A treat: Lee and Dirk in The Vision, 1987

A thousand thanks to Colin for finding this - one of my Holy Grails - a 1987 BBC film with two of my top favourites, which was only ever shown once by the BBC and since unavailable. It is now on dvd, so thanks again Colin - just what I needed after a few days in hospital. 

Dirk Bogarde and Lee Remick head an outstanding cast (including Eileen Atkins and Helena Bonham Carter) in this powerful drama from the creative team behind SHADOWLANDS. Originally screened (in January 1988) as part of BBC2’s acclaimed Screen Two strand, THE VISION is a disturbing reflection on an era of televangelists, burgeoning satellite channels and ruthless media manipulation – quite timely then for 30 years ago.

Bogarde plays James Marriner, a faded, unhappily married for TV presenter, reduced to margarine commercials and opening supermarkets, who is persuaded to front The People Channel – a right-wing, evangelical satellite network poised to launch in Europe. Determined to recruit “Gentle Jim” as a reassuringly familiar anchorman, the network’s steely, seductive boss Grace Gardner (Remick) proves hard to refuse.

As the network’s first live transmission looms, Marriner – whose personal life is now under surveillance – has become deeply uneasy about its aims. Garner, however, makes it clear than any attempt to alert viewers to her organisation’s true agenda, will bring about a devastating retribution. 
Written by William Nicholson and directed by Norman Stone. 

Eileen Atkins (in another of her then Mrs Glum roles) is Bogarde's unhappy wife, and Bonham Carter their daughter, Dirk and Lee play perfectly together, at this late stage in their careers - almost their final work. I met them both (separately) at the BFI in 1970 (I was 24) and got to talk to them both, as per other posts on them (see labels). Its a great role for Remick, which she plays with relish and looks great here in her early fifties, a few years before her death in 1991. (We also saw Atkins on stage then as Elizabeth I in Bolt's VIVAT REGINA with Sarah Miles as Mary Queen of Scots).

I suppose it now too much to expect to get Lee's other BBC productions, SUMMER AND SMOKE in 1972 and Henry James' THE AMBASSADORS, with Paul Scofield, in 1977, finally on dvd too? - in the meantime, great to see THE VISION again, and it is so timely, even if the 80s technology looks so dated now.  Then there are Bogarde's other TV productions, like THE PATRICIA NEAL STORY with Glenda Jackson ...

Lists: those American dramas ...

Final List of the season - we are all listed out! After covering British, French and Italian favourites its now a return look at those great American dramas from the Golden Age of the 1950s and 1960s - the heyday of Kazan and Kramer,  Wyler and Wilder, Huston, Mankiewicz, Cukor, Minnelli, Nick Ray, Preminger, Brooks, Ritt, etc. and when American drama was ruled by the likes of Tennessee Williams, Arthur Miller, Eugene O'Neill, William Faulkner, William Inge etc. We have covered them in detail here before, so this is a quick roundup. Lots more at labels - particularly Tennessee Williams ,,, (below: NIGHT OF THE IGUANA)

We have to begin of course with those early Kazans; 

• A STREETCAR NAMED DESIRE
• ON THE WATERFRONT
  
• EAST OF EDEN
• A FACE IN THE CROWD
• Nicholas Ray's THE LUSTY MEN in 1952, a strong rodeo drama bringing out the best in Mitchum and Susan Hayward.(right) 
• More baroque Ray with his 1954 JOHNNY GUITAR - the first film I saw, aged 8. 
• Ray's REBEL WITHOUT A CAUSE of course, and Stevens' GIANT to complete the Dean hat-trick. 
• Cukor's 1954 A STAR IS BORN, the best musical drama ever
• THE BIG COUNTRY in 1958 is really a William Wyler drama which just happens to be set in the west. 
• CAT ON A HOT TIN ROOF
• SUDDENLY LAST SUMMER
• BONJOUR TRISTESSE
• SEPARATE TABLES
• THE NUN'S STORY
• ON THE BEACH.

