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February 18: Happy Birthday Molly Ringwald and John Hughes

0218ringwaldhughes

There were a lot of birthdays to choose from today, including three WTHH birthdays, but the pairing above was just too good to pass up.

Molly Ringwald is turning 49 today.  She began her screen career in a guest spot on Diff’rent Strokes which led to her playing the same character on the first season of the spinoff series Facts of Life.  She then appeared in Tempest, Paul Mazursky’s update of Shakespeare’s play The Tempest, and in the sci-fi film Spacehunter.  And then a first-time director named John Hughes cast her as a teenage girl who learns that her family has forgotten about her 16th birthday:

After the success of Sixteen Candles, Ringwald starred in two more successful films written  by Hughes, as rich girl Claire Standish in The Breakfast Club, and as “girl from the wrong side of the tracks” Andie Walsh in Pretty in Pink.  When people think of her today, they probably think of one or more of that trilogy.  Her WTHH article tells you about what came next, which included feature films, TV guest roles, a number of stage roles (including playing Sally Bowles in Cabaret on Broadway), and a regular part in The Secret Life of the American Teenager.  This Movieline article is also worth a look.  She currently is seen on The CW’s Riverdale.

John Hughes (1950-2009) joined the staff of National Lampoon during the late seventies, and then got into screenwriting.  In 1983, he wrote three feature films—the swashbuckler Nate and Hayes, and the comedies Mr. Mom and National Lampoon’s Vacation.  The success of the latter two gave Hughes the opportunity to direct.  After his first two features, Sixteen Candles and The Breakfast Club, he directed Weird Science and then the film that was his biggest success as a director:

Following Ferris Bueller’s Day Off, Hughes’ subsequent directing efforts were not major hits (although Uncle Buck was financially successful), but he had not lost his writing touch.  Pretty in Pink and Some Kind of Wonderful were reasonably successful, as were two sequels in the Vacation series, but it was in 1990 that Hughes wrote his most successful screenplay, for Home Alone, the #1 hit of that year and one of the top-grossing comedies of all time.  Home Alone 2 was not quite as successful but still a big hit, but after that Hughes started to fade from the scene.

Two additional WTHH subjects have birthdays today.  John Travolta, who turns 63 today, was dubbed the King of the Comeback by lebeau in his WTHH article.  You probably already know about the high points of his career, such as his rise to stardom in the late seventies, or his mid-nineties resurgence in films like Pulp Fiction and Get Shorty.  But you might not have noticed that he recently won his first Primetime Emmy as a producer of American Crime Story’s first season, on which he also played Robert Shapiro.  Matt Dillon, who is turning 53, was a teen star in films like My Bodyguard and Rumble Fish.  His adult film roles have ranged from Drugstore Cowboy to To Die For to Wild Things.  His WTHH article gives all the details.

Cybill Shepherd, who is 67 today, started her screen career with a bang, starring in The Last Picture Show and then having major roles in The Heartbreak Kid and Taxi Driver.  While her film career fizzled out, Shepherd found success on television, winning three Golden Globes as the star of Moonlighting and Cybill.  Irish actress Sinéad Cusack, who turns 69, has had a distinguished stage career highlighted by nominations for four Olivier Awards and two Tonys.  Her film career includes prominent roles in films like Rocket Gibraltar and Eastern PromisesGreta Scacchi, who won an Emmy for the TV movie Rasputin: Dark Servant of Destiny, is 57 today.  Her notable films include Jefferson in Paris and Looking for Alibrandi, and she received a second Emmy nomination for the miniseries Broken Trail.  Czech director Miloš Forman, who turns 85, is a two-time winner of the Oscar for Best Director, for One Flew Over the Cuckoo’s Nest and Amadeus.  His 1967 Czech film The Fireman’s Ball was nominated for Best Foreign Language Film.  Hungarian director István Szabó, who celebrates his 79th birthday, directed the 1981 Best Foreign Language Film, Mephisto, and is also known for films like the 1999 epic historical drama Sunshine.

