Summer Under the Stars: Fred Astaire

On August 5th, TCM will celebrate one of the greatest--if not THE greatest--dancers to ever grace the silver screen: Fred Astaire. While the plots of his films are sometimes criticized for their (delightful) fluff, one aspect that cannot be disputed is the dance. Ever the perfectionist, Astaire's technique is flawless. His choreography, often created in collaboration with Hermes Pan, is inventive, utilizing the new medium of film to take dance to a level not possible on stage. As a dance partner, he is generous, allowing his female counterpart to shine, but he also ensures a solo in the film to showcase his own skills. 

And that quibble about plot? Sure, the overall material is light, but the songs and dances are not randomly placed entertainment to be burst into at any time. They further the plot and the relationship between the characters--a revolutionary idea when Astaire first arrived on the scene in the early 1930s. Watch how Astaire enters a dance. He walks into it, allowing the music to gradually pull him to the steps as in "Smoke Gets in Your Eyes" (Roberta). Or his dialogue gradually shifts into song as he begins to talk-sing the lyrics as in "Let's Call the Whole Thing Off" (Shall We Dance). The dance becomes an extension of the story's action and dialogue. It reveals the characters' personalities or conflicts they are experiencing. By the end of the number, for better or worse his relationship with his dance partner has evolved. 

Without further ado... 

Whether you've seen his films hundreds of times or can't get past the plot and need to fast-forward (for shame!) to the good stuff, here is a list of dances that you should view to understand the greatness of Fred Astaire. For the sake of keeping this post a manageable length, I will highlight one number from each movie that will be shown on August 5th, but honestly I could have included two or three per film. This was difficult!

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1) Flying Down to Rio (1933) ~ 6 am ET/ 3 am PT

The Dance: THE CARIOCA

Why you should see it: The number captures the state of dance in the early '30s (Busby Berkeley-ish inner circle, focus on geometrical patterns) and hints to where dance was going (the outer circle, focus on "real" dancing). The choreography was the brainchild of a then unknown Hermes Pan. Credit is due to Astaire who recognized Pan's talent and paved the way for the young choreographer in the business. This is also the number that started the whole Astaire-Rogers craze.

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2) The Gay Divorcee (1934) ~ 7:30 am ET/ 4:30 am PT

The Dance: THE TABLE DANCE

Why you should see it: Astaire and Rogers kick it up a notch when they whirl up and down a tiny table and chairs. It's an amazing feat of balance, rhythm, momentum, and grace. The space is small and a single misstep could cause them to tumble to the ground. Astaire originally performed THE TABLE DANCE with Claire Luce in The Gay Divorce, the play on which the film is loosely based. According to Astaire, this "swell trick" did in fact result in "many a fall rehearsing [...] and occasionally [Luce and Astaire] fell during the show, too" (176). Thank goodness the "trick" was preserved in this film, so we can enjoy a piece of old Broadway.

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3) Roberta (1935) ~ 9:30 am ET/ 6:30 am PT

The Dance: SMOKE GETS IN YOUR EYES

Why you should see it: This is the first romantic number Astaire choreographed for himself and Rogers. It is relatively simple compared to the 18-step staircases and skates to come, yet there is an intimate quality to the dance--more is professed in step than any spoken love scene. The couple enter arm in arm, heads together. Only the tune can break their hold. At one point Astaire reaches for Rogers but resists his urge to touch her, bringing his hand towards is heart instead--a sense of his character's unfulfilled desire. As they dance they are one with the music, movements reaching crescendo as the song does. The music softens, and Rogers puts her head on Astaire's shoulder. In response, he gently places his hand over her head. A tender exchange has occurred without dialogue, but in case anyone needs to hear the words, the next scene solidifies it: he has proposed and she has accepted. 

