Day 15 & 16 - Groucho Marx & Jimmy Durante

Today I decided I needed some humor, so I'm going to write about two legendary comedians both born before 1900 - the old time, vaudeville and Broadway veterans, Groucho Marx and Jimmy Durante.  Maybe these two don't have too much in common, but they both made America laugh for decades, often playing the older, wise-cracking hams.  Even moreso, each one entertained on stage, on screen and on television, and used their unusual looks to set themselves apart.

Groucho Marx

Groucho and  his brothers broke into the entertainment business through vaudeville and early Broadway (then 5 brothers, Groucho and Harpo, Chico, Zeppo and Gummo).  While Gummo left the act, the other four went into film and became one of the most successful comedy teams of all time.  But it was Groucho who was the clear leader of the group, the guy with the huge eyebrows, greased mustache and big glasses.  Even off-stage, Groucho was known to always have that attitude of one-liners.  Arguably an intelligent man, Groucho's comedic timing is legendary and the basis of many other comics that came after him.  Whether as the President of Freedonia (Duck Soup, 1933) or wagging his eyebrows over the secret word in his game show You Bet Your Life (1950 - 1961), Groucho could make just about anyone guffaw.  Often his jokes were so rapid-fire and wrapped up in their own wit that if you didn't listen carefully, you'd miss the punch line, like this one:  "Time flies like an arrow.  Fruit flies like a banana."

Groucho in between wisecracks in Double Dynamite (1951, RKO)

Born in 1890, Groucho was as much a writer as an actor, but he could also think on his feet and ad-lib unlike anyone else.  His age only added to his presence, joining the ranks of folks like George Burns (ironically enough, both comics actually played God in different films) and my next person - Jimmy Durante.

Jimmy Durante

Jimmy Durante also made his mark both on radio, on screen and on television.  He wasn't as razor-sharp tongued as Groucho; instead he was more that funny old gent you'd always talk to in the butcher shop or down at the Legion Hall.  He's much more the guy next door, but much much funnier.  And Jimmy could laugh at himself too, calling himself "Schnozzola" for his very large nose.  Jimmy also sang too, and recorded several hits.  I think his characteristically scratchy but warm and familiar voice seemed a lot like a grandfather you would always love to see.  Part of that was probably portrayed through his famous recording of "Young at Heart."   

Jimmy Durante teaches Frank Sinatra that the "Song's Gotta Come from the Heart" in It Happened in Brooklyn (MGM 1947)

I think Jimmy Durante could also make anyone laugh.  If Groucho was all about wit, Jimmy was all about heart.  In his real life, Jimmy lost his first wife Jeanne in 1943 and married his second wife, Marjorie, after a 16 year courtship.  Unable to have children, they adopted a baby girl, Cecilia, on Christmas Day in 1961, when Jimmy was 68 years old.  Jimmy needed to go to court for the adoption, as he was past the age limit required by law.  But despite the regulations, the judge looked at Jimmy and said "how can I tell the man who recorded "Young at Heart" that he's too old?"  And no one could have loved a child more, as Jimmy's affection for his family was evident in every interview and appearance.  It makes you wish you could have had him as part of your family too, big nose and all.

What I love about these two timeless comedians is the laughter they brought to so many for so long.  Groucho never wanted to be a dirty comic and as such, never used a word of profanity in his act.  And Jimmy Durante, well, how could you not love the guy who popularized such a cute song as "Inka, Dinka Doo"?  Very different styles of comedy, but both titans of talent, both Groucho and Jimmy deserve much longer posts, and I encourage you to go and watch some of their old material.  Your stomach will ache from laughter afterwards!

Day 13 & Day 14 - Bob Hope and Bing Crosby

I know I've been running a bit behind this month with my posts, so I hope you'll forgive another joint entry.  This time, in keeping with the crooner-comedian theme started by my post on Dean Martin & Jerry Lewis, I thought I'd turn to the old pros (that's on and off the golf course) - Bob Hope and Bing Crosby.  Judging from what I've heard and talked about with my friends, everyone in my generation still knows who both these guys were, though not many knew about their series of films together, known generally as "the Road" pictures.  What worked so well in these films (aside from the fabulous Dorothy Lamour) was the great timing between these two guys.  Bob naturally took on the role of the comic, often playing characters that appeared unintelligent, but that cutting wit belied his role.  Bing played the smooth-operating (and smooth-crooning!) partner who had all the ideas and usually got the girl.  These real life best friends brought so much of their humor and amazing talent to their films that it is no wonder they are classics today.  The Road to Morocco (1942) is my favorite and the one with the very best theme song.  What's great about it is the interplay between the film and breaking that fourth wall - Bob and Bing step out of character regularly to talk directly to those "people out there in the dark" and we love it.  Here's what I mean:

