In this clip from the 1985 BBC documentary "In at the deep end", the great British actor and notorious hellraiser Oliver Reed (February 13, 1938 - May 2, 1999) teaches broadcaster Paul Heiney about acting in what appears to be Reed’s home, at the time this was filmed. Even though Reed’s initial instructions spark some hilarious reactions between the two, there might actually be some useful information here that could seriously benefit less experienced actors. When the lesson comes to an abrupt end because of Reed’s frustration, notice he cannot help but grin as he throws the young man out of his house. That levity and the camera still being present would indicate that this entire episode was purposely staged for humorous effect, which if so, it surely achieved.
End Credits #88: Cinema's 2019 Lost Treasures Stanley Donen, Albert Finney / Capturing a Golden Moment #23: Miller's Crossing / Julie Adams
The iconic film director and choreographer Stanley Donen has sadly passed away at age 94. He received an Academy Award Honorary Oscar in 1997. His directorial debut was one of his best known films: a collaboration with actor, dancer and choreographer Gene Kelly, 1949’s On the Town which starred Kelly and Frank Sinatra. Subsequently, Donen directed, among others, Royal Wedding (1951, starring another dancing legend Fred Astaire), Singin’ in the Rain (1952, co-directed with Kelly and probably his most beloved musical), Seven Brides for Seven Brothers (1954), It’s Always Fair Weather (1955, again co-directed with Kelly), Funny Face (1957, starring Astaire with Audrey Hepburn), The Pajama Game (1957, co-directed with George Abbott and starring Doris Day), Indiscreet (1958, starring Cary Grant and Ingrid Bergman), Damn Yankees (1958, co-directed with George Abbott), Charade (1963, starring Cary Grant and Audrey Hepburn), Arabesque (1966, starring Gregory Peck and Sophia Loren), Two for the Road (1967, starring the recently departed Albert Finney and Audrey Hepburn), Bedazzled (1967, starring Peter Cook and Dudley Moore), Staircase (1969, starring Rex Harrison and Richard Burton), Movie Movie (1978, starring George C. Scott), Saturn 3 (1980, co-directed with production designer John Barry and starring Kirk Douglas) and his last feature-length theatrical film Blame It on Rio (1984, starring Michael Caine). Stanley Donen (April 13, 1924 – February 23, 2019) R.I.P.
The immensely talented, versatile and dynamic British actor Albert Finney has passed away at age 82. He won a scholarship to the Royal Academy of Dramatic Art, became a member of the Royal Shakespeare Company and was an understudy to Laurence Olivier. After a few TV movies and series such as a recurring role in the U.K. soap opera Emergency-Ward 10 (1959), Finney received his first motion picture part in the Laurence Olivier starrer The Entertainer (1960) directed by Tony Richardson with whom he had previously worked in the theatre. His subsequent role was particularly memorable, as the angry young working class rebel Arthur Seaton in Karel Reisz’s Saturday Night and Sunday Morning (1960). Next, he was featured in what probably became his best known early film character, that of Tom Jones (1963, pictured above) in the Academy Award winning Best Picture period comedy of the same name, also directed by Richardson. Finney was nominated for Best Actor (but lost to Sidney Poitier for Lilies of the Field). The actor made some notable film appearances throughout the subsequent years but they were sparse compared to his preferred theatrical setting. Films such as Two For the Road (1967, a romantic comedy hit), Charlie Bubbles (1968, which he also directed), Scrooge (1970), Gumshoe (1971), Murder On the Orient Express (1974, as writer Agatha Christie’s famous detective Hercule Poirot), The Duellists (1974), Shoot the Moon (1982), Annie (1982, as Daddy Warbucks), The Dresser (1983, as a Shakespearean actor), Under the Volcano (1984, for director John Huston), Miller’s Crossing (1990, as a vividly authoritative mob boss written and directed by the Coen brothers), Erin Brokovich (2000, as attorney Ed Masry), Traffic (2000, like Erin Brokovich also for director Steven Soderbergh), The Gathering Storm (2002, a TV movie as Winston Churchill), Big Fish (2003), The Bourne Ultimatum (2007), Before the Devil Knows You’re Dead (2007, a real gut wrenching performance for director Sidney Lumet), The Bourne Legacy (2012) and his last, Skyfall (2012) all benefitted greatly from this superb actor’s skilful portrayals. I’m so glad I was able to meet this most gracious gentleman in Santa Barbara, California and tell him how much I enjoyed his performance in Miller’s Crossing. My sincerest condolences to family and friends. Albert Finney (May 9, 1936 - February 7, 2019) R.I.P.
