News for today's 2018

TCM Presents Five Tyrone Power Films in Primetime and Late Night

2:54 PM Tukiyooo 0

<div style="text-align: center;"><i><b><span style="font-family: Verdana,sans-serif;">Nightmare Alley </span></b></i><b><span style="font-family: Verdana,sans-serif;">to Make Its TCM Premiere</span></b></div><div style="text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhecv-hSBfkvdWmxu4sTIvfki8zuULI7lcakXWNRespp87gEYmrZXZpQHxXhlQibeWNpCMkARSSVZawHP40Dk_1eHUOUGw_0wGzF3JypfRez7h3yAmpdnBCzqQNklF9dzsRE8M4isp5hdc/s1600/nightmare_alley.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhecv-hSBfkvdWmxu4sTIvfki8zuULI7lcakXWNRespp87gEYmrZXZpQHxXhlQibeWNpCMkARSSVZawHP40Dk_1eHUOUGw_0wGzF3JypfRez7h3yAmpdnBCzqQNklF9dzsRE8M4isp5hdc/s400/nightmare_alley.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>Nightmare Alley</i></span></td></tr></tbody></table><br /><span style="font-family: Verdana, sans-serif;"><a href="http://eves-reel-life.blogspot.com/2012/08/remembering-tyrone-power.html"><span style="color: #cc0000;">Tyrone Power</span></a> was one of <i>the</i> biggest stars in Hollywood from the late 1930s through the late 1950s and he was 20th Century Fox's<i> </i>most famous star until <a href="http://eves-reel-life.blogspot.com/2012/08/marilyn-monroe-out-of-dream.html"><span style="color: #cc0000;">Marilyn Monroe</span></a> came along. Turner Classic Movies hasn't traditionally aired as many films of Fox's great stars as those from other studios - this has been about film rights more than anything else. Since TCM entered into an exclusive licensing deal with Fox, though, that has begun to change.</span><br /><a name='more'></a><br /><br /><span style="font-family: Verdana, sans-serif;">In August 2012, Tyrone Power was honored for the first time with a day filled with his films as part of TCM's annual <i>Summer Under the Stars</i> event. Soon after, more of Power's films began appearing on the channel than in the past, but Wednesday evening, October 16, marks the first time since then that TCM's primetime schedule and late night hours are being devoted to his movies.  Among the films to be aired are two that will be making their TCM debuts: <i>Rawhide </i>(1951), a Western, and <a href="http://eves-reel-life.blogspot.com/2013/02/cmba-blogathon-nightmare-alley-1947.html"><span style="color: #cc0000;"><i>Nightmare Alley</i></span></a> (1947), a film noir that contains what most consider Power's best dramatic performance.</span><br /><br /><div style="text-align: center;"><u><span style="font-family: Verdana, sans-serif;">The Schedule (all times Eastern/Pacific):</span></u></div><br /><span style="font-family: Verdana, sans-serif;">8:00pm/5:00pm  <i>Rawhide</i> (1951), co-starring Susan Hayward, directed by Henry Hathaway</span><br /><br /><span style="font-family: Verdana, sans-serif;">9:45pm/6:45pm  <i>Nightmare Alley </i>(1947), co-starring Joan Blondell, directed by Edmund Goulding</span><br /><br /><span style="font-family: Verdana, sans-serif;">11:45pm/8:45pm  <i>The Mark of Zorro</i> (1940), co-starring Basil Rathbone and Linda Darnell, directed by Rouben Mamoulian</span><br /><br /><span style="font-family: Verdana, sans-serif;">1:30am/10:30pm  <i>The Black Swan </i>(1942), co-starring Maureen O'Hara, George Sanders, Thomas Mitchell and Anthony Quinn, directed by Henry King</span><br /><br /><span style="font-family: Verdana, sans-serif;">3:00am/midnight  <i>Marie Antoinette </i>(1938), co-starring Norma Shearer, directed by W.S. Van Dyke </span><br /><span style="font-family: Verdana, sans-serif;"><br /></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZqjC3I1X0a6nG8lIBqrHHsD-tb9wb0Q-Ep-_CawiYox7O1xlNdPlMUUVfHv8igAVoJjHUbUFLVRZwtno-G4amFfJWBf4AxmjS22RzZ2HmM9c7jjuEOnxo7TD_j0HaHKwUNk5EN_UlU_E/s1600/black_swan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZqjC3I1X0a6nG8lIBqrHHsD-tb9wb0Q-Ep-_CawiYox7O1xlNdPlMUUVfHv8igAVoJjHUbUFLVRZwtno-G4amFfJWBf4AxmjS22RzZ2HmM9c7jjuEOnxo7TD_j0HaHKwUNk5EN_UlU_E/s400/black_swan.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: "Trebuchet MS",sans-serif;">The Black Swan</span></i></td></tr></tbody></table><span style="font-family: Verdana, sans-serif;"><br /></span>

TCM Presents Five Tyrone Power Films in Primetime and Late Night

Nightmare Alley to Make Its TCM Premiere Nightmare Alley Tyrone Power was one of the biggest stars in Hollywood from the late 1930s throug...

