The sassy Alice Kramden was played by a series of actresses: first Pert Kelton in 1955, then Audrey Meadows and later Sue Ane Langdon before MacRae took over the role opposite Gleason.
On TV, MacRae also played herself in a famous episode of “I Love Lucy,” “The Fashion Show”; briefly had her own series in 1971; appeared on soap “General Hospital” as Madelyn Richmond in 1991; was a series regular on the single-season “Parenthood” in 1990-91; and guested on series including “The Man From U.N.C.L.E.,” “The Love Boat” and “Murder, She Wrote.”
Born in London, Sheila Margaret Stephens married actor-singer Gordon MacRae
A man in a gruesome Joe E. Brown mask is helped from his leering false-face, revealing another leering false face, that of Lee Tracy, who attempts to justify what we are about to see as the realisation of a long-cherished dream, although the exorcism of a recurring nightmare would be at least as plausible.
Big top performers will trot out their tricks in brief visual bits, watched by earnestly faking-it movie "stars," few now recalled in the contemporary pantheon: Olsen & Johnson, the Ritz Brothers, Leo Carillo...
Meanwhile, more hideous outsized masks are sported, embodying movie stars too authentically famous to be roped into
"Crime must not pay" is one of the most debilitating rules the Hays Code imposed on Hollywood. It's relatively easy for a filmmaker to work around crazy bans on words ("pregnant"), body parts (gone, all those extreme-longshot buttocks) or gestures (Frank McHugh raises a finger in Parachute Jumper), but when a philosophical ideal is given the weight of narrative law, cinema is forced back into the nursery. The filmmakers operating under this draconian blue pencil developed devious skills to bypass rulings and imply rather than say the unsayable, and it arguably helped their craft, but at the same time, certain kinds of stories just become impossible to tell honestly.
And certain kinds of fun were ruled out too, like much of what happens in Sing and Like It, directed by the lightly likable William A. Seiter, who clocked up well over a hundred films,
Much of the film’s success must be attributed to the work of director Morton DaCosta and star Robert Preston. DaCosta directed Preston in the musical’s 1957 Tony-winning Broadway production, and insisted that his lead actor be cast in the 1962 cinematic adaptation, rather than the studio’s preferred star, Frank Sinatra. It’s impossible to imagine anyone but Preston in the role of “Prof. Harold Hill,” a charismatic con artist who seduces the simple citizens of River City, Iowa into financially supporting his
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