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4) Top Hat (1935) ~ 11 am ET/ 8 am PT

The Dance: CHEEK TO CHEEK

Astaire versus Rogers' feathered dress

Why you should see it: Astaire demonstrates how to handle on-the-job complications with dignity. Per the star of the day:

The dancing dresses of my partners have, for years, been a working problem, and in Top Hat I dare say it reached its dizzy peak. (207)

When Rogers began to dance, feathers flew everywhere--over the floor, on Astaire's clothes, and in his face. Astaire was NOT happy, but maintained composure and danced on. Neither Astaire's frustration nor the flying feathers could be perceived on film, so all ended well. Later (off screen), Astaire lightened the mood by singing a new version of "Cheek to Cheek" to his dance partner:

Feathers--I hate feathers--

And I hate them so that I can hardly speak,

And I never find the happiness I seek

With those chicken feathers dancing

Cheek to Cheek. (210)

In her autobiography, Rogers recalls that Astaire also gave her a feather bracelet charm as a peace offering. What a gentleman!

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5) Follow the Fleet (1936) ~ 1 pm ET/ 10 am PT

The Dance: LET YOURSELF GO

Source - Doctor Macro

Why you should see it: Astaire and Rogers play working-class folk and their dancing reflects it. The movements in this number are more down-to-earth jazzy than sophisticated ballroom. Instead of standing erect, shoulders back, arms outstretched, Astaire and Rogers let loose. They throw their bodies around, clap their hands, jump heels-first into steps, and Astaire even tosses Rogers onto his hip. They are approachable, the guy and gal who might live next door. The couples they "compete" with are actual dance contest winners, which further give Astaire and Rogers an accessibility not felt in prior films.

Another number to check out - Astaire's battle with Rogers' beaded sleeve in LET'S FACE THE MUSIC AND DANCE. Those who don't know the story: Rogers' heavy sleeve whacked Astaire in the face, leaving him "knocked groggy" (his words). Despite retakes, the first--with the sleeve slap--was the best and is the one we see in the film today. Bonus: the beautiful art deco set and the story that unfolds within the dance, which is part of a play in the film

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6) Swing Time (1936) ~ 3 pm ET/ 12 pm PT

The Dance: NEVER GONNA DANCE

Why you should see it: Astaire emotes his character's anguish through dance. It's near the end of the movie and the outlook is dreary. Astaire has lost his girl. As he walks beside her, his body language pleads for her to dance. She consents (this is an Astaire-Rogers movie after all!). The music and movements recall earlier parts of the film, and Astaire and Rogers expertly move through the changing tempos. The result is a dance that summarizes what has occurred between the characters. It is his final attempt to win her back through shared memory, but it does not work. In a final turn, she briskly walks away, leaving him to himself. Shoulders slumped, he is alone and dejected. 

Astaire and Rogers' flight up the 18-step staircase is another reason this number is impressive. They didn't merely ascend face-forward--they spin too! Legend has it that the duo danced up the steps 40+ times. This may be an exaggeration. They reshot 48 times; however the bulk of the retakes were after Astaire and Rogers already reached the top of the staircase. According to Pan, the last sixteen bars is where they ran into difficulties (Franceschina 78), and Rogers' account supports this when she states they "danced and danced and danced" on the second floor (194). In her book about Astaire and Rogers, Arlene Croce explains the camera angle moves to a stationary shot at the top of the stairs, ending the continuous take--which is how Astaire preferred to have his dances filmed--because the dance's "climax, a spine-chilling series of turns by Rogers, took forty takes to accomplish" (113).

If you look closely, you can see the cut towards the end of the dance, where Pan and Croce indicate the team began retake after retake.

Left: continuous crane shot  - Right: second floor stationary shot

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7) Carefree (1938) ~ 4:45 pm ET/ 1:45 pm PT

The Dance: SINCE THEY TURNED 'LOCH LOMOND' INTO SWING

Source - classicmenswear.tumblr

Why you should see it: People who are in the know about golf say this Astaire solo is impressive. He makes swinging a golf club and hitting the ball look effortless though it is much more difficult than non-golfers might think. How did he make it look so easy? Lots of practice on the golf course, of course!

