MUSIC BREAK: BENNY GOODMAN - LET'S DO IT

HOLLYWOOD URBAN LEGEND: JUDY HOLLIDAY

URBAN LEGEND: Was actress Judy Holliday, who sometimes played dumb blondes on the screen really a genius?

ANSWER: YES!

A New York girl, born and raised, Judith Tuvim was the only child of parents Abe Tuvimand Helen. In school, she excelled in academics, winning several awards for her skills as a writer. While in her early teens, she developed what would become a life-long love for theater. In 1938, she made her professional debut as part of a nightclub act called "The Revuers". Her partners in the act included aspiring playwrights Betty Comden and Adolph Green. "The Revuers" had a loyal following and even their own weekly radio show on NBC. In 1944, The Revuers broke up after a failed attempt to break into films. Judith adopted the stage name of "Judy Holliday" as part of a "makeover" process that was orchestrated by 20th Century Fox.

Despite her image as a "dumb blonde", Judy Holliday had an IQ of 172. She often said that it took a lot of smarts to convince people that her characters were stupid. "You have to be smart to play a dumb blonde over and over and keep the audience's attention without extraordinary physical equipment."

A MOMENT WITH ED O'NEIL

Ed O’Neill, remembered as Al Bundy from Married with Children, never wanted to return to sitcoms. By 2008 he was semiretired, enjoying life in Hawaii, and pursuing occasional dramatic roles. When asked to meet Modern Family creators Christopher Lloyd and Steven Levitan, he resisted, declaring he was done with sitcoms. Even after agreeing, he warned them: “I did eleven years on Married with Children, and that’s enough.” His aversion came from disliking live-audience formats, which he felt ruined timing. The creators pitched their idea differently—two cameras, shot like a movie—and eventually convinced him to read the script. He was struck by its quality: “Oh shit, this is good.”

But O’Neill wasn’t the obvious choice. Craig T. Nelson was initially favored, chosen after a literal coin toss. Nelson, however, demanded star money, and his reputation for being difficult, coupled with a controversial remark, soured the network. In contrast, everyone described O’Neill as humble and easy to work with. Willing to take less money, he embodied the grounded patriarch Jay Pritchett. The role reinvented his career, balancing humor with gravitas. For O’Neill, Modern Family was more than a hit: it validated his craft and gave him a second iconic character...

GUEST REVIEW: HIGH SOCIETY

The late movie reviewer Bruce Krogan is back to our blog pages to review the nearly perfect musical High Society - which turns 70 years old this year...

MGM was pretty lucky to secure the talents of Bing Crosby, Frank Sinatra, Grace Kelly, Celeste Holm, and Louis Armstrong to get involved in this great musical adaption of The Philadelphia Story.

Cole Porter contributed a great original score for this film with songs very specifically written to suit the talents of High Society's players. I do wish Celeste Holm had been given more to do than just the duet with Frank Sinatra, Who Wants To Be a Millionaire. On Broadway Celeste Holm was a musical star with Oklahoma and Bloomer Girl to her credit, but MGM didn't want to recognize that.

For this film, the story is reset from Philadelphia to Newport, Rhode Island to bring in the famous Jazz Festival. Philip Barry's social commentary is toned down and a very partisan Greek Chorus is added in the person of Mr. Louis "Satchmo" Armstrong. Satchmo tells you right up front who he's pulling for to win Grace Kelly and he helps musically along the way.

Satch and Bing have that classic Now You Has Jazz duet, so successful was it that they did an album together a few years later. Bing Crosby during his life was crazy about jazz musicians and there was no one he liked better than Louis Armstrong. No one on the planet could resist that man's joy for living.

Grace Kelly got a chance to bat 1000 in the recording industry. She was no singer as she would have freely admitted, but Cole Porter wrote True Love specifically to accommodate her limited range and when she does the last two bars of True Love with Der Bingle she got a million selling record for her one and only platter. As for Bing he got his 20th Gold record and the only one not with Decca records.

True Love was nominated for Best Song at the Oscars but lost to Doris Day's Que Sera Sera which boomed all over the charts in 1956. It was sadly Cole Porter's last opportunity to win an Oscar for one of his movie songs.

Frank Sinatra got a couple of good ballads in You're Sensational and Mind If I Make Love to You, but what he's best remembered for is that classic Well Did You Evah duet with Bing. Today's fans can't possibly appreciate the screen meeting of the two best and best known singers for the previous generations. A musical summit conference.

High Society's tone is a lot lighter than the Philadelphia Story. The cast in terms of acting ability are not in the same league as Grant, Stewart, Hepburn, and Hussey. But folks it is a musical. I doubt those stars could have carried off the Cole Porter score.

You can't miss with a cast like this, in either film for that matter...

