Friday, December 2, 2022

Clarence Gilyard Passes On

Clarence Gilyard, who played computer hacker Theo in Die Hard (1988), the title lawyer's detective Conrad McMasters on the TV series Matlock, and Ranger James Trivtte on Walker, Texas Ranger, died on November 28 2022 at the age of 66 following a long illness.

Clarence Gilyard was born on December 24 1955 in Moses Lake, Washington. As his father was an Air Force officer, he spent his childhood on military bases in Hawaii, Texas, and Florida.

He spent a year at the Air Force Academy before attending Sterling College in Kansas. He later moved to Long Beach, California where he attended California State University, Long Beach. He finished his bachelor's degree at California State University, Dominguez Hills and later received a master's degree at Southern Methodist University.

In 1979 Clarence Gilyard moved to Los Angeles to pursue acting. He made his television debut in a guest appearance on Diff'rent Strokes in 1981. In 1982 he began playing the recurring role of Officer Benjamin Webster on CHiPs. During the Eighties he also had a recurring role on the short-lived sitcom The Duck Factory. It was in 1989 that he began his run as Conrad McMasters on Matlock. He guest starred on the shows Making the Grade, Riptide, Simon & Simon, 227, and The Facts of Life. He made his movie debut in 1986 in Top Gun. In the Eighties he appeared in the movies Off the Mark (1987) and Die Hard (1988).

In the Nineties Clarence Gilyard continued to appear on Matlock. He his run as Ranger Trivtte on Walker, Texas Ranger in 1993. He guest starred on the TV show Sons of Thunder, playing Ranger Trivette. He appeared in the movie Left Behind (2000). In the Naughts he continued to appear on Walker, Texas Ranger. He appeared in the movie Left Behind: Tribulation Force (2002).

In the Teens he appeared in the movies Little Monsters (2012), Chasing Shakespeare (2013), A Matter of Faith (2014), The Track (2015), Rabbit Days (2016), The Sector (2016),  and The Perfect Race (2019). He appeared the TV movie Christmas on the Coast.

Clarence Gilyard was a talented and versatile actor. This can be seen in what may be his two best known roles. In Die Hard he played villain Hans Gruber's computer hacker Theo. Theo was arrogant and sarcastic, and a bit lacking in feelings for others (he even jokes when people die). On Matlock he played Conrad McMasters. In contrast to Theo, Conrad is easy going and good natured. He truly cares for others. Clarence Gilyard could play a variety of characters and play all of them well.

Thursday, December 1, 2022

IMDB Should Return to the Old Name Page Design

Today IMDB debuted its redesign for Name Pages for actors, writers, filmmakers, and other crew members. To say that it is mess would be putting it lightly. The Name Page redesign is harder to navigate and it is also much less intuitive than the old Name Page Design was. It also happens to be aesthetically unappealing.

To wit, in the redesign there is a huge amount of empty space on the screen, in contrast to the old design which was tightly put together. Both the Photos section and the "Known for" section on the Name Page redesign are much too large. The items on the right sidebar are also much too large.  In fact, even the fonts used in the redesign are too large.

Of course, the right sidebar on IMDB's Name Page redesign has other problems besides the items on it being too large. It is missing some important information, such as Awards, Trivia, and so on. Now some of this information can be found by scrolling down on the page, but some (such as Awards) have apparently disappeared. With regards to the items that are included on the sidebar, I noticed that on the user lists there is no way to view all of the lists on which an individual may be included.

The Name Page redesign is harder to navigate in yet other ways as well. By default filmographies are sorted by year. I know many IMDB users, myself included, prefer to have the filmographies sorted by media (television, movies, et. al.). Now one can still view filmographies this way, but to do so one must use filters, which might not be obvious to everyone. Worse yet, IMDB does not save your filters, so if you visit another actor, director, producer, writer, or crew member's page you have to apply the filters all over again.

