Bronxgirl48 wrote:Could we also include a Rod Steiger Alcove?
Oh, sure! Poor Rod is another one who always swung for the fences, even when the script was horrendous or his interpretation was a "tad" misguided. Usually, he's either a fine ensemble player (Doctor Zhivago, The Big Knife, etc.), really brilliant (The Pawnbroker, On the Waterfront, In the Heat of the Night, et al) or so wince-worthy he's hard to watch (your pick).
BTW, shouldn't we be making a blueprint for another actor whose career swung along another yin-yang pendulum? I think that we might find a few acolytes to worship at The Richard Burton Crevasse of Crap? After all, the same guy who was riveting in Who's Afraid of Virginia Woolf, Equus, and The Spy Who Came in from the Cold, also made some real whoppers (99% of the stuff with Liz, and my fave, The Bramble Bush, among far too many others).
BTW, I stuck with Two on a Guillotine
all the way through (okay, I fast-forwarded through the love scenes between Connie and Dean Jones...they were icky). I kept waiting for Cesar Romero to show up again--what a gyp! He was hardly in it. I forgot how slick and breezy Dean "Under the Yum Yum Tree" Jones could be before he got religion, and Connie, well....I think I have said enough about Ms. Stevens' thespian skills in past remarks about Susan Slade and Parrish. Cesar really deserved more, don't you think?
And Connie Gilchrist should have been in the whole
movie, not just a few mingy scenes. Near the beginning the movie looked pretty good to me when they read the will at The Hollywood Bowl (how did they arrange that one?)--and the divinely icy John Hoyt was the lawyer executing the will! Even Mr. Hoyt never showed up again. Grrrr.....