About the 20th time I’ve seen The Lion King, but the second time in theaters and the first time in THREE-DEE (Katy commented that in the rainy scenes it seemed like it was raining inside the theater – otherwise the 3D didn’t add much). During the whole Hakuna Matata scene (and a few others) the Book of Mormon song “Hasa Diga Eeebowai” ran through my head, but I restrained myself from bothering Katy with it, since she was 15 again and reciting all the lyrics and dialogue along with the movie. Didn’t realize Rowan Atkinson played the king’s bird assistant Zazu. Jeez, IMDB lists 29 writers.
This post has been released under the Movie Journal Amnesty Act of March 2011, which states that blog entries may be short and crappy, since I am too busy to write up proper ones.
Machete (2010, Robert Rodriguez)
I loved the Machete fake trailer in Grindhouse, but felt R.R. was stretching the joke too far by making this. It didn’t get stellar reviews, so I skipped it in theaters. Oops. So wonderful, probably better than Planet Terror. Baddies Robert De Niro, Steven Seagal and Jeff Fahey all get brutally killed, along with Cheech Marin and about two hundred others. I don’t know how Rodriguez stays on the cool/fun side of the campy comic-action tightrope, instead of stumbling like Sukiyaki Western Django or falling clear off like Tokyo Gore Police. Dude is good.
Hatchet 2 (2010, Adam Green)
Ugh, a boring waste of time. Good for you if you make a self-aware, post-Scream horror movie full of fun references, movie veterans and tons of humor and gore. But boo on you for throwing away all accumulated goodwill on an obvious rehash sequel. Boooooo.
Frozen (2010, Adam Green)
Watched to give Green another chance after Hatchet II. Full of “why don’t they try…” and “why wouldn’t they just…” moments, and I thought the cinematography was boring, but the story and acting are undeniable… quite a good little horror flick.
In the Mouth of Madness (1994, John Carpenter)
When bad horror gets me down, I like to watch this again. It’s clunky at times and likes to montage itself (each cool shot is shown three times or more) but Sam Neill is great, and it’s one of few horrors I’ve seen that takes its Lovecraftian apocalyptic premise all the way to a satisfying conclusion.
Barres (1984, Luc Moullet)
A whole movie about dodging payment in the Paris subway – only 15 minutes long with no spoken dialogue. Cute and instructive. Told myself I’d finally check out Moullet but this is all I’ve gotten to so far.
Beauty and the Beast (1991, Gary Trousdale & Kirk Wise)
Watched with Katy. What’s this new cleaning song doing in here? Must all Disney movies have a cleaning/work song?
The Clash: Westway to the World (2000, Don Letts)
A member of Big Audio Dynamite makes an interview film with some concert footage about The Clash. Very conventional, would’ve rather read The Clash’s wikipedia page and watched a full concert DVD.
Marty (1953, Delbert Mann)
The TV version from that rad Criterion DVD. I enjoyed Mann’s smooth Jimmy Stewart voice on the DVD commentary. He died two years before the DVD came out. A big shot in television through the early 50’s, he started working in cinema beginning with the film version of Marty, reaching the heights of a Cary Grant/Doris Day rom-com in ’62, then by the early 80’s he came back full-time to TV. Written by Paddy Chayefsky, acclaimed for this and Network, and also surprisingly the author of Altered States.
I’m still not clear on the kinescope process – so it was a camera aimed at a TV screen during broadcast? And this was done by the network, not by some enthusiast at home with a proto-VCR setup? And it was set up for time-shifting to the west coast? How did they get the film developed and send it to LA in an hour? Is the kinescope the reason why lateral camera moves make the movie suddenly looks like I’m watching it inside a cylinder?
“Girls: Dance with the man who asks you. Remember men have feelings too.” Marty is bored, has no luck with ladies, finally meets one who is his own speed. Meanwhile his mother is worrying over him and his aunt is moving in and his friends are telling him to forget the girl. Will love conquer all? Yes. A very small-scale but wonderful movie.
Rod Steiger would go on to star in Run of the Arrow and In The Heat of the Night, and more importantly, as the warmongering general of Mars Attacks!. He was recast as Borgnine in the feature film, but his mother and aunt made the cinema transition – the mother (Esther Minciotti) also played mother to Cornel Wilde and Henry Fonda in Shockproof and The Wrong Man, respectively. I had to subtitle her thick accent at times on the DVD here.