BRUCE's RATING: 10 out of 10

MY RATING: 10 OUT OF 10

THE QUIET LOVE STORY OF MAXENE ANDREWS & LYNDA WELLS

This past weekend, Hollywood manager and model Lynda Wells passed away at the age of 84 after a vallant battle witth cancer. She was the manager and companion of Maxene Andrews as well. For much of her life, Maxene Andrews lived in harmony—literally and figuratively—with the world watching. As the soprano voice of the Andrews Sisters, she helped define the sound of America during World War II, her voice ringing out from radios, USO stages, and movie screens as a symbol of patriotism and optimism. Yet behind the carefully maintained public image of smiling glamour and perfect harmony existed a private life shaped by restraint, secrecy, and ultimately, devotion. At the center of that life was Lynda Wells.

When Maxene met Lynda Wells in the early 1970s, she was in her mid‑50s and already a legend. The Andrews Sisters’ heyday had long passed, and Maxene’s relationship with her surviving sister, Patty, had deteriorated into estrangement. It was a period of personal recalibration following decades of fame and pressure, and it was during this quieter chapter that she and Wells connected. Various accounts describe Wells first as Maxene’s manager, but describing her role that way alone misses the depth of their bond. Wells soon became Maxene’s most constant companion, her advocate, and eventually her family in every way that mattered, even if the law did not yet recognize it. 

Their partnership unfolded in an era when same‑sex relationships, especially among public figures tied to patriotic imagery, were not merely frowned upon but could have destroyed careers and legacies. Maxene had already experienced how carefully image had to be managed. Earlier in her life, she had married music publisher Lou Levy, a union that ended in separation in 1949, and while she later entered relationships with women, these remained deeply private. With Wells, however, something shifted. Friends and later historians have noted that this was not a fleeting romance but a lasting, stabilizing relationship that endured for more than two decades, until Maxene’s death in 1995. 

What makes their love story particularly poignant is the way it was lived: plainly, quietly, and without bitterness toward a world that gave them no vocabulary for legitimacy. Wells traveled with Maxene, managed her later career, and cared for her in health and illness. They made a home together, not as a rebellion but as a natural extension of companionship. In later interviews, Wells emphasized that Maxene did not frame her life through labels or activism; singing remained her great love, and Wells was the person who made life around that love possible.

Because same‑sex marriage was not an option, Maxene and Wells took a step that may seem unusual today but was a known legal strategy among queer couples in the twentieth century: Maxene legally adopted Wells as her daughter. This act was not about redefining their personal relationship but about ensuring basic protections—hospital access, inheritance rights, and recognition as family—at a time when the law offered no other path. Historians have since documented this practice as a quiet form of resistance and survival rather than secrecy for its own sake. 

Their bond remained largely invisible to the public during Maxene’s lifetime, but it was undeniable to those who knew her. When Maxene died of a heart attack on October 21, 1995, she was vacationing on Cape Cod with Lynda Wells at her side. Wells was there not as a footnote, not as an assistant, but as the person who had shared Maxene’s private world for over twenty years. In death, as in life, their connection was quietly acknowledged, even if never publicly celebrated in the way it might be today. 

In recent years, as scholars, journalists, and filmmakers have revisited the lives of historical figures with fuller honesty, the love story of Maxene Andrews and Lynda Wells has begun to emerge from the margins. Projects like An All American Affair: The True Story of Maxene Andrews aim to tell that fuller story—not to diminish Maxene’s legacy, but to deepen it by acknowledging the reality of the woman behind the voice. 

Their story is not one of scandal or tragedy. It is a story of endurance, of choosing companionship in a world that demanded silence, and of finding love not in defiance of identity but in its quiet acceptance. Maxene Andrews spent her life singing in perfect harmony with others. With Lynda Wells, she finally found a harmony that required no performance at all...

RECENTLY VIEWED: THE DEVIL WEARS PRADA 2

My daughter wanted to see The Devil Wears Prada 2, and I said to myself - "oh no not another sequel". I was pleasantly surprised. I liked that the movie touched on what is happening to journalism in 2026 with everything going digital and AI. A sequel to the 2006 film The Devil Wears Prada, it sees Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci reprising their roles, with Justin Theroux, Lucy Liu, and Kenneth Branagh joining as new additions.

Despite the success of The Devil Wears Prada, starring cast members Streep and Hathaway were initially hesitant on the prospects of a sequel. Development on the film began in July 2024, with all four leading actors – Streep, Hathaway, Blunt, and Tucci – signing on to reprise their roles, and Frankel and McKenna returning to direct and write, respectively. Additional castings for new characters were revealed between then and November 2025. Principal photography took place from June to October 2025 in Manhattan and Milan, with additional filming in Newark, New Jersey.

The cast was stunning and perfect, and Meryl Streep is perfect in evey film she is in. For me though, the standout was Stanley Tucci. I think he stole the movie in this film, and was great without trying. A nice added face to the movie was BJ Novak, from The Office fame, in a nice supporting role. 

As of May 3, 2026, The Devil Wears Prada 2 has grossed $77 million in the United States and Canada, and $157 million in other territories, for a worldwide total of $234 million. In the United States and Canada, The Devil Wears Prada 2 is projected to gross $75–80 million from 4,150 theaters, with some estimates going as high as $100 million. The film made $10 million in Thursday previews. Internationally, the film is projected to debut to around $100 million from 35 countries. It made $40.5 million on its first day of release.

