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fitesorko · 8 months

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Angela Lansbury June Allyson

#angela lansbury june allyson

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peggy-elise · 9 months

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Lana Turner and Gene Kelly in The Three Musketeers 1948 🤺

#old hollywood #beauty #romantic drama #historical drama #1940s cinema #the three musketeers #gene kelly #lana turner #van heflin #june allyson #vincent price #angela lansbury #patricia medina

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hellooldsmelly · 29 days

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Angela Lansbury sizing up June Allyson for a swat on the ass! Maybe. We can hope.

#angela lansbury #june allyson

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hollywoodcomet · 6 months

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Musical Monday: Remains to Be Seen (1953)

It’s no secret that the Hollywood Comet loves musicals. In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 600. To celebrate and share this musical love, here is my weekly feature about musicals. This week’s musical: Remains to Be Seen (1953) – Musical #754 Studio: Metro-Goldwyn-Mayer Director: Don Weis Starring: Van Johnson, June Allyson,…

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#1950s musicals #Angela Lansbury #June Allyson #Musical Monday #Van Johnson and June Allyson

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dweemeister · 2 years

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You must face the age of not believing Doubting everything you ever knew Until at last you start believing There's something wonderful in you

Dame Angela Lansbury, who died at her home today in Los Angeles at the age of 96, is perhaps best known today as Jessica Fletcher in the acclaimed TV series Murder, She Wrote and in the Broadway stage plays and musicals in significant parts that Hollywood never gave her. But well before that, the Irish-British transplant to America (she and her family left Britain at the height of Nazi Germany’s bombing campaign of her home nation) made her career as mostly a character actress during the Golden Age of Hollywood. She may not have been a major star billed at the top of marquees and movie posters during her time while contracted to Metro-Goldwyn-Mayer (MGM), but she would come to be a recognizable figure to audiences of multiple generations – whether she might be playing a tough saloon owner with a belter of a singing voice, a schoolteacher just making ends meet, Elvis’ mother (despite a nine-year age difference), princesses and queens, the amoral and scheming wife of a political candidate, an emotionally manipulative mother, or a teapot matriarch.

She stepped onto a movie soundstage for the first time at seventeen years of age, while making Gaslight (1944) for MGM. Because she was still technically a minor, she had to be accompanied by a social worker while working on set. Despite this, director George Cukor and her co-stars (including Ingrid Bergman) treated her as equals, all of them recognizing right away her professionality and acting ability. Perhaps producers and studio executives might not have done the same, saddling her so often with character roles, but Lansbury – by all accounts – extended that same kindness Cukor and Bergman afforded to her to so many others over the decades, leaving a legacy that goes beyond whatever personal disappointments she may have had over the more considerable roles she never got to play.

Her distinction as Hollywood royalty came later in life, as our connections of Hollywood’s Golden Age are almost all gone.

Nine of the films Angela Lansbury appeared in follow (left-right, descending):

Gaslight (1944) – directed by George Cukor; also starring Charles Boyer, Ingrid Bergman, Joseph Cotten, and Dame May Whitty

The Harvey Girls (1946) – directed by George Sidney; also starring Judy Garland, John Hodiak, Ray Bolger, Preston Foster, Virginia O’Brien, Kenny Baker, Marjorie Main, Chill Wills, Selena Royle, and Cyd Charisse

The Three Musketeers (1949) – directed by George Sidney; also starring Lana Turner, Gene Kelly, June Allyson, Van Heflin, Frank Morgan, and Vincent Price

The Court Jester (1955) – directed by Melvin Frank and Norman Panama; also starring Danny Kaye, Glynis Johns, Basil Rathbone, and Cecil Parker

The Manchurian Candidate (1962) – directed by John Frankenheimer; also starring Frank Sinatra, Laurence Harvey, and Janet Leigh

Bedknobs and Broomsticks (1971) – directed by Robert Stevenson and Ward Kimball; also starring David Tomlinson, Roddy McDowall, Sam Jaffe, John Ericson, Cindy O’Callaghan, Ian Weighill, and Roy Snart

Death on the Nile (1978) – directed by John Guillermin; also starring Peter Ustinov, Jane Birkin, Lois Chiles, Bette Davis, Mia Farrow, Jon Finch, Olivia Hussey, I.S. Johar, George Kennedy, Simon MacCorkindale, David Niven, Maggie Smith, and Jack Warden