Perhaps the worst change made with the redesign is the way individual episodes of television shows in an actor or other crew member's filmography are handled. In the old Name Page design, the episodes on which a particular artist, be they an actor, director, writer, or whatever, worked were all listed under the particular television series. For instance, with my dearest Vanessa Marquez, every ER episode in which she appeared would be listed under ER. On the Name Page redesign there is merely a link reading how many episodes on which a crew member worked (in Vanessa's case with regards to ER, "27 episodes"). One has to click on this link to see the individual episodes, which are displayed in a pop up. This pop up is not particularly easy to navigate, with the episodes divided by season. Worse yet, for many it may not be easy to read, given it has a charcoal grey background.

IMDB claims that the Name Page redesign is meant to "make your IMDb experience easier and more enjoyable by providing better access to photos and videos, an upgraded view of an individual’s credits, and improved mobile navigation making it easier to view IMDb features on the go." Quite frankly, none of this is true. The redesign does not give better access to photos and videos than the old design. The view of an individuals' credits is a downgrade rather than an upgrade. As to the navigation, it would be horrible on a smart phone, let alone a computer. Worst of all, the redesign is, to put it bluntly, ugly and far from sleek or modern. A commentor on the IMDB community compared it to a combination of Windows 8 Metro and the redesign of Netflix from many years ago.

At any rate, given to the reaction on the IMDB community, IMDB users seem to be united in their hatred of the Name Page redesign. My suggestion to IMDB is that they revert to the old Name Page design immediately and fire anyone and everyone involved with the Name Page redesign. Yes, it is that bad.

Wednesday, November 30, 2022

Christmas Movies on Turner Classic Movies in December 2022

Barbara Stanwyck and Dennis Morgan
in Christmas in Connecticut
If many Turner Classic Movies fans are like me, then a part of their holiday celebrations is watching Christmas movies on TCM. For me, at least, this year will be no different. I am happy to see that once again TCM will be showing my all time favourite Christmas movie, The Apartment (1960), this year. What is more, they're showing it twice and one of those time is on Christmas Day at that! Of course, TCM is also showing many of my other favourites as usual, including The Man Who Came to Dinner (1942), Christmas in Connecticut (1944), The Bishop's Wife (1947), It Happened on 5th Avenue (1947), and Holiday Affair (1949).

Below is a schedule I compiled of all the Christmas movies on TCM next month. Here I must point out that I included some movies that I do not necessarily consider Christmas movies, but others do. As much as I love Meet Me in St. Louis (1944), I have never thought of it as a Christmas movie! Anyway, just keep in mind that some of the movies TCM shows for Christmas may not be movies you think of as Christmas films! I also have to point out that, as is usual of this site, all times are Central.

Saturday, December 3
3:00 PM  Meet Me in St. Louis (1944)
5:00 PM The Man Who Came to Dinner (1942)

Sunday, December 4
3:00 PM Christmas in Connecticut (1945)
5:00 PM Remember the Night (1940)

Saturday, December 10
3:00 PM In the Good Old Summertime (1949)
5:00 PM The Shop Around the Corner (1940)

Sunday, December 11
3:15 PM Holiday Affair (1949)
5:00 PM The Bishop's Wife (1947)
11:00 PM Christmas Past (1925)

Tuesday, December 13
11:00 PM Lady in the Lake (1947)

Saturday, December 17
1:00 AM Silent Night, Deadly Night (1984)
7:00 AM "The Captain's Christmas" (1938)
4:00 PM King of Kings (1961)
11:00 PM Mr. Soft Touch (1949)

Sunday, December 18
1:00 PM Life with Father (1947)
3::15 PM A Christmas Carol (1938)
4:45 PM It Happened on 5th Avenue (1947)
7:00 PM Meet Me in St. Louis (1944)
9:00 PM In the Good Old Summertime (1949)
11:00 PM The King of Kings (1927)

Monday, December 19
1:45 AM Merry Christmas, Mr. Lawrence (1983)
4:00 AM Mon Oncle Antoine (1971)
5:45 AM Hell's Heroes (1930)
7:00 AM Roadblock (1951)
9:56 AM Boys Town (1938)
11:30 AM Tenth Avenue Angel (1948)
1:00 PM Love Finds Andy Hardy (1948)
3:00 PM The Great Rupert (1950)
4:45 PM Meet John Doe (1941)
7:00 PM The Shop Around the Corner (1940)
9:00 PM The Apartment (1960)
11:15 PM Metropolitan (1990)