Summer Under the Stars: Unfaithfully Rex

11:07 PM Tukiyooo 0

<br /> <br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWOOcrw_Eg1aQCBmMEfFH8qs_JHgKpHzM3HdaKzLN6HTpFUFmILnbvy8bGYlX2-VgmWR0QBvTbCLT03S0Sch6hyphenhyphenXXY3_itJiYfVGjXl5IwZQJpOyUKrke6VVXDDYouZ3kG2vmpksDddRg/s1600/unfaithfully-yours.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWOOcrw_Eg1aQCBmMEfFH8qs_JHgKpHzM3HdaKzLN6HTpFUFmILnbvy8bGYlX2-VgmWR0QBvTbCLT03S0Sch6hyphenhyphenXXY3_itJiYfVGjXl5IwZQJpOyUKrke6VVXDDYouZ3kG2vmpksDddRg/s1600/unfaithfully-yours.jpg" /></a></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">When Rex Harrison came to Hollywood in 1945 to make a movie, he was 37 years old, had already been on the stage in England for 22 years and had been making films there since 1930. Orson Welles later claimed it was on his recommendation that Harrison was given his first American role, a part that Welles himself turned down, that of the King in the 1946 production of <i>Anna and the King of Siam</i>. Welles told his friend, director Henry Jaglom, over one of their now famous lunches, “I suggested him. Rex made pictures that only played in England, teacup comedies and things. No one in Hollywood knew who he was.” Welles had refused the role, he said, because he didn’t want to work with Irene Dunne, who had already been cast as Anna. And so, Rex Harrison made his American film debut.</span></span><br /><br /><a name='more'></a></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvTd5V-4uc3NW4g7buI5JCzhZy9rcRELdI24nahbkezkwRxK2GMsFnS7BSRWfwkFHifFDIaV9xdqwKUOsdpiAIiA8eT6a7Wewi2jpcIcJMHKzr0xK64S93ekFiwX8_UKUiedMPNNVZlMM/s1600/anna-and-the-king-of-siam.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvTd5V-4uc3NW4g7buI5JCzhZy9rcRELdI24nahbkezkwRxK2GMsFnS7BSRWfwkFHifFDIaV9xdqwKUOsdpiAIiA8eT6a7Wewi2jpcIcJMHKzr0xK64S93ekFiwX8_UKUiedMPNNVZlMM/s320/anna-and-the-king-of-siam.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: "Trebuchet MS",sans-serif;">Anna and the King of Siam</span></i></td></tr></tbody></table><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"></span></span></div><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span><br /><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">At the time he arrived in Hollywood, Harrison was married to his second wife, German actress Lilli Palmer. She also began making movies in the U.S. and started by co-starring with Gary Cooper in Fritz Lang’s <i>Cloak and Dagger</i>in 1946. Both Mr. and Mrs. Harrison starred in 1947 classics - for Rex, the first and best of his three films for Joseph L. Mankiewicz, <i>The Ghost and Mrs. Muir</i>, with Gene Tierney; for Lilli, Robert Rosen’s <i>Body and Soul</i>, opposite John Garfield. Rex also starred in <i>The Foxes of Harrow</i> in 1947; Lilli would star in <i>My Girl Tisa</i> in 1948. Then came the scandal that ruined Harrison’s personal reputation and may or may not have brought him the nickname “Sexy Rexy.”</span></span><br /><br /></div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_5nmAgHJNcBLaFSszcfbSL8U31Y_olDLlblmZw10huHFkAQHWLo8KJe-pBJKahO98AZLre43DqwbsUsD3xIy-rFt_XdNKPnIb2E5AV8eHSyPMjFvq6nevjnweXMxhcoPsyVYGrfd25nk/s1600/Lilli+Palmer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_5nmAgHJNcBLaFSszcfbSL8U31Y_olDLlblmZw10huHFkAQHWLo8KJe-pBJKahO98AZLre43DqwbsUsD3xIy-rFt_XdNKPnIb2E5AV8eHSyPMjFvq6nevjnweXMxhcoPsyVYGrfd25nk/s320/Lilli+Palmer.jpg" width="296" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Lilli Palmer</span></td></tr></tbody></table>Rex Harrison, it seems, was a ladies’ man. By 1947, he had become involved in a romance with actress Carole Landis. The affair was no secret in Hollywood and was apparently made public by columnist/radio commentator Walter Winchell. On the night of July 4, 1948, after Harrison spent the evening with her at her home, Landis consumed a lethal dose of barbiturates. Ruled a suicide, her death was naturally surrounded by a storm of hearsay and speculation. The rumor mill had it that Landis was despondent because Harrison refused to leave Lilli Palmer and/or because he was soon to depart for New York to star on Broadway in <i>Anne of the Thousand Days</i>. There was even some conjecture that Harrison had murdered the woman and staged the scene to look like suicide.</span></span><br /><br /></div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKMY0TWOq_t-bLKZDaXMsGghstYZGazLX3_kjd-I-owzDVNDtLRBA2fjnoxZs7k_p9OIn3GF4xL3LVh5VIiJwwdyg1ZMvfKILmkvD-4P3wgYXyT_ClbLpf8XukhooQTwHhQTXqVGFLHPw/s1600/Carole_Landis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKMY0TWOq_t-bLKZDaXMsGghstYZGazLX3_kjd-I-owzDVNDtLRBA2fjnoxZs7k_p9OIn3GF4xL3LVh5VIiJwwdyg1ZMvfKILmkvD-4P3wgYXyT_ClbLpf8XukhooQTwHhQTXqVGFLHPw/s320/Carole_Landis.jpg" width="252" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Carole Landis</span></td></tr></tbody></table>A few months before Landis’ death, Harrison had completed production on a film for legendary writer/director Preston Sturges. It would be the one-time wunderkind’s final cinematic gem, a darkest-black comedy titled – perhaps unfortunately – <i>Unfaithfully Yours </i>(1948). The lurid and lingering Landis tragedy would have an impact on the fate of the film. In an attempt to distance it from the scandal, the film’s release date was held up for several months. Additionally, publicity was dialed back - and the marketing campaign changed drastically. It was labeled a murder mystery, it was touted as “six kinds of picture all rolled into one” – confusing and misleading the movie-going public.</span></span><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Preston Sturges had written a Broadway hit in 1929 and trekked to Hollywood following the play’s adaptation to the screen. He penned several films for Paramount, including <i>Easy Living </i>(1937) and <i>Remember the Night </i>(1940). In 1940 he asked for and was given a chance to direct as well as write. The result was his political sendup, <i>The Great McGinty</i>, a break-out hit that brought Sturges an Oscar for his original screenplay. A string of sly and exhilarating classics written and directed by Preston Sturges followed, namely: <i>The Lady Eve </i>(1941), <i>Sullivan’s Travels </i>(1941), <i>The Palm Beach Story </i>(1942), <i>Hail the Conquering Hero </i>(1944) and <i>The Miracle at Morgan’s Creek </i>(1944). But Paramount had begun to view its genius-in-residence as next-to-impossible to deal with, and relations between the studio and the man soured. When his split from Paramount finally came, Sturges went into partnership with Howard Hughes on California Pictures Corporation for three disastrous years. Sturges and Hughes parted ways in 1947 and the writer/director soon went to work for Darryl F. Zanuck at 20<sup>th</sup> Century Fox. Zanuck was interested in a story Sturges had written years earlier titled <i>Matrix</i>. In the end, <i>Matrix </i>was dropped for lack of interest and a treatment of another early Sturges story - he called it <i>The Symphony Story</i> - was picked up instead and retitled…</span></span><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span></div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibjOmLYlFIt9swMPpDFCTLH0xjQjRasi47jOyLZWEG0uZlJU7ABxWPqVSEX98Y_v68EpyZtg4C40uTUfGLHiebSnv5ES039xhb3qHTwM7_Owz6MwbNgZIWQ92DFSrTcFZ5mczWHjAJxkQ/s1600/sturgespreston.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibjOmLYlFIt9swMPpDFCTLH0xjQjRasi47jOyLZWEG0uZlJU7ABxWPqVSEX98Y_v68EpyZtg4C40uTUfGLHiebSnv5ES039xhb3qHTwM7_Owz6MwbNgZIWQ92DFSrTcFZ5mczWHjAJxkQ/s320/sturgespreston.jpg" width="281" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Preston Sturges</span></td></tr></tbody></table></span></span></div><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span><br /><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><i>Unfaithfully Yours</i> bears most trademark Sturges elements – it moves at a dizzying pace, overflows with clever dialogue, is peopled with assorted (and well-cast) eccentrics and its plot completely confounds audience expectations. But in this case Sturges ventured into especially dark farce…</span></span><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">The film opens with the return to New York of Sir Alfred de Carter (Harrison), a well-known symphony conductor, who has been in London. He is warmly welcomed by his beautiful young and doting wife, Daphne (Linda Darnell). But soon the mischief begins. It seems that before leaving New York, Sir Alfred had asked his rich but dull brother in law (Rudy Vallee) to keep an eye on Daphne while he was away. The brother in law misinterpreted the request and took it upon himself to hire a private detective to monitor her. And now he has come to deliver the detective’s report. Sir Alfred, initially shocked and outraged at the misunderstanding, eventually manages to read the report and works himself into a frenzy of jealousy and suspicion. While conducting a concert after quarreling with his wife, Sir Alfred begins to fantasize about how to handle what he believes is her infidelity. As he conducts three orchestral pieces, he vividly imagines three different possible scenarios – each played out onscreen. The first fantasy involves murder and a frame-up, in the second Sir Alfred is noble and obliging, in the third he falls victim to his own bravado. When the concert finally comes to an end, Sir Alfred sets out to make one of his fantasies real.</span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-IYFC9k7u_2X-_vjCOCxZ0GRbWKh9TJIkqVVInMXz-LfkWqQ5br7tKpeZRJraZqt_9G9mUgNPFkLc7X8MnqveT8QN5q9Je-yuresrpaheQqAfioqxnhzLqZNSJThNtZqgRxjhlR5lKcU/s1600/unfaithfully-yours2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-IYFC9k7u_2X-_vjCOCxZ0GRbWKh9TJIkqVVInMXz-LfkWqQ5br7tKpeZRJraZqt_9G9mUgNPFkLc7X8MnqveT8QN5q9Je-yuresrpaheQqAfioqxnhzLqZNSJThNtZqgRxjhlR5lKcU/s400/unfaithfully-yours2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: "Trebuchet MS",sans-serif;">Unfaithfully Yours </span></i><span style="font-family: "Trebuchet MS",sans-serif;">- fantasy or reality?</span></td></tr></tbody></table></span></span></div><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span><br /><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Although Sturges wasn’t entirely happy with the film’s final cut (which came courtesy of Mr. Zanuck), he was pleased with the performances – Rex Harrison executes a superb turn as the temperamental artist/bungling schemer. Sturges was also particularly fond of the fantasy segments. He wrote that he tried to construct the three scenarios envisioned by the conductor “as if written and directed by Sir Alfred, who is neither a writer nor a director.” In his fantasies, the conductor imagines his own behavior “vividly” while the other characters are “marionettelike.” Sturges believed this would be “the natural result of Sir Alfred’s ability to have them say and do <i>exactly </i>what he wants them to say and do.”