Ingrid, Gary, Flora - still of the day

Its SARATOGA TRUNK of course, filmed in 1943 but not released until 1945 when Ingrid Bergman was at the height of her 1940s popularity. She and Gary Cooper reteamed here have a lot of fun with this one, and Dame Flora Robson plays her Creole maid in blackface. Its still a delirious treat now. 

Coming up: some treats from Jerry, and a new consignment of rare dvds from raredvdsforsale:

Pola Negri and Basil Rathbone in the 1932 A WOMAN COMMANDS; Evelyn Brent as THE PAGAN LADY, 1931; Vadim's 1960 lesbian vampires BLOOD AND ROSES  - not seen that since I was a kid and remember how impressed I was; The Montands and Mylene Demongeot in the 1957 WITCHES OF SALEM; the 1949 FABIOLA - the peplum of peplums in a perfect print, with Henri Vidal; and that holy grail of lost movies: a marvellous looking Jean Seberg in BIRDS IN PERU in 1968, Tashlin's 1961 comedy BACHELOR FLAT: Terry-Thomas coping with American college, and a two part documentary on and by Dirk Bogarde. Oh , and Faye Dunaway as THE COUNTRY GIRL - yes, that Country Girl, sometime in the 80s. Plus Pier Angeli in PORT AFRIQUE, Ava Gardner's 1970 oddity TAM-LIN, and another copy of one of our favourites here: Rene Clement's THE SEA WALL (THIS ANGRY AGE) from 1957 -  the French TV version introduced by Alain Delon; plus that recent French wartime drama SUITE FRANCAISE, and the Hardy Boy and Cherlize in that new MAD MAX. Lots to talk about then ....

Black narcissus

BLACK NARCISSUS was on once again and once again there I was watching it one more time, its a film that never palls and is so richly textured that one discovers new aspects to it. It is probably my Number One movie now among my best/favourite films ever ... as per my previous posts here, see label. Every element is perfect here, I would not want to change a moment of it.

It is on the one hand a very 1940s lurid melodrama set in that convent/harem high in the Himalayas, from the popular book by Rumer Godden. It is also maybe the best of the Michael Powell-Emeric Pressburger classics (I also love I KNOW WHERE I'M GOING, A MATTER OF LIFE AND DEATH, THE RED SHOES..) as key British films of the '40s. The look of this 1947 film is amazing, so many shots of the convent and the mountains and landscapes are beautiful as are those flashbacks to Ireland in that rich '40s Technicolor, as photographed by ace camerama Jack Cardiff (see also PANDORA AND THE FLYING DUTCHMAN, and that desert adventure LEGEND OF THE LOST, plus THE PRINCE AND THE SHOWGIRL etc, as per Cardiff label).

This time around I liked that early introduction to the convent as we follow the old Ayah (May Hallatt) around the deserted halls while the mother superior registers her disapproval of young Sister Clodagh being put in charge of the mountain convent. The other nuns are nicely depicted too: Sister Honey, Sister Briony and Sister Phillipa who plants flowers instead of vegetables ... Deborah Kerr at 26 (a decade before her lovely Sister Angela in HEAVEN KNOWS MR ALLISON) is ideal as Sr Clodagh and Kathleen Byron's Sister Ruth comes into her own in the closing scenes as she leaves the convent, puts on that red dress and lipstick and goes in search of Mr Dean, the land agent in the shorts, who has been having an unsettling feeling on both her and Sr Clodagh .... there is that scene in a red mist as Mr Dean rejects her .... the convent at sunset as the nuns search for her, and Sr Clodagh wearily goes to toll the bell .... this is delirious stuff that no matter how often one sees it keeps one enthralled. that stunning cut too and then the aftermath .... 

That ending is perfect too as the nuns leave as the clouds swallow up the convent, and there is that deeply emotional final meeting of Sr Clodagh and Mr Dean when their affection and love is apparant as they have to say goodbye, and she asks him to do one final thing for her ... I love too that shot of the rain starting to fall on those giant leaves as the caravan moves on.  Back around 1980 when I got miy first vhs video recorder BLACK NARCISSUS was one of the first films I taped on those clunky cassettes, so we used to see that scene over and over ... I have not even mentioned Jean Simmons as Kanchi and Sabu as the young general with that perfume "Black Narcissus" from the Army & Navy Stores in London ... and to think it was all created in the studios with some stunning matte shots.

Dame Flora

Now that most surviving British actresses are automatically made Dames of the British Empire (Joan Collins, Shirley Bassey as well as people like Julie Andrews, Elizabeh Taylor, Angela Lansbury whose careers were created away from the UK) a Dame may be a trifle devalued, but back in the 1940s it certainly meant something as Edith Evans, Flora Robson, Celia Johnson, Gladys Cooper etc earned their honours by hard work and their illustrious careers. Today, we look at Dame Flora, always a pleasure to see and listen to - she had the most perfect speaking voice. Never a great beauty (and she never married or had children), she created a great body of work on stage and screen and also television. I never saw her on the stage, where she had lots of successes at the Old Vic, and in plays like Henry James's THE ASPERN PAPERS and LADIES IN RETIREMENT. She was a memorable Lady Macbeth too on Broadway in 1949.

