Post by topbilled on Mar 2, 2024 4:31:05 GMT
CLASSIC FILM TELEVISION & RADIO Newsletter
MARCH 2024
Message board highlights:
Neglected films
Here
Everyday TopBilled reviews a neglected film that was produced between 1930 and 1959. All genres are included. Fading Fast also provides reviews on precodes which were produced between 1930 and 1934.
3/1..CLUNY BROWN (1946)..FOX — romantic comedy
3/2..THIS WOMAN IS DANGEROUS (1952)..WB — gangster noir
3/3..THE RIGHT TO ROMANCE (1933)..RKO — precode
3/4..MY LITTLE CHICKADEE (1940)..UNIV — western comedy
3/5..TORMENTO (1950)..ITAL — melodrama
3/6..ROMANCE IN THE DARK (1938)..PAR — musical comedy drama
3/7..THE GRAPES OF WRATH (1949)..FOX — social message drama
3/8..FOOTSTEPS IN THE FOG (1955)..BRIT — noir
3/9..PROSPERITY (1932)..MGM — precode
3/10..STRANGE IMPERSONATION (1946)..REP — noir
3/11..THE RAWHIDE YEARS (1956)..UNIV — western
3/12..WALKING ON AIR (1936)..RKO — romantic comedy
3/13..DANGEROUS PARTNERS (1945)..MGM — war adventure
3/14..ODDS AGAINST TOMORROW (1959)..UA — noir caper
3/15..SLIM (1937)..WB — drama
3/16..SUN VALLEY SERENADE (1941)..FOX — ice skating musical
3/17..SILVER CITY (1951)..PAR — western
3/18..THE PLOUGH AND THE STARS (1936)..RKO — drama
3/19..IT'S A DATE (1940)..UNIV — musical drama
3/20..THIS SIDE OF THE LAW (1950)..WB — noir melodrama
3/21..THE GARDEN OF ALLAH (1936)..UA — romance drama
3/22..THE ADVENTURES OF TARTU (1943)..MGM — drama
3/23..THE PALOMINO (195O)..COL — western
3/24..ALICE IN WONDERLAND (1933)..PAR — precode
3/25..WHIPLASH (1948)..WB — noir
3/26..BLACK HAND (1950)..MGM — crime drama
3/27..THE ANIMAL KINGDOM (1932)..RKO — precode
3/28..ONE WAY TO LOVE (1946)..COL — comedy
3/29..THE BROWNING VERSION (1951)..BRIT — drama
3/30..WIFE HUSBAND AND FRIEND (1939)..FOX — comedy
3/31..HELLFIRE (1949)..REP — western
Essentials
Here
In March we will be looking at some beloved Merchant-Ivory classics. Join TopBilled & Jlewis every Saturday.
Merchant-Ivory
March 2: A ROOM WITH A VIEW (1985)
March 9: MAURICE (1987)
March 16: MR. AND MRS. BRIDGE (1990)
March 23: HOWARDS END (1992)
March 30: THE REMAINS OF THE DAY (1993)
Don’t Be So Melodramatic!
Here
On Sundays in March TopBilled presents our next theme, What kind of man did she marry?. Join the live discussion with films that star Kim Hunter, Ingrid Bergman, Loretta Young, Barbara Stanwyck & Claudette Colbert. Start time is 3 p.m. Eastern.
“What kind of man did she marry?”
Presented by TopBilled
March 3: WHEN STRANGERS MARRY (1944)
March 11: NOTORIOUS (1946)
March 12: THE STRANGER (1946)
March 19: THE TWO MRS. CARROLLS (1947)
March 26: SLEEP MY LOVE (1948)
Remake City
Here
On Mondays we share clips of original films and remakes.