Beauty and the Beast (1991) – directed by Gary Trousdale and Kirk Wise; also starring Paige O’Hara, Robby Benson, Richard White, Jerry Orbach, David Ogden Stiers, Rex Everhart, Jesse Corti, and Bradley Pierce

Mary Poppins Returns (2018) – directed by Rob Marshall; also starring Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Pixie Davies, Nathanael Saleh, Joel Dawson, Julie Walters, Meryl Streep, Colin Firth, David Warner, and Dick Van Dyke

#Angela Lansbury #Gaslight #The Harvey Girls #The Three Musketeers #The Court Jester #The Manchurian Candidate #Bedknobs and Broomsticks #Death on the Nile #Beauty and the Beast #Mary Poppins Returns #in memoriam

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sirbogarde · 4 years

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The Three Musketeers (1948) dir. George Sidney

The Three Musketeers was an extremely personal project for Kelly for two reasons. The first was the fact that he was recreating the character (D'Artagnan) played by his favorite star (Douglas Fairbanks) in his favorite movie (the 1921 version of The Three Musketeers). Kelly was later quoted in Tony Thomas' The Films of Gene Kelly: Song and Dance saying "I loved playing this part. As a boy I idolized Fairbanks, Sr. and I raised myself to be a gymnast." The second reason is that Kelly was hoping his performance in The Three Musketeers would convince MGM to let him do a musical version of Edmond Rostand's Cyrano De Bergerac.. Regardless of his energetic performance in The Three Musketeers, the studio brass wouldn't go for a musical Cyrano even though Kelly pestered them for years about it.

@vincentpriceonline

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brianfrench1995 · 3 years

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Christine gueststars in a very special - Murder She Wrote

#murder she wrote #angela lansbury #Valore tracksuit #Christine #TV guide #80s tv series #tv ad #tom bosley #van johnson #june allyson #claude akins #edward albert #Patti d’arbanville #stuart whitman

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grandmastv · 4 years

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Murder She Wrote, Hit, Run and Homicide (1984).

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retropopcult · 5 years

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1946

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ulrichgebert · 4 years

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Eine Welt ohne Jerome-Kern-Lieder wäre natürlich fast noch blöder. Das (oder zumindest mit deutlich weniger) wäre passiert, wenn er nicht die Abfahrt der Lusitania verschlafen hätte. Im Film ist es natürlich viel dramatischer. Der “Dramatic Life Story”-Aspekt ist ohnehin etwas übertrieben, aber die reizendsten Leute singen wirklich viele schöne seiner Lieder, spielen Show Boat, so wie wir es uns immer gewünscht hätten (mit Lena Horne nämlich), außerdem fand anscheinend der ersten Kontakt unserer noch ungeborenen Hausmuse mit Gesangsarrangement ihrer späteren Patentante Kay Thompson statt.

#Till the Clouds Roll By #June Allyson #Lucille Bremer #Judy Garland #Kathryn Grayson #Van Heflin #Lena Horne #Angela Lansbury #Tony Martin #Virginia O'Brien #Dinah Shore #Frank Sinatra #Robert Walker #Film gesehen #Musical #Jerome Kern #Richard Whorf #Vincente Minnelli #Al Hirschfeld

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crushongene · 6 years

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Angela Lansbury, June Allyson and Gene Kelly. The Three Musketeers (1948)

#Angela Lansbury #June Allyson #Gene Kelly #The Three Musketeers #M-G-M #Metro-Goldwyn-Mayer #1948

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petersonreviews · 6 years

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#the three musketeers #1940s #40s #george sidney #gene kelly #lana turner #june allyson #van heflin #angela lansbury #vincent price #frank morgan #old hollywood #classic hollywood #vintage hollywood #hollywood golden age

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filmstruck · 6 years

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The Delicious Not-So-Guilty Pleasure of MGM’s Star-Studded THE THREE MUSKETEERS (‘48) by Jill Blake

There are a lot of bad movies, and there are quite possibly more bad movies out there than good ones. Now, I’m not big into hate watching like some of my fellow movie lovers, but sometimes there are extenuating circumstances that beg one to set aside all logic and reason and good taste in exchange for a couple hours of pure, unadulterated escapism. For me, this isn’t hate watching, but just another facet of my obsession with film – it’s a guilty pleasure. But half of the time I don’t feel the guilt of loving something incredibly stupid. And I’m not talking about a cocky, ironic sort of affection for something that seems to plague cinephiles afraid to let down their guard and appear stupid or uncultured. It’s perfectly fine to love something that doesn’t make sense, or doesn’t live up the harsh guidelines of what constitutes a “good film.” There are several of these films for me – more than I can list here.

