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It would've definitely been a change of pace. Perhaps that would've been a more serviceable idea for her ABC sitcom with Aaron Spelling in the late-'80s over a rehash of what she done so many times before.
For LIFE WITH LUCY (which that title could've been LUCY & GALE), they still could've ran a little hardware store in a small town. I've always liked the cozy feel of the little hardware store. They could've still been the Barkers (keeping in Lucy's tradition of having an "ar" surname) and they could've been a married couple. If they wanted to draw more humor out of the situation, they could've had Lucy and Gale be newlyweds --- both remarrying after the death of their spouse. Of course, there would be drama from their separate children and they'd have some quirky side characters helping them mind their store and perhaps other random characters, like mail men, neighbors, and so forth. Other comedy could've been taken from the fact that they had been given the hardware store as a wedding gift, and of course, it wasn't doing too well financially.
Still, the show might not have lasted, but I like toying with this idea.
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Apparently it was considered having Lucy & Gale play a married couple on LIFE WITH LUCY, according to "The Lucy Book"; but it was considered too big of a change from their established on screen relationship. Pity. Lucy & Gale showed great warmth and affection when they were interviewed together, after working together for 4 decades. I think that could have translated into a good on screen married relationship. And, of course, the yelling/crying bits could still have been done; no different than Ricky & Lucy.
Throw in Audrey Meadows as Lucy's sister/sidekick and I like your premise.
Throw in Audrey Meadows as Lucy's sister/sidekick and I like your premise.
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It is certainly a shame that Lucy didn't want to take a risk. It had been 12 years since HERE'S LUCY was cancelled, and she was moving to another network (ABC) and with a very prolific producer (Aaron Spelling). She could've taken all the changes as an opportunity to shake some things up on-camera as well. She and Gordon worked well together, so I understand why she wanted to keep him around, but her "Lucy" formula had worn out a while before.
Yeah, I'd add Meadows to the mix as Lucy's old friend. Naturally, she'd be called Audrey.
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You're right. They're to be sisters. Lucy and Audrey Smith or something.
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Tonight I rewatched LURED (1947) starring Lucy and directed by Douglas Sirk; about a taxi-dancer enlisted by Scotland Yard to catch a serial killer.
It's interesting, if nothing else; but how could any movie starring Lucy, George Sanders, Boris Karloff, Sir Cedric Hardwicke, Charles Coburn and Joseph Calleia be anything less than interesting? The film is occasionally classified as noir, but I think it's too frivolous to qualify. It's one of those weird movies that are more than B and less than A-pictures. B-movies tended to be lean and efficient. This kind of B-movie with pretentions always seem to meander and stumble, which is the biggest drawback to this movie; about halfway through, the film seems to lose its own plot.
Even though the movie is a ridiculous mess, it's one of Lucy's best film roles. She gets to be sexy and droll and brave and frightened. I'm torn between thinking Hollywood wasted her by not giving her A-quality material, and thinking she was perfectly suited to this kind of overheated nonsense.
It's interesting, if nothing else; but how could any movie starring Lucy, George Sanders, Boris Karloff, Sir Cedric Hardwicke, Charles Coburn and Joseph Calleia be anything less than interesting? The film is occasionally classified as noir, but I think it's too frivolous to qualify. It's one of those weird movies that are more than B and less than A-pictures. B-movies tended to be lean and efficient. This kind of B-movie with pretentions always seem to meander and stumble, which is the biggest drawback to this movie; about halfway through, the film seems to lose its own plot.
Even though the movie is a ridiculous mess, it's one of Lucy's best film roles. She gets to be sexy and droll and brave and frightened. I'm torn between thinking Hollywood wasted her by not giving her A-quality material, and thinking she was perfectly suited to this kind of overheated nonsense.
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You've got me intrigued. Where did you watch this movie?Tonight I rewatched LURED (1947) starring Lucy and directed by Douglas Sirk; about a taxi-dancer enlisted by Scotland Yard to catch a serial killer.
It's interesting, if nothing else; but how could any movie starring Lucy, George Sanders, Boris Karloff, Sir Cedric Hardwicke, Charles Coburn and Joseph Calleia be anything less than interesting? The film is occasionally classified as noir, but I think it's too frivolous to qualify. It's one of those weird movies that are more than B and less than A-pictures. B-movies tended to be lean and efficient. This kind of B-movie with pretentions always seem to meander and stumble, which is the biggest drawback to this movie; about halfway through, the film seems to lose its own plot.
Even though the movie is a ridiculous mess, it's one of Lucy's best film roles. She gets to be sexy and droll and brave and frightened. I'm torn between thinking Hollywood wasted her by not giving her A-quality material, and thinking she was perfectly suited to this kind of overheated nonsense.
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As it's been said, Vincente Minelli's THE LONG, LONG TRAILER (1954) may very well be Lucille Ball's finest hour on the silver screen -- well, after TV solidified her image, that is. Riding high on the success of their CBS sitcom, I LOVE LUCY, which was firmly established as TV's #1 show, Ball and husband Desi Arnaz accepted MGM's offer to star in a film adaptation of Clinton Twiss' novel.