March 4: THE BIG SLEEP (1946) / THE BIG SLEEP (1978)
March 11: RED DUST (1932) / MOGAMBO (1953)
March 18: SHOW BOAT (1936) / SHOW BOAT (1951)
March 25: DARK VICTORY (1939) / STOLEN HOURS (1963)
This month’s articles:
STUDIO SUPERSTARS: Warner Brothers, PART 2…
We’re continuing our year-long look at the studios’ top stars with Part 2 on Warner Brothers. The studio produced some fantastic motion pictures during the 1930s, ‘40s and ‘50s. These films featured some amazing stars like…
Bette Davis had been toiling in Hollywood for a while when she arrived at Warners in 1932. Initially, she was guided at the studio by mentor George Arliss when she was cast in two of his films, the first one being THE MAN WHO PLAYED GOD. By 1935, she had worked her way up to leads and an Oscar performance in the melodrama DANGEROUS. Other melodramas followed, and until she left the studio in 1949, she appeared in a succession of hits that included JEZEBEL, for which she received her second Best Actress trophy. Dissatisfied with the scripts being offered her in the late 40s, she agreed to terminate her contract and in 1950 started to freelance. She returned to Warners in the 60s for DEAD RINGER, a doppelganger horror film directed by old costar Paul Henreid.
James Cagney had a few supporting roles at Warner Brothers when talkies came in, and it didn’t take long for studio bosses and audiences to realize he was destined for bigger things. His breakthrough performance in 1931’s THE PUBLIC ENEMY guaranteed him the star treatment and his choice of scripts, usually with him typecast in other gangster dramas. He left for awhile in the late 30s due to a feud with Jack Warner, but he soon returned to the fold and had another triumph with another bad guy role in ANGELS WITH DIRTY FACES. He managed to stretch his acting muscles a bit in the next decade, eventually earning an Oscar for the musical YANKEE DOODLE DANDY. He left the studio again during the mid-40s, this time to freelance and make independent pictures for his own production company. But again he returned to Warners in 1949 for another gangster crime flick—WHITE HEAT, a film that he is just as identified with now as THE PUBLIC ENEMY. There were other films for Warners in the 1950s such as A LION IS IN THE STREETS. And in 1955, Cagney made his last feature for the studio, costarring in the big screen adaptation of MISTER ROBERTS.
Jane Wyman snagged a contract at Warner Brothers in the late 1930s. She was mentored by one of the studio’s top actresses, Kay Francis. While Francis’ forte was melodrama, and this genre would also serve Wyman well in later years, the fresh-faced Warner Brothers starlet quickly proved she was adept at all kinds of material. She made a variety of programmers, some with first husband Ronald Reagan, during the late 30s and early 40s. Her breakthrough, however, did not really occur until she was loaned out to Paramount for Billy Wilder’s sobering drama THE LOST WEEKEND in 1945. Wyman played Ray Milland’s girlfriend who tries to keep him away from the bottle during a tense three-day period. Back at Warners, Wyman followed this up with the musical NIGHT AND DAY and another hit on loan-out—MGM’s adaptation of THE YEARLING. Convinced that she could handle more serious material, Jack Warner cast her as a tragic young woman in JOHNNY BELINDA which led to an Oscar. And though she began to freelance in the 50s, she would still continue to work for Warner Brothers. There was a biopic about Will Rogers in which she played Rogers’ wife; and there was also a spiritual melodrama called MIRACLE IN THE RAIN with Van Johnson which she made for the studio in 1956.
Edward G. Robinson became a household name with his iconic performance as a hoodlum in 1931’s LITTLE CAESAR. Like other Warner Brothers leads at the time, he became typecast playing gangster parts. However, he was able to overcome the typecasting by taking comical roles that spoofed the gangster image. And occasionally, he managed to convince the front office that he should be given more diverse characters to play, such as DR. EHRLICH and the detective in CONFESSIONS OF A NAZI SPY. During the war years, he left Warners to freelance, but occasionally Robinson came back. One notable example is 1948’s KEY LARGO, directed by John Huston, where he returns to form as vicious mafia boss Johnny Rocco.
