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screamscenepodcast · 8 months

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Universal tries to copy Roger Corman with THE LEECH WOMAN (1960) directed by Edward Dein and starring Coleen Grey, Grant Williams, Phillip Terry and Gloria Talbot.

Context setting 00:00; Synopsis 14:00; Discussion 23:18; Ranking 36:28

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francavillarts · 4 years

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ESTELLE HEMSLEY

Sharing the role of Malla with Kim Hamilton, Estelle starrred in one of the latest classic @UniversalHorror and one of the first Horror movies where black characters had a more prominent part in the story: THE LEECH WOMAN (1960). #BlackHistoryMonth #BlackHorrorMonth #Day4

#Estelle Hemsley #Black History Month #Black Horror Month #Black Horror #The Leech Woman

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thejewofkansas · 4 years

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TAKE A GIANT STEP Review - **½

TAKE A GIANT STEP Review – **½

I’m not sure what blue jeans have to do with it. As far as I can recall, the characters’ taste in pants never comes up at all.

Take a Giant Step had previously been on the fringes of my radar, mainly due to it being a Globe nominee for Supporting Actress (much more on that shortly), but after Johnny Nash passed away earlier this week, I decided to actively seek it out. Having done so, I can’t…

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#50s films #Beah Richards #Estelle Hemsley #Film Reviews #Frederick O’Neal #Johnny Nash #Julius J. Epstein #Louis S. Peterson #Philip Leacock #Ruby Dee #spoilers #Take a Giant Step #tw Hitler mention #tw racism

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oldshowbiz · 6 years

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Estelle Hemsley was a respected lady of the stage who appeared in a handful of films including Edge of the City (1957), Take a Giant Step (1959), The Leech Woman (1960), America America (1963), and Baby the Rain Must Fall (1965).

#Estelle Hemsley #character actors

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brianfrench1995 · 3 years

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📺NBC Primetime, October 22, 1988:

— ‘227’

— ‘Amen’

— ‘The Golden Girls’

— ‘Empty Nest’

#marla gibbs #marvin hagler #jackee harry #227 #sherman hemsley #amen #estelle getty #the golden girls #empty nest #nbc #martin mull

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kafkasapartment · 5 years

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Baby the Rain Must Fall (Columbia, 1965). Steve McQueen, Lee Remick, Don Murray, Paul Fix, Josephine Hutchinson, Ruth White, Charles Watts, Estelle Hemsley, and Glen Campbell. Directed by Robert Mulligan.

#posters #Drama #movies #cinema #1960s #steve mcqueen #lee remick #graphic design #grafik #grafico

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brokehorrorfan · 5 years

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The Leech Woman will be released on August 27 via Scream Factory. The 1960 horror film was released theatrically on a double bill with The Brides of Dracula. Extras will be announced at a later date.

Edward Dein (Curse of the Undead) directs from a script by David Duncan (The Time Machine). Grant Williams, Coleen Gray, Phillip Terry, Gloria Talbott, John van Dreelen, Estelle Hemsley, Kim Hamilton, and Arthur Batanides star.

Hoping to discover the secret to eternal youth, Dr. Paul Talbot (Phillip Terry) drags his long-suffering wife, June (Coleen Gray), to follow him to Africa. When captured by natives, they witness the shocking – and imminently marketable – metamorphosis of one of the old women into a young girl. But this "magic" is short-lived ... and, as the Talbots soon learn, requires a male sacrifice!

After Talbot forces his wife to make the transformation, she turns the tables on their tortured marriage and heads back to New York, a voluptuous recreation of her former self. But her beauty cannot last ... at least not without a healthy supply of male victims!