Those 20th Century Fox literarary adaptations came thick and fast:

• THE LONG HOT SUMMER - Faulkner, 1958
• THE SOUND AND THE FURY in 1959 - Faulkner, Good cast: Brynner, Woodward, Leighton
• THE WAYWARD BUS - a long unseen Steinbeck from 1957, Jayne Mansfield and Joan Collins! Its a fascinating mess or Trash Classic
• SONS AND LOVERS - D H Lawrence gets the Fox treatment in 1960 ...
• SANCTUARY - another Faulkner misfire, from Tony Richardson in 1961 - Lee Remick and Yves Montand make the oddest team, but Lee shines ...
• HEMINGWAY'S ADVENTURES OF A YOUNG MAN - 1962, as per recent review. 

The 1960s upped the ranks with those new directors like John Frankenheimer, Arthur Penn, Robert Mulligan, while John Huston went on and on ....

• THE MISFITS
• ONE EYED JACKS - Brando's brooding western, 1961
• ALL FALL DOWN - a perennial favourite
• THE MANCHURIAN CANDIDATE
• SPLENDOR IN THE GRASS
• THE MIRACLE WORKER
• TO KILL A MOCKINGBIRD
• DAYS OF WINE AND ROSES
• LONG DAY'S JOURNEY INTO NIGHT
• THE DARK AT THE TOP OF THE STAIRS
  
• TWO WEEKS IN ANOTHER TOWN 
• THE STRIPPER
• NIGHT OF THE IGUANA 
• WHO'S AFRAID OF VIRGINIA WOOLF?
• REFLECTIONS IN A GOLDEN EYE
• SWEET BIRD OF YOUTH
• SUMMER AND SMOKE
• THIS PROPERTY IS CONDEMNED
• INSIDE DAISY CLOVER
• THE ROMAN SPRING OF MRS STONE 
• MIDNIGHT COWBOY.
  

Weekend treats ..... six from that fab year 1962

It should be in widescreen reallv....

Lee in London, continued ....

Many thanks to Colin for sending me these scans of a 1970s magazine feature on our favourite, Lee Remick, when she was living and working in London. Nice picture too of her with her (second) husband Kip Gowans (1930-2011).  Lots more on Lee (whom I had a nice meeting with in 1970, as discussed in previous Remick posts) and her time in London. She was on the cover of "Radio Times" three times for her work with the BBC. She met Kip when he was assistant director on her 1969 film HARD CONTRACT, a fascinating oddball thriller. They were married until her death in 1991, aged 55.

Two favourites: Lee & Kate

Two of our favourite ladies here are Katharine Hepburn and Lee Remick, and thanks to Daryl for sending me these two stills from their 1973 film A DELICATE BALANCE. I have used them before (see sidebar for that cover of "Films In Review" magazine), but lovely to see them again. 

I never saw Hepburn in person but got to meet Remick in 1970, as detailed before at her label, and also saw her on stage in London in BUS STOP in 1975. 

The story I have told before is that in 1957 when Lee was starting out she was up for the negligible role of one of the office girls in Hepburn's DESK SET with Tracy (the role played by Dina Merrill in the film). Kate advised her to take small parts to get noticed, but Spencer told her to hold out for a better role, which she certainly got in Kazan's A FACE IN THE CROWD that year - what a debut. Five years later of course they are both up for Best Actress in 1962, and a decade later played mother and daughter in the film of Albee's A DELICATE BALANCE, rather ignored at the time, but a real acting treat now.  Paul Scofield is marvellous here too as is Kate Reid, and they do Albee's play justice. Its one of Tony Richardson's better later efforts. (He also directed Lee in the 1961 SANCTUARY, a rare one we tracked down some years ago, as per review).  

Summer re-views: Lee and pals at Roddy's in 1965 ....

We have not done a Lee Remick post for a while either. Let's return to Roddy McDowell's home movies, now available to all on YouTube. I like this particular one where Lee looks marvellous in several closeups. Also enjoying the lazy Sunday at Malibu are Hayley Mills, Tuesday Weld, Suzanne Pleshette, Ricardo Montalban and more. 

Lee is in some of the other home movies as well, along with Lauren Bacall, Paul Newman, Julie Andrews (with naked toddler), Simone Signoret, James Fox (both filming in Hollywood then) and others. Can you imagine a group of actors in a situation like this today - they would all be tweeting and posting pictures of themselves with their celebrity friends - but back then it was a group of friends and co-workers enjoying a quiet sunday afternoon away from the studios, at Roddy's Malibu beach house. . See Remick label for more on these. 