In honour of actor Albert Finney here is a Golden Moment to share:
Miller’s Crossing (1990)
Director: Joel Cohen, Ethan Cohen
Scene: "Danny Boy"
These brief moments as much as any, cement Albert Finney’s iconic star status. Finney plays Irish mob boss Leo O’Bannon set during America’s Prohibition and there’s a contract killing ordered by rival Italian gangster Johnny Caspar that’s about to take place in his home. This violent scene is masterfully executed, stylishly delivered and provides the perfect testament to Leo’s resourcefulness and resiliency as well as Albert Finney’s everlasting endurance in cinema. *Warning: Some may find this scene's explicit violence disturbing.
Julie Adams, best known as a monster’s object of desire in Creature from the Black Lagoon (pictured above), has died at age 92. After appearing in a number of undistinguished “B” westerns, Adams signed with Universal Pictures, working with some of Hollywood’s brightest directors and stars in Bright Victory (1951, directed by Mark Robson, starring Arthur Kennedy), Bend of the River (1952, directed by Anthony Mann and starring James Stewart), Horizons West (1952, directed by Budd Boetticher and starring Robert Ryan), The Lawless Breed (1953, directed by Raoul Walsh and starring Rock Hudson), The Man from the Alamo (1953, also directed by Budd Boetticher, starring Glenn Ford), before landing her famous role in the horror classic Creature from the Black Lagoon (1954, directed by Jack Arnold and starring Richard Carlson). She continued to co-star alongside some big names in The Private War of Major Benson (1955, with Charlton Heston) and The Gunfight at Dodge City (1959, with Joel McCrea). In addition she made numerous TV appearances in Alfred Hitchcock Presents (1958 - 1961), Perry Mason (1963 - 1965), The Jimmy Stewart Show (1971 -1972) and Murder, She Wrote (1987 - 1993) among others. Julie Adams (October 17, 1926 - February 3, 2019) R.I.P.
Exploring The Artefacts is a series in which I examine some unique and significant components, or by-products, of cinema storytelling that are often under-appreciated.
The subject of Films Noir has experienced a renaissance in the past several or so decades. Often overlooked amongst the prolific discussion of this category’s visual aesthetics and their sophisticated evolution of criminal subject matter are the substantial creative contributions made by film noir composers.
These scores may remind us that fate will ultimately decide the characters' outcome and that it won't be "pretty". Perhaps they underline their characters' hopes and dreams, a pronounced emotional attachment or the uncertainty of a harsh and unforgiving environment. They may even offer a combination of these and other important narrative descriptions vital to noir’s most intrinsic qualities.
In a Facebook chat room on Classic Film Noir, a member posted a stimulating question regarding which film of that type had the best musical score. The post garnered a flurry of well considered responses mentioning many well known, and a few not so well known, films and composers alike.
This brought to mind a handful of films noir (five to be exact) produced during the classic time period that went unmentioned, deserving of greater recognition for their distinctive depictions of heated reactions within noir’s fatalistic atmosphere of cold indifference. Although varied in approach, all of these somewhat neglected scores are truly inspired and provide a pivotal contribution to the film noir lexicon.
Here are the opening titles to five films noir deserving of more attention for their composers’ consequential input:
1. Ace in the Hole (1951) Composer: Hugo Friedhofer
There’s probably not much more that could foreshadow a film’s overall grim perspective than having its opening credits over dirt. Matching that rock bottom feeling of visual despair is Hugo Friedhofer’s music: impersonal, tragic but still compelling with notes of hopefulness, the last of which is shared by many a noir hero.
2. The Big Combo (1955) Composer: David Raksin
David Raksin’s bold and jazzy minor-key opening theme over an evening city skyline is noir personified, assuring us in no uncertain terms, this uncaring urban hustle won’t skip a beat no matter how many dark and dirty deeds are perpetrated within its confines.
3. Desert Fury (1947) Composer: Miklos Rozsa
Rozsa is no stranger to films noir having composed scores to some of its best including The Asphalt Jungle, Criss Cross and The Killers to name but a few. This is one of his lesser known contributions. Desert Fury still has his signature dynamic muscular framework only here there’s an underlying infusion of melodrama suggestive of the characters’ feverish passions in play, heightened sentiment being another noir trademark.