Parks & Recreation season 1
Now maybe I’ll be able to remember who Amy Poehler is, even though I’ve seen her in four movies. Also good to see Aziz again after Human Giant, but this was surprisingly not too funny/brilliant a season. Things have already picked up at the start of s2, so hopes are high.
Lars/Real Girl’s well-meaning brother Paul Schneider is low-key ladies’ man Mark. Nick Offerman of The Men Who Stare at Goats is mustachioed manager Ron. Bored receptionist April is Aubrey Plaza, a minor hostile character in Scott Pilgrim vs. the World. Poehler’s new friend Ann is Rashida Jones, the lawyer (?) who talks to Mark Zuckerberg after-hours in The Social Network, and her boyfriend Andy is Chris Pratt of nothing I’ve seen yet.
Saxondale season 1
Steve Coogan plays less of a buffoon than usual, actually kind of a bright and capable guy. He’s not super classy though, an ex-roadie for various rock groups turned independent exterminator with anger management issues, with a new young assistant whom he and his wife Mags (Ruth Jones of Little Britain and Nighty Night) somewhat adopt. Not a masterpiece of a show, but a happy diversion with some sharp comic bits.
The only season of Michael & Michael & David Wain’s show. Once I learned to tolerate how awful and stupid it is, I started to appreciate its stupid, awful, brilliant sense of humor. Or maybe I’m just stupid. Still to see: Michael & Michael Have Issues and rival series Wainy Days. Plus I never watched Reno 911, and maybe Viva Variety will come out on DVD some day.
Flight of the Conchords season 2
The Mighty Boosh season 2
These two are currently competing for best musical comedy series of the decade. Metalocalypse doesn’t stand a chance. Conchords may have the edge, because the music in Boosh season 2 was less prominent and awesome than in its first season.
I think I liked it better than Katy did, but then, she’d seen The Princess and the Frog so I had lower expectations – the most recently-produced Disney animated movie I’d seen was Atlantis (and before that The Lion King). Didn’t find it as edgy and Shrek-like as the poster and trailer promised (which is a Good Thing), just a perfectly-paced, well-animated classic adventure story.
Backstory: the kingdom’s magical rejuvenating flower is used to heal the pregnant queen, so her daughter’s hair takes on the flower’s powers. Evil stepmom witch kidnaps the young princess so that the hair will keep her forever young (by that logic, why doesn’t Rapunzel’s own hair keep her from growing past the age of five?) but Rapunzel yearns to escape in order to see up close the lanterns released in the kingdom each year in memory of the missing princess. That accounts for the classic fairy-tale part, then the thief, a royal guard’s white horse, Rap’s pet chameleon, and the tough bar patrons who wish to be mimes represent the hyperactive post-Aladdin Disney.
Actors: I didn’t recognize Southland Tales star Mandy Moore as Rapunzel, nor the Voice of Chuck as the thief, nor Doc Ock’s wife in Spider-man 2 as the old witch, nor Ron Perlman as the thief’s twin thug associates, nor Pixar regular Brad Garrett, nor Jeffrey Tambor, etc, etc.
Pedigree: One of the directors did Bolt, the writer worked on Cars, and supervising animator Glen Keane (the Family Circus author’s son), who sounds like the main man behind the look of the film, has been a Disney guy since the 70’s.
Cute movie, actually one of my favorite Disney cartoons. That’s probably because I first saw it when I still liked Disney movies (age 10-ish) and didn’t see it again when I was sick of them (age 12-20). Watched it this time because I’ve been listening to Roger Miller albums on repeat all autumn and I never realized he played the troubadour narrator rooster and contributed songs to this movie. Miller has three original songs, Johnny Mercer wrote one, then there was a crappy love ballad which of course is the one that got oscar-nominated (and easily beaten by “The Way We Were”).
I thought Robin and Little John had a fight on a log but that must’ve been the Errol Flynn version. And I was expecting King Richard’s appearance at the end to be dramatic, a la Sean Connery in Prince of Thieves or Patrick Stewart in Men in Tights, but his scene got deleted for being frightening to children, so he only appears in epilogue. Lots of talk of death and hangings for a kids movie.
