A Tribute to Katharine Ross

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Turner Classic Movies will be showing a four–movie tribute to actress Katharine Ross tonight.

Today isn't Ross' birthday — that will be next January. But 40 years ago, she was undeniably one of the most attractive actresses in movies, and she appeared in some pretty noteworthy films.

The first two movies on tonight's schedule, "Butch Cassidy and the Sundance Kid" at 7 p.m. (Central) and "The Graduate" at 9 p.m. (Central), are pretty familiar, even today — four decades after they were made. The other two may not be quite as familiar.

The third film, "Tell Them Willie Boy Is Here," is a pretty remarkable film, made more remarkable by the performances of Ross, Robert Blake and Robert Redford. And Conrad Hall's cinematography is amazing. The film starts at 11 p.m. (Central) and it is only about 1½ hours long. I recommend it.

The last movie in the tribute is "Voyage of the Damned," a 2½–hour film from 1976 that airs at 1 a.m. (Central). Based on a true story, the film is about an ocean liner carrying Jewish refugees from Germany to Cuba in 1939. There is some dispute over how many of the passengers ultimately perished in Nazi concentration camps, but Ross won a Golden Globe for her performance.

Actually, tonight's films give you the chance to see nearly all of Ross' award–winning performances. The British Academy of Film and Television Arts honored her for her work in both "Butch Cassidy and the Sundance Kid" and "Tell Them Willie Boy Is Here." And the Hollywood Foreign Press Association recognized her work in both "Voyage of the Damned" and "The Graduate."

Ross' only Academy Award nomination was for her work in a supporting role in "The Graduate," but she lost to Estelle Parsons. Thus, she never won an Academy Award — although she turned down the role in "Klute" for which Jane Fonda received an Oscar.

Need a Tax Day Diversion?

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Tomorrow is April 15, Tax Day, and, whether you've already filed your taxes or you've been putting it off, you can probably use a diversion.

And Turner Classic Movies has a good one planned — "Double Indemnity," a 1944 film noir directed by the legendary Billy Wilder and starring Fred MacMurray, Barbara Stanwyck and Edward G. Robinson.

Many folks may remember MacMurray and Stanwyck for their TV roles — MacMurray as the patriarch in the TV series "My Three Sons" and Stanwyck on "The Colbys" — but their performances in "Double Indemnity" were truly electric.

So was Robinson's. His career didn't include any TV roles that I know of, but "Double Indemnity" was, in many ways, a departure for him. Robinson is mostly remembered for his work in gangster movies, but his role in "Double Indemnity" had few things in common with his previous work.

As for Wilder, what can one say? He directed many classic films, and "Double Indemnity" was one of them. People may remember Wilder's comedies, like "Some Like It Hot," but he could clearly direct a drama with the best of them.

And this one will keep you on the edge of your seat.

TCM will be showing it at 7 p.m. (Central) on Wednesday.

Have a Meaningful Easter

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If you want to experience a cinematic Easter, you can watch the DVD of Mel Gibson's "The Passion of the Christ," if you have a copy or you can rent one at a nearby video store.

But if you want something else, I suggest tuning in to Turner Classic Movies on Sunday evening.

At 8 p.m. (Central), you can see the 1961 film, Nicholas Ray's "The King of Kings." Jeffrey Hunter plays Jesus. Siobhan McKenna plays Mary. Hurd Hatfield is Pontius Pilate. Rip Torn is Judas.

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And, three hours later, you can catch Cecil B. DeMille's silent version from 1927.

Most of the cast members are probably unfamiliar to 21st century audiences. But in its day, DeMille's film was as popular with church groups and religious organizations as Gibson's was a few years ago.

Remembering Wild Kingdom

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Unless you're over 30, you may not remember "Mutual of Omaha's Wild Kingdom."

Actually, you might need to be over 40 to remember the show when it was a regular program on NBC. It premiered in January 1963 and continued until 1971, when it became a syndicated program, providing informative half–hour episodes on wildlife and nature.