I had about three hundred golf balls and five men shagging them, a piano and Hal Borne to play for me, and several buckets of iced beer. (235)

No wonder the dancer stated this was one of his favorite solos. 

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8) The Story of Vernon and Irene Castle (1939) ~ 6:15 pm/ 3:15 pm

The Dance: TOO MUCH MUSTARD

Source - Doctor Macro

Why you should see it: Astaire and Rogers capture the signature dancing style of Vernon and Irene Castle on film. Compared to clips of the Castles, Rogers' front-facing kicks are higher and Astaire's footwork appears fancier, though the later is probably due to better film technology which adds clarity to the picture. Under Irene Castle's supervising eye (she served as technical advisor on the film), it would have been difficult to deviate from the original steps. Truth be told, it's nice to have an authentic recreation of the Castles' historically significant numbers.

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9) Shall We Dance (1937) ~ 8 pm ET/ 5 pm PT

The Dance: LET'S CALL THE WHOLE THING OFF

Why you should see it: Always up for a challenge, Astaire joins Rogers on skates in a number that will leave you nostalgic for the roller rink. How many takes until they got it just right? 150 per studio records (Franceschina 88).

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10) You Were Never Lovelier (1942) ~ 10:15 pm ET/ 7:15 pm PT

The Dance: THE SHORTY GEORGE

Source - WikiCommons

Why you should see it: Astaire swings! Well, sort of... Life magazine describes it as "[c]oupling ballet with jitterbug" (66), but that's close enough in my book. He gets down, shows his fancy footwork, then swings with Rita Hayworth to Xavier Cugat's band. Astaire and Hayworth respected each other's talents and enjoyed working together. It shows. The joy in this number is so infectious you might find yourself tapping along with Hayworth from the sidelines. She is soon on her feet, though, proving to be Astaire's equal on the dance floor. 

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11) The Band Wagon (1953) ~ 12 am ET/ 9 pm PT

The Dance: DANCING IN THE DARK

Why you should see it: Astaire leaves the tricks at home and performs an elegant dance with Cyd Charisse. Their movements mirror the music, arms hitting accent notes with long, beautiful lines and bodies rising as the notes get higher. Astaire dances in character. At the beginning of the number he watches his partner's feet, clearly pondering the question she asked  two scenes earlier, "Can you and I really dance together?" Astaire does not turn off Astaire the actor to become Astaire the dancer. Astaire is dancer and actor at all times.

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12) Silk Stockings (1957)  ~ 2 am ET/ 11 pm PT

The Dance: ALL OF YOU

Why you should see it: The number contains elements of Astaire's previous dances, making it a fitting final salute to his dancing career in studio system movie musicals.* Reminiscent of the hat rack in Royal Wedding, he briefly dances with a chair. Like many of the routines from his and Rogers' films, the characters' conflicts are illustrated through dance. This time Astaire's Steve beseeches Charisse's Ninotchka to enjoy the capitalistic ways of dance and romance. He pulls her into the dance, she dances a little but tries to resist, and he persistently pulls her back again--similar to "Night and Day" in The Gay Divorcee and "Never Gonna Dance" in Swing Time. As Steve watches Ninotchka fall under the spell of dance, there are hints of Astaire's psychiatrist and Rogers' hypnotized Amanda from "Change Partners" in Carefree. This number is also evidence of Astaire's growth as a dancer. In Carefree, Pan had to coax Astaire into throwing Rogers over his legs during "The Yam" because Astaire did not believe he was built to lift. In both "All of You" and its reprise, Astaire performs several lifts with Charisse.

*He appeared in one last musical, Finian's Rainbow in 1968, but Silk Stockings was his final studio system era musical.