Bob Hope: A fine thing. First, you sell me for two hundred bucks. Then I'm gonna marry the Princess; then you cut in on me. Then we're carried off by a desert sheik. Now, we're gonna have our heads chopped off.
Bing Crosby: I know all that.
Bob Hope: Yeah, but the people who came in the middle of the picture don't.
Bing Crosby: You mean they missed my song?

Publicity still from TCM - Bob, Dorothy and Bing from Road to Morocco (Paramount 1942)

Bob Hope

Bob Hope became a household name early in his career, not just because of his time on the radio or early movies like his first, The Big Broadcast of 1938, where he sang "Thanks for the Memory," which became his theme song.  Bob Hope was also known for his personal appearances and for  hosting the Oscars 18 times.  More than that, was his unwavering dedication to supporting America's Armed Forces, touring with the USO from WWII all the way through the Gulf War to entertain and bring joy to those serving our country.  He holds the Guinness Record for the Most Honored Person, and it's not a surprise.  Among his honors are a Navy ship and an Air Force plane both named after him, not to mention that he is the only person that Congress ever named an honorary veteran.  And another great record?  At the time of his death in 2003 (at age 100!!), he and his wife Dolores held a record for the longest Hollywood marriage, at 69 years.

Bing Crosby

Bing Crosby would've been a millionaire on his voice alone.  His recordings and time on the radio made his first career as a crooner, there even before a young kid from Hoboken arrived on the scene, though not by much.  Back in the 40's, there was even a "Battle of the Baritones" between Crosby, Sinatra and Rudy Vallee.  You could probably argue all day and night over who was the best singer, but Crosby didn't stop there on his list of talents.  He broke into films in the thirties and, fun fact, as the singing cowboy craze took off with Gene Autry, his studio put him into a Western too - Rhythm on the Range (1936).  Bing strikes me as a lot of things, but certainly not a cowboy.  He could best pull off that high society type of role, which he perfected in the remake of The Philadelphia Story called High Society (1956).  He played Cary Grant's role of C. K. Dexter Haven, while being teamed up with fellow crooner and competitor, Frank Sinatra (who played Jimmy Stewart's role of Macauley Connor).  Bing also shined in more serious roles, most notably as a priest in Going My Way (1944) or an alcoholic actor in a sinking marriage in The Country Girl (1954).  His Christmas specials were well-watched and his song, "White Christmas" (yes, it will always be his song), was the #1 bestselling single for over 50 years.  As much of an easy-going guy as he was, he did have a reputation for being a difficult father, even earning him the name "Daddy Dearest."  But personal life aside, Bing's contribution to the entertainment world was just as monumental as Bob's and I'm sure years down the line, we'll still be listening to his recordings.    

Keeping up with all these stars has been a challenge, and while I could write an awful lot more about both of these guys, I'm sure their own legends are already well known.  So I'm signing off now, so good night and thanks for the memories!

Day 12 - Jimmy Stewart

Last year I took on the challenge to watch and review 100 films.  I succeeded by only a few hours, but made it (you can see my full list of films on the right column of this blog).  The last one was It's a Wonderful Life, which I know is a staple for most families around the holidays.  I think the major appeal of the film is that everyone can empathize with George Bailey, so wonderfully played by Jimmy Stewart. 

Jimmy Stewart was a very talented actor despite his distinctive, not always so charming, voice.  He couldn't pull off the high society or incredibly debonair roles like Cary Grant, nor could he always play the rough and hard-bitten cowboy loners like John Wayne.  Jimmy was too likable and too much like the guy you know next door.  He embodied the everyman unlike any other actor, with Tom Hanks being his only true successor.  What I love about Jimmy Stewart is this exact quality - when he gets beaten down, we feel it because we've been there.  When he comes back up on top, we cheer because we can see ourselves rising to the occasion with him.