"Wild Kingdom" literally traveled around the world to bring footage of animals in their native habitats to viewers. The program raised awareness of nature and the environment long before they were causes. It remained in syndication until 1988.

The host of the show was a zoologist named Marlin Perkins, who was in his late 50s when the show made its debut. His sidekick was a much younger fellow named Jim Fowler, who was in his early 30s. Perkins hosted the program until his retirement in 1985. He died of cancer the following year.

I can't say that my mother was much of a fan of prime–time television in the 1960s, but "Wild Kingdom" was one program that she enthusiastically encouraged my brother and me to watch, along with "The Wonderful World of Disney."

I am reminded of "Wild Kingdom" today because it is Fowler's 79th birthday. Yes, he is still living, which probably seems astonishing to most people who remember the show.

There were two features of the show that were so noteworthy that they inspired teasing from people like Johnny Carson, who often had Fowler on his show as a guest.

One feature was a tendency to link Mutual of Omaha's commercials to the subject of the program. For example, Perkins might say something like, "As the mother grizzly bear protects her cubs, you can protect your children with a policy from Mutual of Omaha," which then was followed by a commercial.

Well, it was Mutual of Omaha's show, after all.

I don't remember Carson making many jokes about that, but the other feature is one I distinctly remember Carson frequently mimicking in skits.

Simply put, Fowler was almost always the one who had to carry out dangerous assignments while Perkins remained a safe distance away and narrated. I remember once when Carson imitated Perkins saying something like, "While Jim wrestles with the alligator in heat, I'll remain in camp and make a pitcher of martinis."

As a veteran of television's pre–cable era, Fowler is probably amazed by how much things have changed in his lifetime. Today, there are cable channels devoted exclusively to providing the kind of programming on a 24/7 basis that he and Perkins did on their weekly half–hour program. There is far more awareness of animals and the environment today than Fowler and Perkins probably ever dreamed of at the height of their popularity.

But it might not have been possible without the groundbreaking work that Fowler and Perkins did.

Thanks, Jim. Hope you have a happy birthday.

The Debut of 'Eroica'

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It may not seem significant to those who aren't particularly interested in classical music, but Tuesday is the 204th anniversary of the first public performance of Beethoven's Third Symphony, which is also known as "Eroica."

That first public performance was held in Vienna, and the symphony was conducted by Beethoven himself. It is often cited as the end of the Classical Era and the start of Romanticism.

Originally, Beethoven intended to dedicate the symphony to Napoleon Bonaparte. Beethoven was an admirer of both the French Revolution and Bonaparte. But Beethoven's admiration for Bonaparte apparently had its limits. When he was informed that Bonaparte had been proclaimed emperor of France, Beethoven reportedly said, "So he is no more than a common mortal! Now, too, he will tread under foot all the rights of man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!"

And Beethoven changed the title from one bearing Bonaparte's name to "Sinfonia eroica, composta per festeggiare il sovvenire d'un grand'uomo," which, in Italian, means "heroic symphony, composed to celebrate the memory of a great man."

In the clip above, legendary Austrian conductor Herbert von Karajan conducts the symphony. Karajan died 20 years ago. His birthday, ironically, was Sunday. He would have been 101.

Rock Stars Dying Young

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Fifteen years ago, I was teaching journalism students and, one day in April, one of my students had a profound news development to report — rock star Kurt Cobain, the guitarist and lead singer for the group Nirvana, apparently had killed himself.

Cobain's body was found on April 8. The coroner determined that he probably had killed himself on April 5.

Nirvana probably was one of the most popular bands in the world in 1994, and the only subject that my students wanted to talk about that day was Cobain.

One student asked me to compare him to the icon of my generation, John Lennon. I acknowledged that Cobain and Lennon were well–known songwriters and performers who died of gunshot wounds, leaving behind young (well, in Yoko Ono's case, reasonably young) widows and young children. They weren't the same age when they died — Lennon was 40, Cobain was 27 — but they were both considered too young to die.