</span></span><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">The film’s themes are dark and, perhaps, for the audience of its time, too much so for “six kinds of picture all rolled into one." Its timing in proximity to the leading man's notorious Hollywood scandal was extremely unlucky. For whatever reason or combination of reasons, <i>Unfaithfully Yours </i>was not a success. In his autobiographical notes Sturges reflected, “<i>Unfaithfully Yours</i> received much critical acclaim and lost a fortune.” That the film failed to find an audience contributed to the steep decline of his increasingly precarious career. He would write and direct only one more Hollywood film (<i>The Beautiful Blonde from Bashful Bend</i> in 1949) and it was a resounding flop.</span></span><br /><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0zHjwUYa4nh3RjiM65yGYM49ckWAk1mVpi7MiucZgPFm9rtW1yZb_1hqqE7OaeYMcGzRRZsbI29H1ROixsrQE4Wxfxx2MIxT03GQPofAGwvA514oBXjI9R9pkwgOiM62PSgFy1NTPHco/s1600/My_Fair_Lady.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0zHjwUYa4nh3RjiM65yGYM49ckWAk1mVpi7MiucZgPFm9rtW1yZb_1hqqE7OaeYMcGzRRZsbI29H1ROixsrQE4Wxfxx2MIxT03GQPofAGwvA514oBXjI9R9pkwgOiM62PSgFy1NTPHco/s320/My_Fair_Lady.jpg" width="257" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>My Fair Lady</i>, with Audrey Hepburn</span></td></tr></tbody></table><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Rex Harrison continued to work steadily and successfully on stage, film – and TV – for the rest of his life. He gained worldwide stardom with his performance in George Cukor’s 1964 film adaptation of <i>My Fair Lady</i>, a long-running Broadway hit in which Harrison originated the role of Henry Higgins and for which he won a Tony Award. For transferring his Henry Higgins from stage to screen, he duly took home an Oscar for Best Actor. Knighted in 1989 at age 81, Sir Rex would, as the producer of <i>The Circle</i>, Harrison’s final Broadway play, put it, very nearly die “with his boots on;” his last stage appearance preceded his death, in 1990 of pancreatic cancer, by only six months.<i> </i>Harrison’s long Hollywood career had brought him two Oscar nominations and one win; his even longer career on Broadway brought him five Tony nominations and three awards as well as a special Drama Desk Award in 1985. He was honored with two stars on the Hollywood Walk of Fame, one for film and one for television.</span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqPqs9gJBHiAA8Fd0hEkUSeRlB5RoaRX9upAfVsokljn8YipMVTGgPzlL7K2nTaprjGl5ePLyKwUBQK9DZ9DOKKNt6BvL-kQiyiBwswPJ-7Uc7erkP2TSjPzPQIDF-tVVGtEdecLp4WyQ/s1600/Kay_Kendall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqPqs9gJBHiAA8Fd0hEkUSeRlB5RoaRX9upAfVsokljn8YipMVTGgPzlL7K2nTaprjGl5ePLyKwUBQK9DZ9DOKKNt6BvL-kQiyiBwswPJ-7Uc7erkP2TSjPzPQIDF-tVVGtEdecLp4WyQ/s320/Kay_Kendall.jpg" width="236" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Kay Kendall</span></td></tr></tbody></table></span></span></div><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span><br /><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Rex Harrison would also continue to be inconstant in his private life. Sandy Sturges, Preston’s widow, recalled walking in New York with her husband and Harrison in the early 1950s. Suddenly and unexpectedly Rex walked away and left them – he’d spied a lovely young thing on the street and simply followed her. His interest in women, Mrs. Sturges recalled, was “not subtle at all.” Harrison’s marriage to Lilli Palmer continued until 1957, when the two divorced so that he could marry his lover, actress Kay Kendall, who was dying of leukemia. He married Welsh-born, Oscar-nominated, Tony-winning actress Rachel Roberts in 1962. That marriage ended in divorce many years later and, it is said, she reacted by drinking ever more heavily and by finally taking her own life. Harrison was married to the ex-Mrs. Richard Harris, Welsh actress/socialite Elizabeth Rees-Williams, for a time, and his 6<sup>th</sup> and final wife was Mercia Tinker, to whom he remained married until the end of his life.</span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5-RSHo6S3xnWs8ezJYb-tROmCrDvpCAG4KqawK7iTrh_cUzenYmjV9waXc19X0LEmGxxpsEmzuO1yVDZostDADZEXu5OQoFPwrNugj0lpmn-GCTd7sKmqkl3Mj90MqRvLAjQydLJ4k5Q/s1600/rachel_rex.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5-RSHo6S3xnWs8ezJYb-tROmCrDvpCAG4KqawK7iTrh_cUzenYmjV9waXc19X0LEmGxxpsEmzuO1yVDZostDADZEXu5OQoFPwrNugj0lpmn-GCTd7sKmqkl3Mj90MqRvLAjQydLJ4k5Q/s320/rachel_rex.jpg" width="295" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Rachel Roberts and Rex Harrison</span></td></tr></tbody></table><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Harrison has garnered much praise for his work on stage and screen, but not much admiration for his conduct out of the limelight. One of his biographers, Nicholas Wapshott (<i>Rex Harrison</i>, 1991) met the actor while doing research for a biography on British director Carol Reed. Wapshott considered Harrison a “technical genius” capable of “effortless delivery of difficult prose.” He noted that the actor didn’t make much visible effort, “he was inescapably Rex in everything - but his understanding of the text meant that he hit every note the first time.” On the other hand, the author found Harrison, in person, “a cad of the first order,” and at first hesitated to take on the biography of a man whose “black-hole egotism meant he could not appreciate the worth of others, particularly other men, and his attitude to his string of wives…and lovers was often hard and heartless.” Wapshott blamed Harrison’s involvement in the Carole Landis scandal for the fact that <i>Unfaithfully Yours </i>“languished for years.” </span></span></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQkPHecQmazP4h_wsXN-HHN1FhYoqq_nTtNhY24FJufSP7N6jzQ7nGS_hQCg495i50hatfsh2cAu7wwx7JEOlI3xl4zxXz2eC4thvsha2BWsNapGPCpqEMexK7HPlMuAE5D8saBsX4pTM/s1600/arent_we_all.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQkPHecQmazP4h_wsXN-HHN1FhYoqq_nTtNhY24FJufSP7N6jzQ7nGS_hQCg495i50hatfsh2cAu7wwx7JEOlI3xl4zxXz2eC4thvsha2BWsNapGPCpqEMexK7HPlMuAE5D8saBsX4pTM/s320/arent_we_all.jpg" width="309" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Rex Harrison and Claudette Colbert in <i>Aren't We All</i></span></td></tr></tbody></table><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"></span></span></div><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> </span></span><br /><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Tony-winning, Oscar-nominated actor Frank Langella admired Rex Harrison’s work extravagantly; “He was my idol. I thought him the most accomplished, technically perfect, and totally believable English actor of his time.” Langella managed to meet Harrison twice. Their first meeting occurred in the early ‘70s at a cocktail reception in the older actor’s honor. Langella encountered his idol in the foyer where he was removing his hat and coat. The young actor put out his hand and began to extend a greeting when Harrison flung both his coat and his wife’s over Langella’s arm, as if he was a servant, and made his entrance into the party. The two met again in 1984 when a friend of Langella’s was appearing in <i>Aren’t We All</i> on Broadway with Harrison and Claudette Colbert. Forgoing dinner with his friend and Miss Colbert (who utterly charmed him) in order to try once more to pay his respects to Harrison, Langella found him in his dressing room and finally delivered his heartfelt homage. The old actor heard him out and dismissed him with, “Thank you. Very kind. I’m afraid I can’t ask you to sit down.” Langella was not amused and would remember that his good friend, Harrison’s 5<sup>th</sup> wife, Elizabeth, told him of Rex, “He was the only man I ever knew who would send back the wine at his own dinner table.”</span></span></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4KeE1U9zW4sdQmVrnqOSY2sLWslv_kCSZ1z67RQoSfilrWkYhOCyN0Rswwzw8vIhbIwj6YWUYNmSSUDjTovYDhleMV8NBET_WasjTq0QJlx5dRuxpF_UCZ6dRIL2cEES-DQqfsuR2dxE/s1600/rex_preston.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4KeE1U9zW4sdQmVrnqOSY2sLWslv_kCSZ1z67RQoSfilrWkYhOCyN0Rswwzw8vIhbIwj6YWUYNmSSUDjTovYDhleMV8NBET_WasjTq0QJlx5dRuxpF_UCZ6dRIL2cEES-DQqfsuR2dxE/s1600/rex_preston.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Rex Harrison and Preston Sturges on the set</span></td></tr></tbody></table><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">British film critic and historian David Thomson‘s view of Harrison the actor is fairly restrained, seeing in most of his screen roles the personification of the stereotypically empty-headed aristocrat. However, Thomson allows that <i>Unfaithfully Yours </i>is “one of the few films that made use of his grating charm.”</span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Harrison is in top form in Sturges’ black-humored classic, adapting with surprising ease to the writer/director’s penchant for slapstick. <i>Unfaithfully Yours</i> airs on Saturday, August 31, at 3:00pm Eastern/noon Pacific, part of TCM’s 2013 <i>Summer Under the Stars</i> tribute to Rex Harrison.</span></span></div><div class="MsoNormal"><br /></div><div style="text-align: left;"></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><i>This is my entry for the <b>2013 TCM Summer Under the Stars Blogathon</b></i> <i>now in progress and hosted by Jill Blake of<span style="color: red;"><a href="http://sittinonabackyardfence.com/"><span style="color: red;">http://sittinonabackyardfence.com/</span></a></span> and Michael Nazarewycz of</i><span style="color: red;"><a href="http://scribehardonfilm.wordpress.com/"><i><span style="color: red;"> http://scribehardonfilm.wordpress.com/</span></i></a></span><i>. Visit their sites for more information and links to participating blogs.</i></span></span><br /><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><u>Notes</u>:<i> </i></span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><i>My Lunches with Orson </i>by Henry Jaglom and Peter Biskind (Metropolitan Books, 2013)<i> </i></span></span></div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><i>Preston Sturges by Preston Sturges</i> adapted by Sandy Sturges (Simon & Schuster, 1990)<i> </i></span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><i>The New York Sun</i>, “Unfaithfully Yours, Rex” by Nicholas Wapshott, March 8, 2008<i> </i></span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><i>Dropped Names, a Memoir</i> by Frank Langella (Harper, 2012)<i> </i></span></span><br /><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><i>The New Biographical Dictionary of Film</i> by David Thomson (Knopf, 2010)</span></span></div>