Like I said, I thought the movie does a great job showing how the characters from 2006 are now dealing with the reality of 2026. It is a different world now, and the magazine business has definitely changed. There were some really good laughs, even though the tempo at certain parts of the movie seemed slow. The movie was darker, which actaully made it better. For a sequel, this film can stand on its own, and there is never a dull moment with Streep, Anne Hathaway, and Emily Blunt on the screen...

MY RATING: 8 out of 10

BING CROSBY: THE HOLLYWOOD YEARS - PART 12

ROBERT ARMSTRONG AND HIS APE MOVIES

It was in 1932 that Robert Armstrong became acquainted with an ambitious and adventurous pair of Hollywood filmmakers. Both were World War I fliers, big-game hunters and animal trappers, and partners in high adventure documentaries, Merian C. Cooper and Ernest B. Schoedsack had found a friend in rising producer David O. Selznick, who brought them on board at RKO, with Cooper as production idea man. Schoedsack was the technical side of the pair, knowledgeable about the actual physical and technical side of filmmaking, and became the actual director of their projects, with Cooper as an associate producer and sometime co-director. They turned out what would be the first of a string of horror-tinged adventure movies, "The Most Dangerous Game" (1932), with Armstrong having a part in it, albeit a less dimensioned character who had an early demise--the film centered on Joel McCrea and still young silent screen veteran Fay Wray. Cooper saw much of himself in Armstrong's general personality and wanted him for a film that he had been wanting to make for quite a few years, an adventure yarn dealing with the stories he had heard during his years making films in jungles all over the world of giant, vicious apes.

The resulting film, "King Kong" (1933), would put Armstrong at stage center as big-time promoter Carl Denham (very much Cooper himself). The film also began co-star Fay Wray on the road to stardom. With Copper and Schoedsack co-directing and the legendary Willis H. O'Brien heading up a visual effects team supporting his for-the-time astounding animated miniature sequences, the film was a treasure trove for RKO, bringing newfound respect for a studio known mostly for its "B" action films and westerns. It was Armstrong's defining moment and set the stage for the plethora of leading man and second lead roles he would play through the 1930s.

A sequel, "Son of Kong" (1933), followed almost immediately with the same production team and, though not achieving the critical or box-office acclaim as its predecessor, showcased another Armstrong strength--a great sense of comedic timing that had been evident, but not really traded upon, in previous films.

Cooper--gorillas still on his mind--came calling for Armstrong again for his "Mighty Joe Young" (1949), which he made about midway in his association with partner John Ford in their Argosy Pictures venture under the wing of RKO. Armstrong was again a reincarnation of Carl Denham as Max O'Hara, a fast-talking promoter looking for a sensation in "Darkest Africa". The Ford touch is perhaps seen in the cowboys who go along with young Ben Johnson as romantic lead to enthusiastic--to say the least--Terry Moore with her pet gorilla Joe (about half as big as King Kong but definitely no ordinary gorilla). It is a great little movie, with more light-hearted tone than "Kong" and a red-tinted fire scene recalling silent films...

RECENTLY VIEWED: MICHAEL

Growing up in the 1980s, Michael Jackson was everywhere. My sister loved his music, and we both grew up with the Jackson sound. This past weekend with my daughter we went to see the Michael Jackson bio pic Michael. It follows the life of Michael Jackson, covering his involvement in the Jackson 5 in the 1960s to the Bad tour in the late 1980s. Jackson is portrayed by his nephew Jaafar Jackson and as a child by Juliano Krue Valdi, both in their film debuts. The supporting cast includes Nia Long, KeiLyn Durrel Jones, Laura Harrier, Jessica Sula, Mike Myers, Miles Teller, and Colman Domingo.

Development began in November 2019, when it was reported that the producer Graham King had secured the rights to produce a film about Jackson, with Logan attached to write. Lionsgate announced the film in February 2022. In January 2023, Fuqua was announced as the director and Jaafar was cast as Michael. Further casting took place from January to April 2024. After delays caused by the 2023 SAG-AFTRA strike, principal photography took place between January and May 2024. After a clause was discovered in a legal settlement, references to the 1993 child sexual abuse allegations against Jackson were removed, the third act was revised, and reshoots took place in June 2025.

The result is a really great movie. The movie ends in 1988, before the dark side of Michael Jackson's life happens. The end of the film leaves an opening for a sequel, but I would much prefer it to end here. The movie shows the abuse that Michael had to endure at the hands of his father. His father is played by Colman Domingo, and Domingo should win an acting award for his portrayal of Joe Jackson. Yes, there was a dark side of Michael Jackson, and not to take away from that, but the movie does an excellent job laying the ground work for why possbily Michael Jackson did what he did in later years. If you like Michael Jackson or solid movie biographies, then I think you'll enjoy Michael...