#the leech woman #leech woman #scream factory #grant williams #coleen gray #dvd #gift #phillip terry #the brides of dracula #brides of dracula #60s horror #1960s horror #mystery science theater 3000 #mystery science theater

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badgaymovies · 7 years

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America, America

BBBBB (out of 5) After a decade of scintillating stage and literary adaptations, director Elia Kazan turns to more autobiographical material with a beautifully wrought film that might just be his masterpiece. Himself born to a Greek family in Istanbul, Kazan tells the tale of his uncle who, in the late nineteenth century, conceived of the dream to leave the turbulent poverty of his village and…

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raynbowclown · 7 years

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The Leech Woman

The Leech Woman (1960) starring Coleen Gray, Philip Terry, John Van Dreelen, Grant Williams Reviewed by: The masked reviewer In The Leech Woman, Dr. Paul Talbot (Philip Terry) is searching for the perfect formula to make women look younger, when an elderly woman named Malla (Estelle Hemsley) comes claiming to be 140 years old. She also claims to know the secret to reverse aging, but the…

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#Coleen Gray #Estelle Hemsley #Gloria Talbott #Grant Williams #John Van Dreelen #Kim Hamilton #Philip Terry

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papermoonloveslucy · 6 years

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TELEVISION ACADEMY HALL OF FAME

“The First Annual Television Academy Hall of Fame Awards”

March 4, 1984 ~ NBC

Directed by Dwight Hemion

Written by Buzz Kohan

This award's mission is to recognize "persons who have made outstanding contributions in the arts, sciences or management of television, based upon either cumulative contributions and achievements or a singular contribution or achievement."

The honorees received glass statuettes in the form of two ballet dancers created by sculptor and painter Pascal called “Discipline of Creation.” The trophies were tall and difficult to handle so they were not presented during the course of the ceremony itself.

With that in mind, since 1988, inductees have received a crystal television screen atop a cast-bronze base designed by art director Romain Johnston.

Being the first such telecast, the rating were poor. The special lost not only its time slot but the entire evening with just a 16 share and a 10 rating. ABC's TV remake of A Streetcar Named Desire won the night with a 39 share and a 23.1 rating.

Just as Carol Burnett introduces Lucille Ball in this first ceremony, in 1985 the roles were reversed when Lucy introduced Burnett for the honor.

Of the other participants in this initial outing, Steve Allen was honored in 1986, Eric Sevareid in 1987, Barbara Walters in 1989, Jean Stapleton in 2002, Bea Arthur in 2008, and Sherman Hemsley in 2012.

Although Lucie Arnaz is announced in the opening credits, she did not appear in the telecast due to a prior obligation.

Cold Open Archive Footage

*Milton Berle (“Texaco Star Theatre”)

*Lucille Ball (“I Love Lucy”: “Lucy Goes to the Hospital”)

Vivian Vance (“I Love Lucy”: “Lucy Goes to the Hospital”)

William Frawley (“I Love Lucy”: “Lucy Goes to the Hospital”)

Desi Arnaz (“I Love Lucy”: “Lucy Goes to the Hospital”)

Ethel Merman (“Ford's 50th Anniversary”)

Mary Martin (“Ford's 50th Anniversary”)

Rod Steiger (“Marty”)

Richard M. Nixon (Checkers Speech)

Edward R. Murrow (“See It Now”)

Ed Sullivan (“The Ed Sullivan Show”)

The Beatles (“The Ed Sullivan Show”)

Walter Cronkite (“CBS Evening News”)

Carroll O'Connor (“All in the Family”)

**Rob Reiner (“All in the Family”)

Sally Struthers (“All in the Family”)

Jean Stapleton (“All in the Family”)

LeVar Burton (“Roots”)

Larry Hagman (“Dallas”: “Who Shot JR?”)

*also appeared live on stage

**also appeared live in audience

Also in the Audience

Gary Morton

Ted Danson

Rue McClanahan

Bill Macy

Ann Jillian

Sherman Hemsley

Isabel Sanford

Henry Winkler

Honorees and Hosts

Barbara Walters (Ceremony Host)

General David Sarnoff (posthumous), hosted by Barbara Walters

Sarnoff died in 1971 so his award is accepted by his son, Robert Sarnoff.

Lucy Connection: Walters interviewed Lucille Ball and Gary Morton in 1977.

Milton Berle, hosted by Steve Allen

A video tribute traces Berle's career and shows some of his classic comedy bits over the years.