Tuesday, December 20
1:46 AM Bachelor Mother (1939)
2:45 AM Bundle of Joy (1956)
4:30 AM All Mine to Give (1957)
6:15 AM My Reputation (1946)
8:00 AM Kind Lady (1935)
11:00 AM Larceny, Inc. (1942)
1:00 PM Lady in the Lake (1947)
3:00 PM Backfire (1950)
5:00 PM Mr. Soft Touch (1949)
7:00 PM Going My Way (1944)
9:15 PM The Holly and the Ivy (1952)
11:00 PM O. Henry's Full House (1952)

Wednesday, December 21
1:15 AM Period of Adjustment (1962)
3:15 AM Fanny and Alexander (1982)
6:30 AM Christmas Past (1925)
8:45 AM A Christmas Carol (1938)
10:15 AM A Carol for Another Christmas (1964)
12:00 PM Alias Boston Blackie (1942)
1:30 PM Crooks Anonymous (1963)
3:15 PM Blast of Silence (1961)
5:00 PM 3 Godfathers (1949)
7:00 PM Christmas in Connecticut (1945)
9:00 PM Holiday Affair (1949)
10:45 PM Little Women (1949)

Thursday, December 22
1:00 AM Auntie Mame (1958)
3:30 AM Beyond Tomorrow (1940)
5:00 AM Blossoms in the Dust (1941)
6:45 AM The Curse of the Cat People (1944)
8:00 AM The Thin Man (1934)
9:45 AM Susan Slept Here (1954)
11:30 AM Never Say Goodbye (1946)
1:30 AM Bachelor Mother (1939)
3:00 PM Ma and Pa Kettle at Home (1954)
4:30 PM The Lion in Winter (1968)
7:00 PM It Happened on 5th Avenue (1947)
9:15 PM The Man Who Came to Dinner (1942)
11:15 PM Fitzwilly (1967)

Friday, December 23
1:15 AM Lady on a Train (1945)
3:00 AM The Silent Partner (1978)
5:00 AM Bundle of Joy (1956)
7:00 AM The Daughter of Rosie O' Grady (1950)
9:00 AM On Moonlight Bay (1951)
11:00 AM Our Vines Have Tender Grapes (1945)
1:00 PM All Mine to Give (1957)
3:00 PM Penny Serenade (1941)
5:15 PM Room for One More (1952)
7:00 PM Remember the Night (1940)
9:00 PM Desk Jet (1957)
11:00 PM Bell, Book and Candle (1959)

Saturday, December 24
1:00 AM Susan Slept Here (1954)
2:45 AM The Rocking Horse Winner (1949)
4:30 AM Big Business (1929)
5:00 AM Three Godfathers (1936)
6:30 AM Beyond Tomorrow (1940)
8:00 AM The Great Rupert (1950)
9:30 AM Tenth Avenue Angel (1948)
11:00 AM The Shop Around the Corner (1940)
12:45 PM It Happened on 5th Avenue (1947)
3:00 PM Christmas in Connecticut (1945)
5:00 PM Meet in St. Louis (1944)
7:00 PM The Bishop's Wife (1948)
9:00 PM A Christmas Carol (1938)
10:30 PM Meet John Doe (1941)

Sunday, December 25
12:45 All That Heaven Allows (1955)
2:30 AM Pocketful of Miracles (1961)
5:00 AM "Star in the Night" (1945)
5:30 AM Little Women (1933)
7:30 AM Babes in Toyland (1934)
9:00 AM Love Finds Andy Hardy (1938)
11:00 AM The Apartment (1960)
1:15 PM The Man Who Came to Dinner (1942)
3:15 PM Holiday Affair (1949)
5:00 PM In the Good Old Summertime (1949)

Sunday, December 31
7:00 PM The Thin Man (1934)

Monday, November 28, 2022

Directors' Final Films on Turner Classic Movies in December

Director Ida Lupino
On December 5, 12, and 26 2022, Turner Classic Movies will be showing the final feature films of 26 different directors. The directors whose films will be featured range form WS Van Dyke to Tony Richardson. As might be expected, some big names are included, among them Tod Browning, George Cukor, Ida Lupino, and Vincente Minnelli.