4. The Killing (1956) Composer: Gerald Fried
Gerald Fried’s wildly atonal, nonetheless exhilarating, score, announces its formidable presence even before the horses bolt from the gate. The composer’s chaotic fanfares signal the story’s off-kilter timeline and are creatively interspersed throughout a steady march toward this noir’s inevitable finale’ of destruction.
5. They Won’t Believe Me (1947) Composer: Roy Webb
The decisive hand of Fate is evident in Roy Webb’s haunting score by way of its ‘Brahmsian’ opening, specifically the use of steady timpani beats amidst the woodwinds’ swirling netherworld atmospherics, all perfectly suited to a film noir universe.
Happy St Valentine's Day (Thursday, February 14th) Everyone!
Just some thoughts on current happenings:
Classic film screenings from around the world this month include:
In Los Angeles, California The Beverly Cinema will present a double bill of Jaws (1975) and The Deep (1977). Both films will be shown Friday, February 1 and Saturday, February 2. For more information, including the entire month of February’s exciting programme, click on the above image.
In Stockholm, Sweden, The Swedish Film Institute Cinemateket will show Robert Wise’s The Haunting on Friday, February 1. For more information, click on the image above.
In Aix-en-Provence, France The Institut de l'image will present a tribute to actress Jane Fonda from Friday, February 1 to Tuesday, February 26. The films to be presented are Les félins (1964), The Chase (1966), La curée (1966), Barbarella (1968), They Shoot Horses, Don’t They ? (1969), Klute (1971), Tout Va Bien (1972), Letter to Jane (1972), A Doll’s House (1973), Julia (1977) and The China Syndrome (1979). For the complete schedule (in French) and more information, click on the above image.
In London, United Kingdom BFI Southbank will present “Starring Barbara Stanwyck” featuring many of her finest films from Friday, February 1 to Tuesday, March 19. February’s highlights include a double bill of Night Nurse (1931) + Baby Face (1933), Forbidden (1932), Double Indemnity (1944), The File on Thelma Jordan (1950), The Strange Love of Martha Ivers (1946) and No Man of Her Own (1950). For more information, click on the image above.
In Aldeburgh, United Kingdom The Aldeburgh Cinema Trust T/A Aldeburgh Cinema will show Billy Wilder’s Ace in the Hole on Tuesday, February 5, Sunday, February 17 and Thursday, March 14. For more information, click on the image above.
In Melbourne, Australia, The Melbourne Cinematheque will show the 251 minute extended version of Sergio Leone’s Once Upon a Time in America on Wednesday, February 6. For more information, click on the image above.
In Chicago, Illinois The Chicago Symphony Orchestra will present North by Northwest with live musical accompaniment featuring Bernard Herrmann’s breathtaking score on Friday, February 15. In addition, there will be a preconcert conversation with conductor Richard Kaufman and composer Bernard Herrmann’s daughter, Dorothy Herrmann. Click on the above image for more information.
Noir City will take place in Seattle, Washington from February 15 - 21. Highlights will include 1949’s Trapped, the latest restoration project of the Film Noir Foundation, the rare showing of 1951’s The Well on Saturday, February 16, Richard Quine’s Pushover on Sunday, February 17, Don Siegel’s Hidden Gem (#31) Private Hell 36 also on February 17 and Michael Curtiz’s The Scarlet Hour on Monday, February 18. For more information including the complete schedule, click on the image above.
In Toronto, Canada The Toronto Symphony Orchestra will present Casablanca with live musical accompaniment featuring Max Steiner’s rousing score on Friday, February 15 and Saturday, February 16. Click on the above image for more information.
In Huntington, West Virginia CineConcerts will present Breakfast at Tiffany’s with a full symphony orchestra performing Henry Mancini’s beautiful score on Saturday, February 16. Click on the above image for more information.
In Aachen, Germany The Aachen Symphony Orchestra will present City Lights with live musical accompaniment featuring Charles Chaplin’s (with strong assists from Arthur Johnston as arranger and Alfred Newman as musical director) score on Tuesday, February 19 and Wednesday, February 20. Click on the above image for more information.