Lucy Connection: Berle and Lucille Ball appeared many times together on his show and hers. Steve Allen interviewed Lucy Whittaker in “Lucy Calls the President” and was often host and panelist when Lucille Ball was on “What's My Line?” and "I’ve Got A Secret.”

William Paley, hosted by James Arness

A video tribute tracks Paley's career as a television pioneer to being the President of CBS.

During Paley's video tribute, a still frame from “I Love Lucy” is shown.

In the audience, Paley is sitting behind Lucille Ball.

Although the ceremony was broadcast on ABC TV, there was no attempt to lessen mentions of CBS and its programming.

Lucy Connection: Paley also appeared on television to tribute Lucille Ball in “CBS Salutes Lucy: The First 25 Years” in 1976.

Lucille Ball, hosted by Carol Burnett

The segment begins with a clip of “Lucy Goes To the Hospital” (ILL S2;E16) which starts with Lucy announcing: “Ricky. This is it!”

After the clip, Desi Arnaz Jr. enters and explains how his birth coincided with the birth of Little Ricky. Desi says that his sister Lucie couldn't attend because she is appearing on stage back East in The Guardsman. The show was produced at New Jersey's Paper Mill Playhouse also starring Lucie's husband Laurence Luckinbill. It was hoped that the show would transfer to Broadway, but this did not happen.

Desi Jr. introduces Carol Burnett.

A cut-away to Lucille Ball in the audience reveals that she is holding back tears at her son's tribute. Gary Morton sits beside her. Carol tells of how Lucy came to the second night of Once Upon A Mattress on Broadway.

A video tribute tracks Lucy's childhood in Jamestown to her unlikely breakthrough television series “I Love Lucy.” Clips are from “The Audition” (Lucy as The Professor), “Lucy Does a Television Commercial” (“It's so tasty, too!”), “Hollywood at Last!” (at the Brown Derby), and “Job Switching” (“Speed it up!”).

Lucy: “We all know we never do anything alone.”

Lucille Ball gets a standing ovation both walking to the podium and then again back to her seat. Cuts to the audience, show stars like Ann Jillian dabbing their eyes at Lucy's tearful acceptance speech.

Lucy Connection: Lucy and Carol Burnett were each others biggest fans. They alternately appeared on each others television shows, as well as numerous specials and awards shows.

Paddy Chayevsky (posthumous), hosted by Bob Fosse

A video interview with Chayevsky talks about his producing television dramas like “Marty”.

Eddie Albert and Peter Falk pay tribute to Chayevsky by acting out moments from his most notable work including Marty, The Tenth Man, and Network.

Susie Chayevsky could not be there to accept the award for her husband, so Fosse reads a message from her.

Chairman of the Academy John H. Mitchell takes the stage to talk about the Hall of Fame.

Lucy Connection: The following year Fosse and Ball were both part of “Night of 100 Stars II.”

Norman Lear, hosted by Beatrice Arthur

In a pre-taped segment, Jean Stapleton talks about the craft of acting which leads to a montage of scenes from “All in the Family” starring Carroll O'Connor, Rob Reiner, Sally Struthers, and Stapleton.

Bea Arthur talks about Norman Lear and quotes Paddy Chayevsky talking about Lear. Arthur starred in “Maude” a spin-off of “All in the Family.”

A video segment traces Lear's personal and career history. It includes clips from “Mary Hartman, Mary Hartman,” “All in the Family,” “Fernwood Tonight,” “One Day at a Time,” “Maude,” “Good Times,” and “The Jeffersons.”

Lucy Connection: Bea Arthur played Vera opposite Lucille Ball in the feature film Mame (1974). The two went on to appear together on “CBS On The Air” in 1978.

Edward R. Murrow (posthumous), hosted by Eric Sevareid

Sevareid talks about his personal and professional relationship with Murrow.

A video segment talks about Murrow's war reporting. Moments from his show “See It Now” are seen.

Murrow's wife Janet accepts the award.

Lucy Connection: Murrow and his show were parodied on “The Ricardos Are Interviewed” (ILL S5;E7) as “Face To Face” with Edward Warren.