OSCAR HISTORY: ACTRESSES HONORED IN THE 1960s…
Best Actresses
1960: Elizabeth Taylor..BUTTERFIELD 8 (Drama)
1961: Sophia Loren..TWO WOMEN (War Drama)
1962: Anne Bancroft..THE MIRACLE WORKER (Biographical Drama)
1963: Patricia Neal..HUD (Western Drama)
1964: Julie Andrews..MARY POPPINS (Musical Fantasy)
1965: Julie Christie..DARLING (British Romantic Comedy)
1966: Elizabeth Taylor..WHO’S AFRAID OF VIRGINIA WOOLF? (Drama)
1967: Katharine Hepburn..GUESS WHO’S COMING TO DINNER (Comedy Drama)
1968: Katharine Hepburn..THE LION IN WINTER (Historical Drama)
1968: Barbra Streisand..FUNNY GIRL (Biographical Musical)
1969: Maggie Smith..THE PRIME OF MISS JEAN BRODIE (Coming of Age)
Analysis:
It was Elizabeth Taylor’s decade, and it was also Katharine Hepburn’s decade. Hepburn tied the second time, with Barbra Streisand…they were two actresses whose performance styles could not have been more different. Several British stars took home the trophy: Julie Andrews in her screen debut; Julie Christie; and Maggie Smith.
Best Supporting Actresses
1960: Shirley Jones..ELMER GANTRY (Drama)
1961: Rita Moreno..WEST SIDE STORY (Musical Drama)
1962: Patty Duke..THE MIRACLE WORKER (Biographical Drama)
1963: Margaret Rutherford..THE V.I.P.S (British Comedy Drama)
1964: Lila Kedrova..ZORBA THE GREEK (Drama)
1965: Shelley Winters..A PATCH IN BLUE (Social Message Drama)
1966: Sandy Dennis..WHO’S AFRAID OF VIRGINIA WOOLF? (Drama)
1967: Estelle Parsons..BONNIE AND CLYDE (Biographical Crime Drama)
1968: Ruth Gordon..ROSEMARY’S BABY (Psychological Horror)
1969: Goldie Hawn..CACTUS FLOWER (Comedy)
Analysis:
Patty Duke became one of the youngest performers to win a competitive Oscar. Shelley Winters claimed her second victory in this category. Ruth Gordon scored a career comeback with her award-winning role in Roman Polanski’s cult film.
c) 2024
MARCH SCHEDULE
1 Special Theme: Based on a Story by Edna Ferber: CIMARRON (1931) / COME AND GET IT (1936) / GIANT (1956)
2 Essentials: Merchant-Ivory Productions: A ROOM WITH A VIEW (1985)
3 Don’t Be So Melodramatic!: What Kind of Man Did She Marry?: WHEN STRANGERS MARRY (1944)
4 Remake City: THE BIG SLEEP (1946) / THE BIG SLEEP (1978)
5 Performer of the Week: Bette Davis: THE MAN WHO PLAYED GOD (1932) / JEZEBEL (1938) / BEYOND THE FOREST (1949)
6 Classic Duo: Vera Ralston & John Carroll: THE FLAME (1947) / I JANE DOE (1948)
7 Directors Spotlight: John Huston Directing Humphrey Bogart: THE MALTESE FALCON (1941) / THE TREASURE OF THE SIERRA MADRE (1948) / THE AFRICAN QUEEN (1951)
8 Special Theme: James Gleason Detective Roles: PENGUIN POOL MURDER (1932) / THE EX-MRS. BRADFORD (1936) / TAKE ONE FALSE STEP (1949)
9 Essentials: Merchant-Ivory Productions: MAURICE (1987)
10 Don’t Be So Melodramatic!: What Kind of Man Did She Marry?: NOTORIOUS (1946)
11 Remake City: RED DUST (1932) / MOGAMBO (1953)
12 Performer of the Week: James Cagney: THE PUBLIC ENEMY (1931) / JIMMY THE GENT (1934) / ANGELS WITH DIRTY FACES (1938)
13 Classic Duo: Jennifer Jones & Joseph Cotten: LOVE LETTERS (1945) / PORTRAIT OF JENNIE (1948)
14 Directors Spotlight: John Huston Directing Jennifer Jones: WE WERE STRANGERS (1949) / BEAT THE DEVIL (1953)
15 Special Theme: What They Won't Do: THEY WON'T FORGET (1937) / THEY WON'T BELIEVE ME (1947)