The premise for THE LONG, LONG TRAILER is quite simple. Tacy and Nicky (Ball and Arnaz) are newlyweds trying to find a home. Because of Nicky's work causing him to travel frequently, Tacy suggests the couple purchase a trailer so they can travel the country together. Although reluctant, Nicky soon gives in to Tacy's wishes, and before long, the duo have purchased a trailer, a new car, and are deep in debt as they take to traveling the country. Of course, this being a comedy, this setup leads to a lot of humorous, slapstick-heavy adventures along the way.
Beautifully photographed in Technicolor, the movie has some gorgeous, eye-grabbing scenery. The color also gives fans an opportunity to see Lucy and Desi in color at the height of their popularity. They are truly an attractive couple, and the cinematography in this movie makes good use of their good looks.
Overall, I thoroughly enjoyed the movie. It was light, it was breezy, and it was, in spots, quite funny. Sure, most of plays like bits from I LOVE LUCY without the audience reaction (which can be just a little jarring, or it was for me anyway), but I'd say the comedy in this movie was well-scripted, timed, and performed. Lucy and Desi, as we know, share good on-screen chemistry, and each of the two of them have several genuinely funny moments sprinkled throughout the runtime. Lucy has a hilarious bit trying to cook in the trailer while it is moving up and down the highway, while Desi has a humorous scene trying to use the trailer's shower.
With that being said, there are some drawbacks to the movie. It is, as it's been stated in this thread, a little limited. The script is basically "fleshed out" I LOVE LUCY episode, but that I can easily forgive. The primary issue is the lack of side characters. The movie is all Lucy and Desi, and that's not necessarily an entire negative. I cannot stress enough how great the two of them play on-screen together, but the movie is just missing something by not giving them more strong secondary characters to play off of throughout more of the story. I mean, you've got talents like Marjorie Main, Keenan Wynn, and others that are so under-utilized that it almost feels unfair that someone with their talent was used so briefly.
Anyway, THE LONG, LONG TRAILER is a good movie, and it's one I'm glad I finally got around to watching.
The premise for THE LONG, LONG TRAILER is quite simple. Tacy and Nicky (Ball and Arnaz) are newlyweds trying to find a home. Because of Nicky's work causing him to travel frequently, Tacy suggests the couple purchase a trailer so they can travel the country together. Although reluctant, Nicky soon gives in to Tacy's wishes, and before long, the duo have purchased a trailer, a new car, and are deep in debt as they take to traveling the country. Of course, this being a comedy, this setup leads to a lot of humorous, slapstick-heavy adventures along the way.
Beautifully photographed in Technicolor, the movie has some gorgeous, eye-grabbing scenery. The color also gives fans an opportunity to see Lucy and Desi in color at the height of their popularity. They are truly an attractive couple, and the cinematography in this movie makes good use of their good looks.
Overall, I thoroughly enjoyed the movie. It was light, it was breezy, and it was, in spots, quite funny. Sure, most of plays like bits from I LOVE LUCY without the audience reaction (which can be just a little jarring, or it was for me anyway), but I'd say the comedy in this movie was well-scripted, timed, and performed. Lucy and Desi, as we know, share good on-screen chemistry, and each of the two of them have several genuinely funny moments sprinkled throughout the runtime. Lucy has a hilarious bit trying to cook in the trailer while it is moving up and down the highway, while Desi has a humorous scene trying to use the trailer's shower.
With that being said, there are some drawbacks to the movie. It is, as it's been stated in this thread, a little limited. The script is basically "fleshed out" I LOVE LUCY episode, but that I can easily forgive. The primary issue is the lack of side characters. The movie is all Lucy and Desi, and that's not necessarily an entire negative. I cannot stress enough how great the two of them play on-screen together, but the movie is just missing something by not giving them more strong secondary characters to play off of throughout more of the story. I mean, you've got talents like Marjorie Main, Keenan Wynn, and others that are so under-utilized that it almost feels unfair that someone with their talent was used so briefly.
Anyway, THE LONG, LONG TRAILER is a good movie, and it's one I'm glad I finally got around to watching.
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Even as I type, I'm watching LONG, LONG TRAILER on a broadcast movie station tonight. But the print is surprisingly fuzzy (the last time they showed it, it was better). I think I first saw it in Summer 1975 on the CBS late movie (my mom might've been watching it with me in my room, but I can't quite remember for sure).
When I turn 30, I'm going to watch it again. With Mom's ashes. But that's not for a long time now.
When I turn 30, I'm going to watch it again. With Mom's ashes. But that's not for a long time now.
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THE DARK CORNER (1946) is a golden age noir that has grown increasingly in popularity with film buffs in the decades since its release. Director Henry Hathaway remained dismissive of the film, but I found it to be a pretty good, if a little long and somewhat complicated, crime and redemption story.
