Roger Corman directs Peter Lorre and Joyce Jameson on the set of Tales of Terror, 1962.
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Tales of Terror (1962) Italian Photobusta
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This is amazing and you need to watch it.
The Women of Weber Place (music by Brian Bennett and Alan Hawkshaw, “Dossier”) 💥
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ACTRESSES WHO DIED 1987
Rita Hayworth at 68 from Alzheimer’s disease
June Knight at 74 from stroke
Pola Negri at 90 from pneumonia
Wynne Gibson at 88 from cerebral thrombosis
Anny Ondra at 84 from cerebrovascular disease
Joyce Jameson at 54 from suicide
Sari Maritza at 77 from unknnown events
Raquel Torres at 78 from heart attack
Verree Teasdale at 83 from natural causes
Mary Astor at 81 from respiratory failure
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Robert Vaughn escorts Joyce Jameson to a Thalian gala
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A caricature of Vincent Price, Peter Lorre, Boris Karloff, and Basil Rathbone and Joyce Jameson as sketched by Jack Manning for "The Comedy of Terrors" (1963)
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Barney Mends a Broken Heart
Barney Mends a Broken Heart – The Andy Griffith Show season 3, originally aired November 5, 1962
Synopsis
Barney Mends a Broken Heart – After Andy and Peggy have a lover’s quarrel, and Barney tries to console Andy by setting them up with a date with the Fun Girls from Mount Pilot. Their first appearance in the series.
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Tales of Terror
If nothing else, the Criterion Channel’s festival of Roger Corman’s Edgar Allan Poe adaptations is a showcase for Vincent Price. In TALES OF TERROR (1962), he narrates and performs three roles: the morose, alcoholic widower of an evil spirit (“Morella), a pompous wine-taster modeled on Percy Dovetonsils (“The Black Cat”) and a good-hearted dying man who falls prey to evil hypnotist Basil Rathbone (“The Facts in the Case of M. Valdemar”). All three stories have their charms, and for once the normal characters are well-played, particularly by Debra Paget as Helen Valdemar and Joyce Jameson (who could play a lot more than dumb blondes) as Peter Lorre’s long-suffering wife in “The Black Cat.” That story also marked the fortuitous pairing of Price and Lorre, who bring a welcome touch of humor to the otherwise grisly story. Price never had another male co-star who could match his wit so well. For Lorre, Price was his second great acting partner after Sidney Greenstreet. Lorre’s role as an alcoholic lay about living off his wife’s meagre earnings would seem to be a turn-off by contemporary standards, but when he and Price engage in an hilarious wine-tasting contest, social conscience goes out the window. The two seem to be having a friendly competition to see who can get the most laughs, with Lorre’s underplaying of some of his lines, making them sound like ad libs, winning hands down. As in Corman’s other early Poe films, the picture benefits greatly from Floyd Crosby’s Technicolor cinematography, Les Baxter’s score and Daniel Haller’s art direction (though the sets in “Morella” don’t quite work; they seem like new sets quickly painted to look old). There’s also some good work from wardrobe supervisor Marjorie Corso, who spent most of her career in low-budget films. The women look terrific, and I’d move to a colder climate just for an excuse to wear Price’s wide-sleeved robe in “Morella.”
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