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13) Royal Wedding (1951) ~ 4 am ET/ 1 am PT

The Dance: YOU'RE ALL THE WORLD TO ME

Source - Doctor Macro

Why you should see it: You haven't lived until you've seen Astaire dancing on the ceiling! How was it done? Look away now if you don't want to dispel the magic or are determined to figure out the secret on your own. The room was built within a rotating barrel, the furniture was secured to the walls, and the cameraman was attached to a platform that rotated with the room. Meanwhile Astaire danced as the room revolved around him. Bravo to all involved!

Other numbers of note - In "Sunday Jumps" Astaire does an impressive number with a hat rack. "Open Your Eyes" is pulled from Astaire's real-life experience with his sister Adele when they performed on an ocean liner during a storm. We may not have Adele's dancing captured on film, but at least we have this memory.

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This post is part of the 2015 TCM Summer Under the Stars Blogathon hosted by Kristen at Journeys in Classic Film. Visit her blog daily to read new posts on each star of the day.

Sources

"Astaire Dances with Hayworth." Life 9 Nov 1942: 64-70. Web. 1 Aug 2015.

Astaire, Fred. Steps in Time. 1959. New York: Harper Collins, 2008. Print.

Croce, Arlene. The Fred Astaire & Ginger Rogers Book. 1972. New York: E.P. Dutton, 1987. Print.

Franceschina, John. Hermes Pan: The Man Who Danced with Fred Astaire. New York: Oxford University Press, 2012. Print.

Holmes, Alex. "Impact: Fred Astaire, dancer/golf trick shot artist." Golf Digest. 16 April 2014. Web. 1 Aug 2015.

Miller, Frank. "Royal Wedding (1951)." TCM. N.d. Web. 29 July 2015.

Rogers, Ginger. Ginger: My Story. 1991. New York: Harper Collins, 2008. Print.

 
Photos without sources are taken by me. No copyright infringement is intended by the use of images shared on this blog. Images are used only to enhance or pay tribute, not intended for any commercial use. If you feel your copyright has been infringed upon, please contact me via email, and I will take down the image immediately.

  

History per Hollywood & Dance Halls

With only a few days left until the annual TCM Film Festival, I have this year's theme, History According to Hollywood, on the brain. I go back and forth on my film choices, wanting to hear the discussion connected with the "herstory" films, but also wanting to see old favorites on the big screen. Since this will be my first time attending the festival, I opted for the Palace Pass. This means I'll be missing out on the TCM Club exclusive panel "Facts and Fiction: Whose Responsibility?" hosted by Jeanine Basinger (my author idol!) and Jeremy Arnold. Hopefully some of the bloggers I read will attend, so I can hear secondhand what was discussed. 

The films chosen for analysis include 1776, Young Mr. Lincoln, The Miracle Worker, Apollo 13 and many more set in an era prior to the film date. I am equally interested, however, in the way Hollywood shapes history through the portrayal of current events of the day. As one example, I think of the ticket-a-dance halls, popular during the 1920s and 1930s, but long since extinct. Lacking the libraries of in-depth research found on the American Revolution or Abraham Lincoln, we are left with the story Hollywood has bequeathed us, a few frames of celluloid, and Lorenz Hart's lyrics to "Ten Cents a Dance." Depending on the circumstances under which they were created, the story may reflect different shades of truth.

I can't recall my first exposure to ticket-a-dance halls, but I do remember being enchanted with the idea of dressing in glamorous gowns and being paid to dance. An added bonus: I would never be lacking a dance partner. In hindsight, my happy go-lucky attitude may have been naive. At the time, visions of a hunky Randolph Scott purchasing dance tickets, Harriett Hillard's bias-cut dress, and a dancing contest with Fred Astaire and Ginger Rogers played in my head. How could I have known any better? 