Ike Barinholtz, who celebrates his 40th, was a cast member of MADtv for several years and currently is a regular on The Mindy Project; he also co-wrote last year’s comedy hit Central IntelligenceSusan Egan, who was a Tony nominee for originating the role of Belle in the musical adaptation of Beauty and the Beast, turns 47 today.  Laia Costa, who turns 32, is a Spanish actress who has worked in film industries in several countries.  She gave a critically acclaimed performance in the 2015 German film Victoria, and appears with Nicholas Hoult in the upcoming film Newness.  Mexican actress Vanessa Bauche, who is 44 today, had a major role in the Oscar-nominated Amores Perros, and has been in English-language films like The Three Burials of Melquiades Estrada and ImitationLogan Miller, who celebrates his 25th, starred in Scouts Guide to the Zombie Apocalypse and The Good NeighborMalese Jow, who turns 26, first became known for Nickelodeon’s Unfabulous.  She plays Linda Park on The Flash and will join the cast of The Shannara Chronicles for the second season.

Music birthdays include Andre Miller, better known as Dr. Dre, who turns 52.  A hip-hop artist of some note, he is even more significant as a producer.  He was a founder of Death Row Records and then created his own label, Aftermath Entertainment.  Three of his six Grammys are on the production side.  Yoko Ono, who turns 84, is the widow of John Lennon and an important singer, songwriter and performance artist in her own right.

When Jack Palance (1919-2006) won an Oscar for City Slickers, it capped a long career in film which included two previous Oscar nominations, one for playing the ruthless gunfighter Jack Wilson in Shane.  Like Palance, George Kennedy (1925-2016) was often cast as a villain, and also like Palance he won a Best Supporting Actor Oscar, as Dragline in Cool Hand LukeEdward Arnold (1890-1956) sometimes played lead roles, as in the biopic Diamond Jim from 1935, but more often slipped into supporting parts, as in his roles in several Frank Capra films.  Adolphe Menjou (1890-1963) was nominated for an Oscar for the 1931 version of The Front Page and also gave a notable performance in Stanley Kubrick’s Paths of Glory.

Nikos Kazantzakis (1883-1957) was one of the most important figures in modern Greek literature.  His best known novels include Zorba the Greek and The Last Temptation of Christ, both adapted into major motion pictures.  Wallace Stegner (1909-1993) was a Pulitzer Prize winning novelist (for Angle of Repose), and also known for his environmentalist non-fiction such as Beyond the Hundredth Meridian, his biography of Grand Canyon explorer John Wesley Powell.  Len Deighton, who celebrates his 88th birthday, is one of the leading authors of espionage fiction of the last 50 years.  He is known for a series of novels, beginning with The IPCRESS File, about an unnamed agent who was given the name “Harry Palmer” in film adaptations, and for three trilogies about SIS agent Bernard Samson.  Jean Auel, who is turning 81, is known for the six novels of the Earth’s Children series of prehistoric fiction, beginning with The Clan of the Cave BearGeorge Pelecanos, who has written a variety of crime fiction, almost always set in and around Washington, DC, turns 60 today.  He has also worked as a television writer and producer, notably for The Wire and Treme.  Cartoonist Johnny Hart (1931-2007) was the creator of the newspaper comic strip B.C., and the co-creator of the strip The Wizard of Id.

If today is your birthday, congratulations on sharing your big day with these notable names.  Birthday wishes to everyone celebrating a big day today.  Come back tomorrow for more celebrity birthdays.

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Posted on February 18, 2017, in Celebrity Birthdays and tagged , , , , , , , , , , . Bookmark the permalink. 6 Comments.

  1. Damn… I’m 22 years younger than Matt Dillon, and still – reading that he’s 53 makes me feel oooold! 😂 Maybe because he was a teenage crush of mine… Really reminds me that none of us are getting any younger.
    Funny that Molly Ringwald and John Hughes share a birthday, I never knew that.