In Dubai (United Arab Emirates) CineConcerts along with The Dubai Opera and The Armenian State Symphony Orchestra will present The Godfather with live musical accompaniment featuring Nino Rota’s iconic score on Thursday, February 28. Click on the above image for more information.
In Sydney, Australia Film Concerts Live! along with The Sydney Symphony Orchestra will present Casino Royale with live musical accompaniment featuring David Arnold’s thrilling score on Thursday, February 28, Friday, March 1 and Saturday, March 2. Click on the above image for more information.
There are 21 recommended films to watch on Turner Classic Movies in the U.S. this month.
Last year saw the sad passing of two fabulous actors Chuck McCann (September 2, 1934 - April 8, 2018) and Sondra Locke (May 28, 1944 - November 3, 2018) both of whom made genuine heartfelt impressions in The Heart is a Lonely Hunter a previous TCM recommendation here.
Viewers can realise a wealth of emotion by tuning in Friday, February 1 at 1pm PST.
Later in the evening TCM’s screen will turn as dark as the inside of a gun barrel in Taxi Driver. This is Martin Scorsese’s exploration of a cab driver’s descent into hell and was previously reviewed as a Blu-ray here. One can catch this nightmarish ride Friday, February 1 at 11pm PST.
Another character’s harrowing struggle with his demons is examined in Billy Wilder’s The Lost Weekend previously reviewed here. This alcoholic’s journey will ensue Saturday, February 2 (late evening) at 12am PST.
One of David Lean's more ambitious projects may have turned out less artistically accomplished than its director intended. Still, the film has many attributes making Doctor Zhivago well worth seeing. Afterwards, I'd be truly appreciative if readers had a look at my review here. This epic scale romance will begin Sunday, February 3 at 1:30pm PST.
My next must-see TCM film recommendation is Italian director Vittorio De Sica's neo-realist masterpiece The Bicycle Thief (Ladri di biciclette), one of the most emotionally devastating films of all time (See: Top Ten World Cinema Treasures). No amount of superlatives can possibly describe the spiritual rewards one gleans from witnessing this simple but profound odyssey taken by a father and his dutifully loving son while desperately searching for a stolen bicycle. It airs on Monday, February 4 (late evening) at 2:30am PST.
Another of the Top Ten World Cinema Treasures is The Battle of Algiers a.k.a. La battaglia di Algeri. The intensity of resolve and emotional dedication is so resolute on both sides of the conflict portrayed, it'll take a miracle for the invested viewer to fully recover after witnessing this stunning cinematic spectacle. The battle will commence Tuesday, February 5 at 11am PST.
Despite a rather familiar premise, the supremely talented creators of this melodrama were able to deliver a storyline that is mature, sophisticated and genuinely heartfelt. Previously reviewed here, Now, Voyager will set sail Friday, February 8 at 5pm PST.
My next TCM recommendation has been previously reviewed here and is the story of Bonnie and Clyde only re-imagined as the mythical romantic exploits of an impossibly gorgeous, but infamous couple in crime. The Barrow Gang will strike on TCM Friday, February 8 at 9:45pm PST.
After World War II, many returning servicemen were disillusioned to find jobs were scarce and their wives’ (or girlfriends’) faithfulness even scarcer. The Best Years of Our Lives addresses this reality head on when the Dana Andrews character finds it impossible to please either his previous employer or trophy wife upon his return to civilian life. Perhaps for this narrative distinction, authors Borde and Chaumeton in the filmography of their highly respected book Panorama of American Film Noir 1941 - 1953, and the first to be published on the subject, included The Best Years of Our Lives as film noir.
The film portrays no crime, the focus is not on Andrews’ experiences alone, and he comes out better off at the end without his superficial but admittedly gorgeous wife, which for myself, collectively place this film well outside of noir’s dark and gloomy world of illegal activity. Previously, I highly praised The Best Years of Our Lives for its exceptional musical score composed by Hugo Friedhofer in the first part of a series entitled Top Ten: Motion Picture Music Treasures. This emotionally powerful tour de force will commence on TCM Sunday, February 10 at 11pm PST.
MGM's 1952 musical Singin' in the Rain was not adapted from a stage production, though the film was later turned into one, being first presented on stage in 1983. Its abundant creativity, innovation and driving energy place this film at the top of all cinematic musicals ever produced. Singin' in the Rain has been reviewed as a past Blu-ray selection here and will joyously dance its way onto TCM Monday, February 11 at 11:15pm PST.
