Tuesday, April 14, 2015

George Brougham in The List of Adrian Messenger ( 1963 )

The devil in disguise. That is the only phrase that can be used to describe George Brougham, portrayed with admirable ferociousness by Kirk Douglas in John Huston's overlooked dark thriller The List of Adrian Messenger ( 1963 ). He is the most vile of villains for he has no conscience to reprimand him and will equally do harm to man, woman, or child. Murder is only a means by which he can accomplish his objective. One by one he crosses off the names of his victims from the list he keeps in his little black book until only one remains; the name of the final person standing in the way of his diabolical plan. However, writer Adrian Messenger ( John Merivale ) discovers his ghastly scheme while doing research for his memoir and duplicates the list of intended victims, all of whom are bound by a common thread. 

When Messenger dies in a plane bombing, his friend, former MI6 agent Colonel Anthony Gethryn (George C. Scott ), decides to investigate the list of contacts that was left in his care. Aiding him in his endeavor is Raoul ( Jacques Roux ), the sole survivor of the plane crash and the only man who overheard Messenger's cryptic last words. Together they discover that seven of the eleven men on the list have already perished in "accidental" deaths. 


So clever is Brougham that each one of his victims appears to have been a passenger in a mass transit accident or came to an abrupt demise on their own. No two of his crimes are alike. Drowning, stabbing, bombing, hit and run....he employs all methods. As a double insurance against being discovered, Brougham utilizes heavy disguises while in the preparation of annihilating his victims. These were not unpremeditated crimes he was committing, each one was strategically planned with no room for error. 


The List of Adrian Messenger was released in late May of 1963 and was heavily promoted for its mystery gimmick - five leading actors were selected to be buried under cakes of makeup and the audience had the fun of trying to spot who is who and who is not whom they seem to be. Tony Curtis, Frank Sinatra, Burt Lancaster and Robert Mitchum were the actors who provided cameos, but so thick is their makeup that it is difficult to distinguish them, save for Robert Mitchum.


John Huston had just completed filming Hud and wanted to delve into a project that he could relax with. The List of Adrian Messenger provided him with an excuse to return to his ancestral home of Ireland and indulge in one of his favorite pastimes : fox-hunting. Some of the most impressive scenes in this fun thriller revolve around the hunt sequences. 

This unique endeavor also allowed Huston to work alongside screenwriter Anthony Veiller whom he collaborated with on Beat the Devil ( 1953 ) and, later, on The Night of the Iguana ( 1964 ). Veiller crafted his script from the first book in the Anthony Gethryn series created by novelist Philip MacDonald ( "The Lost Patrol", "X v. Rex" ).


George C. Scott is excellent as a modern-day Sherlock Holmes, trying to put himself into the shoes of the killer and anticipate his next move before he strikes, but he finds it is a fiend more cunning than Moriarty that he is up against. Jacques Roux is also very good as his Dr. Watson, acting as a sounding board for the brainstorms of the retired agent. Playing his love-interest is the stately Dana Wynter, and rounding out the cast are some of Hollywood's veteran Brits : Herbert Marshall, Gladys Cooper and Clive Brook. 

Even with such an impressive cast it is Kirk Douglas, who is credited on the original posters only as a "cameo" actor, that steals the film with his portrayal of the devious George Brougham. He is an egotistical killer who, in his warped mind, derives immense satisfaction in his own cleverness. 


Jerry Goldsmith penned a wicked tango theme that plays in a leisurely fashion during each of Brougham's scenes, emphasizing the gentle patience in which Brougham goes about executing his crimes. Unlike some villains who are so evil they're good, George Brougham is just plain evil. He is a villain beyond hope of redemption and, ultimately, he receives his just punishment.

This post is our contribution to The Great Villain Blogathon being hosted by Speakeasy, Shadows and Satin, and Silver Screenings running from April 13-17th. Be sure to head on over to their sites to check out all the dastardly villains being dished up. 

Saturday, April 11, 2015

The Impossibly Difficult Name that Movie Game


This is an easy screenshot to guess for those familiar with the film, but those who are not familiar with the film it may prove to be rather difficult. We know who the actor pictured is and so do you, now all you have to do is give us the title of the movie! 