“The Seventh Annual Television Academy Hall of Fame Awards”

September 23, 1991 ~ NBC

Honorees

Desi Arnaz (posthumously)

“I Love Lucy”

Leonard Bernstein

James Garner

Danny Thomas

Mike Wallace

Special Appearances

Lucie Arnaz, daughter of Desi Arnaz

Laurence Luckinbill, husband of Lucie Arnaz

Desi Arnaz Jr., son of Desi Arnaz

Amy Arnaz, wife of Desi Arnaz Jr.

Lucie Arnaz and Desi Arnaz Jr. were misty-eyed as they accepted the honor for their father. The brother and sister recounted how their own childhoods were reflected on their parent's show when the "Little Ricky" character was introduced.

Vintage footage of "I Love Lucy", including snippets from the pilot, and other moments from the careers of the honorees were shown at the ceremony held at the Regent Beverly Wilshire Hotel.

"I Love Lucy" producer Jess Oppenheimer's widow Estelle and original writers Madelyn Pugh-Davis and Bob Carroll Jr. accepted the award for the CBS show. It was the first show ever inducted into the Hall of Fame.

In 1994, Disney's Hollywood Studios in Orlando, featured an outdoor exhibition of statues and plaques dedicated to Hall of Fame winners. The exhibit was removed in 2016 and the statues and busts returned to the Academy.

“The 21st Annual Television Academy Hall of Fame Awards”

March 1, 2012 ~ NBC

Hosted by Jon Cryer

Honorees

Mary-Ellis Bunim and Jonathan Murray, “The Real World”

Michael Eisner, Disney Executive

Sherman Hemsley, “The Jeffersons”

Bill Klages, Lighting Designer

Mario Kreutzberger, aka “Don Francisco”

Chuck Lorre, writer

Vivian Vance and William Frawley (posthumous)

Doris Singleton (“I Love Lucy”) inducts Vivian Vance.

Barry Livingston and Stanley Livingston (“My Three Sons”) induct William Frawley

From 1960 to 1965, Frawley appeared on “My Three Sons” as Uncle Bub Casey.

Barry Livingston made two appearances on “The Lucy Show” as Arnold Mooney.

With this ceremony, all four main characters on “I Love Lucy” and the show itself are in the Television Hall of Fame.

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doomonfilm · 3 years

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Thoughts : Take A Giant Step (1959)

Digging through the Criterion Collection library is always a wonderful experience, and it’s bolstered by the fact that they offer curated collections on a nearly daily basis. Recently, a collection of Ruby Dee films popped up, and while investigating, I discovered a film by the name of Take a Giant Step. What really caught my eye was the fact that, in 1959, the film had an all Black leading cast, an extreme rarity for the time, which made it a fitting choice for my Black History Month docket.

Spence Scott (Johnny Nash) is expelled from school after a History class discussion over the Civil War turns into a standoff between himself and the mostly White class. After walking out of class, Spence is caught in the restroom smoking a cigar, which ultimately leads to his expulsion. Frustrated, Spence heads home just in time to see Christine (Ruby Dee), the Scott’s housekeeper, out before his Gram (Estelle Hemsley) comes downstairs to console him. Spence slips out of the house before his parents, Lem (Frederick O’Neal) and May (Beah Richards) Scott, return home, and with bag in hand, Spence heads out with intentions of taking care of himself. After a couple of less than ideal encounters, however, Spence returns home to face the music, but things only worsen as tensions rise within the family and issues pile up.

Watching Spence attempt to navigate the educational and social ills he was born into due to his parents’ attempts at bettering themselves stands as a metaphor for the greater struggles that many Black men and women face in the shadow of generations of mistreatment, and the frustration these chains that emerge from the past can cause. Spence continuously tries to extend bridges to his young friends from other cultures, sometimes in spite of how his Gram feels, but it becomes immediately apparent that Spence does so with a sense of indignation that he is no longer unable to hide by the time he is introduced to us. The divide between Spence and his parents makes things more difficult because, despite their similar end goals, their journeys could not differ more, but the built in hierarchy of respect that is implied makes communication flow one way.

