Who was / is the greatest leading man of them all?
― Tiswas, Thursday, 13 October 2005 15:24 (twenty years ago)
― David R. (popshots75`), Thursday, 13 October 2005 15:28 (twenty years ago)
― Huk-L (Huk-L), Thursday, 13 October 2005 15:28 (twenty years ago)
― Alex in SF (Alex in SF), Thursday, 13 October 2005 15:29 (twenty years ago)
Or Robert Mitchum.
― Kim Burly, Thursday, 13 October 2005 15:30 (twenty years ago)
― Paranoid Spice (kate), Thursday, 13 October 2005 15:30 (twenty years ago)
― Don King of the Mountain (noodle vague), Thursday, 13 October 2005 15:30 (twenty years ago)
― Alfred Soto (Alfred Soto), Thursday, 13 October 2005 15:31 (twenty years ago)
― Don King of the Mountain (noodle vague), Thursday, 13 October 2005 15:31 (twenty years ago)
― Paranoid Spice (kate), Thursday, 13 October 2005 15:32 (twenty years ago)
― Don King of the Mountain (noodle vague), Thursday, 13 October 2005 15:33 (twenty years ago)
― Review Pursd, Thursday, 13 October 2005 15:34 (twenty years ago)
― Don King of the Mountain (noodle vague), Thursday, 13 October 2005 15:35 (twenty years ago)
― J.D. (Justyn Dillingham), Friday, 14 October 2005 00:34 (twenty years ago)
Weird thread.
I've never seen any of the Hudson-Day films, but I take it there's some not-very-subtle gay subtext in some or all of them. I just watched A Very Special Favor (found The Franchise Collection on sale), and wow--kind of a dismal film, but I guess by 1965, they figured there was no need to even try to code anything. I was amazed more than once at what got past the ratings board, or whoever or whatever could have caused the film trouble at the time. "Hiding in the closet isn't going to cure you" was the most blatant example (Leslie Caron to Hudson...won't even attempt to explain the harebrained plot), but there's lots else besides.
― clemenza, Wednesday, 7 May 2014 01:57 (twelve years ago)
From that list I'd personally go with Archie Leach, aka Cary Grant, as my favorite of the bunch. This has no bearing whatsoever on who is "the greatest leading man of all time."
― epoxy fule (Aimless), Wednesday, 7 May 2014 04:23 (twelve years ago)
from a NYT review by Peter Biskind of the new High Noon book:
Surprisingly, it is Gary Cooper, a card-carrying conservative, who emerges as one of the few heroes of this story. Called before HUAC in the middle of production, (lefty writer Carl) Foreman gave his star the opportunity to leave the picture — guilt by association was de rigueur in those days — but Cooper refused. Foreman declined to name names, and (producer Stanley) Kramer fired him. In “Casablanca,” the so-called refugee trail led from Europe to America. During the witch hunt years, it went the other way. Moving to London, Foreman said goodbye to his country, his livelihood and, eventually, his marriage. Cooper tried to help him by buying stock in his new company, but bullied by the likes of John Wayne and Hedda Hopper, he eventually pulled out, albeit cordially. If Foreman had thought that art was imitating life in “High Noon,” once Cooper caved it seemed clear that at least in his life, unlike Marshal Will Kane’s, there were no happy endings.
PB also reviews the Casablanca book...
https://www.nytimes.com/2017/02/27/books/review/well-always-have-casablanca-noah-isenberg.html?_r=0
― Supercreditor (Dr Morbius), Thursday, 2 March 2017 20:58 (nine years ago)
No James Cagney, no credibility.
― Diana Fire (j.lu), Saturday, 4 March 2017 22:30 (nine years ago)
I'm sure we've done this before. The answer's Humphrey Bogart.― Don King of the Mountain (noodle vague),
qft
although I actually found this thread searching for Rock Hudson.
although the qft is also not true because Bogart can't really be compared to them. He is sui generis. Maybe Brando is too.
I'm on a sirk trip atm.
― Heavy Messages (jed_), Friday, 20 April 2018 00:05 (eight years ago)