Sadly, most of these are long departed now .....   Remick is with her then husband Bill Colleran who seems to be pestering her and being a nuisance, they later divorced before her re-marriage and move to London, and yes Martin, I will repeat that I had a nice meeting with her in 1970, as detailed at labels, and I also saw her on stage in London in BUS STOP in 1976.

We might now have to re-watch ANATOMY OF A MURDER, WILD RIVER, DAYS OF WINE AND ROSES or NO WAY TO TREAT A LADY ...

Marilyn by Lee & and that 1962 film that wasn't ...

Marilyn Monroe would be 90 this year. Yes, I know, its impossible to imagine her - or James Dean - being "old" now - they are forever young, preserved in amber in that Golden Age: the 1950s and early '60 for Marilyn. Would she have aged like her once room-mate Shelley Winters? Would he have aged like Brando ? 

What is astonishing now is looking once again at those test shots for the uncompleted 1962 Fox film SOMETHING'S GOTTA GIVE where she looks simply radiant and totally gorgeous - a new sleek. slim, svelte slimmed-down Marilyn for the new decade, a few months before that still mysterious death - compare with how chubby (by today's standards) she looked in the second half of the 1950s: in that skintight white dress she spends most of THE PRINCE AND THE SHOWGIRL in, those Orry-Kelly (see below) creations in SOME LIKE IT HOT, how her looks and weight varied in LET'S MAKE LOVE in 1960, or in THE MISFITS in '61 ... I like this pensive shot of her on set in that dress in 1962.

Here also is what remains of SOMETHING'S GOTTA GIVE, mainly Dean Martin and Cyd Charisse, and that pool scene which Marilyn did, her intention was to get Liz Taylor (shooting the wildly expensive CLEOPATRA in Rome) off the covers of the world's magazines - 
she certainly succeeded there. We still find those pictures and footage fascinating. Liz of course was getting a million from Fox while Monroe was still on her contract salary and this would be her final Fox comedy - it looks as if it would have been more fun than her last one, the rather dull and tedious LET'S MAKE LOVE ...  I somehow never wanted to see MOVE OVER DARLING, Fox's reworking of the material for Doris Day in 1963 ...

Right: MM and Curtis on the set of SOME LIKE IT HOT ....

Here too is that 1987 documentary hosted by our Projector favourite Lee Remick  (four years before her own death in 1991....) - maybe the best of the Monroe documentaries - fascinating seeing one star commenting on another and of course Lee, back in 1962, had been named as replacing Marilyn in the Cukor film - which it seems was a bargaining ploy to get Marilyn back - it was the only film Fox had in production apart from the ruinously expensive CLEO .... I have the video-cassette of the Monroe/Remick documentary, shame its not on dvd. 
Left: that Nov1962 issue of British TOWN magazine with some of those last photos of Marilyn on the beach at Malibu, shot by George Barris - more on these at MM labels. We love those photos here ...I had this magazine when I was 16, it now fetches astronomical prices on the internet, I have seen it on eBay for £100, or £299 on a vintage magazine site - luckily I snapped up another copy of it last year for £40 ! 

Christmas treats

TV is awash at the moment with Christmas movies - glutinous, sentimental TV movies - there are even whole channels devoted to them. I ignore all these -we will always want to see IT'S A WONDERFUL LIFE or MIRACLE ON 34TH STREET or even WHITE CHRISTMAS or MEET ME IN ST LOUIS (not a Christmas movie as such, as it covers all 4 seasons, but it does have that great Christmas song sung by Judy...). There are though one or two movies I discovered that are worth seeing, and starring some of our favourites here at The Projector.

I nominate CHRISTMAS EVE, starring Loretta Young and Trevor Howard, and THE GIFT OF LOVE: A CHRISTMAS STORY with Lee Remick and Angela Lansbury. And for a real movie, Spence and Kate in DESK SET (above) - which has a great long Christmas party scene. Roll them ...

