Victor Mature, Ethel Merman, Arthur Treacher and Lionel Stander enjoying an evening at the Copacabana. (Year ?)
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April-May 1943. In the modern Batman comics and most modern Batman media, Bruce Wayne grew up with butler Alfred Pennyworth, who became his surrogate father, but originally, Alfred arrived well after Bruce was an adult. In his first appearance in BATMAN #16 (above), Alfred was a former English musical hall comedy actor whose father Jarvis had once been the Wayne butler. Arriving in America, Alfred essentially bluffs and browbeats Bruce into giving him a job. Before Bruce can send him away, Alfred, who fancies himself an amateur detective, accidentally stumbles upon the entrance to the Batcave, just as Dick had feared. Later:
Alfred was probably loosely modeled on, and certainly inspired by, Arthur Treacher, an English actor who had been a music hall star before finding his niche in movies as the quintessential English butler, playing P.G. Wodehouse's immortal Jeeves and various other butler roles. In DETECTIVE COMICS #83, Alfred spends his vacation "at a health resort, cultivatin' a new figure," returning in his now-familiar skinny, mustached form, which was modeled on William Austin, the actor who played Alfred in the 1943 BATMAN serial.
In 1957, a story in BATMAN #110 presented a new version of how Alfred was originally hired:
Note that in this version, Alfred already has his more familiar appearance when he's first hired; the original version was later attributed to Earth-2. (As this story eventually reveals, "Noyes" is actually Bruce Wayne in disguise, testing if Alfred can be trusted.)
The 1980 miniseries THE UNTOLD LEGEND OF THE BATMAN, intended as the definitive Bronze Age account of Batman's origins, presents a hybrid version of these two stories, referencing Alfred's previous music hall career and Jarvis Pennyworth having previously worked for the Wayne family, but retaining the 1957 story's version of how Alfred learned his employers' secret. (I think that's too bad, as the original version with Alfred stumbling onto the secret by accident and then pretending to have deduced it is really very funny, but by 1980, Alfred was no longer being treated as comic relief.)
From whence the idea that Alfred raised Bruce? For that you may thank Frank Miller, as first seen in THE DARK KNIGHT RETURNS in 1986 and then incorporated into "Batman: Year One" in BATMAN #404–407.
In any case, when reading older appearances of Alfred, including his apparent demise in 1964 and his ludicrous resurrection in 1966, it bears keeping in mind that he's really just Bruce and Dick's employee, and is absolutely, unquestionably not getting paid enough.
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MARY POPPINS 1964
You know, you can say it backwards, which is "docious-ali-expi-istic-fragil-cali-rupus" - but that's going a bit too far, don't you think?
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Ralph Bellamy-Jane Powell-Arthur Treacher "Delightfully dangerous" 1945, de Arthur Lubin.
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Curly Top
Curly Top (1935) starring Shirley Temple
Wealthy businessman adopts Curly Top and her lovely older sister. But then, he begins to fall in love with the older sister! So then …
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Ingrid Bergman prepares sandwiches for soldiers while Arthur Treacher serves at the Hollywood Canteen
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The Little Princess (1939)
The Little Princess (1939) - Lydia and Christopher end the year with Shirley Temple's first color film, The Little Princess, and they wish everyone "Menny 'Appy Returns"! #PodNation #Podcast #PublicDomain #ShirleyTemple
Lydia and Christopher end the year with Shirley Temple’s first color film, The Little Princess, and they wish everyone “Menny ‘Appy Returns”!
Promo: I Saw That Years Ago (http://www.isawthatyearsago.com/)
Please click, follow, rate and review!
https://linktr.ee/TSPandOE_Podcasts
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Fashions of 1934
It's a great pity that the only time William Powell and Bette Davis appeared on screen together she was saddled with an inconsistent nothing of a role any ingenue could have played. William Dieterle’s FASHIONS OF 1934 (1934, TCM, YouTube) — aka FASHION FOLLIES OF 1934, aka FOLLIES AND FASHIONS OF 1934, aka FASHIONS — isn’t about to make you forget Powell’s work with Kay Francis. Nor will it make you regret his move to MGM, where he eventually teamed with Myrna Loy. But at least it moves quickly (until they have to wrap up the plot) and has some snappy dialog along with a delirious Busby Berkeley dance routine that tries to do for ostrich feathers what “The Shadow Waltz” did for violins and “I Only Have Eyes for You” did for Ruby Keeler’s face (in the latter case, the ostrich feathers are a big improvement). Powell is a con man who turns Davis’ skills as an illustrator into a business pirating Paris fashions, first in New York and then in the City of Light. Along the way he runs into former flame Verree Teasdale, a Hoboken con woman passing herself off as a Russian duchess. Davis hated being transformed into a fashion icon, and it must have galled her to see Teesdale given the most interesting role. Still, the Depression Duse’s not horrible, and there are a few glances and line readings that indicate her power as an actress and even suggest she could have been a match for Powell at sophisticated comedy. He’s reliably polished and offers some deft physical bits, particularly when creditors pull his office furniture out from under him. Ultimately, however, the film is a showcase for Orry Kelly, who not only transforms Davis but also gets to design a series of dazzling fashion shows. The cast includes Frank McHugh as Powell’s randy assistant (this is a pre-Code film, so his antics get pretty randy, indeed), Hugh Herbert as an ostrich farmer, Reginald Owen as a Paris couturier who may be using Teesdale as a beard, Dorothy Burgess as Powell’s greedy ex-, Arthur Treacher in his first butler role and Davis’ dog, Tibby, as Davis’ dog, Tibby.
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