But there is one film that never ceases to put a smile on my face; to entertain me when I’m at my lowest or just in need of an escape: George Sidney’s THE THREE MUSKETEERS (‘48). This movie is the very definition of a “hot mess” with its bizarre yet impressively star-studded cast, clumsy storytelling and lackluster direction. And yet, it inexplicably works. Well, sort of. Not in the way that MGM had originally hoped, as clearly no amount of money or star power could save this film from its slow, fiery demise. But it is entertaining to me, so as far as I’m concerned, MGM finally achieved its goal, even if it’s 70 years after its original release and I’m practically the only person in this world who cares about it.

What makes THE THREE MUSKETEERS so-bad-it’s-good-but-it’s-really-unironically-good?

Costumes by Walter Plunkett

When a movie’s plot falls apart under its own weight, but you’re desperately clinging to anything and everything positive to salvage the cinematic experience, you start looking at any potential positives. Fortunately, in the case of THE THREE MUSKETEERS, it has many positives. (Yes, I’m a “glass half full” gal—at least when it comes to movies.) Sure, they can’t completely save the film from itself, but they make it enjoyable. Such is the case with this film’s costumes, designed by the legendary Walter Plunkett. In no way, shape or form are these costumes historically accurate, at least in terms of fabrics and colors used. But Plunkett knew how to create a visually appealing silhouette for his stars, subsequently elevating their performances. From GONE WITH THE WIND (‘39), AN AMERICAN IN PARIS (‘52) and SEVEN BRIDES FOR SEVEN BROTHERS (‘54), Plunkett designed costumes for close to 300 productions—many for MGM—as well as for stage productions on Broadway and the Metropolitan Opera. Plunkett’s work on THE THREE MUSKETEERS is exceptional, particularly for leading ladies Lana Turner and Angela Lansbury. (Did I mention Lana Turner and Angela Lansbury are both in this film?)

Technicolor

With Plunkett’s vivid costumes and MGM’s brightest stars, how could MGM resist filming this production in luscious Technicolor? When the performances aren’t where they should be, both the color photography and clever use of light bring the film out of the shadows. At times, the cinematography is simply breathtaking, particularly in a candlelit boudoir scene between Turner’s Lady de Winter and Kelly’s D’Artagnan. The film received a single Academy Award nomination for its color cinematography. And it was well deserved.

Gene Doesn’t Dance

You read that right. There are no jaunty musical numbers, tap routines or gravity-defying dance movements. Kelly is given an opportunity to demonstrate his acting chops without a reliance on his dancing. Kelly’s acting is often criticized, and it’s not completely unwarranted. The man could be a real ham. And he is a big ol’ honey ham in THE THREE MUSKETEERS. Not to mention that he’s entirely too old to play the young D’Artagnan. But that knee-weakening smile, and that stupid little mustache, that horrid wig and his shapely…assets – more than make up for his hammy tendencies. It works and don’t even try to argue with me.

More Stars Than There Are in the Heavens

Lana Turner. Gene Kelly. June Allyson. Van Heflin. Angela Lansbury. Frank Morgan. Papa Vincent Price. Keenan Wynn. Gig Young. Reginald Owen. This is how you cast a movie. This is how you shut down your competitors. This is how you cover the fact that you’ve got a terrible script and premise. Throw all of your stars in it. MGM pulled this stunt all of the time and they do not disappoint here.

Watch this movie. Leave all of your criticisms and suspend all reasonable beliefs. Indulge in the indulgent and escape. That’s why movies like this exist.

#FilmStruck #The Three Musketeers #Gene Kelly #Lana Turner #Vincent Price #Goerge Sidney #Angela Lansbury #StreamLine Blog #Jill Blake #Walter Plunkett #Technicolor

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jobethdalloway · 6 years

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did you watch the PBS Little Women? My mom wanted to for mother's day, and I wanted to check it out with her bc I know how much you love the story but like...I really didn't like it? She and my sister loved it but I kept leaving to like clean up and other stuff. I'm sorry. Did you see it? Maybe it's just a bad version.