Loretta was the great depression waif back in the 1930s and very prolific - 7 or 8 movies in 1933 alone. I love her in those Pre-Codes like MIDNIGHT MARY or the 1936 LADIES IN LOVE - as per revews at Loretta label. (The later Loretta became an Iron Butterfly and was less interesting). Here she is Amanda, a beautiful old lady in CHRISTMAS EVE, in 1986. Amanda is a wealthy widow at loggerheads with her banker son who is trying to remove her from control of the family firm as she persists in using real money to give to the poor and not tax-deducting it. Then it turns out Amada has a fatal illness [no sniggering at the back Martin Bradley!] with not much time left. When her doctor tells her, her reaction is "Well I never thought I was immortal". 
Her faithful butler is none other than Trevor Howard, also touching and frail here after his hell-raiser days. When she tells him of her condition and how he has to help her, as they go out every night helping the poor and homeless, is perfectly played by the two veterans. She decides to use her remaining time to re-unite her grandchildren with their father and bring the whole family together for Christmas Eve. Does it happen? It may sound gruesomely sentimental but it is anything but in the seasoned hands of veterans like Young and Howard and a good supporting cast. Directed by Stuart Cooper. Howard died 2 years later in 1988, aged 74 Young died aged 87 in 2000. 

Lee Remick and Angela Lansbury are paired again in the 1983 telefilm THE GIFT OF LOVE. (They were previously in THE LONG HOT SUMMER in 1958, and that 1964 Sondheim musical ANYONE CAN WHISTLE). 

After experiencing several stressful situations within a short time --including the failure of the family business and the loss of her mother-- Janet Broderick becomes ill. Falling into a deep sleep, she dreams of returning to her hometown, taking her children with her to meet her deceased loved ones. Perhaps, during a Christmas reunion with her beloved family, she will find the answer to coping with her troubles.

This is a glutinously sentimental story mainly in soft focus about a family facing hard times and the intervention perhaps of family ghosts... Lee is wonderfully attractive and fascinating as usual as the disillusioned wife whose mother Angela Lansbury dies after two scenes, but returns as Lee dreams most of the following with a visit to her old family home where mother and father and spinster aunt are all present. Its nicely resolved with her children and husband, and expertly put together by old hand Delbert Mann (MARTY, SEPARATE TABLES etc). It remains a superior telemovie though, we can watch Lee and Angela in anything. 

DESK SET is a pleasure now, as I posted here a year or so ago.. I like it a lot, maybe the best of the Tracy-Hepburns after WOMAN OF THE YEAR, ADAMS RIB, PAT & MIKE .... its from a talky play (by Phoebe and Henry Ephron) and the subject must have been topical back in the 50s - those new big computers coming in taking over office jobs. Like Fox's WOMAN'S WORLD it is also another great New York movie, and Kate and her office girls, led by Joan Blondell, are a great gang. Spence is amusing and droll too as they suspect he (and his new computer) is going to make them all redundant. Theres reams of dialogue, including that nice long scene on the cold office roof, and that one at Kate's apartment - another Apartment We Love - with its cosy fire, chairs and bookshelves. We want to live there!

Gig Young is Kate's on-off boyfriend - a task he previously played for Bette and Joan. There is a great long Christmas scene as the office party gets underway and Kate plays drunk nicely - she and Joan Blondell get nicely tipsy together, and Kate even sings "Night and Day". She is for once given a decent wardrobe of nice dresses and coats and looks great, particularly in that red coat and gloves.. DESK SET, directed by Fox regular Walter Lang, is a pleasure any time, and Leon Shamroy makes it look good. (As I mentioned before, the young Lee Remick was up for the small part played by Dina Merrill, as her first movie role, but she wisely opted for A FACE IN THE CROWD instead, making a sensational debut there). Its a Christmas treat, put it on. 

1962 again: Experiment in Terror

Back to one of our favourite years (I was 16 and seeing all these movies on the big screen) for a terrific, taut thriller: Blake Edwards' EXPERIMENT IN TERROR.  It has that early '60s vibe, its in glittering black and white (lensed by Philip Lathrop), it has a great Henri Mancini score, and it stars two dependables: our favourite, Lee Remick, and Mr Dependable - the oddly undercherished (these days) Glenn Ford. 

It starts with Kelly Sherwood (Remick) driving her thunderbird (or is it a cadillac?) though dark San Francisco - then she arrives home and is terrorised in her garage by the Mystery Man .... Kelly is a bank cashier and he wants her to steal $100,000 from the bank for him, or else she and her kid sister (Stephanie Powers) gets it, and she must not contact the police. He ups his game of terror but Kelly contacts the FBI - enter Glenn Ford as agent Ripley. 