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    • AMERICAN TEEN MAESTRO

      http://www.arubinow.com/html/teen_maestro.html

      Alexander Rubinow
      American Teen Comedy
      Final Paper
      10 May 2000

      John Hughes, one of the premiere teen cinema directors, was able to attain greatness primarily through his eighties teen comedy output. His eighties films consist of Sixteen Candles(1984), The Breakfast Club(1985), Weird Science(1985), Pretty in Pink(1986), Ferris Bueller’s Day Off(1986), and Some Kind of Wonderful(1987). Hughes wrote and sculpted these films through the eyes of teenagers who loathed authority, loathed school, and were just looking for an exit. Hughes also weaves many common threads throughout these films. Hughes’ films contain five major themes. The character who is striving for something or someone, but in the end realizes that their happiness is not most important. The disillusioned and maniacal parents and authority figures. The siblings who misunderstand each other, but in most cases ultimately come to a common understanding. The child who must take a stand against or set straight the oppressive parents. Finally, the most abundant character among Hughes films, the individual. Through these commonalties Hughes’ films teach the viewer how to lead his life, and how to relate to his parents, teachers, and siblings. The viewer grows a bit with even the smallest glimpse through the looking glass into a John Hughes film, and becomes a better and more knowledgeable person because of it.

      Janet Maslin of The New York Times says, “the kid brother has refined sister-bating to an art form.” This kid brother to which she refers is Oscar nominated Justin Henry. The film is Sixteen Candles. Samantha Baker (Molly Ringwald) is a bit upset, but also understanding of her older sister. Her older sister is, however, a major factor in Samantha’s parents forgetting her sixteenth birthday. The younger brother, Mike (Justin Henry), is quite the jerk to Samantha. Unlike other Hughes siblings, Mike never grows more mature and realizes why he should try to understand his sister better and be nicer to her. Pauline Kael of The New Yorker writes that even though the children in the film do not look like siblings, they certainly sound like siblings. Another movie sibling who is not going to relate to her older sibling more, nor is given the chance to because of limited screen time, is Brian Johnson’s sister in The Breakfast Club. The only line she is given comes at the beginning of the film when Brian is being dropped off in front of Shermer High School for his flare gun related detention. She says, “yeah” with much contempt and mockingly after his mother has reprimanded him a bit. She, much like Mike Baker, is young and maybe too immature to understand her big brother. The younger siblings represented are still too young and are just placed in to be an annoyance. It is the older siblings relationships with the main character which can teach the audience something.

      Jeanie Bueller (Jennifer Grey) of Ferris Bueller’s Day Off holds much contempt for her brother Ferris because of all of his antics with ditching school and faking out their parents and just being a little too free. Paul Attanasio of The Washington Post describes Ferris as a guy who “glides through life, a Jay Gatsby to his classmates, getting everything he wants.” While relating to Garth Volbeck(Charlie Sheen) Jeanie relays the thought which bugs her so much, “why does he get to ditch, when everyone else has to go.” At another point prior to that she wonders, “What makes him so G-d damn special?” Through talking to Garth and making out with him, something hits her. She wants her brother to succeed and realizes that she shouldn’t care what he does. While the movie is nearing its end, she guides him out of a near meeting with Katie Bueller (the mom) and after letting him sweat, gets him out of a dangerous situation with Edward R. Rooney, dean of students. Jeanie matures as a character much more than do the two kids previously described. She is able to come to terms with herself and her brother. Before this experience she would have never interacted with a hood like Garth Volbeck. She makes people realize that even though things seem unfair, one should just let it slide. Jeanie develops without any prodding or pushing from other forces, unlike Chet in Weird Science.

