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#Stanley Holloway
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WHEN MY FAIR LADY COMES TO TOWN—When My Fair Lady comes to town, it's laughs all round. For who could resist the charm of Audrey Hepburn, who plays Eliza Doolittle in the film version of the musical, which has its first London showing tomorrow? Certainly not the two stars shown with her in this picture. Stanley Holloway (left) and Rex Harrison, who both appear in the film with Audrey.
All three were at a Press reception in London on 19 January 1965. And later Princess Margaret and Tony Armstrong-Jones were among the guests at a party at the South Kensington home of Cecil Beaton, who designed the costumes. All the talk was of the three-hour film that cost a fortune to make. —
Audrey Hepburn, Stanley Holloway, and Rex Harrison during a press reception at the Savoy Hotel in London held for some of the stars of My Fair Lady on 19 January 1965
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boardchairman-blog · 2 months
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**Shots of the Movie**
My Fair Lady (1964)
Director: George Cukor Cinematographer: Harry Stradling
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pureanonofficial · 1 year
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THE FANTASTICKS (1964)
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ukdamo · 4 months
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A recitation.
The mantle has passed to me.
Dad had a few party pieces: Sonny Boy (Al Jolson); Don't Laugh At Me (Norman Wisdom); and this comic poem. He would regale the company with them - at parish do s, and family gatherings.
As he aged, we'd duet on Don't Laugh At Me, and, after he died, it became my party piece. But I never learned Albert and the Lion.
Until now.
Now, I have come into my full inheritance.
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gatutor · 8 months
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Nigel Patrick-Patricia Roc-Stanley Holloway "La mujer perfecta" (The perfect woman) 1949, de Bernard Knowles.
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badmovieihave · 7 months
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Bad movie I have In Harm's Way 1965
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citizenscreen · 2 years
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Princess Margaret meets Julie Andrews, Rex Harrison, and Stanley Holloway in the Royal Box at the Theatre Royal on Drury Lane, London, after a performance of the stage musical 'My Fair Lady' on May 22, 1956.
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blackramhall · 2 years
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They are no great crimes anymore, Watson. The criminal class has lost all enterprise and originality. At best they commit some bungling villainy with a motive so transparent that even a Scotland Yard official can see through it.
The Private Life of Sherlock Holmes - Billy Wilder (1970)
Manor Murder Mystery
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audiemurphy1945 · 2 years
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This Happy Breed(1944)
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letterboxd-loggd · 11 months
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Noose (The Silk Noose) (1948) Edmond T. Gréville
May 16th 2023
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Audrey Hepburn and Stanley Holloway on the set of My Fair Lady (1964)
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kwebtv · 1 year
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TV Guide  -  November 3 - 9, 1962
Stanley Augustus Holloway OBE (October 1, 1890 – January 30, 1982)  Actor, comedian, singer and monologist. He was famous for his comic and character roles on stage and screen, especially that of Alfred P. Doolittle in My Fair Lady. He was also renowned for his comic monologues and songs, which he performed and recorded throughout most of his 70-year career.
In 1964, he appeared as Bellomy in the Hallmark Hall of Fame television production of The Fantasticks. 
Holloway played Pooh-Bah in a 1960 US television Bell Telephone Hour production of The Mikado, produced by the veteran Gilbert and Sullivan performer Martyn Green. Holloway appeared with Groucho Marx and Helen Traubel of the Metropolitan Opera.
In 1962 Holloway played the role of an English butler called Higgins in a US television sitcom called Our Man Higgins. It ran for only a season. His son Julian also appeared in the series. . He returned to the US a few more times after that to take part in The Dean Martin Show three times and The Red Skelton Show twice.  (Wikipedia)
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kckatie · 1 year
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Tonight's earworm. I would rather not have this in my head, but it's there for reasons: Get Me to the Church on Time, from My Fair Lady
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ulrichgebert · 2 years
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Es ergab sich unerwartet ein Thementag “Die Londoner Arbeiterklasse und ihre interessanten Dialekte”, weil wir uns einmal wieder, wenn wir es diesmal schon nicht in London sehen können,  My Fair Lady gönnten. Merke: Der Unterschied zwischen einem Blumenmädchen und einer feinen Dame ist nicht, wie sie sich benehmen, sondern wie sie behandelt werden.
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byneddiedingo · 1 year
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Stanley Holloway and Alec Guinness in The Lavender Hill Mob (Charles Crichton, 1951)
Cast: Alec Guinness, Stanley Holloway, Sidney James, Alfie Bass, Marjorie Fielding, Edie Martin. Screenplay: T.E.B. Clarke. Cinematography: Douglas Slocombe. Art direction: William Kellner. Film editing: Seth Holt. Music: Georges Auric. 
The late 1940s and early 1950s were a golden age for British film comedy, but it wasn't a golden age for Britain in other regards. British filmmakers had to find the funny side of the class system, economic stagnation, and postwar malaise.  Some of the gloom against which British comic writers and performers were fighting is on evidence in The Lavender Hill Mob, but it mostly lingers in the background. As the movie's robbers and cops career around London, we get glimpses of blackened masonry and vacant lots -- spaces created by bombing and still unfilled. The mad pursuit of millions of pounds by Holland (Alec Guinness) and Pendlebury (Stanley Holloway) and their light-fingered employees Lackery (Sidney James) and Shorty (Alfie Bass) seems to have been inspired by the sheer tedium of muddling through the war and returning to the shriveled routine of the status quo afterward. Who can blame Holland for wanting to cash in after 20 years as a bank clerk  supervising the untold wealth in gold from the refinery to the bank? "I was a potential millionaire," he says, "yet I had to be satisfied with eight pounds, fifteen shillings, less deductions." As for Pendlebury, an artist lurks inside the man who spends his time making souvenir statues of the Eiffel Tower for tourists affluent enough to vacation in Paris. "I propagate British cultural depravity," he says with a sigh. Screenwriter T.E.B. Clarke taps into the deep longing of Brits stifled by good manners -- even the thieves Lackery and Shorty are always polite -- and starved by the postwar rationing of the Age of Austerity. Clarke and director Charles Crichton can't do anything so radical as let the Lavender Hill Mob get away with it, but they come right up to the edge of anarchy by portraying the London police as only a little more competent than the Keystone Kops. The film earned Clarke an Oscar, and Guinness got his first nomination. It also allowed the young Audrey Hepburn to catch other filmmakers’ eyes in a bit part. 
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