There is no romance here - he is the guy on the case and she is the terrified victim. The plot twists and turns for all of its 1.58 running time to the exciting climax at a basebal game when the killer (who has managed to kidnap the sister) is finally cornered ..... Remick of course is marvellous and Glenn is his usual solid self. I liked it a lot. Lee said in her 1988 "Films In Review" interview, where she looked back at her career: "That movie still looks good. It's well made, tightly knit."

Lee, Blake and Mancini teamed again that year for the even better DAYS OF WINE AND ROSES - more on that at Lee labels 

"They are not long, the days of wine and roses ...."

I have a vivid memory of being 16 and watching DAYS OF WINE AND ROSES at my local cinema in 1962, and being entranced by that young couple up there on the screen, as they stand and look out at the water, before their descent into alcoholism .....

My friend Daryl has now sent me some stills from the film, so its a pleasure to post them here, as they are too little seen. 

Joe Clay is a top-notch public relations man. Anything a client wants Joe can arrange for them, whether it be dancing girls or an article in a prominent magazine. Part of the job however is drinking and Joe's ability to consume alcohol seems boundless. When he meets the very pretty Kirsten Arnasen, she prefers chocolate to alcohol but Joe has a solution to that in the form of a Brandy Alexander (made up of brandy and creme de cocoa). They eventually marry but their love is insufficient to prevent them from the downward spiral that alcohol brings to them. They try desperately to break the habit but continually relapse until only one of them manages to break free...

Lee Remick has always been a particular favourite of mine (I met her in 1970 and saw her on the stage in BUS STOP in 1976, as per Remick label) and she excels here and for my money should have won the Oscar that year for best actress - but the competition was fierce: apart from Katharine Hepburn and Bette Davis delivering iconic performances there were also those two powerhouse actresses Geraldine Page and Anne Bancroft (who won), 
but Lee captures perfectly the arc of the chocolate-loving secretary Karin who starts with Brandy Alexanders and is soon a hopeless drunk. Jack Lemmon matches her in one of his great performances - this and SOME LIKE IT HOT may be his best, I did not want to see a lot of his later stuff; whereas Lee Remick here and in ANATOMY OF A MURDER and WILD RIVER is at her best too. I have now seen most of her later work - she and Lemmon were re-united in 1980's TRIBUTE - 
see my review of a year or so ago at their labels, but that was a much lesser work. Charles Bickford is marvellous too as Karin's strict father, and that great scene of merrily drunk Lemmon looking for the hidden bottle and wrecking Bickford's greenhouse as he gets more and more out of control ..... Henry Mancini's great score sets the moods and that great theme song, with lyrics by Johnny Mercer is certainly a perennial. 

Blake Edwards was certainly on a roll in those early Sixties years, after dramas like MISTER CORY and comedies like THE PERFECT FURLOUGH (STRICTLY FOR PLEASURE) and OPERATION PETTICOAT, then the cult classic and popular perennial BREAKFAST AT TIFFANY'S he did that tense thriller EXPERIMENT IN TERROR, also with Lee Remick, in 1962 and followed that with THE DAYS OF WINE AND ROSES, and then the delicious first PINK PANTHER in 1963 ....

The Europeans meet the Bostonians ...

... but where are THE AMBASSADORS ?

It's the mid-nineteenth century.  Brother and sister Felix Young and Eugenia Munster were born and raised in Europe and have a somewhat bohemian lifestyle reflective of their travels throughout Europe. Felix, who has little money, is interested in painting and the arts. Eugenia is a baroness by marriage. They decide to travel to New England to meet their uncle and their three cousins, the Wentworths, who live just outside of Boston, and are highly puritanical, the uncle in particular. The Wentworths are somewhat suspicious as to the reason for their relatives' visit, but nonetheless the uncle puts them up in a neighboring house on their property. While Felix enjoys the company of his cousins - especially Gertrude - Eugenia is a bit more standoffish - is she looking for a new marriage to a man of means?