MY RATING: 9 out of 10

DON AMECHE AND TRADING PLACES

Don Ameche's strong religious convictions made him uncomfortable with swearing. This proved to be a problem for the scene in the movie "Trading Places" (1983), where he had to shout out "F*ck him!" to a group of Wall Street executives. When he did act out the scene, it had to be done in one take, because Ameche refused to do a second one.

Ralph Bellamy and Ameche "cheerfully admitted" they were unfamiliar with Eddie Murphy and Dan Aykroyd's work prior to working on the film. The two also said that Murphy and Aykroyd acknowledged that they were unfamiliar with Bellamy and Ameche. While this was Bellamy's ninety-ninth film, and Ameche's forty-ninth, this was only Murphy's second film, and he joked: "Between the three of us, we've made one hundred fifty movies!"

The scene where Mortimer Duke (Ameche) is trying to catch the money clip, and having trouble, wasn't supposed to happen that way, but both kept going with it, and not breaking character, so it was kept in the movie.

This was Ameche's first film since "Suppose They Gave a War and Nobody Came" (1970). He had been doing television guest appearances. Ameche had no agent listed with the Screen Actors Guild, but he was in the phone book, so director John Landis simply called him and asked if he'd play the part. This movie jump started his return to theatrical films, including an Academy Award for Best Supporting Actor for "Cocoon" (1985)...

FRANK SINATRA IN 1994

At age 78, Frank Sinatra stood on stage before 20,000 fans — but something wasn’t right. Midway through a song, he faltered. The words, so familiar for decades, slipped from his memory. He paused, apologized softly, and began to walk off. For a moment, the silence in the arena was heavy. It felt like the quiet end of a monumental career.

But then, from the stillness, a single voice rose: “All right, Frank! Because we love you!” The words echoed through the venue, and suddenly the entire audience erupted in applause. It wasn’t polite. It was powerful, roaring, full of warmth. It reached Sinatra like a lifeline, reminding him of who he was and what he meant to people.

Moved by the outpouring, Sinatra turned around, walked back to the microphone, and dove into “Mack the Knife.” The performance that followed had all the old swagger, strength, and soul — a glimpse of the young crooner who had once commanded every room he entered. It was not a comeback. It was a reaffirmation.

That night didn't just save a performance. It extended a legend. Sinatra went on to sing for two more years, continuing to tour despite age, health, and doubt. What might have been his final curtain became one of the most touching moments of his career — not because of perfection, but because of the grace in imperfection.

Frank Sinatra may have been the Chairman of the Board, but in that moment, he was simply a man lifted by love. And thanks to one voice in the dark, the song — and the singer — went on."

THE LAST DAYS OF CLARK GABLE

Clark Gable's last film was "The Misfits" (1961), with a script by Arthur Miller and directed by John Huston. Co-starring with Gable were Marilyn Monroe (in her last completed film), Montgomery Clift, Eli Wallach and Thelma Ritter. Many critics regard Gable's performance to be his finest, and Gable, after seeing the rough cuts, agreed, although the film did not receive any Oscar nominations. Miller wrote the screenplay for his wife Monroe; it was about two aging cowboys and a pilot that go mustanging in Reno, Nevada, that all fall for a blonde. In 1961, it was a somewhat disconnected film with its antihero western themes, but it has since become a classic.

In a 2002 documentary, Eli Wallach recalled the mustang wrangling scenes Gable insisted on performing himself, "You have to pass a physical to film that" and "He was a professional going home at 5 p.m. to a pregnant wife." The New York Times found "Mr. Gable's performance as a leathery old cowboy with a realistic slant on most plain things" ironically vital, with his death before the film's release.

On November 6, 1960, Gable was sent to Hollywood Presbyterian Medical Center in Los Angeles, California, where doctors found that he had suffered a heart attack. Newspaper reports the following day listed his condition as satisfactory. By the morning of November 16, he seemed to be improving, but he died that evening at the age of 59 from an arterial blood clot. Medical staff did not perform CPR for fear that the procedure would rupture Gable's heart, and a defibrillator was not available.

In an interview with Louella Parsons published soon after Gable's death about speculation on his physically demanding role in "The Misfits", wife Kay Gable said, "It wasn't the physical exertion that killed him. It was the horrible tension, the eternal waiting, waiting, waiting. He waited around forever, for everybody. He'd get so angry that he'd just go ahead and do anything to keep occupied." Monroe said that she and Kay had become close during the filming and would refer to Clark as "Our Man," while Arthur Miller, observing Gable on location, noted, "No hint of affront ever showed on his face."

On March 20, 1961, Kay Gable gave birth to Gable's only son, John Clark Gable, at the same hospital in which her husband had died four months earlier. Marilyn Monroe attended his son's baptism...

JACKIE COOGAN: THE ORIGINAL CHILD STAR

Charlie Chaplin discovered Jackie Coogan in the Orpheum Theatre, a vaudeville house in Los Angeles, on the stage doing the shimmy, a then-popular dance. Coogan's father was also an actor, as was his younger brother, Robert. Coogan was a natural mimic and delighted Chaplin with his abilities. Chaplin cast him in a small role in "A Day's Pleasure" (1919). The following year, Chaplin cast Coogan as the abandoned child raised by his Tramp character in the silent comedy-drama "The Kid" (1921). In 1922, Coogan was cast in the title role in "Oliver Twist", directed by Frank Lloyd. Coogan was one of the first stars to be heavily merchandised. Peanut butter, stationery, whistles, dolls, records, and figurines were among the Coogan-themed merchandise on sale. He was tutored until the age of 10, when he entered Urban Military Academy and other prep schools.

