EvRobert

I keep going back to this movie (not literally but figuratively) and wondering if a) it could be made today and if it was how would it be different and c) who would they cast? I don't think they could or would. Or if they did it not being successful. I can't think of any actors that could match Jane Russell and Marilyn's chemistry (just like there has never been any serious attempts to remake the Hope/Crosby Road movies, because who do you replace Hope and Crosby with?).

re: Lorelei/Gus I don't think it'll last. If Gus (or his father. Dad makes it clear in France that HE is the one paying the bills not Gus.) loses their money or if Gus is cut off or something, I don't know if Lorelei loves him enough to stick around in hard times. And vice versa. Would Gus put up with Lorelei if something happened to her and she didn't maintain her "Marilyn"ness. They could "LEARN" (or whatever. I'm not a fan of that term but I think ya'll know what I mean) to love each other, but I don't know if they do at this point in their relationship if they could survive it. As for him trusting her or whatever, years ago I was heavily into evangelical Christianity and have many friends still involved in that. When my friends were dating their soon to be spouses, they would stop riding in a car with me (one girl one guy in a car OH NO! rme). My mother, who taught in a physical therapy program, ran a massage clinic for her students. My friends and I all went and the girls wouldn't let any of my mom's male students give them massages and vice versa. When the whole thing with Pence was revealed about how he won't be in a room with a female staffer or whatever it was. I wasn't at all surprised since I saw that first hand. I do, though, like that Lorelei was true. Yeah she danced with Piggy and used her wiles to get that tiara, but she was true.

It is most certainly intentional then

Huh. I thought they were going to perform at a club. I totally didn't pick up that they were just going on vacation on Gus' dime.

Let's just assume that the Olympic rowing, gymnast and track and field teams were all going to France together on the same boat, but to what end? We know why Dorothy and Lorelei were going (which is a bit weird that they'd have to provide their own line of credit for housing. Wouldn't the club/promoter they were working for put them up?) but why were these Olympians going?

Dammit! everyone beat me to it.

There's a reason Baz did that particular remix/mash up in Moulin Rogue (and Glee copied).

Road To Bali is already on my "Watchlist" on Amazon Prime. I love every single Road to movie.

While Is Anyone Here For Love and When Love Goes Wrong may not be as "iconic" as Diamonds, I absolutely loved them. And I didn't know they dubbed Jane for When Love Goes Wrong, I was impressed with their voices on that number. Old Hollywood.

I was looking up the Broadway musical online and saw that in the casting and it threw me off a little. I think using a kid was a great move on Hawks' part.

I didn't know that, but it doesn't surprise me, Marilyn seemed more comfortable in the lower register.

Guess who's back....back again! I LOVE this movie but what struck me was from the opening number to the closing nu mber, it reminded me of a less slapsticky version of the Hope & Crosby "Road To..." movies. It makes me a little sad that Marilyn became such a huge star because I would have loved a whole series of movies with Russell and Marilyn globetrotting, singing, and man hunting. They don't even have to be Dorethy and Lorelei (side note, has Amy Sherman-Pallidino said anything about getting Lauren Graham's character's name in Gilmore Girls from this? Because I know she loves those screwball comedies and that wicked word play). The little kid was a highlight for me, and man I was hoping he'd come back in the end. My only I guess nitpick is that "Diamonds Are A Girl's Best Friend" is the signature number from this film, because I'm not a huge fan of that song. Something about (and this bothered me during most of Marilyn's big numbers) her dropping into the alto range while talking in that high pitched breathy "baby" voice bothered me. I'm real curious, since this is a title that I think everyone knows (even if they don't know the movie, they know the title), why this hasn't be revived a hundred times on Broadway.

I've had a busy couple of weeks as well, including an unexpected funeral last Friday. On that note, I LOVE Marilyn. I've been lightly kicking around an idea for a about a year of taking the generic elements of her film noir roles into one sort of tribute script. I'm so looking forward to to watching GPB

I'm late to this but it's very possible Paul said August 1 and I just didn't hear it. Sometimes I get overeager when there's something I want to watch. As soon as I heard a Birdman-esque musical with that cast, I was looking for it. The Lure...I am watching this today, god help me. Monster Trucks, Cameron you've convinced me to check this out as well. Good luck.

OH dear god. I am planning on watching this tomorrow...how afraid should I be?

Then dont tell me it is available now i just wanted to be supportive now i have to remember to watch it on the first. Le sigh

Opening Night confusion on Netflix... There is a film called Opening Night on Netflix, about the theater. However, it appears to be about a school putting on A Midsummer Night's Dream and getting help from the Ghost of William Shakespeare. It stars Anthony Rapp and a bunch of people I've never heard of. I even looked up Topher Grace on the Netflix Box and no "Opening Night" came up...

You had me at Polish. Lets do this.

What this feels like is that it was a movie designed to sell a soundtrack (kind of like Blues Brothers 2000, which I maintain has the best soundtrack in movie history--but jesus that movie sucks). It's a collection of set-ups to get us to songs. Re: The Fat Boyz, I think they were in the movie because of Kurtis Blow. It looks like he did their music or produced them (based on the credits), plus "beatboxing" was relatively new at the time, so it was a way to showcase that. It's interesting to see the shades of what is to come in this movie though. RUN DMC hadn't even hit the top yet, but The Fat Boyz were doing the beatboxing thing plus bringing comedy to rap, The Beastie Boys were doing white kid rap, and in LL Cool J, you can see the beginnings of the transition to the 90s era rap. What is interesting is that I"m listening to the Mougel podcast, which covers a lot of the same ground and same players, so it is interesting to compare and contrast the two stories. There could have been a story here, but I think Russell Simmons was looking to introduce rap as something "safe" to mainstream America and avoid stories of crews fighting over girls, of powering turntables via street lamps. There's also no reason this needed to be rated R except that they wanted all those fucks.

I kept going back to comparing this to That Thing You Do, in particular the Run and Russell story (also note that Run and Russell's real dad played their minister father).

Fuck yeah

chiming in here just to say THE ACTOR/ACTIVISTS STUDIO! Ron Silver "Silva" dear god I love this community That is all...for now

I think I've listened to this ep three times now. It was a great talkwith Maron.

Oh trust me I know. That's why I'm not going LOL I'm planning a trip to North Carolina in September, so it was either Georgia in July or NC in September. This is actually my second play being done n Georgia, a couple of years ago a children's play I wrote was done in Roswell, GA

It's an adaption of Ambrose Bierce's Moonlit Road titled "Moonlit". I changed the gender of the lead to a female and set it in modern times, with flashbacks to the 1990s. Instead of a wealthy landowner or plantion owner, I changed it to a televangelist. RE: Mortimer in redface, my argument that it isn't is because the show isn't casting a white person as a Native American nor are they saying he is (in the stage show the stage descriptions have him wearing a featherd headband that Henry plucks a feather from). He is described as speaking in a cockney accent. I have viewed it as an argument against red face (or the like) because these are characters that aren't supposed to be emulated. I'm not saying the students argument isn't valid, but I think they should have stayed to see the show instead of immediately walking out though. Alanis as El Gallo? I kind of love it. I have some very distinct ideas about how I would direct a stage adaptation of The Fantasticks, and I never would have considered a female in the role (and I wanted to cast an African-American as Elle in Legally Blonde) but I kind of love it.