Director Wolfgang was a Disney animation lifer, from early 30’s shorts through feaures in the late 70’s. Robin is Brian Bedford (Grand Prix) – he doesn’t get his name on the poster like Tom Hanks in Toy Story. Former bandleader Phil Harris as Little John sounds annoyingly close to his Baloo. Andy Devine (Friar Tuck) was in Stagecoach and The Man Who Shot Liberty Valance. Monica Evans was in The Odd Couple, abruptly disappeared from the movies after voicing Maid Marian. Pat Buttram (heh), a western actor in the early 50’s, has the most memorable voice in the movie as the Sheriff. The oft-awarded Peter Ustinov (Lola Montes, Spartacus, Logan’s Run) is the prince (and the king) and famously gap-toothed comic Terry-Thomas (Danger: Diabolik, Bachelor Flat) is his snake assistant.
The Country Cousin (1936, Wilfred Jackson)
A Disney Silly Symphony. Country mouse loves all the expensive food in the city, but isn’t fond of cats, cars or roller-skaters so he hauls ass back to the country. Includes an extended drunky joke. It beat a Popeye cartoon and an MGM jazz short of racial caricatures.
The Milky Way (1940, Rudolf Ising)
Finally someone other than Disney takes the prize. Disney wasn’t even nominated – competition included the first Bugs vs. Elmer short and the first Tom & Jerry cartoon.
The Cat Concerto (1946, Hanna & Barbera)
Won the oscar despite allegations that the story was ripped off from W-B’s Rhapsody Rabbit, beating a George Pal puppetoon about John Henry, a Woody Woodpecker musical, and early appearances by Chip ‘n Dale and Foghorn Leghorn.
For Scent-imental Reasons (1949, Chuck Jones)
“Ahhh, le belle femme skunk fatale!”
The greatest sexual predator in the cartoons makes his fifth appearance. This beat a piece John Hubley made for UPA
which I’d like to see.
Gerald McBoing-Boing (1950, Robert Cannon)
Gerald makes noises, is shunned, finds his place and everyone learns a valuable lesson. Beat out a Mr. Magoo cartoon (also from UPA) and one of my favorite Tom & Jerrys.
Toot, Whistle, Plunk and Boom (1953, Ward Kimball)
Full-on Disney animation plus outlines and photographs. I’ve seen part of this on those Disney Sing-Along Songs tapes that Trevor played on repeat for two years. The history of musical instruments in ten minutes. Possibly my favorite of all the oscar shorts so far, though I’ll bet it’s not widely played because of the racial stereotypes on display.
The first CinemaScope cartoon, originally released to accompany Fantasia – should be a required classic. Tough competition: Chuck Jones, UPA, Donald Duck and Ted Parmelee’s awesome The Tell-Tale Heart.
When Magoo Flew (1954, Pete Burness)
Ridiculous picture (and not always in a good way) complete with weird self-referential ending and a crabby complaint about television. Maybe Tashlin was hiding under a desk somewhere. Not a big Magoo fan, don’t know how this beat a Tom & Jerry mouseketeer short, tweety bird, Disney and Tex Avery. Dig the Ted Parmelee reference in the screenshot.
Speedy Gonzales (1955, Friz Freling)
This one doesn’t have the line I remember about wanting to get the cheese but being too lazy, but it does have the line “he’s a friend of my sister” / “Speedy is friend of everybody’s seester!” Another no-longer-politically-correct classic. Surprisingly beat the Hanna/Barbera holiday classic Good Will To Men and an acclaimed Tex Avery piece.
More 16mm screenings from Clay, Halloween-themed this time. Clay showing seasonal shorts reminds me of Robyn Hitchcock’s halloween show where he joked that since he’s only playing songs about ghosts and death, nearly half his catalog is disqualified.
The Skeleton Dance (1929, Walt Disney) was the first in the Silly Symphonies series, with good music-visual sync, but too much repeated animation. No spoken/sung dialogue, wordless skeletons playing in a cemetery until the sun comes up.
Runaway Brain (1995, Chris Bailey) is an excellent, fast-paced Mickey Mouse short with a mad scientist voiced by Kelsey Grammer, beaten for an academy award by Wallace and Gromit. Seems like nobody around me had heard of this before.
The Tell-Tale Heart (1953, Ted Parmelee), animated with some abstract imagery, overlapping shots and sharply-drawn characters. Has a deservedly high reputation, but beaten for an oscar by Disney’s Toot Whistle Plunk and Boom.