As always, if you are unfamiliar with the rules to the game or the prize, click here

Saturday, April 4, 2015

Bill Thomas - Costume Designer

Fortunately, Hollywood costume designers have always received well-deserved recognition of their contribution to the art of making a motion picture, but alas, even in this note-worthy profession there are the few who have fallen into obscurity. Yes, even a giant star can be lost in a vast galaxy, and so is the case with Bill Thomas. He was one of the busiest and hardest working costume designers in Hollywood and yet today his name has become forgotten among such talents as Edith Head, Adrian, and Irene. 

Ah, but even though his name was dwarfed by these giants, his work was not. How could it be? Bill Thomas dressed actors in over 300 films ( including just about every Walt Disney production ). His handiwork was evident in a wide array of films but I do indeed believe it is through his Disney work that he will be especially remembered.

Who does not fondly recall the striped shirtwaist worn by nanny Mary Poppins while doling out spoonfuls of sugar to her wee charges; or Miss Eglantine Price’s oversized motoring habit she wore while zipping through town on her motorbike to fetch her latest Correspondence of Witchcraft package; or Susan and Sharon’s matching blue and white Camp Inch uniforms, the envy of even a full-fledged Girl Scout? His skill in costuming contributed greatly to all of these classics. Although he did a marvelous job on all of the films he worked on, I will be focusing on his work for the Walt Disney Studios....just because they are so colorful. 


First, a brief look at the history of this man: Bill Thomas was born on October 13, 1921 in Chicago, Illinois. After high school he pursued his love of art and design at the Chouinard Institute, where another famous Disney Imagineer, Herbert Ryman, also received his education. In Hollywood, Bill worked at Universal Studios getting his start in motion picture costume design in films and serials such as The Desert Hawk, Mystery Submarine and westerns like Wyoming Mail. It was not long after this that his work was beginning to be recognized and he found that more and more dress designing assignments were coming his way.

                  
Color films were a medium that Bill was especially adept at making costumes for and during the early 1950s he exercised this skill and was busy working on such rousing adventure films as The Flame of Araby, Yankee Buccaneer, The World in His Arms, and The Pirate – where he designed Judy and Gene’s comical garb for the famous 'Be a Clown' number.

                
Director Douglas Sirk found Bill’s work very eye-catching and had him design gowns for Lana Turner, Jane Wyman and Dorothy Malone in many of his lush Technicolor tear-jerkers such as Magnificent Obsession, All That Heaven Allows, Written on the Wind, and Imitation of Life (1959 ). Bill provided the perfect look of simple elegance for these leading ladies.

                  

For the 1960 epic Spartacus, Bill Thomas again was called on to design strictly the leading lady’s wardrobe ( Jean Simmons', that is ) and this Romanesque work garnered him an Academy Award, along with chief costume designer Valles. It was one of nine Academy nominations he was to be honored with during his career. 

In 1961 he received his first of many, many assignments for Walt Disney Studios – The Parent Trap. Oh, and what a wonderful job he did creating these costumes!

                
" You know Margaret, I’ve got to hand it to you, it certainly shows strength of character not to go with the new fashion trend in clothes "
                
Yes, Maggie’s transformation from a "mature" middle-aged mother of two to a ravishing modern mom was due in no small part to that stand-out lime green ensemble he designed. And the girls were not neglected in the fashionable dress department either….Bill had previously worked on teen-themed films such as The Restless Years ( with Sandra Dee ) and Tammy and the Bachelor ( Debbie Reynolds ) and knew well-nigh how to dress young women in the fashion of the time.

               
During his tenure at the Walt Disney Studios, Bill Thomas had time to do many freelance projects with other studios as well. One of these films was the mad cap comedy It’s a Mad, Mad, Mad, Mad World ( 1963 ) and he had an enormous cast to design costumes for in that one. Ethel Merman and that flower printed dress and straw sunhat she wore as the “mother-in-law”, will be forever associated together in my mind. Oh, but poor Mr. Thomas…the majority of his costumes were either ripped, splattered with paint, or layered in dust and dirt by the end of the film. ( No wonder you won’t find any It’s a Mad,Mad,Mad,World costumes in Debbie Reynold’s museum ).

He also designed the wardrobe for Dean Martin and Yvette Mimieux in Toys in the Attic; Vivien Leigh and Simone Signoret in Ship of Fools; Bob Hope and Anita Ekberg in A Global Affair; and James Garner and Julie Andrews in The Americanization of Emily during this time.

                 
Bill Thomas was a very imaginative designer and he created elaborate costumes not only for period settings, but for classic book characters ( Barnaby in Babes of Toyland with his black caped suit, tights and matching top hat, and Robin Crusoe’s native straw-wear in Lt. Robin Crusoe USN ) and for monkeys. Lots of monkeys. There were monkeys in space ( Moon Pilot ), monkeys at balls ( My Man Godfrey ) and monkey grape pickers in France ( Monkeys Go Home! ).