As a child star, Coogan earned an estimated $3 to $4 million. When he turned 21 in October 1935, his fortune was believed to be well intact. His assets had been conservatively managed by his father, who had died in the car accident five months earlier. However, Coogan found that the entire amount had been spent by his mother and stepfather, Arthur Bernstein, on fur coats, diamonds and other jewelry, and expensive cars. Bernstein had been a financial advisor for the family and married Coogan's mother in late 1936. Coogan's mother and stepfather claimed Jackie enjoyed himself and simply thought he was playing before the camera. She insisted, "No promises were ever made to give Jackie anything," and claimed he "was a bad boy." Coogan sued them in 1938, but after his legal expenses, he received just $126,000 of the $250,000 remaining of his earnings. When he fell on hard times and asked Charlie Chaplin for assistance, Chaplin handed him $1,000 without hesitating.

The legal battle focused attention on child actors and resulted in the 1939 enactment of the California Child Actor's Bill, often referred to as the "Coogan Law" or the "Coogan Act". It required that a child actor's employer set aside 15% of the earnings in a trust (called a Coogan account), and specified the actor's schooling, work hours, and time off.

Coogan continued to act throughout his life, later earning renewed fame in middle age portraying a bumbling Uncle Fester in the 1960s television series "The Addams Family". After suffering from heart and kidney ailments, Coogan died of heart failure on March 1, 1984, at the age of 69, in Santa Monica, California. Coogan had a long history of heart trouble and hypertension and had previously suffered several strokes. He had been undergoing kidney dialysis when his blood pressure dropped. Coogan was taken to Santa Monica Hospital, where he died from cardiac arrest.At Coogan's request, his funeral was open to the public and was attended by several fans. John Astin, Coogan's co-star from The Addams Family, delivered the eulogy...

KITTY CARLISLE AND A NIGHT AT THE OPERA

Kitty Carlisle, on working with the Marx Brothers on "A Night at the Opera" (1935):

"Groucho would come up to from time to time to ask me, 'Is this funny?'' Then, totally deadpan, he'd try out the line. I'd say, 'No, I don't think it is funny', and he'd go away absolutely crushed and try it out on everyone else in the cast. Chico was always playing cards in the back room and had to be called on the set. Harpo would work well until about eleven o'clock. Then he'd stretch out on the nearest piece of furniture and start calling at the top of his voice, 'Lunchie! Lunchie!'"

Carlisle initially refused to take the part when she was asked to mime to someone else's voice. She won, and the song she performs, "Alone", later became her signature tune.

The first sneak preview for this film, held in Long Beach, California, is generally considered one of the greatest bombs in Hollywood history. The Marx Brothers and Irving Thalberg wanted to survey the public's reception to the film, which contained greater continuity and a lengthier side-story romance than the troupe's previous films with Paramount. The audience at Long Beach, the first stop on the preview tour, despised the film and barely uttered a laugh. Cast members reported that Groucho Marx was despondent, and nearly suicidal, immediately following the poor Long Beach reception, while Chico Marx suggested that the crowd may have simply been feeling the after-effects of the recent death of the town's mayor. The reasons for the cool reception in Long Beach is unclear, but Thalberg urged the brothers to continue with the tour, and the next night's preview in San Diego produced riotous laughter that called the nerves of everyone involved...

A DISCOGRAPHY MOMENT: GENE KRUPA - APRIL 8, 1946

On this day in 1946 - 80 years ago the great Gene Krupa and his orchestra recorded a series of transcription discs in Hollywood, California...

Date: April 8, 1946

Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, CA
Label: Capitol

Gene Krupa and his Orchestra
Charlie Kennedy, Harry Terrill (as), Charlie Ventura, Buddy Wise (ts), Joe Koch (bar), Jimmy Millazzio, Red Rodney, Joe Triscari, Ray Triscari (t), Bob Ascher, Nick Gaglio, Tasso Harris, Dick Taylor (tb), Mike Triscari (g), Teddy Napoleon (p), Irv Lang (b), Joe Dale, Gene Krupa (d), Carolyn Grey, Buddy Stewart (v)

1. Yesterdays 
2. Baby, Won’t You Please Come Home 
3. Prisoner Of Love – vBS
4. 1 Ain’t Nowhere – vCG
5.  Sweet Lorraine
6. Wire Brush Stomp
7. Old Folks At Home – vBS
8. You Go To My Head – vBS
9.  Bird House*
10. Bugle Call Rag
11. In The Moon Mist – vBS
12. Where Or When – vBS
13. It’s Up To You
14. What Is This Thing Called Love
15. Idaho

MY FIVE FAVORITE MOVIE MUSICALS OF ALL-TIME

One of my favorite genres of movies are musicals. I was close to my grandfather, and he instilled in me a love of the movies and music of the 1930s and 1940s. Today is my birthday - I can not believe I am 52 now, so I wanted to share the list of my favorite movie musicals for my birthday entry this year. I did this list one before, way back in 2011 so it is good to update it. I am not looking at the old list before I make this new list.