Below is a schedule of director's final films being shown on TCM next month. All times are Central.

Monday, December 5
11:00 AM Journey for Margaret (1942)
12:30 PM The Girl Most Likely (1958)
2:30 PM The Singing Nun (1966)
5:30 PM Solomon and Sheba (1959)
7:00 PM Imitation of Life  (1959)
9:15 PM Pocketful of Miracles (1961)
11:45 PM The Trouble with Angels (1966)

Tuesday, December 6
1:45 AM A Matter of Time (1976)
3:30 AM Rich and Famous (1981)

Monday, December 12
11:00 AM Miracles for Sale (1939)
12:45 AM Lola Montes (1955)
3:00 PM Five Days One Summer (1982)
5:00 PM Confidentially Yours (1983)
7:00 PM A Passage to India (1984)
10:00 PM Blue Sky (1994)

Tuesday, December 13
12:00 AM A Dandy in Aspic (1968)
2::00 AM That Lady in Ermine (1948)
3:45 AM The Human Factor (1980)

Monday, December 26
11:00 AM Plymouth Adventure (1952)
1:00 PM Ambush (1950)
3:00 PM Lafayette Escadrille (1958)
5:00 PM A Distant Trumpet
7:00 PM Mutiny on the Bounty (1962)
10:15 PM Seven Women (1966)

Tuesday, December 27
12:00 AM Madadayo (1993)



Friday, November 25, 2022

Johnny Passe by Scott Fivelson and Tim Cleavenger

The hard-boiled detective story emerged in pulp magazines like Black Mask in the 1920s and became popular in the 1930s. It was in the late 1920s improvements in microphone technology saw the emergence of crooners such as Russ Columbo and Bing Crosby. Crooners were very much in vogue in the 1930s, with possibly its most popular performer, Frank Sinatra, emerging in the 1940s.

The novella Johnny Passe (Hen House Press) by Scott Fivelson and Tim Cleavenger is a humorous pastiche of hard-boiled detective fiction. It includes many of the hallmarks of the genre, from the down-and-out detective of the title to a mysterious client to a complicated case. It is written in first person, with Johnny Passe himself telling how he missed the biggest opportunity of his life.

Scott Fivelson is the author of the novel Tuxes as well as the one-act plays Dial L For Latch-Key and Leading the Witness. He is also the writer and director of the film, Near Myth: The Oskar Knight Story, and co-screenwriter along with Caroline Allward of the upcoming British romantic-comedy mystery, The Vicar’s Wife.

Fans of hard-boiled fiction will appreciate Johnny Passe. Authors Scott Fivelson and Tim Cleavenger capture the narration of Raymond Chandler's short stories and novels perfectly. And, as mentioned earlier, they send up many of the tropes of the genre, from a menacing villain to a beautiful girl. What ultimately makes Johnny Passe so enjoyable is that its authors take it in a direction that Dashiell Hammett and Raymond Chandler or many other hard-boiled writers would have never taken it. While readers will appreciate the outcome of Johnny Passe, they certainly won't expect it.

Hard-boiled fiction and the crooners were both phenomena of the 20th Century that remain popular in the 21st. The many fans of both will enjoy Johnny Passe, a very funny, but loving pastiche of both.

Thursday, November 24, 2022

Happy Thanksgiving 2022

Here at A Shroud of Thoughts, we realize that there are those who appreciate a bit of cheesecake with their turkey and pumpkin pie. Here, then, are this year's vintage pinups for Thanksgiving.

First up, Gwen Lee and Dorothy Sebastian apparently ate a really big turkey.