Preston Sturges Rex Harrison Summer Under the Stars TCM The Lady Eve (author) Unfaithfully Yours Summer Under the Stars: Unfaithfully Rex

When Rex Harrison came to Hollywood in 1945 to make a movie, he was 37 years old, had already been on the stage in England for 22 years and...

August 12: A Day - and Night - Under the Stars with Catherine Deneuve

1:53 PM Tukiyooo 0

<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQden2jdAJo-5XOyB4uEUESNX7fH2iMOPHFfRazkTaSpCLp9exdFhJ5kKxNs_xATVeX6MCuCpaeYgYiGobalskweVWCC7o4repOzSNDNtwsqG5reME2llb3BSNzPKdYN03Z33K1kb2e9M/s1600/catherine_stunning.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQden2jdAJo-5XOyB4uEUESNX7fH2iMOPHFfRazkTaSpCLp9exdFhJ5kKxNs_xATVeX6MCuCpaeYgYiGobalskweVWCC7o4repOzSNDNtwsqG5reME2llb3BSNzPKdYN03Z33K1kb2e9M/s400/catherine_stunning.jpg" width="336" /></a></div><br /><div class="MsoNormal"><span style="font-family: "Trebuchet MS",sans-serif;"><i>This is my first entry for the <b>2013 TCM Summer Under the Stars Blogathon</b></i> <i>now in progress and hosted by Jill Blake of</i><i><span style="color: red;"><a href="http://sittinonabackyardfence.com/"><span style="color: red;"> http://sittinonabackyardfence.com/</span></a></span></i><i> an</i><i>d Michael Nazarewycz of</i><span style="color: red;"><a href="http://scribehardonfilm.wordpress.com/"><span style="color: red;"><i> </i><i>http://scribehardonfilm.wordpress.com</i></span></a></span><i>. Visit their sites for more information on the month-long blogathon and links to participating blogs.</i></span></div><br /><a name='more'></a><br /><span style="font-family: Verdana,sans-serif;">In June 1965 the American magazine, <i>Look</i>, carried a feature entitled, "The Sister Stars of France" celebrating, with pages of pictures and a little hyperbolic prose, the Dorleac sisters of Paris. The piece commended their family which, "after only three generations in the theater, has given France not one, but two, gifted girls." The Dorleac sisters were <a href="http://eves-reel-life.blogspot.com/2013/03/a-birthday-tribute-to-francoise-dorleac.html" target="_blank"><span style="color: red;">Francoise</span></a>, then 23, and Catherine, about to turn 22, who took her mother's maiden name, Deneuve, to avoid being confused with her sister. The "soignee" Francoise was described as "mistily delicious" in one of her recent films, <i>That Man from Rio </i>(1964), and "sweet" Catherine was pronounced "the crushable girl in a crushing world" in one of hers, <i>The Umbrellas of Cherbourg </i>(1964). Just two years later, in June 1967, Francoise perished in a car crash. By then, Catherine had added a twist or two to her pristine screen persona.</span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWjtUWkc-zPyMIr3tPxW_oJTmWXIMls84TJjknqyisFjZ11M6_S6maxIFr2JlUsup-60qDpPnPv4cnRmxMyBnTWnLAg9NL5bTu7oS-plRpA_aRyWdWOOk24c7v77VweFV4E-HJtozAzH0/s1600/Umbrellas.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWjtUWkc-zPyMIr3tPxW_oJTmWXIMls84TJjknqyisFjZ11M6_S6maxIFr2JlUsup-60qDpPnPv4cnRmxMyBnTWnLAg9NL5bTu7oS-plRpA_aRyWdWOOk24c7v77VweFV4E-HJtozAzH0/s320/Umbrellas.jpg" width="264" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>The Umbrellas of Cherbourg </i>airs on TCM on August 12 at 8pm Eastern/5pm Pacific</span></td></tr></tbody></table><br /><span style="font-family: Verdana,sans-serif;">The <i>Look </i>article had mentioned that Catherine's next picture was to be <i>Repulsion</i>. That film, directed by Roman Polanski and released in the U.S. in October 1965, showcased Catherine as a withdrawn young woman who goes violently psychotic while staying alone in her vacationing sister's London apartment. In 1967, she would make two noteworthy films. <i>The Young Girls of Rochefort</i>,<i> </i></span><span style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana,sans-serif;">a lollipop-colored musical, co-starred Catherine and her sister, Francoise, as a pair of dreamy twins longing to leave their seaside town for Paris; it</span> was directed by <a href="http://www.zeitgeistfilms.com/director.php?director_id=13" target="_blank"><span style="color: red;">Jacques Demy</span></a> (<i>The Umbrellas of Cherbourg</i>). In her second feature of that year, Luis Bunuel's surreal and erotic <i>Belle de Jour</i>, the film with which she is most often identified, Catherine portrayed a refined young Parisian wife with a few psychosexual kinks.</span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNtVa9emfS02mFQLN4yLXjJPC0-DmAAURAJMm2eiDd87gWglZZ3n2uUpOGm7V02R45rc6skeNTTkEt_6eSTxA5Q1aLXWIbfbfr0hD0TwXW7nHFDxExGRr2Rvpqh409R0evFUeMUbnF26A/s1600/Belle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNtVa9emfS02mFQLN4yLXjJPC0-DmAAURAJMm2eiDd87gWglZZ3n2uUpOGm7V02R45rc6skeNTTkEt_6eSTxA5Q1aLXWIbfbfr0hD0TwXW7nHFDxExGRr2Rvpqh409R0evFUeMUbnF26A/s400/Belle.jpg" width="400" /></a></td></tr><tr align="left"><td class="tr-caption"><i><span style="font-family: "Trebuchet MS",sans-serif;">Belle de Jour</span></i><span style="font-family: "Trebuchet MS",sans-serif;"> airs on TCM August 13 at 2:15am Eastern/August 12 at 11:15pm Pacific</span><i><span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></i></td></tr></tbody></table><br /><span style="font-family: Verdana,sans-serif;">The <i>Belle de Jour </i>shoot was demanding. Catherine later recalled that she'd felt exposed in every way and that more of her had been shown, physically, than she had originally been led to expect. She was deeply unhappy on the set and, she remembered, "there were moments when I felt totally used." Francoise was still alive at that time and provided crucial moral support. The sisters were able to talk about her challenges on <i>Belle de Jour</i>, Catherine later said, "in the way you only can when you're personally close and do the same kind of work."  It might seem surprising that Catherine agreed to work with Bunuel once more when he sought her two years later for his Freudian reverie, <i>Tristana</i> (1970). But she had been impressed with the script and thought it important for her to work with Bunuel again - especially in his native Spain. In the end, she would count <i>Tristana</i> among her favorites of her own films.</span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4egl0jQY40U66zu1ltC4Kh7GpI7nKo1w1bz6qqRCenMvu0PZgLeuXRA-OU_YPT5D2ipSAgTyQF725K1O7OPWXkIwi1LBx7VcwAkbvXOHy2ZFSUSpOoT11rpSlkaiA6Bl4frWsQMGsRrg/s1600/Mississippi2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4egl0jQY40U66zu1ltC4Kh7GpI7nKo1w1bz6qqRCenMvu0PZgLeuXRA-OU_YPT5D2ipSAgTyQF725K1O7OPWXkIwi1LBx7VcwAkbvXOHy2ZFSUSpOoT11rpSlkaiA6Bl4frWsQMGsRrg/s400/Mississippi2.jpg" width="400" /></a></td></tr><tr align="left"><td class="tr-caption"><i><span style="font-family: "Trebuchet MS",sans-serif;">Mississippi Mermaid</span></i><span style="font-family: "Trebuchet MS",sans-serif;"> </span><span style="font-family: "Trebuchet MS",sans-serif;">(co-starringJean-Paul Belmondo, shown above)</span><i><span style="font-family: "Trebuchet MS",sans-serif;"> </span></i><span style="font-family: "Trebuchet MS",sans-serif;">airs on TCM August 12 at 9:45am Eastern/6:45 am Pacific</span></td></tr></tbody></table><br /><span style="font-family: Verdana,sans-serif;">In the late 1960s <a href="http://www.francoistruffaut.com/" target="_blank"><span style="color: red;">Francois Truffaut</span></a> sent Catherine a lengthy note urging her to "say yes to Hitchcock."  