Follow the Fleet (1936)

Later I saw Barbara Stanwyck's portrayal of a taxi driver. The dresses were less fabulous, the shoes and stockings wore through each night, and the job zapped every ounce of life in the dancers. Stanwyck's character was hardened, but she found her "hero" on the dance floor nonetheless. Doris Day's Ruth Etting showed an even grittier side, fighting off a tough guy at the beginning of Love Me or Leave Me (1955) and losing her dance hall job in the process. Suddenly the full meaning of the Hart's lyrics began to take hold:

Ten cents a dance, that's what they pay me.

Gosh, how they weigh me down.

Ten cents a dance, dandies* and rough guys,

Tough guys who tear my gown.

*as sung in Love Me or Leave Me; however "pansies" is used in other versions of the song

Somewhere between dancing with Fred and fighting off sleazy guys is the truth about dime dance halls. Consider my curiosity peaked.

Since then, I have kept my eye out for depictions of taxi dancers. I plan to explore these in future blog posts (maybe a monthly column of sorts). On the menu is a film I caught in January, These Glamour Girls (1939) starring a young Lana Turner, and the short "Asleep in the Feet" (1933) which Danny from Pre-code.com recently reviewed on his blog.

I also did a bit of research on dime-dance halls, which yielded mixed opinions. According to some, taxi dancing was the positive experience I first imagined, where gals who loved to dance could make a better living on their feet than as a secretary, and out-of-town strangers could easily make new acquaintances. 

Fighters and sailors and bowlegged tailors

Can pay for their ticket and rent me.

Others explain that the dance hall was friend to the social outcast, admitting men regardless of race, ability, and occupation. Still others point out the presence of actual prostitutes among the dime-a-dance girls. If this was the case, it wouldn't be a large leap for the patrons to assume their "rented" partner--prostitute or not--owed them more than a friendly dance.

So the dance hall verdict is still out, but deciphering fact from fiction is part of the fun. Hope you can come along for the dance.

Sources

Cressy, Paul Goalby. The Taxi-Dance Hall: A Socialization Study in Commercialized Recreation & City Life. 1932. Chicago: University of Chicago Press, 2008. Web. 14 March 2015.

Silverman, Justin Rocket. "'Dance Hall of the Beautiful Radiant Things' shows new crowd a really old-school way to meet." New York Times. 5 February 2014. Web. 21 March 2015.

Vaillant, Derek. Sounds of Reform: Progressivism and Music in Chicago, 1873-1935. Chapel Hill, NC: University of North Carolina Press, 2003. Web. 21 March 2015.

If you could be a TCM Guest Programmer...

Yesterday's TCM Facebook feed asked what movies we would choose given the opportunity to be a Guest Programmer. I thought, Oh yeah, I've got this. That is until it dawned on me that Guest Programmers only choose four movies. Four movies? How could any lover of classic movies choose only four movies???

A self-proclaimed organizational nerd (and proud of it), I opened up a Word doc and began to list personal favorites as well as those that anyone new to old movies should see (the educator coming out in me). My thoughts raced. Every golden decade ('30s-'60s) should be represented. A screwball comedy should be there. And everyone should see the fabulous pairing of Fred and Ginger. 

Oh and a musical. A bonafide, all out, glorious Technicolor, dance routines and catchy songs musical. And what about Hitchcock? 

Hitchcock definitely deserves a place. And the list needs to be rounded out by a '60s sex comedy. Not to mention some of the movies I love just because. The narrowing down of the list, movie versus movie, began to look like my hubby's Super Bowl bracket and still I was not satisfied. It was a case of If You Give a Mouse a Cookie: 

if you give a gal a choice of four movies, she's going to want to add another musical. If she adds another musical, she's going to want to add a film noir. Add if she's adds a film noir, she will be taking over TCM's programming for a day (or two).