               
But it was lovely period summer dresses that Bill designed best, and Summer Magic ( 1963 ) had some of the most beautiful ones : Deborah Walley was the pink of perfection in her pink chiffon picnic dress which set off her red hair nicely;  Hayley Mills wore a more playful sailor themed croquet romper while she made faces at Debbie’s flawless style and, during the finale, Hayley got the eyes of admiration turned upon herself when she appeared dressed in a light yellow and white dress, arm in arm with her dashing suitor ( who was handsomely fitted too ) at the Halloween Ball.

                  
Of all of Bill Thomas’s creations, Mary Poppins' attire is undoubtedly the most memorable. Why, Mary Poppins would not be the Mary Poppins we know without her long black coat, blue tailor-fitted dress, black hat ( with flower of course ) and talking parrot umbrella. Even today his original designs are respectfully duplicated in the Broadway production of Mary Poppins. Each and every costume he created for all the members of Mary Poppins can be indelibly linked to the character and helps to add to their personality. 


The outfits he designed for the Jolly Holiday number were simply….jolly! Candy-like colors abounded and Mary Poppin’s summer-in-the-park dress was the tip of the top, crème of the crop loveliest of dresses to be seen.

                  

Another beautiful ensemble of costumes were created for the Biddle and Drexel families in The Happiest Millionaire ( 1967 ). Light, airy pastel toned fabrics were used throughout to enhance the cheerful story and help soften the image of the early 20th century.  The two matriarchs of the families not only had a verbal repartee during their children’s engagement party but were engaging in a battle of fashion as well, with each of them bedecked in the most sumptuous of Bostonian wardrobe.


A brief change from the period setting came when Bill was called upon to design numerous costumes for gnomes ( and humans too ) in The Gnome Mobile ( 1967 ). During the finale, head gnome Grandpa Knobby looked on as his grandson was being chased by a myriad of beautiful gnome-gals all wearing fairy-like costumes - in the short mini-skirt fashion of the times – eager to catch their would-be husband.

               

Bill Thomas received his second Academy Award for Best Costume Design for his garmenting of Eglantine Price, the witch who helped end the war, in Bedknobs and Broomsticks. Each costume was designed simply and in the keeping with the war-time restrictions of the more expensive fabrics, such as nylon and silk.

                 
During the late 60s he strictly designed costumes for Walt Disney films and some of these movies included Blackbeard’s Ghost, The Love Bug, One and Only Genuine Original Family Band, Never a Dull Moment, and The Horse in the Grey Flannel Suit, Island at the Top of the World and Pete’s Dragon. His last motion picture for the Studio was The Adventures of Pollyanna….a sequel to one of the few Disney movies he did not design the original costumes to.

             
After doing a few television movies, Bill retired in 1982. During his long career, he had collected many of the costumes he designed, as well as many famous pieces and had become quite an authority on movie memorabilia. He was often called on as a consultant at studio auctions. Bill Thomas passed away on May 30th, 2000 in Los Angeles at the age of 79.

                 

Tuesday, March 31, 2015

The Phantom of Crestwood ( 1932 )

Who Killed Jenny Wren? 

That is the question listeners were asked to solve as The Phantom of Crestwood unfolded over a series of NBC radio broadcasts across the nation, beginning in August 26, 1932. After the final cliffhanger episode aired, audiences were invited to submit a 500-word solution to the question. Over $6,000 in prizes were awarded to the authors with the best responses, with Miss Grace Morris Price of Pittsburgh winning the $1,500 grand prize for her witty answer. This was a unique audience participation event and it garnered loads of publicity for the upcoming feature film release of The Phantom of Crestwood in 1932, one of the first of the old-dark-house mysteries.

RKO Radio Pictures cast one of their most popular contract players, Ricardo Cortez, as the leading character, Gary Curtis, a former criminal who volunteers to don the deerskin hat and solve the murder of the young woman at a secluded cliff-side estate. 

The victim - golden-haired call-girl Jenny Wren ( Karen Morley ) - had invited four of her former paramours to Crestwood, a sprawling manor, to celebrate her retirement and blackmail a fortune out of each one of them. Her lovers were a group of rich lecherous old men, including three financiers ( H. B Warner, Gavin Gordon , Skeets Gallagher ) and a prominent politician ( Robert McWade ). 