      Chet Donnelly(Bill Paxton), Wyatt’s brother in Weird Science, also holds much contempt for his younger brother. It is not so much contempt as it is rage or hatred or utter non-caring. Chet demands money from his brother, and along with material possessions he also wants complete obedience. He wants Wyatt to sit when he says sit, to cover himself when he is wearing women’s underwear, and to be completely submissive to his every need. Much like it took Garth Volbeck to be a catalyst in Jeanie’s turnaround, it will take someone else to speed up Chet’s maturing process. Not alike Jeanie, though, is the severity to which Chet’s catalyst pushes him. The catalyst is a girl that Gary and Wyatt created named Lisa(Kelly Le Brock). Lisa basically turns Chet into a Jabba-the-Hutt-type creature and threatens to give him Elephantitous of the nuts unless he apologizes to Wyatt and promises to be nice to him. It appears that all is well between Chet and Wyatt after this occurrence. It is quite clear, although not as clear as in Jeanie’s case, that Chet thinks differently about his brother at the end of the film. Possibly, with Lisa’s abrupt absence, Chet will go back to being his cruel self. For the moment, though, all seems right with the siblings of the Donnely household. It is evident, that in some Hughes films there needs to be a driving force or a good reason for siblings to get along better.

      Laura Nelson(Maddie Corman) has a seemingly different relationship with her brother Keith Nelson(Eric Stoltz) in Some Kind of Wonderful. The sibling relationship between Laura and Keith was very similar to a normal brother-sister relationship. Keith wanted Laura out of his stuff, out of his hair, and out of his personal life. Laura wanted to look through Keith’s records and invade his privacy. She also realized that her brother was not the most popular person. When it became apparent to her that her brother was “going with” Amanda Jones (Lea Thompson) she realized that she should start being nicer to him so she can gain greater social status. Through some eavesdropping she realizes that Harvey Jenns is plotting against Keith and Amanda is in on it. The problem is that Keith, because of his relationship with his sibling, does not believe her. Through much convincing and thinking Keith sees what is going on and realizes that his sister does care about him. Again, the sister wanted something (greater social status) and so she became closer to her brother. Much like Chet it is unclear whether this will last. Much like in real life, it is an on-going loop which spins around sibling relationships. One second everything is fine, and the next it is hell in a hand basket. The audience finds these relationship methodologies quite helpful and may or may not grow closer to their own siblings.

      Another typical character of Hughes films is the person with parents who just do not understand. The biggest example of this in any Hughes film is Cameron Frye of Ferris Bueller’s Day Off. Bob Thomas of The Associated Press describes where Cameron lives as, “John Hughesland, a mythical suburb where parents are well-meaning but stupid, teachers are terminally dull and where the teen-agers are ingeniously deceptive, talk dirty but only kiss, drink beer but do not use hard drugs.” Cameron’s father and mother, to a lesser extent, are two people in life who he just loathes. Cameron, early on, says of his mother, “She’s in Decatur, unfortunately she’s not staying.” He also describes his father as a, “Son of a Bitch.” It is quite evident that Cameron lives in fear of his father. It seems that he cannot talk to him, and that his father cares more about material objects than his family. His father got upset when Cameron broke his retainer. His father loves his car, but hates his wife. Cameron ends up taking his father’s most prized possession, a 1961 Ferrari 250GT California, for a joyride. He also kicks it out the back of his garage into a ravine. What comes next is one of the most prolific scenes in any Hughes film. After watching this, the viewer realizes that nothing is unattainable. Although Cameron’s “Take a Stand” speech is emotional and reveals how much Cameron grew throughout the film, there are doubters. Paul Attanasio says of this, “only an inveterate rubbernecker would want to watch him.” Patrick Goldstein of The Los Angeles Times calls the subplot of Cameron and his father “belabored.” It is an essential part of the film, and if nothing else, teaches the viewer to stand up for who they are.

      Derek Malcolm of The Manchester Guardian Weekly describes the parents in this film as ones who “demand their [the kids] respectability at all cost.” The film is The Breakfast Club. Andrew Clarke (Emilio Estevez) has a very demanding father. His father wants him to wrestle, and not only to wrestle, but to win. Andrew must escape from his father, and to vent his frustration he taped Larry Lester’s buns together. He still will not be able to stand up to his father even with the soul baring which he did in the detention. His father will be just as demanding, and Andrew will play along as if he wants the exact same thing. There are some parents that are just too stubborn. A key example is Jon Bender’s (Judd Nelson) father. His father rubs cigar butts into his skin, and curses at him, and is somewhat absent. This goes to explain Jon’s character very well. He is the criminal, and most of all has no direction because his parents are more absent than all the rest. Unless he stops his father from drinking, he has no chance of getting through to him and taking a stand. Keanu Reeves once said in Parenthood(1989), “you need a license to buy a dog, to drive a car—hell, you even need a license to catch a fish. But they’ll let any butt-reaming asshole be a father.” This is no further true than for the fathers in John Hughes films. Always the father and never the mother. This can be construed as a rough characterization of the role of Hughes’ own father.

