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#norman lloyd
countesspetofi · 1 month
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Today in the Department of Before They Were Star Trek Stars, William Shatner guest stars in "Mother, May I Go Out to Swim?" episode 26 of the fifth season of Alfred Hitchcock Presents (original air date April 10, 1960). He channels his inner Norman Bates as a mama's boy with an "artistic temperament" who falls in love on vacation, but ends up killing his girlfriend when his domineering mother disapproves. Like the last episode of AHP I screencapped, this story is told in flashback, framed by scenes from the coroner's inquest, with Shatner narrating the flashback sequences.
Within the episode, the girlfriend's death is ruled an accident, but in what I assume was an attempt to placate the network censors, Hitchcock's outro says that the decision was later overturned. (TV Standards & Practices at the time hewed closely to the Motion Picture Code, which frowned on criminals going unpunished.)
Other Trek connections: The Associate Producer of this episode is the multitalented actor/producer/director Norman Lloyd, who played Captain Picard's old mentor Professor Galen in the Next Generation episode "The Chase."
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dadsinsuits · 4 months
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Norman Lloyd
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oldshowbiz · 8 months
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If you didn’t know any better, if there weren’t any opening and closing credits, this episode of The Alfred Hitchcock Hour could easily pass for an episode of the Twilight Zone.
The Jar was written by Ray Bradbury, features an original score by Bernard Herrmann, and stars Pat Buttram, William Marshall, Jane Darwell, George Lindsey, Slim Pickens, and Billy Barty.
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citizenscreen · 6 months
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Lurene Tuttle and Norman Lloyd performing on CBS Radio’s “Suspense” episode “Fury and Sound” in 1945.
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johngarfieldtribute · 7 months
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Julie doing “stuff” with famous people (21st post)
Julie shows spirit at a Sinatra Swooner’s charity softball game. He’s pictured here with Frankie, Virginia Mayo and Jane Russell. Wake up, Frank!!
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Julie and Joan Crawford get their expressions down in a scene from HUMORESQUE above.
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On the DESTINATION TOKYO set with Robert Hutton.
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Walking with his Group Theatre colleague, Lee Strasberg, shown on the left. Julie was the first actor to bring THE METHOD to film and Strasberg helmed THE ACTORS STUDIO.
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At an event with Rosalind Russell somewhere.
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Backstage with George Coloris on NOBODY LIVES FOREVER.
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HE RAN ALL THE WAY with Norman Lloyd.
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Brenda Marshall doesn’t feel like toasting in EAST OF THE RIVER.
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Ida’s mad too in THE SEA WOLF.
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But Frances Farmer is all loving looks in this photo anyway. They were friends from THE GROUP THEATRE. This photo promotes FLOWING GOLD.
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genevieveetguy · 2 years
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Women make the best psychoanalysts until they fall in love. After that they make the best patients.
Spellbound, Alfred Hitchcock (1945)
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letterboxd-loggd · 11 months
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The Age of Innocence (1993) Martin Scorsese
June 4th 2023
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1day1movie · 3 months
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Columbo: Lady in Waiting (1971) Norman Lloyd.
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Colombo: Season 1 + Pilots (1968, 1971-72)
This is a very good season that gives the series a nice start. The inverted whodunnit stories are engaging and play with the audience in exciting ways. There are some great moments of suspense throughout the series and the direction brings energy that stands out among tv movies of the time. The character of Columbo is very endearing and this leads to some levity that works with the series' tone. Peter Falk is fantastic here and the guest stars are a who's who of reliable character actors from this era. This is a good season that is worth watching for fans of cozier murder mysteries.
Episodes Ranked:
9. Dead Weight
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8. Prescription: Murder
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7. Blueprint for Murder
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6. Ransom for a Dead Man
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5. Lady in Waiting
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4. Short Fuse
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3. Death Lends a Hand
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2. Suitable for Framing
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Murder by the Book
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camyfilms · 10 months
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DEAD POETS SOCIETY 1989
Boys, you must strive to find your own voice. Because the longer you wait to begin, the less likely you are to find it at all. Thoreau said, "Most men lead lives of quiet desperation." Don't be resigned to that. Break out!
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ozu-teapot · 1 year
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M | Joseph Losey | 1951
Norman Lloyd and the ol’ injury to the eye motif
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dannyreviews · 5 months
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The Age of Innocence (1993)
1993 was the second coming of 1939 when it came to the number of American films that were released. Martin Scorsese's "The Age of Innocence" remains one of that year's absolute gems, a departure (no pun intended) from the famed director's usual gritty nature. Replacing gunfire with passing glances and mafia dealings with upper class gossip, "The Age of Innocence" is classic Scorsese and in my opinion, among his best films ever.
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Based on the novel by Edith Wharton, "The Age of Innocence" , focuses on the impending union of the two most important families in New York society. Lawyer Newland Archer (Daniel Day-Lewis) is engaged to be married to the sweet and quiet May Welland (Winona Ryder) and their marriage is the talk of the town. At the same time, May's cousin Ellen (Michelle Pfeiffer) has returned to New York to non-stop gossip pertaining to her impending divorce. Steeped in a world of customs and tradition, Newland is drawn to Ellen's unconventional lifestyle and while handling the matters of her divorce, the two begin an affair. Newland must decide which moral route to take, one that will maintain his place in the hierarchy of the upper crust, or the other sizzling in passion, yet tainted in scandal.