UGHHHHHHHHHHH IT KILLS ME THAT THIS WAS YOUR INTRODUCTION TO LITTLE WOMEN!!!!!!

My mom and I also wanted to give this a go for Mother’s Day but we could not make it through the first 15 minutes. We recorded it and later fast-forwarded to see some of Angela Lansbury as Aunt March, and she was (what a relief) great, but Lord have mercy was everything else ATROCIOUS.

In the first scene, I could only tell which sister was which because of the dialogue - I’m familiar enough with the story to know which lines go to who. But in the ensuing scenes, I swear to God I could not tell Jo from Beth from Meg and could only distinguish Amy because she was blonde. The acting was so FLAT. The March sisters are each so distinct, just in the first scene of that novel/other adaptations - making them distinguishable should be a slam dunk but they were all so bleh that I couldn’t tell and what’s more didn’t care which one was which. And the scene we watched with Angela Lansbury didn’t help!! wtf was that, Jo?! SHE WAS SO MUTED AND LEFT NO IMPRESSION WHATSOEVER. I’m not saying Jo should play that scene bouncing off the walls, but there are so many ways to get across the emotions she’d be feeling there - annoyance, discomfort, frustration, impatience, unhappiness - and instead all we get is the equivalence of the “meh” emoji. No, not even that, because “meh” could be construed as an emotion. These actors - with the exception of Angela - were just reading lines. They were not acting. (And this goes for Emily Watson as well, which is surprising because I know she’s talented and I had hopes for her Marmee. DASHED.)

Another problem - I was kinda like “ehhh okay” in the beginning when they show Mr. March writing his letter because in the book/other adaptations we don’t actually meet him until much, much, much later on in the story - and that’s powerful. It underscores his absence in their lives, and his distance is felt. As Marmee is reading his letter to the girls, then we cut to scenes of wounded soldiers and I’m like ?!?!?! wtF IS THIS???!!! Oh did the filmmakers not trust that we would be able to intuit from his letter about the war THAT A WAR WAS GOING ON?? Still I tried to overlook that (like, I think only 5 minutes had passed so far) but then. Then it’s like here’s Laurie, 2017 dreamboat guy, and his grandfather Dumbledore. Look at grandpa Dumbledore!! He’s strict and Laurie just wants to be a free boy :c STOP IT. THERE IS NO NEED TO CUT AWAY TO LAURIE AND INTRODUCE HIM AND GRANDPA LAURENCE LIKE THIS. LITTLE WOMEN. IS ABOUT. THE LITTLE WOMEN. I’m not saying one of them has to be on screen the entire time, but actually MAYBE THAT IS WHAT I’M SAYING. Jo, Beth, Meg, and Amy (and Marmee) are the heart of this story. We learn everything we need to learn about everyone else - their father, the Laurences, whoever tf else - through their relationships with one of those girls.

I have to imagine that cutting away to these other scenes is the show’s way of trying to differentiate itself from other (better) versions. But like, guess what, there’s a reason why the best adaptations don’t do that. Because it’s stupid and unnecessary. I’m not saying adaptations can’t make changes; heck, my favorite one swaps the ages of Beth and Amy - which to some hardcore fans of the book, makes it an unforgivable adaptation. But it’s their loss, because that version captures the heart and soul of the story, of the characters. It gets that Jo is a vivacious spirit, bursting at the seams with a lust for life, someone who - in the words of the novel - “found her greatest affliction in the fact that she couldn’t read, run, and ride as much as she liked.” Where is that Jo’s joie de vivre in this version? June Allyson is perfect. Janet Leigh’s Meg is tempered and desperate for better times; Elizabeth Taylor’s Amy is hilariously snobbish and self-obsessed; Margaret O’Brien’s Beth is so much the tender and cherubic child of the novel; Mary Astor’s Marmee is leagues ahead of any other I’ve seen. PBS did wrong by them all.