1944's Academy Award Best Picture Winner Casablanca is a film a few of you may have heard about. This recommendation may come as a surprise to readers more familiar with my past articles since it is included on a list of overrated films and reviewed here. There is no denying the fact that this film casts a magical spell and is certainly capable of sweeping one up in its appealing blend of romance, sacrifice and political intrigue. Besides, for those who haven't seen it or seen it enough, how are they to know if my criticisms are sound? This 1942 classic, one of Hollywood's proudest, and a most appropriate choice for this month, airs Tuesday, February 12 at 3pm PST.
A most appropriate recommendation for today is this true romance film of the highest artistic calibre which has been reviewed in Opening Up a Treasure: Brief Encounter. Director David Lean's emotionally stirring "encounter" will begin on Thursday, February 14 at 3:30pm PST.
At one point in this next TCM recommendation, a so called “mad prophet of the airwaves” urges viewers to open their windows and scream out to the world “I’m as mad as hell and I’m not going to take this anymore!” By then it’s become pretty clear, only to be further cemented as the story continues, that most of those in or behind the production of Network, must be similarly ("mad as hell") afflicted, either emotionally, mentally or both.
Launching this film’s outlandish balls to the wall narrative projectile is veteran news anchorman Howard Beale (a volcanic Oscar winning performance from Peter Finch). After finding out he’s being fired in two weeks because of poor ratings, Beale calmly announces to millions of viewers that he will commit suicide on the air in one week’s time. Due to a technician’s alertness to the bold proclamation (most station employees pay little attention to Beale’s typically boring broadcasts) UBS executives decide to terminate his employment immediately. Beale manages to persuade his dear friend, head of the news division (and the film’s singular voice of, albeit normally angry, reason) Max Schumacher (a steadfast William Holden) to allow him one final rehabilitative and respectable on-air appearance. Beale’s subsequent farewell address about his profession, along with everything else he can think of, being “bullshit” shocks the network’s staff into instantly pulling the plug on his segment, but Schumacher refuses to do so, allowing the newsman to go out the way he chooses. Like so many other plans eagerly made throughout Network’s astonishing social indictment of ethical bankruptcy, the decision to terminate the mentally unbalanced Beale will perform a complete “180”. This is because one of the network’s single-minded producers, Diana Christensen (played with unabashed zeal by Faye Dunaway) realises that by keeping Beale on the air, their ratings and audience share could potentially skyrocket. After all, viewers, like us, love seeing celebrities become unhinged, break protocol and “tell it like it is.”
Paddy Chayefsky’s savage screenplay is a massive grab bag of satire, media condemnation including its subservient masses, prognostication, behind the scenes expose’, personal and societal immorality, angst and despair, political extremism and exploitation including acts of terrorism, individual and corporate lust for power, but most of all, madness. Leading Chayefsky’s institutional blitzkrieg is director Sydney Lumet, fully aligned with his writer’s extraordinary vision, along with an army of perfectly chosen, dedicated actors. Included with the aforementioned cast are the equally as dominant characters played by Robert Duvall, Beatrice Straight and Ned Beatty. Interactions between all of Network’s personalities burn so hot they’d burst the world’s largest thermometer (at Baker, California) through dialogue as acidic as the blood spurting from one of Ripley’s injured alien adversaries. A downside to all this dramatic intensity is the rather abrupt end to some of the more personal clashes of will we witness. Conflicts this potent and revealing, between characters so vivid and genuine, make us crave more. Ironically, contemporary television’s fictional narrative structure, perhaps one of the medium’s few redeeming qualities, would have made an ideal format for exploring further the riveting relationships portrayed in this film.
As far as television *news* is concerned, Beale may have been this film’s “mad prophet of the airwaves” but considering what we’ve witnessed since 1976’s Network, namely the proliferation of reality television, unscrupulous business practices, corporate influence over U.S. political policies (not to mention how and what we hear about them), the public’s ongoing appetite for witnessing real life mayhem, politicised news programmes both left (Last Week Tonight) and right (Fox News), it seems that in addition to his fictional character’s title, Network’s Paddy Chayefsky was also a true “mad prophet”… of cinema. The show will go on Sunday, February 18 (late evening) at 12am PST
Top Ten Western #8 High Noon, is a simple but tightly constructed narrative, one of the few that unravels almost completely in real time. This western shows how to build suspense and character synergistically to create a most genuine and satisfying cinematic experience. The showdown will arrive on TCM Monday, February 18 at 5pm PST.
