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Post by BATouttaheck on Jul 27, 2018 13:29:08 GMT
Another Nalkarj QUEST ! I  quests ! WE  Quests !  |
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Post by Doghouse6 on Jul 27, 2018 13:34:09 GMT
I just e-mailed the New York Times’ A.O. Scott with the question; he quoted Doghouse6 ’s line in his book Better Living through Criticism. Hoping that he has an answer…or, at least, just responds. Wow! Not only "on the case," but Johnny-on-the-spot. I'm impressed and grateful. If this isn't your motto, perhaps it ought to be:  |
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Post by Nalkarj on Jul 27, 2018 13:41:30 GMT
Thanks, BATouttaheck , Doghouse6 . Sometimes, in the quests I choose, I do feel like Don Quixote tilting at windmills! But I have this deep desire to get to the bottom of things (that’s the journalist side of me); in real life, it’s more that I like the solution than the mystery.  Doghouse, do you not think it could have been the radio adaptation, then? I can’t find any other example of another AAE cut—or, wait, do you remember anything about the theater (Beverly Canon)? |
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Post by BATouttaheck on Jul 27, 2018 14:21:23 GMT
Nalkarj Shared quests are the best quests !
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Post by Doghouse6 on Jul 27, 2018 14:27:26 GMT
Thanks, BATouttaheck , Doghouse6 . Sometimes, in the quests I choose, I do feel like Don Quixote tilting at windmills! But I have this deep desire to get to the bottom of things (that’s the journalist side of me); in real life, it’s more that I like the solution than the mystery. Doghouse, do you not think it could have been the radio adaptation, then? I can’t find any other example of another AAE cut—or, wait, do you remember anything about the theater (Beverly Canon)? Well, I do hate the idea of initiating a futile quest on the basis of what could conceivably be no more than faulty memory, and goodness knows mine gets faultier every year. I can't swear that I never heard the radio adaptation, but have no recollection of ever having done so. If it is faulty memory or even pure delusion, there's some comfort, I guess, at being in such good company. About the theater, nothin' special. It was an unassuming and unadorned venue of relatively intimate scale - only a few hundred seats - and late '40s vintage; one of many such revival/classic houses around town. In the late '70s, it became a legit house under the direction of actor Rudy Solari (and was renamed for him), and remained so for nearly 30 years until its 2005 demolition. I did see a show there once in the '80s for which a friend had done the scenic design, and met Tommy Smothers (one of the show's producers) at the opening night party. But I can't recall a single detail about the show, or even its name. As Karen Richards says in the very film in question, it's funny, the things you remember...and the things you don't. |
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Post by Nalkarj on Jul 27, 2018 14:32:52 GMT
No worries, Doghouse6, especially after the Sleuth quest! I find it unlikely, to say the least, that so many people would have remembered it if it hadn’t been there, but then again after the Columbo quest I don’t know what to think. Oy. But we’ll find something out in the end, one way or another—we’ll get to the bottom of it! |
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Post by BATouttaheck on Jul 27, 2018 14:39:12 GMT
Nalkarjwe’ll get to the bottom of it!
even tho' it's a deep subject ! ^^^^ sorry 'bout that .. it's that Doghouse6's influence 
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Post by Doghouse6 on Jul 27, 2018 15:05:26 GMT
No worries, Doghouse6 , especially after the Sleuth quest! I find it unlikely, to say the least, that so many people would have remembered it if it hadn’t been there, but then again after the Columbo quest I don’t know what to think. Oy. But we’ll find something out in the end, one way or another—we’ll get to the bottom of it! The frustration is that anything committed to film or other documentation that still exists - or was witnessed by still-living people - is knowable; the truth is out there... if you know where to look. And there's the stumbling block. Did you see that question on the General Discussion board recently, something about whether you'd want immortality if your living consciousness could be uploaded to cloud-like storage, or whatever it was? I'd be absolutely disinterested, for the record, but theorized that such technology should logically be sophisticated enough to store selected memories for others to access, and that's something in which I'd find value. Imagine all the first-hand human experience that, having gone undocumented in any other way, dies with its participants, and all the questions to which the only answer would otherwise be, "We'll never know." Pardon; I sometimes get philosophical and fanciful as the weekend approaches. |
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Post by mikef6 on Jul 27, 2018 15:29:18 GMT
His sad mental (and maybe physical) condition during his last years were apparent to the cast of one of the era’s top shows. I reviewed the season and the episode on the old boards. Lesley Ann Warren as Dana Lambert and George Sanders as Armand Anderssarian in "Mission: Impossible"  |
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Post by movielover on Jul 27, 2018 16:00:19 GMT
My 5 favorite George Sanders movies:
1. All About Eve
2. Rebecca
3. Village of the Damned
4. Foreign Correspondent
5. A Shot in the Dark
My 5 favorite George Sanders performances:
1. All About Eve
2. The Picture of Dorian Gray
3. Foreign Correspondent
4. Village of the Damned
5. The Ghost and Mrs. Muir
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Post by Nalkarj on Feb 19, 2019 22:36:20 GMT
Doghouse6 (et al.) My apologies for bringing this up again, but it came to mind, and unfortunately I can only say that I wasn’t able to find anything more about the line you remember in AAE. I wondered if it were in Mary Orr’s original story, in her play version, or in Applause, the musical adaptation of her play—but it wasn’t in any of them, unfortunately. The only adaptation I can find it in was that radio version with Tallulah Bankhead as Margo. Unsurprisingly, A.E. Scott never got back to me, though his excerpt is one of the most curious because he specifically states it’s from the movie and devotes three pages to analyzing what Mankiewicz means by it. Sorry about that.
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Post by BATouttaheck on Feb 19, 2019 22:58:35 GMT
NalkarjWHEW ... was afraid that this was the first in a 20 page series of bumps … Thanks for the update !