Marie McDonald is going hunting for turkey.

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Lelia Hyams would rather be friends with a turkey than eat him.

Janis Page just bagged a turkey.

Ann Blyth wishing everyone a happy Thanksgiving

And last but not least, the lovely Ann Miller is making friends with a turkey.

Happy Thanksgiving!

 

Sunday, November 20, 2022

American Graffiti (1973)

This post is part of the Fake Teenager Festivus hosted by Taking Up Room)

Today George Lucas's second feature film, American Graffiti (1973), is generally overshadowed by Star Wars (1977). Even so, while American Graffiti did not make nearly as much money as Star Wars, it was very successful and proved influential in its own right. Indeed, while it cost only  $1.27 million to make, it grossed  $55 million worldwide. It was the third highest grossing film in the United States after The Exorcist and The Sting for the year 1973.

American Graffiti centres on four friends, recent high school graduates Curt Henderson (Richard Dreyfuss) and Steve Bolander (Ron Howard), drag racer John Milner (Paul Le Mat), and Terry "the Toad" Fields (Charles Martin Smith) during the last night of summer vacation in the year 1962 in Modesto, California. The next morning Curt and Steve will make the trip east to attend college. Music plays a large role in the movie, with the soundtrack consisting of popular songs from the era.

The origins of American Graffiti go back to George Lucas's first feature film THX 1138. It was in 1969 that Francis Ford Coppola and George Lucas founded American Zoetrope. THX 1138 was only the second film released by American Zoetrope, after Francis Ford Coppola's The Rain People (1969). Sadly, THX 1138 received mixed reviews and bombed at the box office. Francis Ford Coppola challenged George Lucas to write something more mainstream and more commercial.

For inspiration George Lucas looked to his own youth, when cruising was still a phenomenon. For those unfamiliar with cruising, it is simply driving around town aimlessly, talking to other cruisers and pedestrians as one does so. In the United States cruising was an activity in which many teenagers engaged from the 1950s and, in some areas, as late as the 1980s. George Lucas drew upon his own life to provide parts of the story, while the four main characters were based on himself from different phases in his life. For additional inspiration, George Lucas looked to Federico Fellini's film I Vitelloni, which centred on five young men in a small town in Italy.

Originally titled Another Quiet Night in Modesto, George Lucas eventually retitled his idea for a film American Graffiti. He wrote 15 page treatment and then hired  Willard Huyck and Gloria Katz to write the screenplay.William Huyck had earlier co-written the film The Devil's 8 (1968). Ultimately, William Huyck and Gloria Katz were unable to complete the screenplay for American Graffiti, due to the start of their own film, the horror movie Messiah of Evil (1973). George Lucas then hired Richard Waller to finish the screenplay. Both George Lucas and Richard Waller had attended the USC School of Cinematic Arts. Unfortunately for George Lucas, Richard Waller's screenplay would owe more to teenage exploitation films than the more realistic portrayal of a night in the life of teenagers in 1962 that Mr. Lucas wanted. Richard Waller did rewrite the screenplay, but ultimately, George Lucas fired him due to creative differences. George Lucas then completed the screenplay himself, finishing it in three weeks. George Lucas, William Huyck, and Gloria Katz then wrote the second draft of the screenplay together.

While American Graffiti would be a smash hit, George Lucas had trouble finding a  home for the film. Initially the various studios shied away from the movie out of the fear that the music licences would cost a fortune. MGM, Paramount, 20th Century Fox, and Columbia Pictures all refused to provide financing for the movie and to distribute it. While American International showed some interest in American Graffiti, they ultimately turned it down as it did not contain enough of the sex and violence for which they were known in that era. Ultimately, Universal agreed to co-finance and distribute the movie. They gave George Lucas artistic control over the film, as well as approval of the final cut, provided American Graffiti was produced on a very low budget.