This all looks marvellous from the Merchant-Ivory team: director James Ivory, producer Ishmail Merchant and their regular scriptwriter Ruth Prawer Jhabvala. The Merchant-Ivory team did some interesting films, on tiny budgets, luring top notch casts with Ishmail's legendary cooking skills, starting with SHAKESPEARE WALLAH in 1965, THE GURU, BOMBAY TALKIE, HEAT AND DUST, the 1981 QUARTET (see Maggie Smith/Alan Bates labels) etc. THE EUROPEANS and THE BOSTONIANS are their two Henry James films before they, more successfully, moved on to E.M.Foster with the highly-successful (and still highly entertaining now) A ROOM WITH A VIEW in 1985 and gay classic MAURICE in 1987. HOWARD'S END and THE REMAINS OF THE DAY were other hits for them. I have been meaning to see one of their last productions, THE WHITE COUNTESS in 2005 - maybe I will save it for "some snowy night in front of the fire", I will have to go back to MAURICE too and see how that stands up now. They also returned to Henry James with THE GOLDEN BOWL in 2000.

Back to THE EUROPEANS in 1979. The look of the film is astonishing, with authentic looking costumes and hair-styles of the period. Being filmed in the New England fall helps too. Often costume movies feature clothes and hair-styles pleasing to today's sensibilities, but not here, some of those hair styles are positively ugly but seem suitably in period. The cast is the thing here - Projector favourite Lee Remick brings a lot of shade to the discontented Baroness, Tim Woodward is her brother, eager to stay with his relatives, particularly Lisa Eichorn (so good also that year in Schlesinger's YANKS) as Gertrude, while Wesley Addey is ideal as the stern head of the family. The story is interestingly worked out as the family and the sophisticated Europeans intermingle ....

The Baroness finds what she is looking for (money) but feels not enough passion from the man - Robin Ellis who admires her, but as she says  "I am admired in Europe" - perhaps she has tired of the staid community - she leaves but most everyone else finds exactly what they were looking for.

THE BOSTONIANS from 1984, on the other hand, is rather a hard slog, as we try to get interested in this obscure tale of a 19th-century Boston woman dedicated to the suffrage movement, who meets a faith healer's daughter Verena, a gifted orator, and tries to incorporate her into her movement, while  Basil Ransome, a Mississippi lawyer, also has eyes for the young woman.

Vanessa Redgrave (in an Oscar nominated performance) is luminous as ever as the wealthy Olive Chancellor, while Christopher Reeves catches the chauvinist who wants to marry the girl; does he see her as a trophy to wrest away from his distant cousin Olive? He makes it quite clear he wants to keep Verena at home, for his pleasure. They both try to gain control over the destiny of the spirited young woman. Battle is joined and for Olive the struggle with prove an odyssey that forces her to acknowledge her true nature - but does it? 
Is Olive a repressed lesbian or just a spinster who despises Basil and all he stands for? Verena (Madeleine Potter) is depicted as such a ninny and not that charismatic that it is hard to see what they see in her. The women get close but the lure of a handsme man proves too much for Verena, as Olive discovers she too can deliver a powerful speech. Jessica Tandy Nancy Marchand, Linda Hunt, Wallace Shawn and Wesley Addey again provide sterling support, I just wish I had enjoyed it more. Again it looks agreeably pleasing with interesting costumes and interiors. 

And THE AMBASSADORS? Not a Merchant-Ivory, but a BBC 'Play of the Month' from 1977, as I have written about here before - Lee Remick labels. This fascinating sounding Henry James adaptation with Paul Scofield, Remick, Delphine Seyrig and Gayle Hunnicutt was shown once, and does not seem available at all now, though other BBC costume dramas are available in BBC boxsets, like those Oscar Wilde dramas and the like. 
Henry James, like E.M. Forster, seems ideal for the cinema. We think fondly of the 1949 THE HEIRESS and its 1997 WASHNGTON SQUARE remake (with Albert Finney and Maggie Smith); and there have been several productions of THE ASPERN PAPERS. The BBC also did a GOLDEN BOWL, and of course THE TURN OF THE SCREW has been a great film (THE INNOCENTS - see Deborah Kerr label) and opera by Benjamin Brittan with the young David Hemmings as Miles. 

A cache of new old movie magazines !