Betty Boop’s Hallowe’en Party (1933, Dave Fleischer) – always great to see a Betty short. Her party is pretty tame – kids bobbing for apples and singing like the birdies sing (tweet, tweet tweet) – until a bully shows up and she attacks him with her secret cache of ghostly evils. Full of amazing animation and visual ideas, beautifully synched to the music. I gotta get me a whole pile of these cartoons someday. I asked Wikipedia when the apostrophe disappeared from “hallowe’en” but it didn’t know.
Naturally the show was also full of TV episodes and classic commercials – Count Chocula vs. Franken Berry, of course, also a kids vehicle that looks suspiciously like the Wacky Wheel Action Bike (“you can’t ride it! you can’t ride it!”) and an awesome PSA warning kids to stay away from blasting caps.
Of the TV shows, we’ve got a Popeye the Sailor episode where an evil robot-popeye robs banks, the adventures of Goodie the Gremlin, who helps people invent the steam engine, airplanes etc. instead of tormenting people like the other gremlins want, a Spider-man episode where Green Goblin gets his hands on a book of voodoo spells, and a hilarious, surreal episode of Ultraman (featuring benign fluffy chattering Pigmon monster in a recording studio, giant plumed lizard monster with heat-seeking feather missiles, and the usual bonkers dialogue). Then the lower-tier corny garbage shows: a cartoon Sinbad the sailor, some dimwit monster who shoots smoke out of his head, Beany and Cecil meet the invisible man (1962, produced by a post-Warners Bob Clampett) and a Hal Seeger-created short called Batfink, in which BF and his dim pal Karate fight a magician.
Some selections from the Treasures IV avant-garde set – just the ones from the 1950’s, so they’re all post-Desistfilm but pre-Mothlight.
Eyewash (1959, Robert Breer)
Flickers and movements, accurately titled. Saw this at the Anthology way back when. Think I prefer A Man And His Dog Out For Air over this. Includes a whole alternate version with (most of?) the same scenes in a different order.
Aleph (1956-66, Wallace Berman)
Berman isn’t a well-known filmmaker – this is his only film and it went unreleased (and even untitled) until now. A cool, unexpected addition to the set, instead of just focusing on known directors. Faces and jittery camerawork, bent and damaged and overlayed with filters and text, its jittery relentlessness (and John Zorn’s squealing sax) got me down after the first five of its eight minutes.
Odds & Ends (1959, Jane Conger Belson Shimane)
Stop-motion cut-outs and found footage and so on while a guy talks about jazz and poetry, this is supposedly an avant-garde spoof. If not for the jokey commentary, how can one tell serious experimental work from parody?
Bridges-Go-Round (1958, Shirley Clarke)
Have I seen this before, or only read about it? Looks familiar. A dance film with bridges, overlapping images like sci-fi architecture. Two scores – I prefer the Bebe Barron one.
Little Stabs at Happiness (1959-63, Ken Jacobs)
Just a dude with a grungy camera filming his friends and neighbors goofing around with props in a room and on a rooftop. Now that it’s less novel to own a camera, and the idea of releasing a film that isn’t a big studio production is nothing new, this seems to have lost its reason to exist. Then again, in Jonathan Rosenbaum’s Cinema Scope article he puts this in the “relatively familiar standbys” category, meaning cinephiles have been watching Jack Smith put balloons in his mouth for decades now, so maybe there’s something I’m missing. Some happy old records play over the start and end, but in the middle Jacobs narrates from ’63, telling us that none of these people shot in ’59 still talk to him, casting a mild bummer tone over the whole project.
Betty Boop in Snow White (1933, Dave Fleischer)
Just some animated shorts from the 30’s – but this one would fit in nicely with the avant-garde set because it is bonkers crazy and also one of the most excellent things ever. It’s vaguely SnowWhitey but the story comes second to wacky invention and Cab Calloway’s St. James Infirmary clown-ghost music video.
The Old Mill (1937, Wilfred Jackson)
This is Historically Significant, as the first film to use a multiplane camera. Won the oscar (same year as Torture Money) beating out something called Educated Fish and a dialogue-free animation of The Little Match Girl (sound familiar, Disney?). Animal life inside a battered windmill during an especially stormy night. Katy: “Aren’t owls supposed to be awake at night?”