If older movies aren’t your style, I have no qualms about recommending the ‘90s adaptation as well (although I understand if you need some time to get over PBS’ before giving any other film a shot). Winona Ryder captures Jo’s restlessness, enthusiasm, and boyishness so well. Claire Danes is a perfect Beth, shy and quiet but wise beyond her years. Kirsten Dunst is likewise a perfect bratty Amy - she knows just how to toe the line; she is at times a ghastly child but never in an unbelievable or over-the-top way. Trini Alvarado’s Meg is caught between love for her family and frustration with their circumstances, and she does a wonderful job of expressing that tension. Each sister is distinct in appearance and personality, which the PBS version just …. does not establish at all. Susan Sarandon’s Marmee does swing a little too often into ‘90s sensibility, but that’s because of the dialogue. In her mothering moments, she is a lovely Marmee.

From a technical standpoint? OY VEY. Please click this link and listen to the opening music of the ‘94 film. When I revisited this movie as an adult, ready to be skeptical because of my love for the first version I ever saw, this music won me over. Yeah I mean it’s kinda got that ‘90s period piece vibe, but it somehow also captures New England winter and, most importantly, WARMTH. The opening credits music of the ‘49 version is endearing to me as well (click here) in a different way - it has sort of a storybook quality to it somehow; it is sweet but not sickly and again, is warm.

I found no warmth in what I saw from PBS. I’ve seen a lot of people praising its cinematography and I’m like, what? What. The scenery was shot like it was a Planet Earth episode set in Massachusetts - like sure, the imagery is beautiful, but this isn’t a nature documentary? The interiors/shots of characters are so perfunctory. So basic. So meh. There is no warmth and no love for what’s at play.

These characters and this story have so much to give. What I saw of this adaptation did not do them justice.

#anon #phew sorry that was a lot #i just have a LOT of feelings #..obviously #little women #rant

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jomaporpalcineclasico · 3 years

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Uno para todos y todos para uno!!! Traemos a Cine Clásico nada más y nada menos que a los tres mosqueteros!! El clásico de aventuras protagonizado por Gene Kelly, Lana Turner, Vicent Price, June Allyson, Van Heflin, Angela Lansbury...casi nada. La obra inmortal de Alejandro Dumas nunca lució tan trepidante y con unos colores tan vivos, gracias al famoso Technicolor. Dirigida por George Sidney en 1948 se convirtió enseguida en un referente del mejor cine de capa y espada. Nuestra palabra, camaradería, no podía estar mejor representada que con los Mosqueteros de Su Majestad. Disfrutadla en familia!!! ^^^^Link en la bio😉^^^^ #clasicosdelcine #cineclásico #clasiccinema #classiccinema #cinematography #cineclásicovíveloapréndelo #cineclasico #cine #cineclásicosigloxx #cinephile #cinema #goldenageofhollywood #hollywood #holliwoodmovie #hollywoodclassics #holliwoodstars #hollywoodclassicstars #mgm #genekelly #vanheflin #vincentprice #thethreemusketeers #georgesidney #lanaturner #juneallyson #angelalansbury #quegrandeeselcine #quégrandeeselcineclásico https://www.instagram.com/p/CPGVM0glMKc/?utm_medium=tumblr

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elcinelateleymickyandonie · 3 years

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Danny Kaye.

Filmografía

Película

Diez centavos un baile 1937 Eddie Al Christie Imogene Coca , June Allyson En blanco y negro

Conseguir un ojo 1938 ruso Al Christie Charles Kemper y Sally Starr En blanco y negro

Cupido se toma unas vacaciones 1938 Nikolai Nikolaevich (buscador de novia) William Watson Douglas Leavitt y Estelle Jayne En blanco y negro

Dinero en tu vida " 1938 ruso William Watson Charles Kemper y Sally Starr En blanco y negro

En pie de guerra 1944 Danny Weems Elliott Nugent Dinah Shore , Dana Andrews Tecnicolor

Soy estadounidense [116] 1944 Él mismo Grulla Wilbur Humphrey Bogart , Gary Gray , Dick Haymes , Joan Leslie , Dennis Morgan , Knute Rockne , Jay Silverheels En blanco y negro

Hombre maravilloso 1945 Edwin Dingle / Buzzy Bellew H. Bruce Humberstone Virginia Mayo , Vera-Ellen , Steve Cochran Tecnicolor