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"The Age of Innocence" may be gentile in its appearance, but it's every bit the nail biter as "Raging Bull" or "Goodfellas". The adaptation by Scorsese and Jay Cocks shows dynasties pitted up against one another like mob families, favors that are made to keep up appearances and a family matriarch and high end couple with all the power in the world like mafia dons. At the same time, the art direction by Dante Ferrets and costume design by Gabrielle Pessucci, doesn't merely recreate late 19th century New York, but embraces every facet it possesses, from vast estates filled with art collections, fine china and chandeliers to ornate opera houses where their audience and actors don the most glamorous haute couture. When it comes to matching the authenticity of its period, there is not one false note. Having culminated from decades of prior period pieces, "The Age of Innocence" takes the genre to a whole new level of appearance that has rarely ever been repeated.
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Scorsese assembled one of the most diverse casts of recent years. In addition to the 3 main actors, there are Golden Age of Hollywood stars (Norman Lloyd, Alexis Smith), veteran British actors (Michael Gough, Alec McCowen) and the new crop (Richard E. Grant, Robert Sean Leonard) and each brings their own craft to this unique film. Robert De Niro or Joe Pesci would have seemed out of place if they were included in the cast, so it was wise to delve further in the variety of acting styles and backgrounds and have each of them adapt to the lingo of Edith Wharton's New York. Also, to have the calming voice of Joanne Woodward narrate the story transitions the film into Merchant-Ivory territory, which I'm sure Scorsese studied up on prior to filming.
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As for the main cast, Daniel Day-Lewis is absolutely terrific in playing the emotionally repressed Newland Archer, who must balance his double life amidst its open secrecy. Winona Ryder also shines in an Oscar nominated turn as May in all of its Golden Age of Hollywood charm. And then there's Michelle Pfeiffer, who is absolutely mesmerizing in portraying Ellen's liberal personality, in a performance that the Academy should have considered. The supporting cast standouts include Stuart Wilson as Ellen's "other man" Julius Beaufort, a lecherous scoundrel, Miriam Margoyles' BAFTA winning performance as Mrs. Mingott, May's grandmother, and Sian Phillips as Newland's mother.
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"The Age of Innocence", along with Jane Campion's "The Piano", Jim Sheridan's "In The Name of the Father" (also with Daniel Day-Lewis) and James Ivory's "The Remains of the Day", represent in my opinion, the best of cinema in 1993. Out of those films, "The Age of Innocence" isn't the top one (that honor belongs to "The Piano"), but it represents the most expertly made. The acting, direction, novel adaptation and authentically honored period are all building blocks to the neatly tied packaged result.
9/10
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https://variety.com/2020/film/news/norman-lloyd-hitchcock-welles-denzel-washington-1234815816/?fbclid=IwAR1-zW12yrLINp7R2AAoV4UfUBr9WDtdwI4x4QpIR6NPGcmryfVsS0zyGBk
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oldshowbiz · 2 years
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Norman Lloyd said Charles Laughton always played with his dick onstage
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citizenscreen · 11 months
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Norman Lloyd and Vincent Price at the CBS Radios Columbia Presents Corwin studio to perform episode “The Undecided Molecule” in 1945.
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johngarfieldtribute · 11 months
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JULIE DOING “STUFF” WITH FAMOUS PEOPLE (14th post in the series)
Is. This. Real??? Just saw this publicity pose of Julie with Lana Turner from the POSTMAN ALWAYS RINGS TWICE above. Nothing to see here except two amazingly beautiful people! SIZZLING!
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Above looks like the actors are reacting to some fun information from their director, Tay Garnett.
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Julie is shown on the OUT OF THE FOG set with director, Anatole Litvak and costars John Qualen and Thomas Mitchell.
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Litvak watches as Julie and Ida Lupino practice a scene for the same film. Although he is looking suave and smooth above, this was Julie’s MOST dastardly characterization.
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A few years before he was unjustly called to testify, Julie is pictured above with Hollywood colleagues following a congressional session probing communist activities. Shown from left: writer-director, Paul Stewart; writer, Phillip Epstein; actor, Uta Hagen; Julie; actor, Bernice Parks; dancer, Paul Draper; producer, Oscar Serlin; and writer, Julius Epstein.
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Shelley Winters shares a laugh as Julie picks her up in the pool on set for his last film, HE RAN ALL THE WAY. I don’t think either of them laughed in any of the scenes in this tense noir.
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Another example of “no laughing matter” in a scene from the same movie. Julie’s pictured with Norman Lloyd. Lloyd’s character didn’t care if Julie had a bad hunch that day.
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Director, John Houston confers with Julie and Gilbert Roland on the set of WE WERE STRANGERS.
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Tyrone Power greets Julie with a handshake. Too bad Power is blinking. His performance in the original NIGHTMARE ALLEY was powerful, although the Bradley Cooper remake packed a punch too.
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Julie sits next to Marlene Dietrich at a ballgame in Los Angeles on Sept. 8, 1943. To Dietrich’s left among others are Jean Babin, Ginny Sims, Jinx Falkenberg and Ann Rutherford.
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