During a trip to the U.S. in the fall of 1968, Catherine had met Hitchcock for lunch at the Plaza. It's likely they discussed his plans to make a film of <i>The Short Night </i>based on a novel of the same name as well as a non-fiction account by a double agent. Hitchcock owned the rights to both books and had traveled to Finland, where the story was set, in August 1968 to scout locations. Among those he hoped would star in the film were Sean Connery and Catherine Deneuve.<i> </i>She received a script from Hitchcock but the project was eventually abandoned when his health failed. Catherine lamented not having the chance to work with him but, thanks to Truffaut, she would have her moment as a Hitchcockian blonde.</span><br /><span style="font-family: Verdana,sans-serif;"><br /></span><span style="font-family: Verdana,sans-serif;">In the same note in which he urged Catherine to work with Hitchcock, Truffaut also mentioned the project he and she were about to embark upon, <i>Mississippi Mermaid </i>(1969), the first of their two film collaborations. <i>Mississippi Mermaid </i>was also the last in a series known as Truffaut's "Hitchcock Cycle," the group of films he completed during the time he conducted and published his series of interviews with Alfred Hitchcock. Based on a Cornell Woolrich (<i>Rear Window</i>)<i> </i>novel, <i>Mississippi Mermaid</i>'s storyline centers on a wealthy Reunion Island plantation owner (Jean-Paul Belmondo) and the arrival of his mail order bride (Deneuve) - who looks nothing like the picture she sent before she sailed to meet and marry him.</span><br /><span style="font-family: Verdana,sans-serif;"> </span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBrbXSc4hqpAIHsnyqSjVzWu6eunRQe_S2NAQ5FLOd7c74L63YCutq7DQUifV-_IBFkiwlGnCT3yHnC1c2fWkyHic3rNlCMNpAyd6rwtFC2cxsfYR6rq55ihovxcYE5AL69IHESKYF-n0/s1600/mississippi-mermaid.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBrbXSc4hqpAIHsnyqSjVzWu6eunRQe_S2NAQ5FLOd7c74L63YCutq7DQUifV-_IBFkiwlGnCT3yHnC1c2fWkyHic3rNlCMNpAyd6rwtFC2cxsfYR6rq55ihovxcYE5AL69IHESKYF-n0/s400/mississippi-mermaid.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">another French twist...</span></td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">Catherine's wardrobe on </span><i><span style="font-family: Verdana,sans-serif;">Mississippi Mermaid</span></i><span style="font-family: Verdana,sans-serif;"> was created by one of the great fashion designers of the 20th century, <a href="http://www.vanityfair.com/magazine/2009/01/ysl_auction200901" target="_blank"><span style="color: red;">Yves Saint Laurent</span></a>. He designed costumes for her on many films, beginning with </span><i><span style="font-family: Verdana,sans-serif;">Belle de Jour</span></i><span style="font-family: Verdana,sans-serif;"> and including Jean-Pierre Melville</span><span style="font-family: Verdana,sans-serif;">'s</span><span style="font-family: Verdana,sans-serif;"> last film, </span><i><span style="font-family: Verdana,sans-serif;">Un Flic</span></i><span style="font-family: Verdana,sans-serif;"> (1972), and Tony Scott's first feature, </span><i><span style="font-family: Verdana,sans-serif;">The Hunger</span></i><span style="font-family: Verdana,sans-serif;"> (1983). The actress and the designer developed a close, lasting friendship; she wore his designs off screen as well as on and became his inspiration and muse.</span><br /><br /><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWktPIb8kgaKPWg6Eeyyus63wZhIibAzsEN44QRzhDk5nXLIRCr7SPk9DDRlcqv6q0laC5KdQXm6kKwSJelLDRCw2gMf-jRkBud71cpGx-9zp7lNUYgdU3IIPMiK8p1plq0igbPkkgfog/s1600/The-Hunger-Catherine-Deneuve-veil.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWktPIb8kgaKPWg6Eeyyus63wZhIibAzsEN44QRzhDk5nXLIRCr7SPk9DDRlcqv6q0laC5KdQXm6kKwSJelLDRCw2gMf-jRkBud71cpGx-9zp7lNUYgdU3IIPMiK8p1plq0igbPkkgfog/s1600/The-Hunger-Catherine-Deneuve-veil.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;"><i>The Hunger </i></span><span style="font-family: "Trebuchet MS",sans-serif;">airs August 13 at 4:15am Eastern/1:15am Pacific on TCM</span></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><span style="font-family: Verdana, sans-serif;">With a body of work spanning 50 years and including more than 100 mostly European films, Catherine Deneuve has portrayed a wide range of characters on screen, expanding her repertoire (from sweet and innocent to beautiful and aloof to strong and independent) as her career progressed. She came, almost accidentally, to film acting through her sister and was initially admired primarily (and profusely) for her serene and impeccable porcelain beauty. Soon enough she was recognized for the depth and sensitivity of her work and, as her reputation flourished, she was able to pick and choose her roles - with several being developed expressly for her. In 1998, Catherine was interviewed on NPR's <i>Fresh Air</i>. She was intrigued by a quote the host read to her, the words of film critic David Thomson: "Deneuve is a fantastic actress, her beauty is a receptacle for any imagination, perhaps the greatest cool blonde, forever hinting at intimations of depravity." She was pleased, laughed lightly and remarked, with modesty, "I would like to meet the person he's talking about."</span><br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyn3TNdnbMnUfPQ_tFaRYxxMw-FFTbT3a0xU0FaFKmrQ9hv1pCFyjUDYL3NAqcMmJsuRqO8apEVzv1OKWPZNVWofzmrpGQBK5aBsCHHlK24AK6anicRCLx5yEw10GTHpClQT7h_iAslhc/s1600/Cannes_2005.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyn3TNdnbMnUfPQ_tFaRYxxMw-FFTbT3a0xU0FaFKmrQ9hv1pCFyjUDYL3NAqcMmJsuRqO8apEVzv1OKWPZNVWofzmrpGQBK5aBsCHHlK24AK6anicRCLx5yEw10GTHpClQT7h_iAslhc/s320/Cannes_2005.jpg" width="212" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Trebuchet MS",sans-serif;">Catherine was awarded a Golden Palm at Cannes in 2005</span></td></tr></tbody></table><span style="font-family: Verdana,sans-serif;">Catherine Deneuve, was nominated for an Academy Award for Best Actress for her performance in <i>Indochine </i>(1992); she was nominated for a BAFTA for Best Actress for her performance in <i>Belle de Jour</i>; she was a winner, with her co-stars, of the Berlin International Film Festival's Silver Bear award for <i>8 Women </i>(2002); she won two of France's Cesar awards for Best Actress - for<i> The Last Metro </i>(1980) and <i>Indochine</i>; and won the Volpi Cup prize for Best Actress at the Venice Film Festival for her performance in <i><a href="http://www.rogerebert.com/reviews/place-vendome-2000" target="_blank"><span style="color: red;">Place Vendome</span></a> </i>(1998). In addition, she has been honored with a multitude of special and lifetime achievement awards.