Also invited to the jolly gathering were the unsuspecting wives of these playboys, Wren's younger sister Esther ( Anita Louise ), and Esther's baby-faced fiancee ( Matty Kemp ). Each one of these characters become a suspect in her murder. However, a sudden landslide traps them all into remaining at Crestwood for the night and before the day breaks two more guests are unexpectedly murdered!

"It will give me great pleasure to kill you...."

This brisk little thriller was directed by the same man who had penned its clever story plot for the radio series - J. Walter Ruben. It was only his fourth outing as a director; he had found greater success as a screenwriter typing the scripts to many standard studio productions of the late 1920s and early 1930s. 

The "old dark house" formula had been born less than a decade earlier and films such as The Cat and the Canary ( 1927 ), The Bat Whispers ( 1930 ), and The Old Dark House ( 1931 ), proved just how successful it could be. The formula peaked in the 1940s and later, during the 1960s, producer William Castle revived the genre and also brought back the gimmick-driven publicity stunts to boost theatre attendance. 

Had The Phantom of Crestwood been released a few years later, it may not have been able to pass the stringent requirements of the Hayes Production Code, which oversaw the moral rules of motion pictures. Even though the Hayes Code was in effect since 1930, many studios simply ignored it. The only elements of The Phantom of Crestwood that may have run the risk of being dismissed were the innuendos regarding the Jenny Wren's shady past and the leering looks she receives from a rather creepy old man, portrayed by Ivan F. Simpson. 


Rounding out the cast is a number of familiar character actors, a handful of aging silent stars, and actresses Aileen Pringle, Pauline Frederick, and Mary Duncan. 

The Phantom of Crestwood has a number of interesting elements that make it stand out from the crowd : cinematographer Henry Gerrard, who would film the first of several Hildegard Withers mysteries, The Penguin Pool Murder, later that same year, had utilized a fast-panning effect to demonstrate a flashback; and Graham McNamee, a popular sports radio announcer, gives the film a suitable introduction for those unfamiliar with the radio hype of the past few months.


Upon its release, The Phantom of Crestwood must have pleased its radio fans for it drew in a profitable $430,000 in film sales at the box office. As Film Daily noted "This is the first time in the history of show business that a direct, inter-laced tie-up of two leading media has been effected". On the heels of its success other rival studios quickly announced plans of their own radio-film tie-ins, but none of these came to fruition and the novel publicity ploy was quickly forgotten. Such a shame, for a good many films could have benefited from this technique. 

Thanks to the recent Warner Archives DVD release, The Phantom of Crestwood can be enjoyed anew and the studio has done a marvelous job restoring the picture. 

This post is our contribution to The Pre-Code Blogathon being held by Shadows and Satin and Pre-Code.com. Be sure to head on over to their sites to check out all the great posts on pre-code films! 

Sunday, March 29, 2015

Hollywood Home Tour - Bette Davis

We're off on another Hollywood Home Tour! This time the Silver Scenes bus will be taking us past the former home of none other than Bette Davis. Here is Al to tell you all about what you are seeing out of your window : 

9918 Toluca Lake Avenue

"Welcome back to sunny LA! It sure is good to be back in California after our journey to New Hampshire. Since we saw Claude Rains home last, I thought you folks might want to take a peek at the charming cottage of his frequent co-star, Bette Davis. 

"Keep your eyes to the left side and you can see her house coming up now. I'll stop here so you can get a better look. 

"Bette lived in this bungalow only for a very short time; she moved in here in April 1932, renting the house from Charles Farrell, and then moved out in June of the same year. The Warner Brothers Studio, whom Bette had just signed a seven-year contract with in 1932, is just around the corner and so it was convenient for her to head to work. 

"During the early 1930s, Bette was trying to break into starring roles and fought for good parts. She made it into the limelight two years later when she landed the role of Mildred in Of Human Bondage. Bette was a single gal at the time and her mother Ruth and sister Bobbie tagged along with her wherever she moved.  

"The tudor was built in 1929 and boasts four bedrooms and three bathrooms. Don't let its cottage look fool you, the house is over 3,500 square feet and the backyard leads right into beautiful Toluca Lake. "

Up-to-Date Info : The house is practically unchanged today, with its clinging ivy still clinging. Click here to see a lovely image of a neighboring tudor whose yard also leads into the lake. 