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Post by Doghouse6 on Feb 20, 2019 0:18:44 GMT
Doghouse6 (et al.) My apologies for bringing this up again, but it came to mind, and unfortunately I can only say that I wasn’t able to find anything more about the line you remember in AAE. I wondered if it were in Mary Orr’s original story, in her play version, or in Applause, the musical adaptation of her play—but it wasn’t in any of them, unfortunately. The only adaptation I can find it in was that radio version with Tallulah Bankhead as Margo. Unsurprisingly, A.E. Scott never got back to me, though his excerpt is one of the most curious because he specifically states it’s from the movie and devotes three pages to analyzing what Mankiewicz means by it. Sorry about that. Apologies?! I'm pleased you thought of it; so had I with the recent advent of teleadm's thread on Joe Mankiewicz (that's a name I shall never be able to type without first checking the spelling). Consulting the shooting script again just before replying, I was reminded of any number of bits missing from the final cut, whether shot or not (such as Miss Cassell's suggestion to Addison that they go sit by the piano at Margo's party being met with, "You have me confused with Dan Dailey"). Without the benefit of having read Scott's analysis, I can give you mine in far less than three pages worth: the missing line adds a refreshing dash of self-deprecation to Addison's description of himself, acknowledging his gadfly position (continuing the "ants...boll weevil" insect analogies) in the theater world; for all his high opinions of his abilities, he's nothing if not self-aware...and with the possible exception of Birdie, the most so among the entire collection of characters. With regard to Applause, I came across accounts stating that 20th-Fox had initially refused to release any rights to their film or screenplay, so the show was based on the Orr short story. During development of the book by Sidney Michaels, Betty Comden and Adolph Green, new characters were created to replace both Addison and Birdie. Before the show opened, the studio reversed their position, but it was too far along to make any changes other than the addition of a number called "Fasten Your Seat Belts." I never saw the show, but I suppose we can assume that neither ants nor boll weevils found their way into it. Incidentally, did you know Applause was at once Bonnie Franklin's B'way debut and swan song? Speaking of songs, she happened to lead the chorus in the title number. |
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Post by Nalkarj on Feb 20, 2019 3:49:24 GMT
Thanks, Doghouse6! I have to say I prefer your analysis to Scott’s, which analyzes fairly obvious metaphors. The analysis impresses me far less than the fact that, as we know, it’s for a line that is not in the movie Scott says (authoritatively) that it’s from. Very interesting about Applause, a show that from what I read in researching this little mystery seems to be as much a misstep (but an interesting one) as that Nick & Nora show Arthur Laurents wrote. Someone wrote that Lauren Bacall was the only good thing about it despite her lack of vocal range. I did not know that about Bonnie Franklin! And no ants or boll weevils, unfortunately… |
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Post by BATouttaheck on Feb 20, 2019 4:01:18 GMT
Bonnie Franklin in Applause on Broadway  and in the Souvenir Playbook  |
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Post by BATouttaheck on Feb 20, 2019 4:04:08 GMT
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Post by Nalkarj on Feb 20, 2019 4:08:03 GMT
Take it away, Mr. Maybe- Sleuth-Singer! |
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Post by BATouttaheck on Feb 20, 2019 4:11:29 GMT
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Post by Lebowskidoo 🦞 on Feb 20, 2019 19:19:56 GMT
He was a welcome dose of snark in several classics. Sad that it ended for him the way it did.
I've seen these George Sanders movies so far:
Mr. Moto's Last Warning
Rebecca
The Picture of Dorian Gray
The Ghost and Mrs. Muir
All About Eve
The Last Voyage
Village of the Damned
A Shot in the Dark
The Jungle Book
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Post by Doghouse6 on Feb 20, 2019 23:23:02 GMT
Thanks, Doghouse6 ! I have to say I prefer your analysis to Scott’s, which analyzes fairly obvious metaphors. The analysis impresses me far less than the fact that, as we know, it’s for a line that is not in the movie Scott says (authoritatively) that it’s from. Very interesting about Applause, a show that from what I read in researching this little mystery seems to be as much a misstep (but an interesting one) as that Nick & Nora show Arthur Laurents wrote. Someone wrote that Lauren Bacall was the only good thing about it despite her lack of vocal range. I did not know that about Bonnie Franklin! And no ants or boll weevils, unfortunately… I've watched the TV production of Applause to which BATouttaheck so kindly posted a link. It was an interesting hybrid: a video record of the show's text but not its production (in the sense of the excellent Sweeney Todd, which was shot as originally staged onstage), done in the multi-camera "daytime drama" style, and suggesting with that approach a conundrum for the players; do you want to preserve the performance you gave onstage (Bacall, for instance) or modulate and re-scale it for the intimacy of the cameras (toward which Penny Fuller as Eve leaned)? The result is somewhat discordant, with quieter performances sharing the mise en scène with those bellowing from proscenium to balcony. All in all, I was less than impressed with the book and score, which suffered a bit from trendy, early-'70s-itis in the wake of revolutionary B'way productions such as HAIR in its attempt to be up to date but not aging especially well. At the same time, the placement of, and lead-ins to, numbers often felt heavy-handed and thinly developed. From what I was able to ascertain, the show was successful, running over two years, garnering a slew of Tony nominations and winning a respectable handful, so it's not entirely fair to the show to judge it on the basis of only a pared-down TV production. Still, I'm very grateful to have seen it, even if it provided nothing in the way of solutions to "this little mystery." As a side note, it's intriguing that Bacall did a film called The Fan just a decade later that recalled elements of Applause in its portrayal of a temperamental film star who's transplanted herself to musical theater, but replacing the manipulative usurper with a psychotically obsessive stalker. |
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