In case any viewers missed last month’s showing of Seven Brides for Seven Brothers (reviewed here), they’ll have another chance to see this outrageously enjoyable musical on Wednesday, February 20 (late evening) at 12am PST.
Umberto D. is a previous TCM recommendation here. Carlo Battisti provides a heart-wrenching portrayal of a Government pensioner in Rome as he desperately struggles to survive his impoverished circumstances. Director Vittorio De Sica's humanity will shine on Umberto and his endearing friends Friday, February 22 at 6:30am PST.
John Huston’s The Treasure of the Sierra Madre is indeed an unforgettable American treasure and a prior TCM recommendation here. Its cinematic storytelling riches can be uncovered on TCM Saturday, February 23 at 10:15pm PST.
TCM's current monthly schedule can be confirmed by clicking on any of the above images. For those who live in parts of the U.S. other than the western region, the time zone can be adjusted in the upper right-hand corner of TCM's programme.
(To Be Continued… ) A.G.
Top 10: Best Movie Trailers
These previews entice viewers of the feature-length wealth to come.
The choices are by Mr. X.Read More
Bad Day at Black Rock (1955)
Director: John Sturges
Scene: "Getting chilli"
This famous scene is spotlighted because it packs as much of a wallop as the beating dished out here by our hero John J. Macreedy (played with his customary thorough commitment by the legendary Spencer Tracy). Doubters of the one-armed man’s fighting method’s effectiveness (including at first, the star himself) might be surprised to know that a Marine instructor who saw the footage after completion told Tracy the karate blow if intentionally carried out, would have killed his adversary. Trivia buffs might also be aware of Tracy’s Oscar nomination for Best Actor in this film being denied a win by the same year’s competing performance by Ernest Borgnine (here playing Coley Trimble) in Marty. Finally, here’s a Trivia Question: As of this date, who is the only cast member of Bad Day at Black Rock still alive?
Bad Day at Black Rock is available on Blu-ray here:
Anne FrancisRead More
I'll continue with some of cinema's most treasured images. For those familiar with the scenes represented they're bound to invoke a strong emotional response. The narratives' indelible moments are the primary reason these captures were selected.Read More
In this series, I'll outline both the finest performances by an actress and those given by an actor in a motion picture. The criteria concerns actors of both genders who are able to communicate an idiosyncratic and thorough understanding of how their characters feel toward, and relate to, the people and situations they are involved with. These performances are delivered in an entirely natural manner without unnecessary affectation or embellishment. Their preservation on film gives the viewer an opportunity to keenly scrutinise each thespian's work. Therefore, the acting must not only be appropriate for the cinematic medium (as opposed to a more emphatic stage delivery) but allow for new character revelations to be discovered upon repeat viewings.Read More
The Cinema Cafe has a chat room on Facebook that readers are welcome to join here. On Mondays, we have a movie trivia game called "Match-up Mondays" where the object is to name the common denominator between all of the films pictured and correctly identify them.
Like Quiz #7, each film has a memorable scene taking place at a similar site, only this time, instead of a pawnshop, it is a place (in one form or another) where most of us have likely frequented. Can you name the films shown and the locale each of their scenes has in common? Feel free to use all available resources. The first person to correctly identify all of the films and the common denominator here will receive a Region 4 (Australia) DVD (legitimately licensed from Universal) of The Great Gatsby (1949)!
Here are the 6 films (Good luck!):
I'll continue with some of cinema's most treasured images. For those familiar with the scenes represented they're bound to invoke a strong emotional response. The narratives' indelible moments are the primary reason these captures were selected.Read More
Noted actor and director, the charismatic Burt Reynolds (February 11, 1936 - September 6, 2018) has died at age 82.
Guest contributor Bob DiMucci has provided this tribute to his career:
The Films of Burt ReynoldsRead More
Noted stage and screen actress, the beautiful and effervescent Barbara Harris (July 25, 1935 - August 21, 2018) has died at age 83.
Guest contributor Bob DiMucci has provided a tribute to her motion picture acting career:
The Film Appearances of Barbara HarrisRead More