Jimmy Stewart's enormous talent allowed him to explore many different types of roles with one major exception - he never played a bad guy.  Well, except for once in a very early film (After the Thin Man, 1936), but we won't discuss that.  Stewart teamed up with Frank Capra in 1938 and started on his big-time success with You Can't Take it with You.  From then on, Stewart became one of the biggest stars of all time.  And I bet you didn't know this, but when America entered into WWII, Jimmy Stewart was one of the first actors to join the Armed Services.  Well, he would have been one of the first, but his lanky frame put him into the "underweight" category a few times.  He kept trying and eventually joined the Army Air Corps.  He remained active within the Corps even after the war, putting in enough flying time to keep his certification and eventually rising to the rank of Brigadier General.  I think Stewart's dedication to the Armed Forces helped bolster his image as the American Everyman Hero.  During the war, your sons and daughters could have been flying right alongside of him.  Now that's someone to admire.

A drunken Connor (Stewart) carries an even drunker Tracy (Hepburn) back from a late-night swim in The Philadelphia Story (MGM 1940)

 Stewart brought a sense of honesty and wholesomeness to all of his characters, even to the tough and onery ones he played in later Westerns.  I could probably list all of his best roles, but this post would be too long, so here are a few highlights (I've already reviewed The Shop Around the Corner and It's a Wonderful Life - please check those out too!)

1. The Philadelphia Story (1940)  Jimmy Stewart plays cynical reporter Macaulay Connor, who is sent to spy on society gal Tracy Lord's (Katharine Hepburn) wedding.  As much as he hates the high and mighty, he winds up falling in love with her and causing all sorts of inebriated trouble.  I love how he can get that jaded side down pat while still finding hope in the end.
2. Harvey (1950) What can you say about a man who co-stars with a giant white rabbit that only he can see?  Darned good acting, that's what.
3. Rear Window (1954) Arguably one of Hitchcock's best films, I think this may be my favorite Jimmy Stewart/Hitchcock film.  The entire film rests on how Stewart creates his character - as Jeff, we only see what he sees and witness what he witnesses.  It's an amazing film and extra wonderful because Grace Kelly is at the height of her career.
4. Vertigo (1958)  Just love it.  Jimmy manages to go from a pretty normal guy to one completely obsessed with a woman.  Kind of like how he plays Harvey - that slip into madness isn't hard to believe.
5. The Man Who Shot Liberty Valance (1962) is a fantastic tribute to the dying art of the classic Western.  It's full of the old mythic types and the underlying sadness that the true heroes are often those who remain nameless and unknown to history.  Interesting fact - John Wayne is arguably in one of his most perfect roles, but director John Ford did not want to cast an unknown or any actor of lesser legendary status to be Wayne's character's adversary (in the role of bright and hopeful young tenderfoot lawyer, Ransom Stoddard).  So the role went to the only other actor at the time that was just as well loved and well known as Wayne - Jimmy Stewart.  Yes, he looks a bit too old for the part, but as a fan of both actors, it's difficult for me to pick a side, so I can't imagine how it was received back in 1962.         

Sadly there are some films of Jimmy's I have yet to see, most embarrasingly, Mr. Smith Goes to Washington (1939), which I've seen most of, just not in its entirety.  Not only can he play the idealistic young congressman, but he can pull off all the classic roles too.  I mean, who else could have played Charles Lindbergh (The Spirit of St. Louis, 1957) and Glenn Miller (The Glenn Miller Story, 1954)?  Who else could be as great in a Western as in a comedy or a Hitchcock thriller?  Jimmy Stewart strikes me as an easygoing boy next door who turned into the all-American hero.  He had a natural talent and simple charm, not to mention a great sense of humor (no, really, you should look up some of his appearances on the Dean Martin Variety Show - his impression of Bette Davis still kills me!).  But no matter what, he will always be our beloved George Bailey.       

Day 9 - Maureen O'Hara (Found the draft!)

I've been a fan of Westerns since high-school, when I started watching movies featuring Dean Martin (yes, the Italian crooner made an excellent cowboy).  While I could write a book about the Westerns of the 30's, 40's and 50's, I won't bore you to death talking about them here.  Westerns have come and gone out of fashion, but it interests me when they are popular and what they reflect about the time in which they were made.  One of the common complaints I hear about older Westerns is the portrayal of women - that they aren't strong and have no depth.  That is true, unfortunately, in many Westerns, but really it's also true in films of certain periods regardless of genre.  One of the reasons Westerns get so much of a bad reputation is because in many ways, the characters are just stand-ins for mythic types.  It goes deeper than male-female, it extends to individual-society and wilderness-civilization.  The other point I'd argue is that there are some strong female characters out there if you know where to look.  I've already written about Westward the Women, and some of the women in the old Gene Autry films.  But if I had to pick one actress who really nailed it, that would be Maureen O'Hara.