Fortunately in this little corner of the internet, my list can encompass more than four films. For readers who are new to classic films, here is a list to get you started. And for those of you who have mileage under your belt, I'm interested in hearing your input. So without much further ado, here are a dozen recommendations:

Pre-code - Made prior to the Hays Code, which strictly censored movies from mid '30s to early '60s. For the new viewer these movies will appear shockingly modern in their content. (Confession: I'm relatively new to these, so the pool of movies I'm pulling from is rather small.)

1. Consolation Marriage (1931) - Story focuses on a marriage not for love, but for convenience with the mindset that divorce is an option at any time (yet the wife gets pregnant, which means this non-loving couple must have...gasp!). Features: Irene Dunne's first starring role and blonde pre-Thin Man Myrna Loy,  unfortunately not available on DVD 

2. Finishing School (1934) - Story was written prior to but released after strict enforcement of Hays Code, so some of the 'naughtiness' is implied rather than straight out told. Drinking ladies, pre-marital sex, and abortion are some of the taboo subjects hinted upon in this film. Features: Ginger Rogers in an early non-dancing role

Screwball Comedy - Known for its crazy antics, it will require you to suspend belief, but if you play along, oh the fun you will have! 

3. Bringing Up Baby (1938) - This is the quintessential screwball comedy with non-stop sticky situations and laughter waiting around every corner. Features: the great Kate Hepburn and debonaire Cary Grant (two very important Golden Age stars)

And this is only part of the fun...

Fred Astaire & Ginger Rogers - The greatest dance team ever to grace the celluloid deserves their own category. (For the greatest single dance routine, see Astaire and Eleanor Powell tapping to "Begin the Beguine" in Broadway Melody of 1940.) 

4. Follow the Fleet (1936) - When it comes to this team, you can't go wrong with any of their pairings, so I went with my favorite. Why am I partial to this one? Nautical theme (I may have a few rooms decorated in said motif *wink *wink), message of the songs "Let Yourself Go" (yes, everyone should dance!) and "Let's Face the Music and Dance" (again dancing is the answer--can you tell I like to dance?? sure it's metaphorical, but it doesn't have to be--just look at Fred and Ginger), and fabulous '30s fashion. I could go on, but this is getting a little long.  Features: Betty Grable and Lucille Ball before they were famous, Harriet before she was Harriet Nelson, and pre-cowboy Randolph Scott

World War II Films - Okay, so I created this category just so I can include two of my all-time favorites. From film to fashion, I am a little obsessed with this time period.  

5. Casablanca (1942) - I hate to be cliche, but this is simply the greatest movie ever made. I'm a dialogue person and this movie doesn't waste one word. Every line adds to the characters' relationships and pushes the plot forward. The film leaves the audience with a great message that stretches beyond war propaganda and into any era: do the right thing no matter what the personal costs. And then there's that lovely last line, which if you think about it, is really redefining 'family' and in so doing offers hope despite the tears. 

6. More the Merrier (1943) - From drama to comedy... I saw this movie for the first time several years ago and laughed the whole way through. Watch for the hilarious doorstep scene when Joel McCrea's and Jean Arthur's characters are necking; it's like he has eight arms and she's battling to keep them off her. (I'm sure many a girl can relate.) Of course, she's only resisting because she has a fiancé. In the end...well, you can imagine what happens. [Side note - Turns out McCrea was a total hunk when he was younger. Who knew?] Features: suggestive split screen over fifteen years prior to Pillow Talk's famous scene

From More the Merrier

Hitchcock - Must see because everyone should know why Hitchcock is known as the Master of Suspense.

7. Lifeboat (1944) - This is another category where you really can't go wrong with the Hitch movie you choose. This lesser known film is one of my favorites. Why? For one thing, I've always identified with Tallulah Bankhead's character: a tough writer who arms herself with a typewriter and lipstick. She even finds a little romance before the closing credits (or rather, romance finds her...by now you may sense that I'm a sucker for romance). The whole movie takes place in a boat with an array of characters who normally would not associate with each other. Awesome set up and the first of its kind. The viewer wonders, How is Hitch going to pull off a story with such a limited setting? And more importantly, how is he going to make his legendary cameo? Well, it works and he does, but you're going to have to watch the film to find out how. 