</span><br /><span style="font-family: Verdana,sans-serif;"></span><br /><span style="font-family: Verdana,sans-serif;">TCM's Summer Under the Stars tribute to Catherine Deneuve is much deserved - and also well timed; o</span><span style="font-family: Verdana,sans-serif;">n October 22, she will turn 70.</span><br /><span style="font-family: Verdana,sans-serif;"><br /></span><br /><div style="text-align: center;"><span style="font-family: Verdana,sans-serif;"><b>TCM's Summer Under the Stars, August 12: Catherine Deneuve</b></span></div><div style="text-align: center;"><span style="font-family: Verdana,sans-serif;">(all times Eastern/Pacific)</span><br /><div style="text-align: left;"><span style="font-family: Verdana,sans-serif;"> </span></div></div><span style="font-family: Verdana,sans-serif;"></span> <span style="font-family: Verdana,sans-serif;">6:00am/3:00am - <i><b>Le Petit Poucet</b> </i>(2001), A fantasy/fairytale directed by Olivier Dahan</span><br /><br /><span style="font-family: Verdana,sans-serif;">7:45am/4:45am - <i><b>Repulsion</b> </i>(1965), </span><span style="font-family: Verdana,sans-serif;">directed by Roman Polanski and </span><span style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana,sans-serif;">succinctly described by producer Robert Evans as </span>a "<i>really</i> offbeat" thriller, it won the Berlin International Film Festival's Silver Bear honors as well as a directorial award for Polanski; in English</span><br /><br /><span style="font-family: Verdana,sans-serif;">9:45am/6:45am - <b><i>Mississippi Mermaid</i></b> (1969), Francois Truffaut's Hitchcock-influenced mystery/thriller, with Jean-Paul Belmondo</span><br /><br /><span style="font-family: Verdana,sans-serif;">12:00pm/9:00am - <i><b>Un Flic</b> </i>(1972), cool and dark neo-noir directed by a master, Jean-Pierre Melville (<i>Bob le Flambeur</i>, <i>Le Samourai</i>), with <a href="http://www.alaindelon.ch/" target="_blank"><span style="color: red;">Alain Delon</span></a> and Richard Crenna</span><br /><br /><span style="font-family: Verdana,sans-serif;">2:00pm/11:00am - <i><b>Le Sauvage</b> </i>(1975), Jean-Paul Rappeneau's madcap romp, with Yves Montand, Tony Roberts and Dana Wynter</span><br /><br /><span style="font-family: Verdana,sans-serif;">4:00pm/1:00pm - <i><b>The Last Metro</b> </i>(1980), a wartime drama set in Nazi occupied Paris, directed by Francois Truffaut, with Gerard Depardieu; Oscar-nominated for Best Foreign Language Film and winner of 12 Cesar awards</span><br /><br /><span style="font-family: Verdana,sans-serif;">6:15pm/3:15pm - <i><b>I'm Going Home</b> </i>(2001), directed by Portuguese filmmaker Manoel de Oliveira; an exploration of mortality and the fourth film Oliveira made after the age of 90, with Michel Piccoli and John Malkovich; nominated for the Palme d'Or at Cannes  </span><br /><br /><span style="font-family: Verdana,sans-serif;">8:00pm/5:00pm - <i><b>The Umbrellas of Cherbourg</b> </i>(1964), all dialogue is sung in this innovative musical directed by Jacques Demy; winner of the Palme d'Or at Cannes; nominated for five Academy Awards including Best Foreign Language Film; Grammy-nominated for its score</span><br /><span style="font-family: Verdana,sans-serif;"><br /></span><span style="font-family: Verdana,sans-serif;">10:00pm/7:00pm - <i><b>Tristana</b> </i>(1970), Luis Bunuel's sadomasochistic dream, with Fernando Rey and Franco Nero; Oscar-nominated for Best Foreign Language Film</span><br /><br /><span style="font-family: Verdana,sans-serif;">12:00am/9:00pm - </span><span style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana,sans-serif;"><i><b>Ma Saison Preferee</b> </i>(1993), Andre Techine's emotional, character-driven family drama features Catherine Deneuve and Daniel Auteuil as a conflicted brother and sister; with Chiara Mastroianni (Catherine's daughter with Marcello Mastroianni); nominated for the Palme d'Or at Cannes</span></span><br /><span style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana,sans-serif;"> </span> </span><br /><span style="font-family: Verdana,sans-serif;">2:15am/11:15pm - <i><b>Belle de Jour</b> </i>(1967), one of Luis Bunuel's late-career masterpieces - about a bourgeois young wife with a secret life</span><span style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana,sans-serif;">, with Michel Piccoli</span>; winner of the Golden Lion and Pasinetti Award at the Venice Film Festival</span><br /><br /><span style="font-family: Verdana,sans-serif;">4:15am/1:15am - <i><b>The Hunger</b> </i>(1983), an ultra-stylish, dark and erotic vampire tale directed by Tony Scott, with David Bowie and Susan Sarandon; Scott's feature debut - his next film was the blockbuster, <i>Top Gun</i> (1986); in English</span><br /><span style="font-family: Verdana,sans-serif;"> </span><br /><span style="font-family: Verdana,sans-serif;"></span> <br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Xlt7SDnx9qwqpvFnhhdAKsNEePV6IF60i1AM4LhhSY51wExjBIgKJJ1iloXSsM6a_9EtauF3SRKWEEIUuLhpqHk_m5AvjOWoVaX8__Bnv9cAfprkwDeRqM9s8_Q4FUu06eA2VvMkj_8/s1600/Un_Flic.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Xlt7SDnx9qwqpvFnhhdAKsNEePV6IF60i1AM4LhhSY51wExjBIgKJJ1iloXSsM6a_9EtauF3SRKWEEIUuLhpqHk_m5AvjOWoVaX8__Bnv9cAfprkwDeRqM9s8_Q4FUu06eA2VvMkj_8/s400/Un_Flic.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: "Trebuchet MS",sans-serif;">Un Flic </span></i><span style="font-family: "Trebuchet MS",sans-serif;">airs on TCM August 12 at noon Eastern/9am Pacific</span></td></tr></tbody></table><span style="font-family: Verdana,sans-serif;"></span> <br /><div class="separator" style="clear: both; text-align: center;"></div><span style="font-family: Verdana,sans-serif;"></span> <span style="font-family: Verdana,sans-serif;"><u>Notes</u>:</span><br /><span style="font-family: Verdana,sans-serif;"><i><span style="font-family: Verdana,sans-serif;"><i>Look</i> magazine, June 1, 1965</span> </i></span><br /><span style="font-family: Verdana, sans-serif;"><i>Fresh Air on Stage and Screen, with Terry Gross </i>(WHYY Inc., 2000)</span><br /><span style="font-family: Verdana,sans-serif;"><i>The Guardian</i>, Sept. 21, 2005; interview with Geoff Andrew at BFI/Southbank </span><br /><span style="font-family: Verdana,sans-serif;"><i>The Private Diaries of Catherine Deneuve </i>by Catherine Deneuve (Pegasus Books, 2007)</span><br /><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Verdana,sans-serif;"></span></div>