      The strong father in Hughes’ films is a common theme. The father is not so much strong as he is a force. Until now, the father’s have had no or little screen time (in the case of Andrew Clarke’s). The fathers represented in Pretty in Pink and Some Kind of Wonderful are slightly more understandable than the fore mentioned fathers are. Roger Ebert of The Chicago Sun-Times says that the scenes in which Keith and his father (John Ashton) argue are some of the most entertaining in the film. Keith would like to devote his energy to art work, and his father would rather have him go off to a university. With much defiance of his father, Keith goes so far as to take his college savings and spend them on jewelry for Amanda Jones. The end of the film brings about a surprisingly civilized fight, and the father has to come to the realization that his son has grown up. What the father wants is not always best. Andie (Molly Ringwald) and her father Jack’s(Harry Dean Stanton) relationship is slightly different. This is so because this the only father-daughter relationship of this nature presented in a Hughes film. Andie must drive her father around, if it were not for Andie, her father may never get up in the morning and look for work. Perhaps this is more typical of lower income families, as Andie and Jack’s income is the only one which is not typical of the Hughes families. The relationship between a father and his son or daughter is one which Hughes adores to examine. Though for all the stubborn and set-in-their-ways parents, there are always the dimwitted ones who are oblivious to everything.

      Rob Salem of The Toronto Star says of Hughes that, “he as yet to include a single adult character in any of his movies capable of handling day-to-day existence, let alone raising children.” Salem describes Tom and Katie Bueller (Lyman Ward, Cindy Pickett), of Ferris Bueller’s Day Off, as “inept parents” and “well-meaning dolts.” Tom and Katie are totally oblivious to Ferris’ schemes and truly believe that he is a very sick boy. Katie has some doubt when she goes home, but is fooled by a mannequin. What mother would go home to check on her son and not actually go in the room? Hughes inserts these parents as the type he would have liked to have; free-spirits. Another example is Samantha Baker’s parents in Sixteen Candles. It is quite true that Samantha’s sister’s wedding was the following day, but that does not give her parents the right to completely forget about her birthday. Mike Baker says of this, “Classic.”

      The overly dimwitted parents lead into the very maniacal authority figures, usually in the form of school disciplinarians. David Sterritt of The Christian Science Monitor describes them as “simple-minded and cartoonish.” No where has there been such deviants as Richard Vernon (Paul Gleason in The Breakfast Club) and Edward R. Rooney (Jeffrey Jones in Ferris Bueller’s Day Off). Derek Malcolm from the Manchester Guardian Weekly describes Vernon as “a bored and cynical teacher who clearly hates their [the kids] recalcitrant guts.” He sets them the task of writing a paper to evaluate themselves. He is very viscous towards Bender, but does not go overboard in his disciplining. He stands his ground, and although the regulations of his detention are quite grueling, he does not come off as such a bad guy in the end. He only treats the bad students, like Bender, poorly. Rooney is another story. He is always scheming. He goes so far as to snoop around the Bueller estate, break into their house, and knock out their dog. Paul Attanasio describes Rooney as “snakelike.” Rooney has a cartoonish mustache, and is placed into very physical comedy scenes which foreshadows the burglars in Home Alone(1990). These administrators are meant to be a conglomerate of all the evil teachers who may be at a high school, only greatly exaggerated.