Film Noir - Crime drama known for detectives, femme fatales, and stylized black and white cinematography. I might have some backlash from movie buffs on my choices here. These are just my personal favorites. Other films I considered: The Big Sleep (1946), The Blue Dahlia (1946) and The Third Man (1949).

8. Double Indemnity (1944) - Barbara Stanwyck not only pulls Fred MacMurray into her web, but also the viewer. This was the first movie I saw where I realized I was rooting for the bad guy. Reality check. But I bet you will too. [Side note - Growing up watching Fred MacMurray in reruns of "My Three Sons" and Disney movies such as The Shaggy Dog, I was surprised to find out he was kind of sexy - see Millionaire for Christy (1951) for further example of said sexiness.] 

9. Gilda (1946) - It's worth the view if only to understand what Rita Hayworth meant when she famously said, "Men fell in love with Gilda, but they wake up with me." The role haunted her for the rest of her life, becoming a factor in her downward spiral as she tried to cope with the image it helped create. There is a love triangle in the movie, killer lines, and of course, Rita at her sexiest. The fiery relationship between Glenn Ford's and Rita's characters as well as the one between Ford's and George Macready's lends itself to some interesting discussions for those of us who love to analyze films. Watch for Rita's rendition of "Put the Blame on Mame" sung only to the washroom attendant. She acts it (I say "acts" because her singing voice was actually dubbed) with such sadness, you can't help but feel that her character personally knows what it is like to have blame misplaced on her. There is a lot more going on than meets the eye.

Musical Comedy - Show tunes generally with a light, fluffy plot. Sunshine in a film canister. The stuff happiness is made of.

Cyd and Kelly--what a dance routine!
Look at those lines!

10. Singin' in the Rain (1952) - This has it all: vibrant Technicolor; brilliant dance routines featuring Gene Kelly, Debbie Reynolds, Donald O'Connor, and Cyd Charisse;  fabulous songs; plenty of comedy and a strong plot that recounts early Hollywood's transition to talkies. Jean Hagen is not too shabby either (you'll know what I mean when you see it).  

11. Gentlemen Prefer Blondes (1953) - I love this musical for sentimental reasons--it's a old favorite that my mom and I watch every time she's in town (or I'm over there). Listen to the lyrics; they  are incredibly funny and there is a lot of truth to them. While my mom was chuckling when Marilyn Monroe pointed to her derriere and sang, "Men grow cold/As girls grow old/And we all lose our charm in the end" (and after a few kids, I can appreciate the humor), we both understood the meaning behind, "Then someone broke my heart in Little Rock/So I up and left the pieces there [...] I came New York/And I found out/That men are the same way everywhere."  This spot on the movie list is all about passing on the fun from my mom and me to you.

Sixties Sex Comedy - Everybody is talking about sex in these movies, but nobody is having it.

12. Lover Come Back (1961) - This follow up to the successful Pillow Talk (1959), has Doris Day once again being duped by Rock Hudson's character. Fun because we know what Hudson really means when he tells Day's character, "I'm taking you in" complete with a big fish eating a little fish in the background--if you've missed this, look for it the next time you watch this film. Features: fab fashion like its predecessor, beautifully designed apartment (take note: yellows and whites with red and blue accents--even Day's outfits in the apartment match), Ann B. Davis (better known as Alice in "The Brady Bunch"), and Tony Randall  

This list is by no means complete. I know a western should be there somewhere and probably a campy sci-fi as well. I could have  included several holiday movies, but that is easily a list of its own (on which would be three notable names missing from this one--Jimmy Stewart, Judy Garland, and Bing Crosby), so I've saved that for another day.

Oh and those four choices? It wasn't easy, but I finally made up my mind and posted them--for better or worse--to TCM. What would your four be?