

      In the first biography of this colorful, instinctual artist, Alan K. Rode illuminates the life and work of one of the film industry's most complex figures. He begins by exploring the director's early life and career in his native Hungary, revealing how Curtiz shaped the earliest days of silent cinema in Europe as he acted in, produced, and directed scores of films before immigrating to the United States in 1926. In Hollywood, Curtiz earned a reputation for his explosive tantrums and his difficulty communicating in English. However, few directors elicited more memorable portrayals from their casts, and ten different actors delivered Oscar®-nominated performances under his direction.

      Rode also investigates Curtiz's dramatic personal life, discussing his enduring creative partnership with his wife, screenwriter Bess Meredyth, as well as his numerous affairs and children born of his extramarital relationships. His meticulously researched biography provides a nuanced understanding of one of the most talented filmmakers of Hollywood's golden age.


      Writer and film scholar Alan K. Rode is the author of Charles McGraw: Film Noir Tough Guy. He is the host and producer of the Arthur Lyons Film Noir Festival in Palm Springs, California, and director-treasurer of the Film Noir Foundation.

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  1. DVD Reviews

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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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    • Dick Dinman Salutes YOUNG MR. LINCOLN Director John Ford!

    • DICK DINMAN SALUTES "YOUNG MR. LINCOLN" DIRECTOR JOHN FORD: In honor of the just released Criterion Collection's magnificent 4K Blu-ray restoration of director John Ford's beloved classic "OUNG MR. LINCOLN producer/host Dick Dinman showcases his chat with the prolific director Andrew V. McLaglen who knew director Ford both intimately and professionally from the early '30s until Ford's demise in the '70s and Andrew relates some never before heard and frequently hilarious stories about this charismatic yet crotchety and unpredictable cinema giant.
      PLUS: Tributes to Ford from Lee Marvin, Roddy McDowell, Richard Widmark, Robert Wagner, Charlton Heston, James Stewart, Jack Lemmon and Maureen O'Hara.

      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 & Alan K. Rode Salute CASABLANCA Director Michael Curtiz

    • DICK DINMAN & ALAN K. RODE SALUTE "CASABLANCA" DIRECTOR MICHAEL CURTIZ: Producer/host Dick Dinman's guest Alan K. Rode, author of the just released and universally praised bio MICHAEL CURTIZ: A LIFE IN FILM, regales Dick with numerous previously unknown facts about the incredible film career and chaotic romantic life of one of the most prolific and volatile yet sensitive film directors of all 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's "Best of '17" Classic Blu-ray Releases!

    • DICK DINMAN SALUTES YEAR'S BEST CLASSIC BLU-RAY RELEASES: Producer/host Dick Dinman picks his choices for the best classic Blu-ray releases of the year among which one of the biggest surprises is Classic Flix' s shockingly magnificent rendering of the brilliant Anthony Mann/John Alton noir masterwork T-MEN and guest Classic Flix head honcho David Kawas reveals the wallet-busting challenges inherit in restoring a classic previously only available in dupey second rate dvd renditions.

      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