Ms. O'Hara's flaming red hair not only added to her individual beauty, but matched her fiery personality too.  She met Charles Laughton in London while just a fledgling actress, and he was quite taken with her talent.  He brought her to Hollywood with him, where they made The Hunchback of Notre Dame (1939) and no one has been a better Esmeralda since.  She soon made a huge success of her role in How Green was My Valley (1941), her first picture with notoriously demanding director John Ford.  The two would team up for several films, and O'Hara would become known for her on-screen chemistry with Ford favorite, John Wayne.  I really admire the grit with which O'Hara acted - no one could have pulled off her tough act and hold her own against such a macho leading man.  What comes to mind especially is her role in Rio Grande (1950) - the estranged wife of Kirby Yorke, Kathleen (O'Hara) is the only force which can tame her husband - not to mention put him in his place.

Maureen O'Hara giving someone the look (The Quiet Man, Republic Pictures 1952)

O'Hara stayed true to her Irish roots (she was born in Ranelagh, in County Dublin, Ireland) when she and fellow Irish-Americans Ford and Wayne finally got the funding together to film The Quiet Man (1952).  It's probably her most well-remembered role, that of spinster turned wife Mary Kate, who refuses to obey her husband until he forces her brother to pay her dowry.  If you haven't seen this film yet, you definitely should for the following reasons:

1. John Wayne makes a convincing romantic lead (surprise!)
2. Maureen O'Hara is AMAZING.  Both demure and proud all at once, she can curse a blue streak but remains a perfect lady.  AND she speaks in Gaelic! 
3. Many Ford stock company actors and actresses appear here - the difference is that most of them actually are Irish, so they seem very much at home.  When he made Westerns, it's a bit odd to see them all just conveniently all at the same fort.  But in a small town in Ireland, not a big surprise.
4. Did I mention it was almost entirely shot ON LOCATION?  
5. Ward Bond plays a priest.  Yes, I'm giggling at the thought.
6. At the time of release, the film boasted the longest continuous fist-fight on screen at something like 16 or 17 minutes.  
7. Um, did I mention Maureen O'Hara is amazing?

Maureen O'Hara is so great in so many films that you really should try to see at least one.  In fact, you may have already seen her and not even realized it, though with that unmistakable red hair and iron will, she'd be pretty hard to forget.  A true leading lady who could stand shoulder to shoulder with some of the toughest men in the business, Maureen O'Hara always brought a sense of self-reliance and strength to her roles, along with a timeless beauty and old-world charm.

Day 11 - Ben Johnson

I haven't been aligning my entries with the actual stars chosen for the Turner Classic Movies program this month, but today I am breaking that because my absolute favorite cowboy finally got his own day of programming - Ben Johnson.  Now, I know most of you are probably thinking, "who the heck is Ben Johnson?!" but I tell you, he is a treasure in film history.  Ben (yes, I refer to him as Ben) is that guy, that third cowboy on the right in all those old Westerns you knew and loved as a kid.  His voice is always his dead giveaway because of his pronounced Oklahoma cowboy drawl.  You might even think he's putting it on, but once you watch him, you know he isn't even acting.  That's just him.

Ben as Tyree talking to his horse, Laddie, in She Wore a Yellow Ribbon (RKO 1949)

Ben is often described as a "genuine" cowboy and I think this adjective is the perfect one for him.  Ben started out as a cowboy and died a cowboy.  But he got into Hollywood when Howard Hughes came through and hired him to help lead a herd of horses through Arizona to Hughes' movie location.  I've heard lots of stories of how it really happened, but the one I read from an interview with Ben was that Hughes had a prize stallion that he didn't want to get hurt.  Well, one day during shooting, all the horses started to stampede together, including the stallion.  Ben hopped up on his pony and went after the horse, lassoed him and got him out of the rush so fast, Hughes knew he had to put Ben in a Western.  Pretty soon others started noticing how Ben added a natural presence to create a more "believable" Western.  What could make a cowboy more convincing than to cast one that had actual, hard-earned saddle sores?  Ben was also a stuntman, as his background made a lot of that work easy for him.  That didn't mean he didn't have his limits - he and Harry Carey Jr. both had to learn how to ride "Roman style" (standing up with feet on separate horses's backs) for the film Rio Grande.  They worked hard at it and fell an awful lot.  Battered and bruised, the team finally succeeded only to be met with something like "their stunt doubles did a great job!"  Nope, that was really them!