Tuesday, March 17, 2015

The Luck of the Irish ( 1948 )

"You don't always wait for an invitation to follow the brave music of a distant drum"

It's not often when a man is clever enough and quick enough to capture a leprechaun. While travelling in Ireland, Steven Fitzgerald ( Tyrone Power ) does just that and then, having done so, lets the leprechaun free...without claiming his pot of gold! 

'Tis a rare man indeed who would do such a thing, and the leprechaun knows it. He feels a debt of gratitude to this American and, leaving the comfort of his homeland and his secluded waterfall, he follows him into the "cold, inhospitable city" of New York to serve him and to help him realize his heart's desire. 

"You are a proud, free man, and it is for that reason that I am proud to serve you"

Fitzgerald is a news reporter who believes in writing the truth to the public, but the lure of acquiring wealth by working for power-hungry publisher-turned-politician Augur ( Lee J. Cobb ) proves to be irresistible, even if it costs him his integrity as a free-thinking man. Egging him on in his decision to accept this position is Augur's daughter ( Jayne Meadows ), a woman who wants to be by Fitzgerald's side as he climbs the ladder of success, no matter what it takes. 


The Luck of the Irish is a dramatic fantasy filled with many whimsical moments. It does not have the sugary sweetness of a children's fable, making it all the more satisfying. Instead it has a lasting charm which makes it ideal for annual viewing on St. Patrick's Day, or any time of the year for that matter. 

The first half of the film parallels Michael Powell's I Know Where I'm Going ( 1945 ) in that we see a city dweller stranded in a small village, anxious to escape on the next boat available, and frustrated with the local people's slow and inefficient ways. It is not until the opportunity to escape becomes available that these characters begin to have doubts on whether they truly want to leave. In both films, it is the romance they find in these villages which make the characters wish to remain, not the lure of the tranquil community. 


In The Luck of the Irish, Fitzgerald meets and falls in love with Nora ( Anne Baxter ), a quiet innkeeper's daughter, and upon his return to New York he sees her once again, by chance, on a subway. He has a notion that the leprechaun may have had a hand in bringing her to New York but he struggles to relinquish his dream of wealth in place of returning to Ireland with Nora.  

"You brought Nora here, didn't you?" 
"No, you brought her yourself...in your mind, long ago."


Steven Fitzgerald is an ageless character - working men are forever torn between following the dreams of their heart or selling out their ideals ( and sometimes their morals ) to other men for the sake of financial stability. He is a cynical man and does not easily get himself beguiled into believing in leprechauns or other folklore but, in this situation, his belief becomes his blessing. 


The Luck of the Irish is not your traditional fairy-tale story and the irascible leprechaun with his proverbial pot of gold is not portrayed as a cultural image but instead becomes the incarnation of Fitzgerald's conscious and a vehicle of divine influence in changing his circumstances. The moral of film is summed up in its tagline "Choosing good is the real pot of gold". 

"I offered you gold. 'Tis not my fault that you prefer a pebble"

The Luck of the Irish premiered on September 14, 1948 and for its original showing featured a wee bit o' something green - all of the Ireland sequences were tinted the color of the Irish landscape itself. Indeed, the opening sequences of Ireland are so pleasant that it is a shame when, midway through the film, its focus shifts to New York City. 


A roster of 20th Century Fox's regular talents gathered together to make this a stand-out picture : director Henry Koster, who was an old hand at filming humorous dramas; Lyle Wheeler, Fox's resident art director extraordinaire; Philip Dunne, who hammered out on his magical typewriter this whale of a grand adaptation ( from the novel by Guy and Constance Jones ); and producer Fred Kohler, who had footed the bill for that other excellent romantic-fantasy The Ghost and Mrs. Muir, one year prior. The strains of traditional Irish and English melodies can be heard in the background thanks to the musical wizardry of Cyril Mockridge.


Cecil Kellaway steals the film with his performance of "Horace", the leprechaun turned manservant, and he nails the Irish accent and mannerisms of one of the little people. He was nominated for an Academy Award for Best Supporting Actor for his portrayal. James Todd also co-starred as Fitzgerald's wise-cracking pal Bill Clark, and J.M. Kerrigan and Phil Brown round out the stellar cast. 