      Hughes next likes to use the characters who are individuals. The characters who sacrifice their wants and desires for the greater good of the film. These people go under similar changes to Jeanie Bueller. They can be greedy or jealous, or they can come to the realization that they would feel better about themselves, no matter how much they hate to admit it, if they gave the girl or guy they are pursuing happiness. Unfortunate for them, this happiness often comes in the arms of another person. Duckie (Jon Cryer) from Pretty in Pink makes quite a sacrifice for the greater good of Andie (Molly Ringwald). He adores her, and she knows it. The only problem is that Andie is in love with the rich and preppy Blane (Andrew McCarthy). Blane has a lot of pressure on him not to date a poor girl by his friend Steff(James Spader). At one of the final scenes, after much turmoil between Andie and Blane (even a run-in at school), Andie shows up at the prom pretty in pink. Duckie does in fact tell Andie to go for what she wants, makes a sacrifice, and Andie ends up getting Blane. Duckie, on the other hand, gets Kristy Swanson. So it is not so bad a deal.

      Farmer Ted (Anthony Michael Hall) in Sixteen Candles provides a similar service for another Molly Ringwald character, Samantha Baker. Farmer Ted or “The Geek” pursues Samantha with a passion. He bothers her on the bus, he asks for her underwear, and he tries to entice her to dance with his gangly body. He knows that she really wants Jake Ryan(Michael Schoeffling). His chances with her are not as good as Duckie’s, particularly because they do not seem to know each other as well. Farmer Ted goes behind the scenes, tells Jake of Samantha’s infatuation, and by the end of the film Jake and Samantha are together. Farmer Ted has also “bagged a babe” along the way. Again, a geeky character has made a huge sacrifice for the interest of another.

      Lastly is Watts (Mary Stuart Masterson’s character) in Some Kind of Wonderful. She is in a slightly different situation than the other two martyrs. She is very close with Keith, even sleeps in the same bed sometimes. She, much like the other two, is a virtual outcast at school. Keith is trying to pursue Amanda Jones, and Watts pretends to totally support him. She even picks out the piece of jewelry for which Keith should spend his college savings. Much like Pretty in Pink, Some Kind of Wonderful has its own antagonist to Amanda in the form of Shayne (Molly Hagan). Shayne tries to talk Amanda into ignoring Keith in much the same way that Steff does to Blane. Watts teaches Keith how to kiss, and it is in that key scene that the audience learns of the huge chemistry between them. Watts believes she has given over Keith to the one he wants, and volunteers to be the chauffeur on his and Amanda’s date. Amanda senses that the earrings are not for her, but for someone else. The end of this movie sees Keith chasing after Watts and embracing her. Hughes made this film to correct Pretty in Pink, if there was such a wrong in the nerd not getting the girl. He wanted to show that sometimes the good guy or girl does get the one they want. They just have to go through an arduous process to get there. The unselfish individual always seems to succeed.

      The individuals in all of these films are the teenagers described above. The main characters, be it a Matthew Broderick or a Molly Ringwald or an Eric Stoltz, are individuals, but they are not always the ones who the audience can identify with the most. And they most definitely are not characterizations of Hughes himself. The Hughes films are meant to represent the often misrepresented or non-represented. The audience identifies and learns more from Duckie, Cameron, and Farmer Ted than it does from Ferris, Andie or Keith. Richard Harrington of The Washington Post noticed that Hughes relies on his stock characters such as “the sensitive outsider, the sympathetic punk, the obnoxious preppy, the precocious younger brothers and sisters, and the peripheral parents.” It is these characters which make the films, not the character to whom the title pertains. These are the characters who teach the audience and who cause them to grow and develop and think differently. They teach the viewer to stand up to his father, or to disregard evil authority, or to relate better to your siblings, or even to think of someone else before yourself. Do these teachings really effect people? Has Hughes succeeded? Sheila Benson of The Los Angeles Times feels that a studio executive should put a sign up that says “Played Out” and they should put it “over the whole vein of teen-age-only movies and begin to make movies that speak to all of us again.” All of who? These films speak to people young and old, one just has to listen. Hughes, although maybe not aware, has touched the lives of many, and through expressing his thoughts and feelings in his films has changed his viewers for the better.

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  2. Today could be considered WTHH day in the birthday series. Not only are there three WTHH subjects in today’s article—for only the second time—but there are some others who could have been candidates. If John Hughes were still alive, asking “what happened” about him would be a very good question, and Cybill Shepherd would have been worthy of WTHH consideration at at least a few points in her career.