Here are my five favorites:

5. SILK STOCKINGS (1957) - This movie was one of htel ast big budget musicals Fred Astaire did for MGM. MGM sure new how to make a musical back then. Fred was paired up with the wonderful Cyd Charisse for this musical set in beautiful Paris. Rounding out the cast was Janis Page, Peter Lorre, and Jules Munshin. The stand out songs for me was "Sterophonic Sound" (performed by Fred and Janis) and "The Ritz Roll And Rock" (which made fun of Fred's top hat and tales personna). The movie is a lot of fun! (#5 in 2011)

4. THE MUSIC MAN (1962) - My wife absolutely hates this movie, but I do not care. Robert Preston originated the role on Broadway, and he made this movie version as well. The songs were from Meredith Wilson, and I have had a foundness for the film since my music teacher had us watch the movie in the 7th grade. In the cast as well were top notch performers like Shirley Jones and Buddy Hackett. My wife hates Preston's singer, but I like the movie! (#3 in 2011)

3. HIGH SOCIETY (1956) - This movie was one of the last great musicals that Bing Crosby starred in, and it is one of the best msuicals of the 1950s. The music is provided courtsey of Cole Porter and rounding out the cast was Grace Kelly, Frank Sinatra, Celetse Holm, and Louis Armstrong. On a personal note, I enjoyed Grace Kelly's character Tracy Samantha Lord so much, that we named our daughter "Samantha", and I used to sing the song "I Love You Samantha" to her. The story is great. The dialogue is witty. This musical is top notch in every way. (new to list)

2. HAIRSPRAY (2007) - It is odd for me that I have two modern musicals in my top five musicals, but I love this film. My daughter, and I have watched it countless times, and the film is nearly perfect. Another Broadway transformation, the film starred John Travolta, Christopher Walken, Michele Pfeifer, and Jerry Stiller among others. Seeing John Travolta sing and dance as a woman is amazing, and the film had a serious tone dealing with 1960s racism. (new to list)

1. SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (2007) - I am a huge fan of the movies of director Tim Burton, and Johnny Depp rarely makes a bad movie. Depp is not a singer, but he pulls of the role of Sweeney Todd perfectly. Tim Burton films the movie in such a way that you are transported back in time to the slums of London, and he uses colors in a way that the movie is nearly black and white. I am not a fan of the music of Stephen Sondheim, but they are presented in a way that they are woven effortlessly into the fabric of the movie. The movie is a little bit violent of course, but the story and the film itself is flawless - for a modern musical that is saying a lot. (#1 in 2011)

HOLLYWOOD FEUDS: CHEVY CHASE AND BILL MURRAY

Their animosity began in the chill backstage corridors of Saturday Night Live in February 1978. Chevy Chase, having risen to instant fame as SNL's original "Weekend Update" anchor, had departed after season two, confident his movie career awaited. Bill Murray, brought on in the next season, was dubbed the “new Chevy,” a tag that felt more like a weight than an honor to the quieter performer.

When Chevy returned to host the 11th episode of the third season, the air was already thick with tension. John Belushi, a close friend of Murray's, had been spreading veiled critiques of Chase to stir the pot. Things reached a boiling point one afternoon when Murray confronted Chase, accusing him of being universally disliked by the cast and crew. Their argument ignited with Murray mocking Chase’s personal life—“Go f**k your wife, she needs it”—to which Chase retorted with a biting insult about Murray’s appearance, likening it to lunar terrain.

Moments before airtime, the verbal rigmarole escalated into shoving and wild slaps in the hallway. Bill Murray cursed out Chevy as SNL writers and even Belushi intervened to pull them apart. Filmmaker John Landis later described them slapping and screaming, with Murray calling Chase a “medium talent,” evidence that their feud carried raw emotions and barbed humor.

In reflecting on the clash, Murray would later call it a “Hollywood fight,” a melodramatic eruption driven by shifting seasons, wounded pride, and collective resentment over Chase’s departure. He said it represented an “Oedipal thing”—a symbolic betrayal where he became the avenging voice for the ensemble.

Despite the heat of the moment, neither emerged with serious injuries. Chevy later shrugged, “Billy Murray and I came to fisticuffs, but we never really ended up hitting each other... we tried, but Belushi got in the middle and we both ended up hitting John”. The fight subsided under a flurry of intervention—John Belushi, Brian Doyle‑Murray, writers Michael O’Donoghue and Tom Davis—restoring pre-show calm and ensuring the broadcast proceeded as planned.