16 Essentials: Merchant-Ivory Productions: MR. AND MRS. BRIDGE (1990)
17 Don’t Be So Melodramatic!: What Kind of Man Did She Marry?: THE STRANGER (1946)
18 Remake City: SHOW BOAT (1936) / SHOW BOAT (1951)
19 Performer of the Week: Jane Wyman: MAKE YOUR OWN BED (1944) / JOHNNY BELINDA (1948) / SO BIG (1953)
20 Classic Duo: Maureen O’Hara & John Wayne: RIO GRANDE (1950) / THE QUIET MAN (1952) / THE WINGS OF EAGLES (1957)
21 Directors Spotlight: John Huston Directing Audie Murphy: THE RED BADGE OF COURAGE (1951) / THE UNFORGIVEN (1960)
22 Special Theme: MGM Noir: ACT OF VIOLENCE (1948) / TENSION (1949) / MYSTERY STREET (1950)
23 Essentials: Merchant-Ivory Productions: HOWARDS END (1992)
24 Don’t Be So Melodramatic!: What Kind of Man Did She Marry?: THE TWO MRS. CARROLLS (1947)
25 Remake City: DARK VICTORY (1939) / STOLEN HOURS (1963)
26 Performer of the Week: Edward G. Robinson: LITTLE CAESAR (1931) / THE MAN WITH TWO FACES (1934) / CONFESSIONS OF A NAZI SPY (1939)
27 Classic Duo: Marie Dressler & Polly Moran: POLITICS (1931) / REDUCING (1932) / PROSPERITY (1932)
28 Directors Spotlight: John Huston Directing Montgomery Clift: THE MISFITS (1961) / FREUD (1962)
29 Special Theme: Twenty Commandments: THE TEN COMMANDMENTS (1923) / THE TEN COMMANDMENTS (1956)
30 Essentials: Merchant-Ivory Productions: THE REMAINS OF THE DAY (1993)
31 Don’t Be So Melodramatic!: What Kind of Man Did She Marry?: SLEEP MY LOVE (1948)
MARCH 2024
Message board highlights:
Neglected films
Here
Everyday TopBilled reviews a neglected film that was produced between 1930 and 1959. All genres are included. Fading Fast also provides reviews on precodes which were produced between 1930 and 1934.
3/1..CLUNY BROWN (1946)..FOX — romantic comedy
3/2..THIS WOMAN IS DANGEROUS (1952)..WB — gangster noir
3/3..THE RIGHT TO ROMANCE (1933)..RKO — precode
3/4..MY LITTLE CHICKADEE (1940)..UNIV — western comedy
3/5..TORMENTO (1950)..ITAL — melodrama
3/6..ROMANCE IN THE DARK (1938)..PAR — musical comedy drama
3/7..THE GRAPES OF WRATH (1949)..FOX — social message drama
3/8..FOOTSTEPS IN THE FOG (1955)..BRIT — noir
3/9..PROSPERITY (1932)..MGM — precode
3/10..STRANGE IMPERSONATION (1946)..REP — noir
3/11..THE RAWHIDE YEARS (1956)..UNIV — western
3/12..WALKING ON AIR (1936)..RKO — romantic comedy
3/13..DANGEROUS PARTNERS (1945)..MGM — war adventure
3/14..ODDS AGAINST TOMORROW (1959)..UA — noir caper
3/15..SLIM (1937)..WB — drama
3/16..SUN VALLEY SERENADE (1941)..FOX — ice skating musical
3/17..SILVER CITY (1951)..PAR — western
3/18..THE PLOUGH AND THE STARS (1936)..RKO — drama
3/19..IT'S A DATE (1940)..UNIV — musical drama
3/20..THIS SIDE OF THE LAW (1950)..WB — noir melodrama
3/21..THE GARDEN OF ALLAH (1936)..UA — romance drama
3/22..THE ADVENTURES OF TARTU (1943)..MGM — drama
3/23..THE PALOMINO (195O)..COL — western
3/24..ALICE IN WONDERLAND (1933)..PAR — precode
3/25..WHIPLASH (1948)..WB — noir
3/26..BLACK HAND (1950)..MGM — crime drama
3/27..THE ANIMAL KINGDOM (1932)..RKO — precode
3/28..ONE WAY TO LOVE (1946)..COL — comedy
3/29..THE BROWNING VERSION (1951)..BRIT — drama
3/30..WIFE HUSBAND AND FRIEND (1939)..FOX — comedy
3/31..HELLFIRE (1949)..REP — western
Essentials
Here
In March we will be looking at some beloved Merchant-Ivory classics. Join TopBilled & Jlewis every Saturday.