    I thought about Cybill Shepherd as a headliner for today, which would have been a fourth headliner from the cast of The Last Picture Show, and also about Travolta, but as I said, the Ringwald-Hughes pairing was too good to pass up.

    Also, this is one of the rare cases in the birthday series where none of the auto-generated “related articles” links at the end goes to another birthday article.

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  3. I never knew Molly Ringwald and John Hughes shared a birthday; I think that’s a real fun fact. Well, I’ll play the Love Theme instrumental from “The Breakfast Club” in my head (later, I’ll play it for real too) to such a fact.
    John Travolta, I hope he got the Bee Gees Greatest Hits for his birthday, and he’s found a moment to strut a little, while playing it cool like he did in “Pulp Fiction”.
    Matt Dillon, he’s another one who’s career I’ve liked, and I’m not sure if he wanted to be a blockbuster guy. I’ve liked and disliked some of the characters he’s played over the years (I thought he was funny in “Factotum”), so I think that’s a sign of a strong performer.
    Cybill Sheperd, I thought she was effective & subtle in “Taxi Driver”, innocent in “The Last Picture Show”, and right on the mark with her 1990’s television show. I plan on checking out “Moonlighting” someday.
    Greta Scacchi, I’ve liked her in “The Coca Cola Kid” (tasty), “Scattered” (femme fatale) and “Presumed Innocent” (dead career climber).
    Milos Forman, I think “one Flew Over the Cuckoo’s Nest” is fantastic, “Amadeus” rocked me, and I thought “The People vs. Larry Flynt was excellent as well (I believe Cortney Love can act, which surprised me at the time, but then I noticed it was no fluke).
    Jack Palence, I know it was a small part, but his character in “Batman ’89” left an impression on me.
    When I think of George Kennedy, my mind automatically goes to the Old Chief Woodenhead segment from “Creepshow 2” and those Naked Gun films.

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  4. Cybill Shepherd’ Stories

    https://www.datalounge.com/thread/18478059-cybill-shepherd-stories

    From Cybill Shepherd book “Cybill Disobedience ….” :

    I was not too interested in Elvis Presley or his moves. He’d become a little passé, supplanted by Motown and the British invasion of the Beatles and the Rolling Stones. But he was, after all, the King. “He’s got to call me,” I told Klein, “and he’s got to pick me up himself.” “Fair enough,” he said.

    One of his people tracked me down at Jane’s house. “It’s for you,” she said, handing me the receiver with demonstrative boredom. “Some weirdo pretending to be Elvis Presley.” When she grasped from my stunned mien that this was no impersonator, she pressed her own ear to the receiver next to mine…

    “I’ve wanted to meet you for a long time,” he said, “ever since I saw you in that movie.”
    “That was two years ago,” I said. “What took you so long?” He gave an appreciative little laugh. I’d like to see you sometime,” he said.

    “Are you sure you’re not still married?” I asked. Like the rest of the world, I knew about Priscilla and their daughter, Lisa Marie, and I’d already taken hits for breaking up one marriage, but he assured me he was separated and in the throes of a divorce. He asked me to join him for a movie that evening–Elvis regularly rented local theaters at midnight for his entourage, unflatteringly known as the Memphis Mafia.

    Jane was flailing her arms in a silent entreaty, “Take me! Take me!” I asked if I could bring my best girlfriend. Sure, he said. Elvis never did have a problem with two girls

    I dropped my demand about being picked up, since Jane and I were driving together. When we entered the Crosstown Theater, the phalanx of good ol’ boys wouldn’t let us past the lobby. So Jane and I started tangoing together in front of the popcorn machine, ignoring the people who were trying desperately to ignore us.

    Word that Elvis had entered the building through a side door filtered into the lobby like a game of whispering down the lane, and we were granted admission, sitting in a row with the bubbas. As if on cue, everybody in the row to my right got up and moved one seat over

    —Anonymous (826 views)

    62 replies 60 8 hours ago

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