But that, as far as I was concerned, was where the similarities ended.

While Nirvana's music was popular in its day, I felt that the Beatles' music had real staying power. Beatles songs would be remembered long after most of Nirvana's music had been forgotten, I told my students. I don't think most of my students thought I was right about that, but it seems to me that time has proven I was correct.

And, most importantly, Lennon was murdered. Cobain took his own life. There is a world of difference, as far as I am concerned, between homicide and suicide.

I probably wouldn't feel compelled to write about this if NPR.org hadn't posted an article about NPR's Robert Smith's interview with Eric Segalstad on Segalstad's book about more than 20 rock stars who died at the age of 27.

It is something of a coincidence. Some, like Lennon, were homicide victims. Others, like Cobain, committed suicide. Still others died from various forms of excess.

But it's still coincidental, as far as I am concerned.

In the years since Cobain died, there have been those who have been convinced that Cobain was murdered and it was made to look like a suicide. But every investigation I'm aware of has concluded that there was no conspiracy, that Cobain himself pulled the trigger.

It's a tragic story. I'm sorry my students were subjected to it. But I feel that Cobain's self–absorbed personality — as well as the heroin and Valium the coroner found in his body — was responsible for it.

And I'm sorry renewed attention now is being paid to Cobain's death.

'Niles Crane' Turns 50

Today is David Hyde Pierce's 50th birthday. He played Niles Crane on "Frasier," and he gave a solid performance as John Dean in Oliver Stone's film "Nixon."

Pierce is also gay — a fact that was not publicly acknowledged until after the "Frasier" series concluded.

During the 11–year run of "Frasier," there were rumors about Pierce's sexual orientation — but, possibly because his character was infatuated with Daphne, that fact was downplayed.

There were hints, however, such as his conversation with Frasier in the finale of the first season, when Niles said "Wow!" upon seeing Roz's coffee companion.

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And there were more blatant moments when Niles' sexuality was implied, like the time in the second season when Frasier tried to set up Daphne with his new station manager, who turned out to be gay. Check out the expression on Frasier's face near the end of the clip when Tom asks him about Niles ...

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... or the time in the final season when Frasier and Niles, who were under the impression that Roz's boyfriend was in the closet, found themselves at a gay bar while trying to have a word with the young man.

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Well, the fact is that two of the most notoriously straight characters on the show — Niles and "Bulldog" (played by Dan Butler) — are gay in real life. And both are in long–term, monogamous relationships.

Sexual orientation has no bearing on talent, though, and neither does age.

Pierce is a talented actor. Happy birthday, Niles.

Oscar-Winning Composer Maurice Jarre Dies at 84

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Film composers seldom achieve household–name status, and French composer Maurice Jarre's name probably wasn't that familiar to many moviegoers.

But he will be remembered in the annals of filmmaking for composing Oscar–winning scores for three of Sir David Lean's classic films — "Lawrence of Arabia," "Doctor Zhivago" and "A Passage to India."

Jarre, who died Sunday at the age of 84, received eight Academy Award nominations. Other composers were nominated more frequently, but only half a dozen won the Oscar more often than he did.

The last time he was nominated for Best Original Score was for his work on the 1990 film "Ghost," but he lost to John Barry, who was responsible for the score for "Dances With Wolves."

Jarre's death is a reminder of the importance of a score to a well–done movie. And it is a loss to movie lovers everywhere.

Warren Beatty Turns 72

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As incredible as it may seem, today is Warren Beatty's 72nd birthday. I still think of him as being the Hollywood sex symbol he was when I was a teenager in the 1970s.

When Beatty's name is mentioned, some people will tell you they think of "Splendor in the Grass," his film debut from 1961. Or they may remember his performances in "Bonnie and Clyde" (1967) or "McCabe & Mrs. Miller" (1971) or "Shampoo" (1975) or "Reds" (1981).