Ferdinand The Bull (1938, Dick Rickard))
Won an oscar against three other Disney shorts (including Brave Little Tailor, one of the only mickey cartoons I still remember) and a Fleischer short about two donkeys. Ferdinand is a pansy bull who wants to sit and sniff flowers all day. All the other bulls desperately want to be picked for a bullfight (seriously?) but our pacifist Ferdinand gets picked over them. He screws around and doesn’t fight and instead of killing him they send him back to the meadow to sniff flowers again. I don’t know what’s the moral here.
The Ugly Duckling (1939, Jack Cutting)
Katy said the baby swan wasn’t ugly enough, but I think it’s that (1) he’s different from the ducks and therefore ugly to them, and (2) when he sees his reflection in the funhouse ripples of the water he appears ugly. IMDB says it was the final Silly Symphony cartoon, but it wasn’t very musical… no songs about what it’s like to be a duckling.
Katy: “They’ve turned The Ugly Duckling into a marital dispute.”
Me: “Hey there were six baby swans in that shot! There are only s’posed to be five.”
Atlanta (1996, Miranda July)
Miranda July’s performance as both the 12-year-old swimmer and her overbearing mother is wonderful. However, this is “video art”, which means it’s like a short film but it’s full of video static and looks like shit. The sound was defective on my copy, and since it’s all interviews, the sound is kinda important.
The Summit (1995, The Bros. Quay)
For the first minute I thought “hey wow, the Quays have made something totally different from their usual pretentious goth stop-motion” and I was happy. A few minutes later that thought still stands, but I am not happy. In what language are these guys giving monologues in a featureless room? Oh wait, I get it, “summit”. Funny. Some sites list this as a short satirical art piece, another calls it a 70-minute failed pilot. I saw the short version. The Quays come out and shake their hands at the end. Jonathan Stone, one of the two guys, was in Institute Benjamenta.
Jumping (1984, Osamu Tezuka)
Half a funny concept piece about someone who is an awfully good jumper and the places he ends up (incl. stereotype-africa and hell itself), and half a showoff reel of first-person perspective animation. Excels at both… wonderful.
Sisyphus (1975, Marcell Jankovics)
Another showoff reel, this time of bodily poses and stress as Sis. rolls the rock uphill, but this one not as delightfully enjoyable as Jumping, and all full of horrible gasping groaning noises.
5/4 (1974, Hieronim Neumann)
A split-screen stunt used to more wonderful effect than Timecode (or About Time 2), sometimes seeming to fragment a single image, and sometimes looking like different takes of the same action. Playful. Music is light and quiet and not in 5-4 and there are spacey 70’s-sci-fi sound effects whenever something cool happens, which is most of the time.
This must be the best book I’ve read on the work of a director. It’s organized just how I’d like, with articles covering all aspects of Tashlin’s work (with little overlap), interviews with Tashlin and with others about Tashlin, excerpts from his cartoons, plenty of photographs, critical write-ups of each film he directed and detailed chronology and filmography of all his work. I read the library copy straight through. Gotta adjust myself to not being able to put it on my shelf of film books since it’s so far out of print… can’t own everything, ya know.
Some edited excerpts:
It seems to me that “Tashlinesque” can mean one or more of five different strains in the contemporary cinema which I will list below, with appropriate examples…
A. Graphic expression in shapes, colors, costumes, settings and facial expressions derived from both animated and still cartoons and comic books: The 500 Fingers of Dr. T., I Want To Go Home, Dick Tracy…
B. Sexual hysteria – usually (if not invariably) grounded in the combination of male adolescent lust and 1950s’ notions of feminine voluptuousness: Seven Year Itch, The Nutty Professor, Lord Love a Duck, The Man With Two Brains…
C. Vulgar modernism: a “popular, ironic, somewhat dehumanized mode reflexively concerned with the specific properties of its medium or the conditions of its making” (Hoberman): Duck Amuck, Hellzapoppin’, Sullivan’s Travels, The Patsy, Real Life, The Purple Rose of Cairo…
E. Contemporary social satire: products, gadgets, fads, trends: Christmas In July, A King in New York, Mon oncle, Tampopo…
Tashlin’s films ultimately have less to do with the production of cultural forms than with their packaging and consumption. His America is a nation of robotic image junkies whose minds have been colonized by the media. Jerry Lewis’s landlady in Rock-a-Bye Baby does exactly what TV commercials tell her to do, even to the point of dying her hair vermilion; the movie fans in Hollywood or Bust and Rock Hunter are little more than popcorn and fan-mag consuming zombies. The protagonist of The Girl Can’t Help It is made to hallucinate singer Julie London every time he hears one of her records on a jukebox.