The casting director on American Graffiti was Fred Roos, who had earlier served as the casting director on The Andy Griffith Show. It was because of Mr. Roos that Ron Howard, who had played Opie Taylor on The Andy Griffith Show, was cast as Steve. As for the rest of the casting, it was both long and involved. A casting call was put out throughout community theatres and high school drama groups in California's Bay Area. Over a hundred actors auditioned for the role of Curt alone.

Despite the casting call sent out to high school drama groups and community theatres for younger actors, of the four leads, only Ron Howard and Charles Martin Smith were actually teenagers Both actors were 18 at the time shooting began. Richard Dreyfuss was 24 years old at the time. At 26, Paul Le Mat was the oldest of the four leads in American Graffiti. Messrs. Dreyfuss and Le Mat were hardly alone in playing characters several years younger than they were. Suzanne Somers, who played the infamous Blonde in the Ford Thunderbird, was 26 at the time. While it is unclear how old drag racer Bob Falfa is in the film (he may be in his twenties), the actor playing him, Harrison Ford, was just shy of his 30th birthday when shooting began. It is a tribute to the talent of much of the cast that, despite being older than their characters, they are convincing as teenagers.

While American Graffiti is set in Modesto, much of the film was shot in Petaluma as George Lucas thought Modesto had changed too much since 1962. The "Burger City" drive-in restaurant was actually the famous Mel's Drive-In in San Francisco. The freshman sock hop was shot at Tamalpais High School in Mill Valley. The radio station at which Wolfman Jack works was KRE-AM in Berkeley.

Amazingly enough for a film that would be both a box office smash and a darling of critics, Universal was not overly fond of American Graffiti. Even though a test screening of the film in January 1973 had gone very well, Universal wanted to re-edit the film. Francis Ford Coppola, fresh from his success with The Godfather, took up for the film and even offered to buy it. Both 20th Century Fox and Paramount, initially uninterested in the movie, also offered to buy American Graffiti. It was after Francis Ford Coppola had won his Oscar for The Godfather that Universal relented and asked that only a few minutes be cut from American Graffiti. Even so, Universal was convinced that American Graffiti was suited only for release as a television movie. Fortunately, many Universal employees loved the film and their praise eventually convinced the studio to give the movie a limited release in Los Angeles and New York. The movie was a success in both markets, and it was ultimately released in the United States on August 11 1973.

As mentioned above, American Graffiti proved to be a success with both critics and audiences. It would also prove to be influential. At the time of the movie's release, only Ron Howard was well-known, having played Opie on The Andy Griffith Show and appearing in various movies. American Graffiti turned Richard Dreyfuss into a star. It would only be two years later that he would star in Jaws (1975). Cindy Williams, who played Steve's girlfriend Laurie, would find success on the hit sitcom Laverne & Shirley in only a few years. Mackenzie Phillips and Suzanne Somers would also find success it sitcoms in only a few years, on One Day at a Time and Three's Company respectively. As to Harrison Ford, he would ascend to superstardom in George Lucas's next movie, playing Han Solo in Star Wars (1977).

Of course, American Graffiti would prove influential beyond its cast. A nostalgia craze had been brewing in the United States prior to the movie's release, but arguably it was American Graffiti that kicked it into high gear. Such period films as The Lords of Flatbush (1974), Cooley High (1975), and National Lampoon's Animal House (1978) were released in the wake of American Graffiti. American Graffiti would also have some impact on television. Happy Days had begun life as an episode of the anthology series Love, American Style in 1972. It starred Ron Howard, Marion Ross, and Anson Williams. With the success of American Graffiti, ABC took an interest in developing the episode into a series and so Happy Days was born.

Beyond adding fuel to the Seventies nostalgia craze, American Graffiti arguably created an entire subgenre of period films that simply portrayed a short period in characters' lives. Arguably such diverse films as Diner (1982), Stand by Me (1986), and Dazed and Confused (1993) owe something to American Graffiti. If the coming of age period piece has been seen regularly for nearly the past fifty years, it is largely because of American Graffiti.

Certainly American Graffiti is not as influential as Star Wars (1977), but that is not to say the film did not have a huge impact. The movie had a lasting influence on American cinema that lasts to this day. That influence is still being felt.