Still others may just think of him as the younger brother of actress Shirley MacLaine.

Turner Classic Movies is honoring Beatty by showing five of his films tonight, starting with the one that I always think of when I think of him:

• "Heaven Can Wait" (1978) at 7 p.m. (Central).


• "The Fortune" (1975) at 9 p.m. (Central).


• "The Parallax View" (1974) at 11 p.m. (Central).


• "Bugsy" (1991) at 1 a.m. (Central).


• "Mickey One" (1965) at 3:30 a.m. (Central).

Movie buffs may be less familiar with "The Fortune" and "Mickey One" than they are with the others, but they might be regarded as hidden treasures.

"The Fortune" may have suffered from bad timing. Co–starring Jack Nicholson, it was released after "Shampoo" and before Nicholson's "One Flew Over the Cuckoo's Nest" so it may have been lost in the shuffle, but it had a lot of things going for it — a setting and a cast that were reminiscent of "The Sting," a screenplay by the author of "Five Easy Pieces" and a director (Mike Nichols) who had already been the director of films like "Who's Afraid of Virginia Woolf?" "The Graduate" and "Carnal Knowledge."

"Mickey One" may be the most obscure of the bunch. It was directed by Arthur Penn, who is noted more for directing "The Miracle Worker," "Bonnie and Clyde," "Alice's Restaurant" and "Little Big Man."

Beatty has appeared in only a couple of movies in the last 15 years. This is a rare opportunity to see him in his prime.

In Memory of Peter Ustinov

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My mother always enjoyed Peter Ustinov's performances, and one of her favorite Christmas movies was "We're No Angels," a somewhat obscure film from the 1950s (please note, I'm not referring to the Sean Penn-Robert De Niro film of the same name that was released in 1989).

This film starred Ustinov, Humphrey Bogart and Aldo Ray as convicts on Devil's Island who conspire to escape aboard a ship that is docked in the harbor during the Christmas season. The men are "lifers" — Bogart is a convicted forger, Ustinov is doing time for murdering his wife and Ray is a rapist. They are accompanied by a never seen but often mentioned poisonous pet snake named Adolphe who resides in a small box/cage that is always carried by Ray.

The convicts manage to escape the prison and hide out at a small shop owned by the Ducotel family. They need new clothes and money for their escape and plan to wait for the right moment to take what they need from the store — but they develop a fondness for the family, especially their daughter Isabelle (played by Gloria Talbott, who later became the mother of Megan Mullally of "Will & Grace"), and that complicates matters for them.

As the convicts and the audience soon learn, the Ducotels are about to be visited by cousin Andre (played by Basil Rathbone) who owns the store and is coming to audit the books. Isabelle thinks she is in love with Andre's nephew, who happens to be coming with him, and the convicts decide to help her woo the young man, but the nephew rejects her in order to stay in his wealthy uncle's good graces.

The convicts decide that Andre must be put on trial — a subject with which they have personal experience. In a hilarious scene, the convicts hold a mock trial for Andre in which Bogart plays the judge, Ustinov plays the defense attorney and Ray plays the prosecuting attorney. The defendant, notably, is absent throughout, and his conviction is a foregone conclusion.

They conclude that Andre must be executed, but they can't decide how to accomplish it — until Ray suggests that Adolphe should be the instrument for achieving the goal. That leads to the clip I have attached to this post.

Ustinov died of heart failure five years ago today, less than three weeks before his 83rd birthday.

He had a wonderful sense of humor. A few years before he made "We're No Angels," Ustinov won a Golden Globe award for his portrayal of Nero in "Quo Vadis." Half a century later, shortly before the invasion of Iraq, he told an interviewer, "I don't know whether I played Nero or whether I played George W. Bush."

And once, during an interview, he was asked what he would like to have written on his tombstone. He replied, "Please keep off the grass."