 
Time, oddly enough, became the balm. In 1979, at a party, Chevy delivered one of the wildest peace offerings in comedy lore: he drunkenly approached Murray, unzipped his fly, and mimed an oral gesture. Both burst into laughter, and just like that, the ice cracked. Their subsequent friendship was sealed on the set of Caddyshack (1980), where their camaraderie on-screen—smoking pot together—mirrored the thawing of their earlier hostilities.

Over the decades, their relationship transformed from fiery rivalry to mutual respect. Bill would later acknowledge that Weekend Update wouldn’t exist without Chevy, ranking him a worthy fourth among its anchors—humble praise tucked into a tribute that concluded with warm acknowledgment. Chevy, for his part, would lean on Murray’s subtle kindness even during tense moments, paying homage at SNL’s 50th anniversary with genuine picture-posting camaraderie.

Their feud, once a product of wounded egos and high-stakes comedy, ultimately became a testament to reconciliation. A loud hallway fight fades into the lore of showbiz; their later friendship, captured in film and shared history, reminds us that even the bitterest clashes can give way to something deeper and enduring...

CELEBRITY ADS: ELIZABETH TAYLOR

Here is a great print ad that Elizabeth Taylor did for Lux soap, a popular soap during the classic years of Hollywood. The ad referenced her appearance in the classic film Giant from 1956...

TWO JOURNEYS THROUGH OZ: THE WIZARD OF OZ vs WICKED

For more than eight decades, the yellow brick road has stretched across film, literature, and musical theatre, guiding audiences through two very different visions of the Land of Oz. On one side stands the 1939 MGM classic The Wizard of Oz, a near‑mythic Technicolor masterpiece that shaped generations. On the other is Wicked, a 2003 Broadway phenomenon and now a major two‑part film adaptation, which reframes Oz not from Dorothy’s eyes, but from the perspective of the misunderstood green girl who becomes the Wicked Witch of the West. Though they share the same world, these stories diverge in tone, moral complexity, and cinematic legacy, offering two distinct entry points into the same enchanting land.

Both works trace their roots back to L. Frank Baum’s 1900 novel The Wonderful Wizard of Oz. Baum's book introduced readers to Dorothy, the Scarecrow, the Tin Woodman, and the Cowardly Lion, establishing the Emerald City and the fantastical geography of Oz.

More than a century later, author Gregory Maguire reimagined Baum's world in Wicked: The Life and Times of the Wicked Witch of the West (1995), offering a revisionist backstory to the infamous Witch—whom he named Elphaba—and examining moral gray areas the original never explored. This novel inspired the blockbuster Broadway musical Wicked in 2003, and ultimately led to the 2024 film adaptation starring Cynthia Erivo and Ariana Grande. 

One of the starkest differences between the two tales lies in how they treat the reality of Oz itself. In the 1939 film, much of Oz is framed as Dorothy’s dream—a technicolor fantasy she awakens from after a blow to the head in Kansas.

In Wicked, Oz is no dreamland. It is a fully lived‑in world with politics, hierarchies, history, and moral complexity. The story follows Elphaba and Glinda from their years at Shiz University through a tangled web of friendship, ambition, and public perception. Oz becomes not a child’s fantasy but a society with injustices and agendas—one in which Elphaba is branded “wicked” for resisting corruption. 

The Wizard of Oz paints a clear moral world: Dorothy is good, the Wicked Witch is evil, and the Wizard—though flawed—is ultimately forgiven. But Wicked shatters these binaries. It reframes Elphaba as a sympathetic protagonist shaped by discrimination and betrayal. Even Glinda, the Good Witch, is shown to be more complex than her bubbly exterior suggests.

This shift in perspective challenges audiences to question the narratives handed down by history and authority—a theme central to Maguire’s novel and the musical. While Dorothy’s journey is one of self‑discovery wrapped in a simple moral arc, Elphaba’s is a tragedy of perception, politics, and power.

MGM’s The Wizard of Oz thrives on whimsy: flying monkeys, ruby slippers, and vibrant musical numbers. Its charm lies in its innocence and dreamlike wonder.
By contrast, Wicked strikes a more emotionally layered tone, balancing humor with themes of social injustice, identity, and friendship. Its tagline—“So much happened before Dorothy dropped in”—signals its desire to deepen the emotional and narrative texture of Oz. Performing giants like Idina Menzel and Kristin Chenoweth originally brought Elphaba and Glinda to life, helping Wicked amass over 100 awards internationally and cement its global popularity. 

The Wizard of Oz remains one of the most beloved films in cinematic history—a cornerstone of the Golden Age of Hollywood, famous for its groundbreaking use of Technicolor and songs like “Over the Rainbow.”

Wicked, however, has carved out its own cultural legacy, becoming one of Broadway’s most successful productions and inspiring millions with its themes of friendship and defying expectations. Its long‑awaited film adaptation, released in 2024, has renewed interest in the story, bridging generations of Oz fans. 

While often marketed as a prequel, Wicked doesn’t simply lead into The Wizard of Oz. It reshapes the narrative, offering alternate interpretations of events and motivations. It intersects with Dorothy’s timeline only in its second act, and even then, it contradicts key elements of the 1939 film's portrayal.
Rather than fill in backstory, Wicked stands as its own narrative universe—an emotionally rich companion piece that expands and complicates Baum’s original world. 