Since I can't really contain myself, here are some of my favorite Ben Johnson films and why I love each one:

She Wore a Yellow Ribbon (1948): Ben was only supposed to have a minor role in this film, but he manages, with his drawl and his good humor, to steal every single scene he's in.  Here he plays Cpl. Tyree, a rider in the US Calvary post Civil War, who has a reputation for being the best point rider because of his super sharp eyesight.  His repeated (and hilarious!) line, "that ain't in my department" is always delivered with that deadpan attitude that makes even John Wayne, his commanding officer, smirk.  What's more, Ben also did the most dangerous stunt in the film - on the run from the renegade Indians, he jumps his horse over a narrow canyon (see below).  According to Ben, what you couldn't tell from the film was that the canyon was 70 feet deep and a heck of a lot scarier than it looks!

Ben and his horse are just a blur!

Rio Grande (1950): Ben has a bit of a larger part, still playing a guy in the US Calvary named Tyree, but this time he's wanted for murder (self-defense!) and is only running in order to give his sister (the girl at the center of the feud-turned-murder) time to get out of town so her name wouldn't be run through the mud.  It's a pretty noble thing to do, so Tyree gets help from the other members of the Army unit, including straight-laced rule follower Lt. Col. Kirby York (again, John Wayne).  You can't help but root for Tyree, who coined the phrase, "Get it done, Johnny Reb!"**  Seriously, though, Rio Grande is one of the best Westerns of all time and you should definitely see it!  Fun fact too - the song that Ben, Harry Carey Jr., and Claude Jarman (who plays York's son) sing in this film was actually written by Dale Evans!

Wagonmaster (1950) I've already mentioned, but I have to say again, Ben finally got to play the lead!!  He makes a great hero in this movie, very convincing as the reluctant but tried-and-true cowboy.  He doesn't want to get involved, but knows it's the right thing so he does.  And does again.  It's this dual desire to be the individual, off from society while also wanting to protect society (women, children, Mormons who need a guide) and be a part of it.  Ben does a great job bringing both of these conflicting desires together; maybe it's his very nature of being in films without wanting to be an actor.  Ford often referred to this as his favorite Western and sadly people just don't watch it enough today.  (Except miracle of miracles - TCM is finally showing it tonight!!!!!!!!!)   

Chisum (1970)  An aging cowboy, Ben plays James Pepper, the foreman of the massive cattle ranch owned by John Chisum (John Wayne) during the Lincoln County Land War.  It's an entertaining enough movie, featuring Billy the Kid and Pat Garrett as well, but I have to tell you, when you watch, make sure you turn up the volume for all of Ben's lines.  Pepper mumbles to himself a lot, so you'll probably miss most of his lines, but I guarantee you they are worth hearing.  Ben fits this profile so well you can almost see his old roles in Rio Grande having turned into this one.  Plus he gets to be the only person to tell John Wayne exactly what's what: "Way I see it, all this speechifyin', store-keepin', prayer-meetin' don't amount to spit in the river.  There's only one thing that's going to make this territory know who's bull of the woods.  And you know it."     

Ben was also great in The Train Robbers (1973), Junior Bonner (1972), The Sugarland Express (1974), and My Heroes Have Always Been Cowboys (1991).  He was also in The Wild Bunch (1969), but I'm not a big fan of that movie and I hate that Ben plays a bad guy with no redeeming value (and not enough screen time).  I've also been meaning to see him in Hang 'Em High (1968) and a few others.  And thanks to TCM today, I've got several lined up on my DVR!  I also need to re-watch Angels in the Outfield (1994) because Ben got to play the team's owner, Hank Murphy, who was very much based on real-life founder and first owner of the Angels - the one and only Gene Autry.