Catherine Deneuve Summer Under the Stars TCM The Lady Eve (author) August 12: A Day - and Night - Under the Stars with Catherine Deneuve

This is my first entry for the 2013 TCM Summer Under the Stars Blogathon now in progress and hosted by Jill Blake of http://sittinonabacky...

TCM's Friday Night Spotlight in July: Francois Truffaut

3:00 AM Tukiyooo 0

<br /> <br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZWKeBtlsebrcEbPu4C26yQH3ny01cT7OUiXMiGlBFIm7fCBn3gV3YR37DuCm8fBXL0DOJtub4AiU9yj6gWZTaY97XrE5SP8RO3XGE5vNX31mZMxBW2zBIpu6a7dXYuV_QeJKUSsvvwng/s1200/francois-truffaut-directing.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZWKeBtlsebrcEbPu4C26yQH3ny01cT7OUiXMiGlBFIm7fCBn3gV3YR37DuCm8fBXL0DOJtub4AiU9yj6gWZTaY97XrE5SP8RO3XGE5vNX31mZMxBW2zBIpu6a7dXYuV_QeJKUSsvvwng/s400/francois-truffaut-directing.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;">Francois Truffaut</span></td></tr></tbody></table><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"></span></div><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;">Friday nights in July are going to be hot, and I’m not talking about the weather where I live. Beginning tonight and on the 12<sup>th</sup>, 19<sup>th</sup> and 26<sup>th</sup>, Turner Classic Movies will feature hour after hour of the films of one of the pioneers and masters of the French New Wave, Francois Truffaut (1932 – 1984). Film Critic <span style="mso-bidi-font-weight: normal;">David Edelstein</span> of <i style="mso-bidi-font-style: normal;">New York Magazine</i> and NPR’s <i style="mso-bidi-font-style: normal;">Fresh Air</i>, hosts the series.</span></div><div class="MsoNormal"><br /><a name='more'></a></div><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;">Coincidentally, I’ve been catching up with and revisiting Truffaut on my own lately. It started when I was putting together a birthday tribute to the French actress <a href="http://eves-reel-life.blogspot.com/2013/03/a-birthday-tribute-to-francoise-dorleac.html"><span style="color: #990000;"><b style="mso-bidi-font-weight: normal;">Francois Dorleac</b></span></a> in March. Dorleac worked with several legendary European filmmakers in her brief but notable career – Philippe de Broca, Jacques Demy, Roman Polanski, Ken Russell - and Truffaut. I'd seen Polanski's <i>C</i><i style="mso-bidi-font-style: normal;">ul-de-sac</i> (1966), Demy's <i style="mso-bidi-font-style: normal;">The Young Girls of Rochefort</i> (1967), and set out to find de Broca's <i style="mso-bidi-font-style: normal;">That Man from Rio</i> (1964), Russell's <i style="mso-bidi-font-style: normal;">Billion Dollar Brain </i>(1967) and Truffaut's <i style="mso-bidi-font-style: normal;">The Soft Skin</i> (1964). I’m still looking for <i style="mso-bidi-font-style: normal;">That Man from Rio</i>, but did manage to get my hands on <i style="mso-bidi-font-style: normal;">Billion Dollar Brain </i>and <i style="mso-bidi-font-style: normal;">The Soft Skin</i>.</span><br /><span style="font-family: Verdana,sans-serif;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs3HomJJk2b58dv5QOmT42SHlHVCm76FY01ZHIqBH2F7IIrR2MkYYu8gFBfNm8lRnwv9HUF1mWhrPGHNZgp5P9F5EEam7sQTGBwR1T607nAVAv6lFK9tU7P4-61j_QEVpGdBuX9TEMVQo/s500/soft-skin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs3HomJJk2b58dv5QOmT42SHlHVCm76FY01ZHIqBH2F7IIrR2MkYYu8gFBfNm8lRnwv9HUF1mWhrPGHNZgp5P9F5EEam7sQTGBwR1T607nAVAv6lFK9tU7P4-61j_QEVpGdBuX9TEMVQo/s400/soft-skin.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Desailly and Francoise Dorleac, <i>The Soft Skin </i>(1964)</td></tr></tbody></table></span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">The Soft Skin</i> has never been one of Truffaut’s better known films. When it screened at Cannes in 1964, the crowd booed and, in its time, the film was generally dismissed as conventional and disappointing. Following as it did on the heels of his innovative and much-admired earlier works<i> - </i><i style="mso-bidi-font-style: normal;">The 400 Blows </i>(1959), <i style="mso-bidi-font-style: normal;">Shoot the Piano Player </i>(1960) and <i style="mso-bidi-font-style: normal;">Jules and Jim </i>(1962) - <i style="mso-bidi-font-style: normal;">The Soft Skin</i> was derided by some as Truffaut’s bid for mainstream acceptance. Stuffy New York Times film critic Bosley Crowther, who famously fell badly out of step with the times in the ‘60s, called it “a curiously crude and hackneyed drama.” However, as so often happens, with the passage of years came reassessment and <i style="mso-bidi-font-style: normal;">The Soft Skin</i>, though still relatively obscure among Truffaut’s films, has gained a reputation among film buffs as one of his stronger efforts. A deceptively straightforward but suspenseful modern domestic drama, it deals with the sudden and ardent extramarital affair of a celebrated literary scholar, and features affecting performances by its two stars - Jean Desailly as the besotted intellectual and Francois Dorleac as the beautiful young thing of a flight attendant who turns his well-ordered life upside down. <a href="http://www.criterion.com/explore/81-georges-delerue"><span style="color: #990000;"><b style="mso-bidi-font-weight: normal;">Georges Delerue</b></span></a>, the award-winning composer who scored 11 Truffaut films, composed a striking score evocative of the frantic pace and emotional disconnect that marked the Space Age.<i style="mso-bidi-font-style: normal;"> </i></span></div><div class="MsoNormal"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnQzcCEqXySpplRl7WL9KMWDzwyF6UKg38MO2Uiiqd7WG1_2N5ryN_fTrykiIGVfFco-pP7Bu7rDCgmfoEw9yXCav-ZfUxtGx5CS7wnW4HFFccqa0r7d0aK0c5aRJrRNccad9wudWdmcE/s626/Hitchcock-Truffaut.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnQzcCEqXySpplRl7WL9KMWDzwyF6UKg38MO2Uiiqd7WG1_2N5ryN_fTrykiIGVfFco-pP7Bu7rDCgmfoEw9yXCav-ZfUxtGx5CS7wnW4HFFccqa0r7d0aK0c5aRJrRNccad9wudWdmcE/s320/Hitchcock-Truffaut.jpg" width="255" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;">Alfred Hitchcock and Francois Truffaut</span></td></tr></tbody></table><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"></span></div><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">The Soft Skin </i>was the first of four films in what is known as Truffaut’s “Hitchcock cycle,” a group of films he was working on at the time he conducted and published his <a href="http://www.goodreads.com/book/show/393601.Hitchcock_Truffaut"><b><span style="color: #990000;"><span style="mso-bidi-font-weight: normal;">now-famous interviews</span></span></b></a> with the Master of Suspense, each of which reflects Hitchcock's influence. <i style="mso-bidi-font-style: normal;">The Soft Skin</i> was followed in the cycle by <i style="mso-bidi-font-style: normal;">Fahrenheit 451 </i>(1966), <i style="mso-bidi-font-style: normal;">The Bride Wore Black </i>(1968) and <i style="mso-bidi-font-style: normal;">Mississippi Mermaid</i> (1969). All but <i style="mso-bidi-font-style: normal;">Fahrenheit 451 </i>will be screened on TCM this month.</span><br /><br /><span style="font-family: Verdana,sans-serif;">In June, when it aired as part of another TCM Friday Night Spotlight series, I recorded <i style="mso-bidi-font-style: normal;">Shoot the Piano Player</i>, Truffaut’s inventive and completely charming New Wave classic. Unpredictable, by turns comic and tragic, its special charms are accentuated by a charismatic and perfectly cast star, Charles Aznavour, and Delerue’s infectious,  jazzy score. I found it irresistible and watched it twice in a sitting. This put me in the mood for yet more Truffaut, and I very soon revisited one of his early ‘70s classics, Oscar winner for Best Foreign Language Film, <i style="mso-bidi-font-style: normal;">Day for Night</i> (1973), a delightful celluloid homage to filmmaking, the great love of Truffaut's life.</span></div><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqr06Vw7UOUTI4ICxLr-JhTgItK9aRLlIR23UduWHfXe_cpKFt67UahT_m-V_XYLITRd_8TwzlFN3iSNiaPXlNgLJkwvmT2da7UciVooPzJDVgAoVKzXJUeABtEEfL0HqhulOqlk-nHCc/s1200/day-for-night.