Ultimately, The Wizard of Oz and Wicked are less competing stories and more complementary visions of the same mythos. One captures childlike wonder; the other reveals the fractures beneath the emerald‑green gloss. One asks us to believe in magic; the other asks us to question what we’re told about witches, wizards, and the meaning of “good.”

Together, they keep the Land of Oz evergreen—an ever‑expanding universe that invites new generations to follow the yellow brick road from different angles, each path revealing new truths about courage, friendship, and the stories we choose to believe...

COOKING WITH THE STARS: GLORIA STUART

 Gloria Stuart's career spanned decades and decades. From making movies like Kid Millions in 1934 with Eddie Cantor to her stunning appearance in 1997's Titanic, Stuart was a part of Hollywood for a long long time. Here is her receipe though for her dessert called Cream Vermont...

Cream Vermont

Ingredients:

1 cup pure maple syrup
8 egg yolks

2 cups whipped cream
½ chopped nutmeats (I used walnuts)

Heat syrup in a double boiler until a slight coating forms on the surface.Beat yolks with rotary beater until thick and lemon-colored.

Pour one-third of syrup over yolks, stirring constantly.
Pour this mixture slowly over remaining syrup in the double boiler, stirring constantly until mixture coats a metal spoon.
Place in freezer tray until frozen to a mush.
Fold in whipped cream and nuts and return to freezer tray.
Freeze without stirring. Serves 10.

RIP: CHUCK NORRIS

Actor Chuck Norris, best known for his starring role on the television series Walker, Texas Ranger, has died at the age of 86, his family confirmed in a post shared on his Facebook account Friday.

"It is with heavy hearts that our family shares the sudden passing of our beloved Chuck Norris yesterday morning. While we would like to keep the circumstances private, please know that he was surrounded by his family and was at peace," the Norris family wrote. "To the world, he was a martial artist, actor, and a symbol of strength. To us, he was a devoted husband, a loving father and grandfather, an incredible brother, and the heart of our family.

"He lived his life with faith, purpose, and an unwavering commitment to the people he loved. Through his work, discipline, and kindness, he inspired millions around the world and left a lasting impact on so many lives.

"While our hearts are broken, we are deeply grateful for the life he lived and for the unforgettable moments we were blessed to share with him. The love and support he received from fans around the world meant so much to him, and our family is truly thankful for it. To him, you were not just fans, you were his friends.

"We know many of you had heard about his recent hospitalization, and we are truly grateful for the prayers and support you sent his way.

"As we grieve this loss, we kindly ask for privacy for our family during this time.

"Thank you for loving him with us."

TMZ had previously reported that Norris, 86, a black belt in several disciplines of martial arts, was reported to have been hospitalized in Hawaii after experiencing a medical emergency while training in Hawaii on Thursday (March 19). A friend who said they spoke to Norris claimed he was in good spirits and was cracking jokes at the time of the report.

Norris celebrated his birthday earlier this month, sharing a video of himself sparring.

"I don’t age. I level up," Norris wrote in the caption of the Facebook post. "I’m 86 today! Nothing like some playful action on a sunny day to make you feel young. I’m grateful for another year, good health and the chance to keep doing what I love. Thank you all for being the best fans in the world. Your support through the years has meant more to me than you’ll ever know."

Norris is a veteran of the United States Air Force who won many martial arts championships before having founded his own discipline, Chun Kuk Do, and later trained numerous celebrities. The 86-year-old made his film debut with a minor role in The Wrecking Crew (1968) before playing one of the main villains in friend and fellow martial artist Bruce Lee's movie The Way of the Dragon (1972).

Norris was advised to continue acting by his friend and student, late legendary actor Steve McQueen, before taking on his first starring role in the action film Breaker! Breaker! (1977) followed by Good Guys Wear Black (1978) before a string of bankable independent and martial arts films including A Force of One (1979), The Octagon (1980) and An Eye for an Eye (1981). Norris' most iconic role came in the 1990s playing the titular character on the long-running CBS television series Walker, Texas Ranger from 1993 to 2001 and continued to appear in action movie roles until 2006, with his last major film appearance coming in The Expendables 2 (2012).

Norris found new fame when 'Chuck Norris facts,' which documented his fictional and absurd feats of strength and endurance, became a popular internet meme, as well as out of context clips of Walker, Texas Ranger being played on Late Night with Conan O'Brien in the mid-2000s after USA Network, which aired Walker, Texas Ranger in syndication at the time, merged with NBC...

THE BOX OFFICE STARS: 1959

The decade of the 1950s ended with a lot of great movies and great stars. It was still the golden years of Hollywood. Here are the top box office stars of 1959...

1. Rock Hudson
2. Cary Grant
3. James Stewart

                                                 

4. Doris Day

5. Debbie Reynolds

6. Glenn Ford

7. Frank Sinatra

8. John Wayne

9. Jerry Lewis

10. Susan Hayward.