Merchant-Ivory
March 2: A ROOM WITH A VIEW (1985)
March 9: MAURICE (1987)
March 16: MR. AND MRS. BRIDGE (1990)
March 23: HOWARDS END (1992)
March 30: THE REMAINS OF THE DAY (1993)
Don’t Be So Melodramatic!
Here
On Sundays in March TopBilled presents our next theme, What kind of man did she marry?. Join the live discussion with films that star Kim Hunter, Ingrid Bergman, Loretta Young, Barbara Stanwyck & Claudette Colbert. Start time is 3 p.m. Eastern.
“What kind of man did she marry?”
Presented by TopBilled
March 3: WHEN STRANGERS MARRY (1944)
March 11: NOTORIOUS (1946)
March 12: THE STRANGER (1946)
March 19: THE TWO MRS. CARROLLS (1947)
March 26: SLEEP MY LOVE (1948)
Remake City
Here
On Mondays we share clips of original films and remakes.
March 4: THE BIG SLEEP (1946) / THE BIG SLEEP (1978)
March 11: RED DUST (1932) / MOGAMBO (1953)
March 18: SHOW BOAT (1936) / SHOW BOAT (1951)
March 25: DARK VICTORY (1939) / STOLEN HOURS (1963)
This month’s articles:
STUDIO SUPERSTARS: Warner Brothers, PART 2…
We’re continuing our year-long look at the studios’ top stars with Part 2 on Warner Brothers. The studio produced some fantastic motion pictures during the 1930s, ‘40s and ‘50s. These films featured some amazing stars like…
Bette Davis had been toiling in Hollywood for a while when she arrived at Warners in 1932. Initially, she was guided at the studio by mentor George Arliss when she was cast in two of his films, the first one being THE MAN WHO PLAYED GOD. By 1935, she had worked her way up to leads and an Oscar performance in the melodrama DANGEROUS. Other melodramas followed, and until she left the studio in 1949, she appeared in a succession of hits that included JEZEBEL, for which she received her second Best Actress trophy. Dissatisfied with the scripts being offered her in the late 40s, she agreed to terminate her contract and in 1950 started to freelance. She returned to Warners in the 60s for DEAD RINGER, a doppelganger horror film directed by old costar Paul Henreid.
James Cagney had a few supporting roles at Warner Brothers when talkies came in, and it didn’t take long for studio bosses and audiences to realize he was destined for bigger things. His breakthrough performance in 1931’s THE PUBLIC ENEMY guaranteed him the star treatment and his choice of scripts, usually with him typecast in other gangster dramas. He left for awhile in the late 30s due to a feud with Jack Warner, but he soon returned to the fold and had another triumph with another bad guy role in ANGELS WITH DIRTY FACES. He managed to stretch his acting muscles a bit in the next decade, eventually earning an Oscar for the musical YANKEE DOODLE DANDY. He left the studio again during the mid-40s, this time to freelance and make independent pictures for his own production company. But again he returned to Warners in 1949 for another gangster crime flick—WHITE HEAT, a film that he is just as identified with now as THE PUBLIC ENEMY. There were other films for Warners in the 1950s such as A LION IS IN THE STREETS. And in 1955, Cagney made his last feature for the studio, costarring in the big screen adaptation of MISTER ROBERTS.