El chico de Brooklyn 1946 Burleigh Hubert Sullivan Norman Z. McLeod Virginia Mayo, Vera-Ellen, Steve Cochran, Eve Arden Tecnicolor

la vida secreta de Walter Mitty 1947 Walter Mitty Norman Z. McLeod Virginia Mayo, Boris Karloff , Fay Bainter y Ann Rutherford Tecnicolor

Ha nacido una canción 1948 Profesor Hobart Frisbee Howard Hawks Virginia Mayo, Benny Goodman , Hugh Herbert , Steve Cochran Tecnicolor

Es un gran sentimiento 1949 Él mismo David Butler Dennis Morgan , Doris Day y Jack Carson Tecnicolor

El inspector general 1949 Georgi Henry Koster Walter Slezak , Barbara Bates , Elsa Lanchester , Gene Lockhart Tecnicolor

En la Riviera 1951 Jack Martin / Henri Duran Walter Lang Gene Tierney y Corinne Calvet Tecnicolor

Hans Christian Andersen 1952 Hans Christian Andersen Charles Vidor Farley Granger , Zizi Jeanmaire Tecnicolor

Toco madera 1954 Jerry Morgan / Papa Morgan Norman Panamá

Melvin Frank Mai Zetterling , Torin Thatcher Tecnicolor

blanca Navidad 1954 Phil Davis Michael Curtiz Bing Crosby , Rosemary Clooney , Vera-Ellen , Dean Jagger VistaVision

Technicolor

El bufón de la corte 1956 Hubert Hawkins Norman Panamá

Melvin Frank Glynis Johns , Basil Rathbone y Angela Lansbury VistaVision

Technicolor

Feliz Andrew 1958 Andrew Larabee Michael Kidd Salvatore Baccaloni , Pier Angeli CinemaScope

Metrocolor

Yo y el coronel 1958 Samuel L. Jacobowsky.

Los cinco centavos 1959 Nichols rojos Melville Shavelson Barbara Bel Geddes , Louis Armstrong , Tuesday Weld VistaVision

Technicolor

En el doble 1961 Soldado de primera clase Ernie Williams / General Sir Lawrence MacKenzie-Smith Melville Shavelson Dana Wynter , Margaret Rutherford y Diana Dors Panavision

Technicolor

El hombre del club de diners 1963 Ernest Klenk Frank Tashlin Cara Williams y Martha Hyer En blanco y negro

La loca de Chaillot 1969 El trapero.

Televisión

Autumn Laughter (1938) (transmisión experimental)

La vida secreta de Danny Kaye (1956) (especial See It Now )

¿Cuál es mi línea? (1960) (invitado misterioso famoso)

Una hora con Danny Kaye (1960 y 1961) (especiales)

El show de Danny Kaye con Lucille Ball (1962) (especial)

El espectáculo de Danny Kaye (1963-1967) (serie)

The Lucy Show : "Lucy Meets Danny Kaye" (1964) (aparición especial)

Here Comes Peter Cottontail (1971) (voz)

The Dick Cavett Show (1971) (invitado a la entrevista)

El mundo encantado de Danny Kaye : El traje nuevo del emperador (1972) (especial)

An Evening with John Denver (1975) (especial)

Pinocho (1976) (especial CBS); adaptación musical de televisión de acción en vivo protagonizada por Kaye como Gepetto y Sandy Duncan en el papel principal

Peter Pan (1976) (especial de NBC); adaptación musical de televisión de acción en vivo protagonizada por Mia Farrow en el papel principal, y Kaye como el Capitán Hook

The Muppet Show (1978) (aparición especial)

25 aniversario de Disneyland (1980) (aparición especial como invitado)

An Evening with Danny Kaye (1981) (especial)

Skokie (1981) (película para televisión)

"El maravilloso mundo de Disney" Apertura oficial del especial de televisión del Epcot Center (1982) (presentador y director)

The Twilight Zone : " Paladin of the Lost Hour " (1985) (aparición especial)

The Cosby Show : "The Dentist" (1986) (aparición especial).

Trabajo escénico

La revista Sombrero de Paja (1939)

Dama en la oscuridad (1941)

¡Seamos sinceros! (1941)

Dos por dos (1970)

Créditos: Tomado de Wikipedia

https://en.wikipedia.org/wiki/Danny_Kaye

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