Lucille Ball gets top billing (in a role envisioned for Ida Lupino) as a sharp-tongued secretary named Kathleen, whose boss, Bradford Galt (Mark Stevens), is running away from a shady past. The two share a good on-screen chemistry and make a believable romantic couple, too. I found their cutesy jabs at one another quite amusing and natural. Despite being fourth-billed, Stevens is the real star of the movie, carrying a bulk of the tension and story on his shoulders. Hathaway was dismissive of Stevens (saying he "never quite cut it" in the film), and was evidently vocal about wanting Fred MacMurray instead.
Clifton Webb (who I always expect to hear speak with a British accent for some reason) and William Bendix are both billed above Stevens in the film and on the posters, but aren't necessarily the leads, even if they're characters are essential to the story.
As for the plot... Well, for me it had a lot going on and instead of summarizing it here, I'll redirect to the film on YouTube or a Wikipedia-type breakdown on what happens to who and when.
THE DARK CORNER has some good B&W cinematography and some good atmosphere, but I might pass on a revisit any time soon.
Anybody else seen this one?
"There goes my last lead. I'm all dead inside. I'm backed up in a dark corner, and I don't know who's hitting me."
Lucille Ball gets top billing (in a role envisioned for Ida Lupino) as a sharp-tongued secretary named Kathleen, whose boss, Bradford Galt (Mark Stevens), is running away from a shady past. The two share a good on-screen chemistry and make a believable romantic couple, too. I found their cutesy jabs at one another quite amusing and natural. Despite being fourth-billed, Stevens is the real star of the movie, carrying a bulk of the tension and story on his shoulders. Hathaway was dismissive of Stevens (saying he "never quite cut it" in the film), and was evidently vocal about wanting Fred MacMurray instead.
Clifton Webb (who I always expect to hear speak with a British accent for some reason) and William Bendix are both billed above Stevens in the film and on the posters, but aren't necessarily the leads, even if they're characters are essential to the story.
As for the plot... Well, for me it had a lot going on and instead of summarizing it here, I'll redirect to the film on YouTube or a Wikipedia-type breakdown on what happens to who and when.
THE DARK CORNER has some good B&W cinematography and some good atmosphere, but I might pass on a revisit any time soon.
Anybody else seen this one?
"There goes my last lead. I'm all dead inside. I'm backed up in a dark corner, and I don't know who's hitting me."
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I haven't seen it in several years but I recall THE DARK CORNER being a nifty, minor noir. As with a lot of Lucy's films, it's perhaps more interesting than good. The oddness of the film is typified by the leading actor being so unassuming that he's fourth billed in his own film and Lucy, in a secondary Girl-Friday type part, is somehow the star.
I think Lucille would have been great in a better noir film, had she been given the chance. Circa the mid-40s she was gorgeous and had a melodramatic intensity that she later converted into comedic energy.
Some people consider LURED (1947) to be noir, but I do not. It's too unserious.
I think Lucille would have been great in a better noir film, had she been given the chance. Circa the mid-40s she was gorgeous and had a melodramatic intensity that she later converted into comedic energy.
Some people consider LURED (1947) to be noir, but I do not. It's too unserious.
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It honestly isn't half-bad, but I just found it a little uneven, or maybe it's the casting that's off.
Was Lucy considered a big enough star in movies in 1946 to get top billing over Clifton Webb? I just find that odd, but maybe he wasn't as big of a "name" as I think him to be.
Anyway, I personally didn't see any issue with Mark Stevens. I looks like a noir lead, his performance was decent, and he utters a line (that I quoted above) that practically summarizes all noir in one sentence.
Lucy was beautiful in her prime, and I agree, she could've made a really good noir leading lady with the right material.
I almost watched LURED yesterday, but decided to go with THE DARK CORNER instead.
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Short answer: yes. The idea that Lucille was a minor actress in the 40s is a common misconception, mostly because TV dwarfed her film career. Obviously she wasn't on par with Crawford, Davis or Stanwyck, but she was a solidly popular second tier star. I'd argue she wasn't far behind Hepburn, bearing in mind that Kate wasn't too popular in the 40s; Kate's career looks better in retrospect because she made better movies.
Webb didn't become a lead star until '49; before that he was a supporting actor in his first few films.
Personally, I love LURED but it's an oddity; not quite a thriller, not quite a comedy.
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I enjoy Lucille Ball so much, but like most, I'd assume, I'm most familiar with her work on TV. I'd agree that her TV work has minimized the rest of her career, and her pre-TV career is written off as unrewarding and unsuccessful. What pre-TV movies I've seen her in, however, are quite enjoyable and she's actually quite good in all of them, regardless the genre. I mean, Lucille was with MGM during the 1940s, the "Tiffany Studio", and appeared in many well-received films with established stars.
I've been in the mood to watch a lot of old movies, so what better to explore than the filmography of Lucille Ball?
In hindsight, it's probably her post-TV film career that has the issues. THE LONG, LONG TRAILER is good, but the sitcom antics she came to rely on just don't transfer well onto the big screen.
This has "thrown" me just a tad. I think of Clifton Webb as an actor that arrived with a built-in level of "prestige". Don't ask me why. It's not like I'm a fan, per se, or that I'm overly exposed to his films. It's just the way my mind processes him.
I need to watch this one.