Jane Wyman snagged a contract at Warner Brothers in the late 1930s. She was mentored by one of the studio’s top actresses, Kay Francis. While Francis’ forte was melodrama, and this genre would also serve Wyman well in later years, the fresh-faced Warner Brothers starlet quickly proved she was adept at all kinds of material. She made a variety of programmers, some with first husband Ronald Reagan, during the late 30s and early 40s. Her breakthrough, however, did not really occur until she was loaned out to Paramount for Billy Wilder’s sobering drama THE LOST WEEKEND in 1945. Wyman played Ray Milland’s girlfriend who tries to keep him away from the bottle during a tense three-day period. Back at Warners, Wyman followed this up with the musical NIGHT AND DAY and another hit on loan-out—MGM’s adaptation of THE YEARLING. Convinced that she could handle more serious material, Jack Warner cast her as a tragic young woman in JOHNNY BELINDA which led to an Oscar. And though she began to freelance in the 50s, she would still continue to work for Warner Brothers. There was a biopic about Will Rogers in which she played Rogers’ wife; and there was also a spiritual melodrama called MIRACLE IN THE RAIN with Van Johnson which she made for the studio in 1956.
Edward G. Robinson became a household name with his iconic performance as a hoodlum in 1931’s LITTLE CAESAR. Like other Warner Brothers leads at the time, he became typecast playing gangster parts. However, he was able to overcome the typecasting by taking comical roles that spoofed the gangster image. And occasionally, he managed to convince the front office that he should be given more diverse characters to play, such as DR. EHRLICH and the detective in CONFESSIONS OF A NAZI SPY. During the war years, he left Warners to freelance, but occasionally Robinson came back. One notable example is 1948’s KEY LARGO, directed by John Huston, where he returns to form as vicious mafia boss Johnny Rocco.
OSCAR HISTORY: ACTRESSES HONORED IN THE 1960s…
Best Actresses
1960: Elizabeth Taylor..BUTTERFIELD 8 (Drama)
1961: Sophia Loren..TWO WOMEN (War Drama)
1962: Anne Bancroft..THE MIRACLE WORKER (Biographical Drama)
1963: Patricia Neal..HUD (Western Drama)
1964: Julie Andrews..MARY POPPINS (Musical Fantasy)
1965: Julie Christie..DARLING (British Romantic Comedy)
1966: Elizabeth Taylor..WHO’S AFRAID OF VIRGINIA WOOLF? (Drama)
1967: Katharine Hepburn..GUESS WHO’S COMING TO DINNER (Comedy Drama)
1968: Katharine Hepburn..THE LION IN WINTER (Historical Drama)
1968: Barbra Streisand..FUNNY GIRL (Biographical Musical)
1969: Maggie Smith..THE PRIME OF MISS JEAN BRODIE (Coming of Age)
Analysis:
It was Elizabeth Taylor’s decade, and it was also Katharine Hepburn’s decade. Hepburn tied the second time, with Barbra Streisand…they were two actresses whose performance styles could not have been more different. Several British stars took home the trophy: Julie Andrews in her screen debut; Julie Christie; and Maggie Smith.
Best Supporting Actresses
1960: Shirley Jones..ELMER GANTRY (Drama)
1961: Rita Moreno..WEST SIDE STORY (Musical Drama)
1962: Patty Duke..THE MIRACLE WORKER (Biographical Drama)
1963: Margaret Rutherford..THE V.I.P.S (British Comedy Drama)
1964: Lila Kedrova..ZORBA THE GREEK (Drama)
1965: Shelley Winters..A PATCH IN BLUE (Social Message Drama)
1966: Sandy Dennis..WHO’S AFRAID OF VIRGINIA WOOLF? (Drama)
1967: Estelle Parsons..BONNIE AND CLYDE (Biographical Crime Drama)
1968: Ruth Gordon..ROSEMARY’S BABY (Psychological Horror)
1969: Goldie Hawn..CACTUS FLOWER (Comedy)
Analysis:
Patty Duke became one of the youngest performers to win a competitive Oscar. Shelley Winters claimed her second victory in this category. Ruth Gordon scored a career comeback with her award-winning role in Roman Polanski’s cult film.