There are echoes of Long Day’s Journey Into Night in terms of how frank the film is with its subject matter, although Take a Giant Step predates Long Day’s Journey. While racism and oppression are at the forefront of the story, the film presents unflinching looks at underage drinking, prostitution, infidelity and other social norms that were often swept under the rug at the time. Even Lem, Spence’s father, opts to handle his missing son on his own rather than involve the police, a sentiment that seems to still stand in the Black community. Seeing the relationship between Spence and Gram depicted on the screen is one of the earliest presentations of generational connections in the Black community that I can remember, and in turn, it makes the loss of Gram sting for the viewer the same way it does for Spence. There is no effort made to sugarcoat or dance around death and despair, but the film also smartly chooses not to dwell on these things or wallow in them, staying true to its initial narrative trajectory.

For a film that is nearly 65 years old, the cinematography is surprisingly modern, with a very kinetic camera that allows characters to explore the fullness of the spaces and locations in which the story takes place. Though based on a play, the film is adapted well enough to break the confines that normally come with this evolution by building a sense of a much bigger world not limited to minimal locations. While the score is present enough to give viewers emotional cues, it manages to stay out of the way of the monumental performances viewers are blessed with. All in all, the film is quite technically proficient, but in a way that makes it an overall strong film rather than a story enhanced by bells and whistles, which in turn, gives it a bit of a timeless feel despite its dated look at its subject matter.

At only 19 years old, and with a world of fame yet to unfold for him, Johnny Nash really and truly stepped up to the plate in a role that required him to state some extremely tough truths and observations with the kind of conviction that could put a Black man in danger at the time, and all the while, he still maintains a youthful innocence. Estelle Hemsley provides the most beautiful wisdom and honesty to Nash’s Spence, as well as infinite amounts of patience in a depiction of some of the most trying times, and a frankness that comes with experience. Frederick O’Neal embodies the monumental struggle that comes with advancing up the corporate ladder as a Black man, trying his best to be dignified in a cesspool of stress, while Beah Richards finds herself stretched thin by the multi-directional pull that comes with raising and worrying for children in a vengeful society. Ruby Dee stands as the anomaly of the cast as she straddles the fence between outsider (due to her service role) and confidant (due to her character’s equal sense of isolation to Spence) with effortless grace. Pauline Meyers, Royce Wallace and Frances Foster bring real world energy to the film with their hustles and struggles, which is offset by Ellen Holly’s attempts to exude joy in the face of personal defeat and acceptance of a less than ideal life. Appearances by Sherman Raskin, Frank Killmond, Joseph Sonessa, Dell Erickson, Dee Pollack and William Walker fill in the gaps.

Using DOOMonFILM as a way to explore the roots of Black films has been a truly rewarding experience, and it’s directly due to finding films like this. Take a Giant Step has quite a bit to say about the frustrations that emerge from systematic racism, but even taken out of that framework, it could be celebrated for just how forward-thinking that it is. Many fans of film who feel that the past was always given a rose-colored tint would be pleasantly surprised to find out that honesty of this level existed in films prior to the 1960’s.

#ChiefDoomsday #DOOMonFILM #PhilipLeacock #TakeAGiantStep #JohnnyNash #EstelleHemsley #FrederickO'Neal #BeahRichards #RubyDee #PaulineMeyers #RoyceWallace #FrancesFoster #EllenHolly #ShermanRaskin #FrankKillmond #JosephSonessa #DellErickson #DeePollack #WilliamWalker

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thejewofkansas · 4 years

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AMERICA, AMERICA Review - ****

AMERICA, AMERICA Review – ****

“Come on, you. Let’s go, you. People waiting.”

For many years, America, America was quite hard to find; it was one of the only films I knew of, especially after 1960, to have been nominated for multiple major Oscars (Picture, Director, and Screenplay), and to have been the work of a major director—Elia Kazan—which remained so obscure, and so elusive. When it was finally released on DVD on…

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