I’m not afraid to watch your eyes
groaning grinding lost in time.
Betwixt, affixed upon performance.
The power exchanged far too enormous.
By default,
can’t pass through hands.
Far too yours to leave your lands.
A hunger yields just for a moment.
Will not stay a key component.
It will reset, be washed anew.
Primal carnage cast askew.
Hunger waiting, watching, pacing.
Here a feeling, mine for taking.
And so for moments cast in roles.
Jointly working towards a goal.
Fruition of carnal desire.
Do this right and shirk all ire.
Lose yourself in your gyration.
Peak performance at your station.
Thank god we place our outlets here.
A euphoric mind less apt to fear.
-s.z (Lasting)
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Barbara Stanwyck and S.Z. Sakall in Christmas in Connecticut, 1945
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CHRISTMAS IN CONNECTICUT (1945)
dir. Peter Godfrey
Bonus:
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Round 2, Match 4
Mischa Auer vs S.Z. Sakall
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@tcmparty live tweet schedule for the week beginning Monday, September 19, 2022. Look for us on Twitter…watch and tweet along…remember to add #TCMParty to your tweets so everyone can find them :) All times are Eastern.
Thursday, Sept. 22 at 10:15 p.m.
CASABLANCA (1942)
An American saloon owner in North Africa is drawn into World War II when his lost love turns up.
Saturday, Sept. 24 at 8:00 p.m.
IT CAME FROM OUTER SPACE (1953)
No one believes an amateur astronomer's spaceship sighting until the town's people begin disappearing.
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Bad movie I have Casablanca 1942 This is a Box set come with a book , movie card, a leather wallet and some production notes
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Rolling waves of dark intention.
These the things we rarely mention.
Billowing mass of an aspen tree. Thrashing, thrashing you and me.
This simply a lovers quarrel.
The joining of that which we deem royal.
Nature will both give and take.
You needn’t remind me what’s at stake.
Believe me I know all too well.
Hoping, searching for a spell.
But maybe things not simply done.
These things take time, lest you take none.
I made a mess, perhaps I am.
Maybe monster, maybe damned.
But in all cases contradiction.
We are all but works of fiction.
-s.z (Days Of Judgment)
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Thank Your Lucky Stars
During World War II, most of the major studios produced all-star musicals, usually built around some kind of benefit performance, to raise money for the war effort. David Butler’s THANK YOUR LUCKY STARS (1943, TCM) was the first of two such films Warner Bros. made to support the Hollywood Canteen, which is natural as it was founded by two of their biggest stars, Bette Davis and John Garfield. Early on, aspiring composer Joan Leslie says of a makeshift community of show-biz hopefuls, “It’s either very quaint or very corny.” I wasn’t feeling well last night, so I leaned toward the former as a cure for what ailed me. The plot is negligible. Producer Edward Everett Horton and composer S.Z. Sakall want to do a benefit with Dinah Shore, but since she works for Eddie Cantor, they can’t find a way to get her without letting him take over the show. Meanwhile, aspiring singer Dennis Morgan tries to get into the show with help from Leslie and an actor who can’t get work because he looks too much like Cantor. Yes, it’s Cantor in a double role, though the joke is that Cantor as Cantor plays a nightmarish egomaniac while his double is more like Cantor’s real image. Arthur Schwartz and Frank Loesser wrote some catchy upbeat songs — including the title number, impeccably sung by Shore, and Davis’ “They’re Either Too Young or Too Old” — and some soupy ballads. Part of the film’s charm is seeing performers not noted for musical skills sing and dance, with special honors to Garfield for doing a version of “Blues in the Night” that spoofs his screen image. Choreographer Leroy Prinze deserves a lot of credit for coming up with a dancing style to suit Errol Flynn’s image, throwing Davis into a jitterbug number, turning Olivia de Havilland (dubbed) and Ida Lupino into bobbysoxers and staging a bang-up number headed by Hattie McDaniel, who should have done more musicals. Watch closely and you’ll catch Ruth Donnelly as a surgical nurse, Henry Armetta as a barber, Frank Faylen as a sailor, Mike Mazurki as Cantor’s trainer, Mary Treen as an autograph hound and Butler and producer Mark Hellinger as themselves. As icing on the cake, you get to see Spike Jones and his City Slickers do “Otchi Chornya.”
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S Z Sakall (February 2, 1883 – February 12, 1955)
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"If one day you wake up and you no longer care about me, say so over our morning coffee and I will let you leave. I will not ask you why. I will not ask you to stay one more night. I will give you a small smile and say that it is okay, that people lose feelings for all sorts of reasons, and that I will survive. If it comes to it, just say so. You should stay because you want to. You should leave if you need to."
S.Z.
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very off-brand for this account but here it is
I think the funniest (in a bad way) part of the whole thing with Sarah Z taking @icaruspendragon out of context (and uncredited!!!) and making Berk seem anti-intellectual is that Sarah has changed the title of her video three times and the thumbnail twice. If I did that to an essay in an academic setting, I'd get absolutely torn to shreds by my professors, and for good reason.
Sarah has been getting the YouTube equivalent of bad Canvas comments on her video essay, and instead of owning up to it, she's changing the hook of the video and then saying it's the viewer's fault if they perceived it differently before the changes. But no, Berk is definitely the one who dislikes intellectual pursuits and academics in this scenario. Makes sense.
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