Anne Baxter is particularly fetching and these years were certainly the peak of her career. The brightness of Tyrone Power's star had been waning a few years prior to The Luck of the Irish and he must have sensed that his days of being the studio's No. 1 glamour boy were nearly over, even though he was as handsome as ever. Jayne Meadows related a story about this in the special "Jayne Meadows Remembers" included on the DVD: 

"[ in-between takes during the banquet scene ] he said, 'You see that tall man over there, the one with the grey hair? He was a star once. A very big star. Sad...now he is an extra'. And I said 'Isn't it wonderful that he's still working' because, you know, the man looked like he needed something to hold him up. When I later found out that Ty started as an extra, I thought 'isn't it interesting that his first reaction was to the old man who was a star and is now an extra'. " 

Perhaps Tyrone Power felt that eventually this would be his fate as well.

This post is our contribution to The Luck of the Irish Blog o'thon, being hosted by yours truly. To check out all of the grand posts about Irish actors and films, click here

Sunday, March 15, 2015

The Luck of the Irish Blog O'Thon!

'Tis a grand day indeed for with that blessed of all saints days approaching fast around the bend, we be pleased to be announcing that on this very day no less, the Luck of the Irish Blog O'Thon be taking place. St. Patrick himself would be proud to hear of our wee gathering celebrating the talented folk of Emerald Isle. To be sure, Hollywood would no' be the same without the likes of the Fords, Nolans, Sheridans, O'Briens, Cagneys and Sullivans. 

We be wanting to thank all the fine folk who submitted, or will be submitting, posts for this event. Each one o' them is to the likes of a shimmering coin in this motley pot o'gold. And a hearty thank you to all you little people and doodeens who will be reading them. 

As the posts come tricklin' in, their respective links will be changing the color of the rainbow until the final day when they shall all be wearing the green! If you be wanting to see the posts by date, just scroll a wee bit further down. 

Ay, enough of the babbling....let the fiddlers play and we'll dance a jig and get on with the ceilildh! 


THE POT O' GOLD POSTS : 


Their Blood Runs Green


Maureen O'Hara - Pure Golden

George Brent : A Nolan by Birth - Caftan Woman

Buster Keaton - Movie Movie Blog Blog

Maureen O'Sullivan - Girls do Film

James Cagney and Pat O'Brien - Old Hollywood Films

Dennis Morgan - Phyllis Loves Classic Movies


The Luck of the Irish 


Darby O'Gill and the Little People ( 1959 ) - Classic Film and TV Cafe

The Luck of the Irish ( 1948 ) - Silver Scenes

Finian's Rainbow ( 1969 ) - The Stars are Ageless


In the Days of Yor 


The Lion in Winter ( 1968 ) - In the Good Old Days Of Classic Hollywood

Barry Lyndon ( 1975 ) - The Joy and Agony of Movies 


The Irish in America 


Paddy O'Day ( 1935 ) - Another Old Movie Blog 

The Irish in Us ( 1935 ) - Wolffian Classic Movies Digest

George M. Cohan in Yankee Doodle Dandy ( 1942 ) - Once Upon a Screen



The Fighting Irish 


Juno and the Paycock aka The Shame of Mary Boyle ( 1929 ) Movie FanFare

Odd Man Out ( 1947 ) - Critica Retro

Angels With Dirty Faces ( 1938  ) - The Stop Button 

The Molly McGuires ( 1970 ) - Ramblings of a Cinephile

________________________________________________________


March 15th 


Paddy O'Day ( 1935 ) - Another Old Movie Blog 

Buster Keaton - Movie Movie Blog Blog

Maureen O'Sullivan - Girls do Film

George Brent : A Nolan by BirthCaftan Woman


March 16th 


Finian's Rainbow ( 1969 )The Stars are Ageless

The Luck of the Irish ( 1948 ) Silver Scenes 

George M. Cohan in Yankee Doodle Dandy ( 1942 )Once Upon a Screen

The Irish in Us ( 1935 )Wolffian Classic Movies Digest

The Lion in Winter ( 1968 ) - In the Good Old Days Of Classic Hollywood

Angels With Dirty Faces ( 1938  ) The Stop Button 



March 17th 


Maureen O'HaraPure Golden

Darby O'Gill and the Little People ( 1959 ) Classic Film and TV Cafe

Juno and the Paycock aka The Shame of Mary Boyle ( 1929 ) Movie FanFare

James Cagney and Pat O'BrienOld Hollywood Films

Barry Lyndon ( 1975 )The Joy and Agony of Movies 

The Molly McGuires ( 1970 ) Ramblings of a Cinephile

Odd Man Out ( 1947 )Critica Retro


Enjoy! 

HAPPY ST. PATRICK'S DAY! 

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