c) 2024
MARCH SCHEDULE
1 Special Theme: Based on a Story by Edna Ferber: CIMARRON (1931) / COME AND GET IT (1936) / GIANT (1956)
2 Essentials: Merchant-Ivory Productions: A ROOM WITH A VIEW (1985)
3 Don’t Be So Melodramatic!: What Kind of Man Did She Marry?: WHEN STRANGERS MARRY (1944)
4 Remake City: THE BIG SLEEP (1946) / THE BIG SLEEP (1978)
5 Performer of the Week: Bette Davis: THE MAN WHO PLAYED GOD (1932) / JEZEBEL (1938) / BEYOND THE FOREST (1949)
6 Classic Duo: Vera Ralston & John Carroll: THE FLAME (1947) / I JANE DOE (1948)
7 Directors Spotlight: John Huston Directing Humphrey Bogart: THE MALTESE FALCON (1941) / THE TREASURE OF THE SIERRA MADRE (1948) / THE AFRICAN QUEEN (1951)
8 Special Theme: James Gleason Detective Roles: PENGUIN POOL MURDER (1932) / THE EX-MRS. BRADFORD (1936) / TAKE ONE FALSE STEP (1949)
9 Essentials: Merchant-Ivory Productions: MAURICE (1987)
10 Don’t Be So Melodramatic!: What Kind of Man Did She Marry?: NOTORIOUS (1946)
11 Remake City: RED DUST (1932) / MOGAMBO (1953)
12 Performer of the Week: James Cagney: THE PUBLIC ENEMY (1931) / JIMMY THE GENT (1934) / ANGELS WITH DIRTY FACES (1938)
13 Classic Duo: Jennifer Jones & Joseph Cotten: LOVE LETTERS (1945) / PORTRAIT OF JENNIE (1948)
14 Directors Spotlight: John Huston Directing Jennifer Jones: WE WERE STRANGERS (1949) / BEAT THE DEVIL (1953)
15 Special Theme: What They Won't Do: THEY WON'T FORGET (1937) / THEY WON'T BELIEVE ME (1947)
16 Essentials: Merchant-Ivory Productions: MR. AND MRS. BRIDGE (1990)
17 Don’t Be So Melodramatic!: What Kind of Man Did She Marry?: THE STRANGER (1946)
18 Remake City: SHOW BOAT (1936) / SHOW BOAT (1951)
19 Performer of the Week: Jane Wyman: MAKE YOUR OWN BED (1944) / JOHNNY BELINDA (1948) / SO BIG (1953)
20 Classic Duo: Maureen O’Hara & John Wayne: RIO GRANDE (1950) / THE QUIET MAN (1952) / THE WINGS OF EAGLES (1957)
21 Directors Spotlight: John Huston Directing Audie Murphy: THE RED BADGE OF COURAGE (1951) / THE UNFORGIVEN (1960)
22 Special Theme: MGM Noir: ACT OF VIOLENCE (1948) / TENSION (1949) / MYSTERY STREET (1950)
23 Essentials: Merchant-Ivory Productions: HOWARDS END (1992)
24 Don’t Be So Melodramatic!: What Kind of Man Did She Marry?: THE TWO MRS. CARROLLS (1947)
25 Remake City: DARK VICTORY (1939) / STOLEN HOURS (1963)
26 Performer of the Week: Edward G. Robinson: LITTLE CAESAR (1931) / THE MAN WITH TWO FACES (1934) / CONFESSIONS OF A NAZI SPY (1939)
27 Classic Duo: Marie Dressler & Polly Moran: POLITICS (1931) / REDUCING (1932) / PROSPERITY (1932)
28 Directors Spotlight: John Huston Directing Montgomery Clift: THE MISFITS (1961) / FREUD (1962)
29 Special Theme: Twenty Commandments: THE TEN COMMANDMENTS (1923) / THE TEN COMMANDMENTS (1956)
30 Essentials: Merchant-Ivory Productions: THE REMAINS OF THE DAY (1993)
31 Don’t Be So Melodramatic!: What Kind of Man Did She Marry?: SLEEP MY LOVE (1948)