I'm watching this one pretty soon, and finding the trailer on YouTube has made me even more excited about finally seeing it!! Enjoy! :)
12.15.2009
12.11.2009
Hot Enough for June movie stills
On ebay I won some great original 8" x 10" glossy promotional photos from the American release of Hot Enough for June (strangely retitled for American audiences as "Agent 8/34") and they just arrived in the mail today!! I immediately scanned them, and here they are! :)
12.06.2009
Did you know....
Dirk Bogarde was cast as T.E. Lawrence in a 1950's biopic that never came to fruition.
Here is an excerpt from Bogarde's autobiography, Snakes and Ladders, which explains his enthusiasm about the part and ultimate disappointment when the film was called off.
"...Anthony Asquith arrived with a beautiful script by Rattigan on Lawrence of Arabia.
Although this could, under no circumstances, by termed Family Fun, to my delighted astonishment the Studio agreed. (Looking back from this distance it might just have been a ploy to shut me up.) This was to be no monumental epic, rather the straight-forward, if there could be such a term applied to such a man, story about Lawrence, starting in Uxbridge and ending with his still-unexplained death on the lovely country road to Clouds Hill. I had never, in my life, wanted a part, or script, so much. Asquith spent a lot of time helping me to put aside my very serious doubts about my ability, my physical resemblance (nil) and my acceptability in such a role. Locations were found and King Feisal offered us his entire army.
Mr. Davis insisted that an hour should be cut from the three-hour running time; this was reluctantly agreed to, and Script Conferences started daily, almost hourly. Wig fittings, costume fittings and intensive research now occupied my time entirely. I thought of nothing else but the man I was to represent, which was a word that Puffin Asquith and I agreed on mutually rather than the word "be". I could never "be" Lawrence, but we both felt that it could be possible to offer a portrait of the man to a public generally in ignorance of his stature. I read every book available on his work and life, wrote to his friends, received warm and encouraging letters in return, especially from Geoffrey Woolley who even sent me unpublished letters and a mass of deeply considered information, and quite lost my own identity in what the Americans call a period of total immersion.
So lost was I in preparation and absorption that I took little, if any, notice of what was going on around me: all I could think of was the strange blond wig which was slowly, and carefully, taking shape in Make-Up, and the probable starting date in the desert of April 7th. I didn't take any notice at all of what was happening about the Studios, which is why I was so completely unprepared for Olive Dodd's cool, impersonal, business-voice on the telephone on Friday, March 14th at six-thirty precisely to announce that "Lawrence" was now off...."
Here is an excerpt from Bogarde's autobiography, Snakes and Ladders, which explains his enthusiasm about the part and ultimate disappointment when the film was called off.
"...Anthony Asquith arrived with a beautiful script by Rattigan on Lawrence of Arabia.Although this could, under no circumstances, by termed Family Fun, to my delighted astonishment the Studio agreed. (Looking back from this distance it might just have been a ploy to shut me up.) This was to be no monumental epic, rather the straight-forward, if there could be such a term applied to such a man, story about Lawrence, starting in Uxbridge and ending with his still-unexplained death on the lovely country road to Clouds Hill. I had never, in my life, wanted a part, or script, so much. Asquith spent a lot of time helping me to put aside my very serious doubts about my ability, my physical resemblance (nil) and my acceptability in such a role. Locations were found and King Feisal offered us his entire army.
Mr. Davis insisted that an hour should be cut from the three-hour running time; this was reluctantly agreed to, and Script Conferences started daily, almost hourly. Wig fittings, costume fittings and intensive research now occupied my time entirely. I thought of nothing else but the man I was to represent, which was a word that Puffin Asquith and I agreed on mutually rather than the word "be". I could never "be" Lawrence, but we both felt that it could be possible to offer a portrait of the man to a public generally in ignorance of his stature. I read every book available on his work and life, wrote to his friends, received warm and encouraging letters in return, especially from Geoffrey Woolley who even sent me unpublished letters and a mass of deeply considered information, and quite lost my own identity in what the Americans call a period of total immersion.
So lost was I in preparation and absorption that I took little, if any, notice of what was going on around me: all I could think of was the strange blond wig which was slowly, and carefully, taking shape in Make-Up, and the probable starting date in the desert of April 7th. I didn't take any notice at all of what was happening about the Studios, which is why I was so completely unprepared for Olive Dodd's cool, impersonal, business-voice on the telephone on Friday, March 14th at six-thirty precisely to announce that "Lawrence" was now off...."
A scene from Accident
This is one of my favorite scenes from Accident, which I described in my post a few weeks ago. Dirk Bogarde's character, middle-aged and married, has a small uncomfortable crush on one of his students, played by Jacqueline Sassard. When he's asked to join her & another student on a little boat trip he reluctantly agrees. The ensuing trip is a combination of lovely cinematography, soft jazz and palpable awkwardness.
Pay special attention to the part when Dirk realizes the proximity of his hand to her thigh and clumsily repositions, tucking his hands under his armpits. The juxtaposition of his discomfort with the beauty and ease of everything going on around him is like gawky poetry.
Pay special attention to the part when Dirk realizes the proximity of his hand to her thigh and clumsily repositions, tucking his hands under his armpits. The juxtaposition of his discomfort with the beauty and ease of everything going on around him is like gawky poetry.
12.03.2009
Some photos from my latest scans
This one is my new favorite,
also my desktop background on my laptop.
also my desktop background on my laptop.
with Kay Kendall, one of his dearest friends
with Lilli Palmer
with director Joseph Losey
These were scanned by me from the book The Films of Dirk Bogarde.
These were scanned by me from the book The Films of Dirk Bogarde.
12.01.2009
Programming Alert
TCM = Today, December 1st = 3:00PM EST = So Long at the Fair
So Long at the Fair on TCMdb
So Long at the Fair on TCMdb
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