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqr06Vw7UOUTI4ICxLr-JhTgItK9aRLlIR23UduWHfXe_cpKFt67UahT_m-V_XYLITRd_8TwzlFN3iSNiaPXlNgLJkwvmT2da7UciVooPzJDVgAoVKzXJUeABtEEfL0HqhulOqlk-nHCc/s400/day-for-night.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jacqueline Bisset and Jean-Pierre L<span style="font-family: Verdana,sans-serif;">é</span>aud, <i>Day for Night </i>(1973)</td></tr></tbody></table></span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><span style="color: #990000;"><span style="color: black;">TCM's Friday night series includes 21 Truffaut films, from <i>The 400 Blows</i>, his first feature, to his very last, <i>Confidentially Yours </i>(1983). See full program schedule below.</span></span><span style="color: #990000;"><b style="mso-bidi-font-weight: normal;"> </b></span></span><br /><br /><span style="font-family: Verdana,sans-serif;"><a href="http://www.tcm.com/this-month/article/642865|0/Scorsese-Screens-for-July.html"><span style="color: #990000;"><b style="mso-bidi-font-weight: normal;">Click here</b></span></a> to read Martin Scorsese’s moving tribute to Francois Truffaut for TCM in his current “Scorsese Screens” column.<b style="mso-bidi-font-weight: normal;"> </b></span></div><div class="MsoNormal"><br /><div style="text-align: center;"><span style="font-family: Verdana,sans-serif;"><b style="mso-bidi-font-weight: normal;">Friday Night Spotlight: Francois Truffaut</b> </span><br /><span style="font-family: Verdana,sans-serif;">(begins 8pm Eastern/5 pm Pacific)</span></div></div><div align="center" class="MsoNormal" style="text-align: center;"><br /><div style="text-align: left;"><b><span style="font-family: Verdana,sans-serif;"><u>July 5 </u></span></b></div></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">The 400 Blows</i>(1959) stars young Jean-Pierre Léaud as Truffaut’s alter-ego Antoine Doinel in his troubled adolescence</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">Antoine and Colette</i>(1962), a film short with Léaud as Antoine Doinel; Marie-France Pisier co-stars as the woman with whom he becomes obsessed</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">Stolen Kisses</i>(1968), Truffaut’s second feature-length film, with Léaud again as Doinel who, by this time, is leaving military service and adapting to civilian life; with Delphine Seyrig and Claude Jade</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">Bed & Board</i>(1970), the third installment in “the Doinel cycle,” stars Léaud, with Claude Jade as his wife</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">Love on the Run</i>(1979), the last in the Doinel series, with Léaud as Doinel, Jade as his ex-wife, and flashbacks to footage from the earlier films</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">The Green Room aka/Vanishing Fiancee</i> (1978), the story of a man unable to stop grieving the death of his wife, starring Francois Truffaut, Nathalie Baye and Jean Daste</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><b><span style="font-family: Verdana,sans-serif;"><u>July 12</u></span></b></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">The Bride Wore Black</i>(1968) with Jeanne Moreau in a Hitchcockian tale of a new bride’s single-minded vengeance, with Jean-Claude Brialy; based on a novel by Cornell Woolrich</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">Confidentially Yours</i>(1983) - Jean-Louis Trintignant and Fanny Ardant star in the story of a wrong man accused</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">Mississippi Mermaid</i>(1969), starring Catherine Deneauve as Jean-Paul Belmondo’s mail order bride; adapted from a Cornell Woolrich novel</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">Such a Gorgeous Kid Like Me</i> (1972), a black comedy with Bernadette Lafont as a beautiful woman in prison who recounts her life story to a sociologist</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">Shoot the Piano Player</i>(1960) stars Charles Aznavour as a one-time concert pianist who seeks anonymity but can’t escape his past </span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><b><span style="font-family: Verdana,sans-serif;"><u>July 19</u></span></b></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">The Soft Skin</i>(1964), This story of a literary highbrow who falls madly for a beautiful young woman was allegedly inspired by true stories of adultery and mayhem; starring Jean Desailly, Francoise Dorleac and Nelly Benedetti</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">Jules and Jim</i>(1962) with Jeanne Moreau, Oskar Werner and Henri Serre in the tale of an ill-fated love triangle</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">Two English Girls</i>(1971) stars Jean-Pierre Léaud as a young French writer who has romantic involvements with two sisters</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">A Story of Water</i>(1961), co-directed with Jean-Luc Goddard, is a short film about a young woman determined to leave her village and go to Paris; with Jean-Claude Brialy and Caroline Dim</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">The Woman Next Door</i>(1981) is Fanny Ardant, who unwittingly becomes the new neighbor of happily married Gerard Depardieu, her former lover</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">The Man Who Loved Women</i> (1977) stars Charles Denner as Bertrand, a compulsive womanizer whose skirt-chasing has fateful consequences, with Brigitte Fossey and Leslie Caron.</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><b><span style="font-family: Verdana,sans-serif;"><u>July 26</u></span></b></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">Day for Night</i>(1973) with Jacqueline Bisset, Jean-Pierre Léaud, Jean-Pierre Aumont, Francois Truffaut and Nathalie Baye – Truffaut’s timeless paean to moviemaking</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">The Last Metro</i>(1980), set in Paris during the Nazi occupation, stars Catherine Deneuve as an actress whose director-husband is Jewish and must go into hiding</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">The Wild Child</i>(1970), about a boy literally raised by wolves, starring Francois Truffaut and Jean-Pierre Cargol</span></div><span style="font-family: Verdana,sans-serif;"> </span><br /><div class="MsoNormal"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">The Story of Adele H</i>(1975) with Isabelle Adjani as Adele, the high-strung daughter of renowned 19<sup>th</sup>century poet/novelist/dramatist Victor Hugo, who becomes romantically obsessed with a military officer</span></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN8h3h6COzlWb9dVF66gzFmiowe-R8KqhvhlZl7QTVTbJdeFNnnFHeTqY0pQflhBy5qOtZGWHONrEModXoX2BtLphw5Zl3tvboc9Tz8dx-T5hJpjOzHtk3mxvJW9kX4Phz-3qjUK5tdHE/s600/the+bride+wore+black.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN8h3h6COzlWb9dVF66gzFmiowe-R8KqhvhlZl7QTVTbJdeFNnnFHeTqY0pQflhBy5qOtZGWHONrEModXoX2BtLphw5Zl3tvboc9Tz8dx-T5hJpjOzHtk3mxvJW9kX4Phz-3qjUK5tdHE/s400/the+bride+wore+black.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;">Jeanne Moreau, </span><i><span style="font-family: Verdana,sans-serif;">The Bride Wore Black </span></i><span style="font-family: Verdana,sans-serif;">(1968), poster art</span></td></tr></tbody></table><div class="MsoNormal"><br /></div>

TCM's Friday Night Spotlight in July: Francois Truffaut

Charles Aznavour David Edelstein Francois Truffaut Francoise Dorleac Friday Night Spotlight Georges Delerue Jean Desailly Scorsese Screens Shoot the Piano Player TCM The Lady Eve (author) TCM's Friday Night Spotlight in July: Francois Truffaut

Francois Truffaut Friday nights in July are going to be hot, and I’m not talking about the weather where I live. Beginning tonight and on t...

TCM Presents Five Tyrone Power Films in Primetime and Late Night

Summer Under the Stars: Unfaithfully Rex

August 12: A Day - and Night - Under the Stars with Catherine Deneuve

TCM's Friday Night Spotlight in July: Francois Truffaut

Ads

Archive