I came across a fantastic website selling all kinds of vintage magazines, including lots of film mags, like "Films & Filming", "Sight & Sound", "Films Illustrated", "Film Comment" etc. As a magazine junkie from way back, this was too good to miss. My first consignment of 10 "Films & Filming" from the late '50s arrived a few days ago, in great condition, so its money well spent. I have the magazine's issues from 1960 onwards, but those '50s ones are marvellous too (it began in 1954, but of course all magazines have their day, and it  was finished by 1980 - I worked there for a year in the '70s and knew the owner and staff, and did some reviews for them myself, as per my other posts at F&F label).

I am getting another lot this week, a few more "F&F"s, two "Plays & Players" one with Bacall in APPLAUSE and the other with Jonathan Pryce as HAMLET in 1980, both of which I saw, on the covers), and 5 early "Sight & Sounds" also from the early 60s, with Belmondo, Christie, Lee Remick etc on the covers, .... so, lots of nostalgic catching up.

There is another Italian issue here too, with features by Fellini on his forthcoming LA DOLCE VITA, and by Antonioni also ...

Another fascinating feature is a three-page piece on Ingrid Bergman (back in big movies again in 1958) by no less than Kenneth Tynan.

It also ran a monthly feature 'Person of Promise' and these particular magazines feature Lee Remick, James Garner, Gena Rowlands and Renato Salvatori among other up and coming players. Other Persons of Promise I remember were Tony Perkins and Jane Fonda. Some of the Persons (Dolores Michaels, Patricia Owens) though did not last very long ...
This is their rather nice feature on Lee Remick, in August 1958:

.

"Lee Remick looks like a nice girl, yet she has the most sex-appeal I've ever seen turned loose on the screen" says THE LONG HOT SUMMER's producer, Jerry Wald. Director of SUMMER, Martin Ritt, adds: "She is the most exciting new personality I've seen; she jumps at you from the screen". And to round off the quotes on the bright Miss Remick, Orson Welles quite simply says: "... she's the greatest".

Lee Remick made her film debut eighteen months ago as the drum-majorette bride of Lonesome Rhodes in Kazan's A FACE IN THE CROWD. Her second film THE LONG HOT SUMMER is at present making the rounds in Britain. Her work in Kazan's CROWD won her critical recognition, although she was seen for only ten minutes on screen. In SUMMER, after studio executives had seen the rushes, she was given star billing. Lee Remick is a name to conjure with.

Born in Boston, she and her brother, Bruce, were the two children of a successful department store owner, Frank Remick. When his only daughter decided on a stage career, papa did not object - in fact he went as far as financing her dramatic and dancing lessons. After schooling at Thayerland College, she went to Miss Hewitt's fashionable institute of learning. The plays that Miss Hewitt chose for her students to exercise their dramatic abilities on were also fashionable, but little else. Lee longed to have a stab at the real thing.

She graduated to Barnard College, and theatricals took on a more professional tone. After months of training she went into the American equivalent of repertory: summer stock. On tour, she appeared with Rudy Vallee in JENNY KISSES ME, with Art Carney in THE SEVEN YEAR ITCH, and singing and dancing in PAINT YOUR WAGON. 

On her sixteenth birthday, in December 1953, Lee arrived on Broadway as Lois, in BE YOUR AGE. To put it mildly, the play was a colossal flop. Then she went into TOP MAN, which also folded in double quick time. Forsaking the stage for television, she appeared in many of the top dramatic shows. 

20th Century Fox have ambitious plans for the new girl on the lot. Her name has been mentioned for the lead role in THE JEAN HARLOW STORY, which Fox plans to make later this year. And she is set for THESE THOUSAND HILLS, and for astute producer Wald in THE BEST OF EVERYTHING. 

Well, thank goodness Lee did not get tarnished with those Harlow films, and of course those big roles kept coming with ANATOMY OF A MURDER, WILD RIVER, DAYS OF WINE AND ROSES etc. - as per other posts here, at Remick labels. After her parents divorced, she became a Park Avenue girl, as her mother moved to New York. Another Remick interview I quoted from had her telling of her first meeting with Hepburn and Tracy, when she was up for a small part in DESK SET; 6 years later she and Hepburn were both competing for the Best Actress Oscar in 1962 (the year Anne Bancroft won), while a decade later they played mother and daughter in the 1973 A DELICATE BALANCE, also reviewed here.

And the magazine website: 

http://www.tilleysvintagemagazines.com/source/gallery.php?
gallery=FILMS%20AND%20FILMING&menuchoice=magazines&menuletter=F.