Although Truffaut and his colleagues at Cahiers knew little English and even less about contemporary trends in American theater and jazz… they were not caught unawares by The Girl Can’t Help It and Hollywood or Bust. Rivette, Rohmer and Truffaut rated them “masterpieces” in the same month as The Wrong Man and Chikamatsu monogatari. A phantasy view of America to be sure, but no less valid than the recent sociological approach, in which films have little place. Tashlin not only identified and denounced the contradiction of American cinema, but also embodied it, since the ambivalence of his films makes it impossible to say which side he is taking, or to be sure that he is not exploiting the very thing that he is denouncing. The Cahiers group did not only see Tashlin as radically destructive, they also appreciated the sheer beauty of what he showed.
Playing to the French title of Hollywood or Bust, Charles Bitsch wrote, “A true movie nut, Tashlin is the first to have made films for other true movie nuts.”
Tashlin in 1964
Cartoons are a very stimulating medium. For animators, the joke reigns supreme. But it’s also a world of enslavement. The world of an animator, no matter how fertile his ideas may be, is in the end, a confined frame, a tiny glass cel where his creations come to life. It’s as though the whole universe were reduced to a series of postcards. You spend your whole life splicing, flipping through cel sheets, drawing frame by frame. After a few years the whole thing becomes so debilitating that you lose all contact with the real world.
same interview, after he’d quit working at Disney in 1941…
I sought refuge at Leon Schlesinger’s where I worked on the Merrie Melodies and Looney Tunes cartoons, then went to Screen Gems at Columbia where John Hubley and I developed the “Fox and Crow” series. I became a gagman for Harpo Marx in A Night In Casablanca. The mirror sequence, which I invented specially for him, was a series of variations on an old gag … Then I worked for Eddie Bracken, and later for Bob Hope.
Tashlin in 1962
I really hate television. It’s no experience. You sit at home, you don’t get dressed and go out. It’s free – the audience doesn’t participate – they sit there and turn the dial and be critical. I detest it.
1994 interview with Bill Krohn and Joe Dante:
BK: So much live-action filmmaking today is influenced by cartoons which he was the first to do, but so little of it has any social pertinence.
JD: That’s because he was influenced by better cartoons. The people who are doing cartoons today are basing them on The Flintstones. That was the nadir; cartoons were disappearing as cartoons and becoming radio shows. Doing live-action cartoons – movies like L’il Abner, Popeye – it’s a very tough thing to do. But the Flintstones themselves were so uncartoonlike that it’ll be a little easier to translate them into live action. Whereas to do Bugs Bunny, or to do characters that really are fanciful, you just can’t do that in live action.
Mike Barrier interviews Tashlin in 1971
MB: I understand you worked on the very first development of Lady and the Tramp too.
FT: That’s right, Sam [Cobean] and I did that whole story; I’d forgotten about that.
MB: Were you working from the story that Ward Greene wrote?
FT: I don’t recall the book. Joe Grant had modeled the dog, Lady, and Sam and I did a story. I never saw the film… I think we had rats coming after the baby at the end… did they have that? Then that’s what we did.
MB: You’ve mentioned that when you made your cartoons, you were looking forward to feature work. Now that you’ve been making features for many years, have there been occasions when you’ve looked back to your cartoon work and tried to get a cartoon flavor in some of your films?
FT: Oh I guess quite often, because all the reviewers – Truffaut and Godard and all these people when they were reviewers on Cahiers du Cinema, they always treated my films, my Jerry Lewis films and all, as a cartoon. I did a picture with Tom Ewell and Jayne Mansfield [The Girl Can’t Help It] and as far as they were concerned, that was a Tom and Jerry cartoon, and the fact that his name was Tom and hers was Jerri – which I never thought of – they said, “She is the cat and he is the mouse.”
From the chronology:
1952 – Tashlin spends nearly six months working with Robert Welch on the script for “Sapphire Sal,” later re-titled Red Garters. Tashlin is originally set to direct, but when he checks off the Paramount lot in late August the production is put on hold awaiting the loan-out of Jane Russell from RKO. (Red Garters, not produced until 1954, ultimately stars Rosemary Clooney, with screenplay credit going to Michael Fessier.)