 Left: Ben in his Oscar-winning role!!  (Columbia Pictures, 1971)


I think what sets Ben Johnson apart for me is his honesty.  He never considered himself a movie star, or even an actor.  He just read the lines like he'd normally do and that was about it.  But over the years the parts became scarcer, until Ben was finally offered a role in Peter Bogdanovich's The Last Picture Show (1971).  The only problem was that Ben hated all of the foul language in the script - to him, that kind of cussing wasn't necessary and he sure wasn't going to use it.  So he and Bogdanovich struck a deal - Ben was allowed to rewrite his lines to remove the language and he in turn gave one heck of a great performance.  So good, in fact, that he won an Oscar for Best Supporting Actor, despite the fact that his character, Sam the Lion, only appears in about 20 minutes of screen time.  Ben did such an amazing job creating this character that sort of acts as a father or grandfather for everyone in this small, dying town in 1951 Texas.  He's the town's moral compass and he affects the lives of everyone there.  Fun fact too - Sam the Lion owns the town's movie theater and in several scenes you can see the film posters out front.  The first one you see is a little in-joke - it's Wagonmaster, Ben's first (and only real) starring role.  

But you know what, that Oscar didn't mean half as much to him as the one award he worked so hard to earn - the title of World Rodeo Champion in Roping.  There's even a charity rodeo tournament that Ben helped set up in his name.  Really I could just go on all night about this guy, but I'll try to wrap this up.  Ben Johnson captured the spirit of the American West because he was the last of the true cowboys.  His own honesty and humility may never have brought him much fame on the big screen, but it kept him true to his roots as a hard-working horse wrangler.  I think that to watch Ben is about the closest most of us will ever get to seeing a "genuine article" of a figure so ingrained in the mythos of America.  I could build Ben up to be the embodiment of so many ideals and a legend on screen, but I know he would hate that, so I'll just end by saying that in everything he did, he was a top hand and the world is an emptier place now that he's no longer out riding the range.          

**P.S. Catherine, when I say "Let's go, Alamo!", it's actually one of Ben's lines to his best friend in this movie.

Day 10 - Shirley MacLaine

I am still trying to recover my notes from yesterday's post, but as today is Shirley MacLaine day on TCM, I decided to just go ahead and plunge into the next entry.  What's ironic is that I don't even like Shirley MacLaine, but I'm not sure why.  Maybe it was the kind of ditzy, mettling sorts of roles she sometimes played or the rumors of her trying to break up Dean Martin's marriage, but who knows if that was even true.  Even if you don't know Shirley MacLaine from some of her roles on film, you probably recognize her name from all of the air-time she logged talking about her past lives.

Right now I'm watching Some Came Running (1958), which I've always liked for Frank Sinatra and Dean Martin's acting.  What I didn't know is that Shirley MacLaine received her first (of six) Oscar nominations for her role as a not-so-bright, loose woman who follows Dave (Sinatra) from Chicago to his hometown of Parkman, Indiana after a one-night stand.  Even though he tries to get rid of her, she keeps showing up, and her ties to the Chicago mob eventually bring all sorts of trouble and eventual tragedy.  Shirley MacLaine acts as a counter to Dave's other love interest: intelligent, conservative school teacher Gwen French (Martha Hyer).  The two women, both in love with Dave, have the most touching conversation in the film about love.

The kooky Shirley MacLaine in Steel Magnolias (MGM 1958)

The more I think about her, the more I start to admire Shirley's roles.  Not only did she break out in Some Came Running, but she went on to shine in films like Billy Wilder's The Apartment (1960), The Children's Hour (1961), Irma la Douce (1963), Two Mules for Sister Sara (1970) and Steel Magnolias (1989).  She also starred in one of my guilty-pleasure comedies, What a Way to Go! (1964), where she played Louisa May Foster, a woman who married Dick Van Dyke, Paul Newman, Robert Mitchum and Gene Kelly.  Maybe what keeps Shirley MacLaine so interesting in these films is her ability to play a kook or an annoying neighbor (like Steel Magnolias) and still manage to portray a sense of vulnerability.  You don't know if you should take care of her or write her off as a nutcase.

So not all movie stars are ones we all love, but they each have their own followings.  And while I don't like MacLaine in some films, I do enjoy watching her in others.  Are there any stars that you both like and dislike?

Day 9 - Maureen O'Hara

Due to some computer issues, my entire post for today was erased.  Please check back again tomorrow. :(