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Wright Was Earliest Surviving Best Supporting Actress Oscar Winner

Teresa Wright: Later years (See preceding post: "Teresa Wright: From Marlon Brando to Matt Damon.") Teresa Wright and Robert Anderson were divorced in 1978. They would remain friends in the ensuing years.[1] Wright spent most of the last decade of her life in Connecticut, making only sporadic public appearances. In 1998, she could be seen with her grandson, film producer Jonah Smith, at New York's Yankee Stadium, where she threw the ceremonial first pitch.[2] Wright also became involved in the Greater New York chapter of the Als Association. (The Pride of the Yankees subject, Lou Gehrig, died of Amyotrophic Lateral Sclerosis in 1941.) The week she turned 82 in October 2000, Wright attended the 20th anniversary celebration of Somewhere in Time, where she posed for pictures with Christopher Reeve and Jane Seymour. In March 2003, she was a guest at the 75th Academy Awards, in the segment showcasing Oscar-winning actors of the past. Two years later,
See full article at Alt Film Guide »

‘The Narrow Margin’ expands the confines of train compartments for solid thrills

  • SoundOnSight
The Narrow Margin

Written by Earl Felton

Directed by Richard Fleischer

USA, 1952

Single-location films can be a tough sell for some. In some instances, the location might seem too preposterous to be the setting for an entire story, thus creating a sense that the project is based on a gimmick. It requires some considerable storytelling prowess to properly convey the reasons why characters would remain in said location if dangers lurk around every corner, and to create new, plausible threats to keep the interest level high. Trains as single-location settings present some interesting challenges. They offer its passengers the opportunity to peruse its in and outs in many ways, not all of which offer a lot of breathing room. Richard Fleischer turned out to be one such director capable of taking full advantage of the setting with 1952’s The Narrow Margin.

Detective Sergeants Walter Brown (Charles McGraw) and Gus Forbes
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2013 TCM Classic Film Festival Announces First Round of In-Person Stars: Max von Sydow, Ann Blyth, Eva Marie Saint and More

2013 TCM Classic Film Festival Announces First Round of In-Person Stars: Max von Sydow, Ann Blyth, Eva Marie Saint and More
The 2013 TCM Classic Film Festival is just over two months away, and is slowly unveiling its usual packed slate of classic stars set to make appearances. Included in this year's in-person lineup are Max von Sydow, Ann Blyth and Eva Marie Saint. These three will each appear with landmark films in their careers; Von Sydow will be on hand for Ingmar Bergman's "The Seventh Seal" and William Friedkin's "The Exorcist"; Blyth for Michael Curtiz' "Mildred Pierce" (pictured above with Joan Crawford) and Vincente Minelli's "Kismet"; and Saint for Elia Kazan's Best-Picture-winner "On the Waterfront." Actors Mitzi Gaynor and France Nuyen ("South Pacific") and Jacqueline White ("The Narrow Margin"), along with filmmakers Kevin Brownlow (introducing newly restored silent classic "The Big Parade"), and Jerry Zucker, David Zucker and Jim Abrahams ("Airplane!") are also scheduled...
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Robert Young, Robert Ryan, Robert Mitchum in Crossfire: Academy Screening

Directed by Edward Dmytryk, written by John Paxton, and produced by Adrian Scott, Crossfire (1947) will be screened as the next feature in the Academy of Motion Picture Arts and Sciences’ series “Oscar Noir: 1940s Writing Nominees from Hollywood’s Dark Side” on Monday, August 9, at 7:30 p.m. at the Academy’s Samuel Goldwyn Theater in Beverly Hills. Crossfire, which stars Robert Young, Robert Mitchum, Robert Ryan, and Gloria Grahame, will be introduced by Oscar-winning screenwriter Brian Helgeland (L.A. Confidential), with a post-film discussion with actress Jacqueline White, who plays Mary Mitchell in the film. Based on future filmmaker Richard Brooks‘ novel The Brick Foxhole, Crossfire is a taut, effective thriller focused on the evils of bigotry — in this case, anti-Semitism. Chiefly because of Crossfire‘s subversive sensibility, I find it more powerful than Elia Kazan‘s genteel Oscar winner Gentleman’s Agreement, another 1947 release dealing with anti-Jewish prejudice.
See full article at Alt Film Guide »

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