Flora (1902-1984) had her first screen success as Elizabeth I in the 1937 FIRE OVER ENGLAND, with the young Olivier and Vivien Leigh. James Mason was also a juvenile here. Summoned to Hollywood she re-created the Virgin Queen in that marvellous swashbuckler, Curtiz's THE SEA HAWK in 1940, where she and Erroll Flynn are great together. It was a war effort movie, complete with her stirring speech to her troops at the end. In America she had also been effective in Wyler's WUTHERING HEIGHTS as the housekeeper (she turned down Mrs Danvers in REBECCA as she didn't want to play two housekeepers in a row). She also scored as Ingrid Bergman's Creole servant in SARATOGA TRUNK, filmed in 1943, but not released until 1945, when she also blacked up again to play Vivien Leigh's faithful slave Ftatateeta in CAESAR AND CLEOPATRA. She had also played Livia in Josef Von Sterberg's aborted I CLAUDIUS in 1937, and looks marvellous in the fragments that survive.

She was the embittered spinster in POISON PEN, and another efficient spinster in 2,000 WOMEN, a perfect 1940s British war effort. Other 40s movies include Michael Powell's masterpiece BLACK NARCISSUS where she is the nun who plants flowers instead of vegetables in that Himalayan convent; 
GOOD TIME GIRL, and another perfect spinster in HOLIDAY CAMP in 1947. SARABAND FOR DEAD LOVERS was another, where her malevolent Countess Von Platen (bottom, right) steals scenes as she tries to hold on to her lover Stewart Granger. She also excelled in MALTA STORY, and Losey's baroque THE GYPSY AND THE GENTLEMAN in 1958.

Her Chinese empress was a fascinating creation in 55 DAYS AT PEKING in 1963, and she was in a good Miss Marple, MURDER AT THE GALLOP (as the murderer, of course). She has a good moment as the Mother Superior in the all-star THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES in 1965, and also played Sean O'Casey's mother for John Ford in YOUNG CASSIDY, that fascinating film began by Ford and finished by Jack Cardiff. Ford also included her as one of his SEVEN WOMEN for his swanslong in 1966. 
She continued as Betsy Trotwood in a TV DAVID COPPERFIELD and roles in films as diverse as THE SHUTTERED ROOM, EYE OF THE DEVIL, THE BEAST IN THE CELLAR and Miss Pross in a TV A TALE OF TWO CITIES, and Miss Prism in a IMPORTANCE OF BEING EARNEST, as well as the Queen of Hearts in a ALICE'S ADVENTURES IN WONDERLAND in 1972. Her last cinema role was as one of the witches in CLASH OF THE TITANS in 1981. These are just highlights of a long career, where she played her roles with passion and conviction as well as grace and integrity. 

Dame Flora lived in Brighton, where I lived for several years. The Brighton Council named the town's buses after their many famous residents, it always made me smile to see the bus named Flora arrive. 
She is certainly one of the People We Like. As that great site Poseidon's Underworld says about her:  "A revered performer of immense commitment and skill, she could say more with a dour glance than some folks could with a page of lines. With so many actresses now opting to stay forever “young” through surgery and whatever else, we're in short supply of these stern, aged, expressive types of character actresses. With Robson in a film, we know we're in for a treat".  Today, Dames Maggie and Judi continue the great tradition. 
The biography on her by Kenneth Barrow (I got a second hand copy on Amazon signed by Dame Flora and the author) refers to her as "The Avant-garde actress of her generation, she worked in Hollywood during the golden years, won respect for playing Shakespeare and the classics, was a successful star in the commercial theatre, as well as being the first of her great contemporaries to comes to terms with radio and television,and she has worked with the most notable names in theatre and cinema."
Above left: Robson with John Ford. 

Showpeople - troupers

More weird and wonderful photos:

I like this tender moment with Flora Robson and John Ford on the set of YOUNG CASSIDY in 1964. Ford only directed the first 20 minutes of the film as he got ill and was replaced by Jack Cardiff - more on this film which I like a lot at Cardiff label.

Flora and Ford worked again on his last film, SEVEN WOMEN in 1966.

Left: Rock and Diana Dors, in the 50s. Right: Judy Garland and Juliet Mills visit Margaret Leighton in her dressing room - Margaret's stage make-up is rather much - she would have been playing Hannah Jelkes in that original run of Tennessee's NIGHT OF THE IGUANA, circa 1962 ...

Below: Rock with veterans Gloria Swanson and Tallulah Bankhead, at the premiere of his PILLOW TALK in 1959!

Snapshots of Britain

Kay and Bonar at the DANCE HALL

HOLIDAY CAMP - 1947
DANCE HALL - 1950
PLAY IT COOL - 1962
SOME PEOPLE - 1962

Ken Annakin's HOLIDAY CAMP in 1947 is post-war England in aspic, with working-class families going on holiday to the new holiday camps as the new age of leisure dawned after the war, its almost a historical document of that era. Flora Robson has a great role here as the lonely spinster yearning for her love lost in the war, only to discover he is the holiday camp announcer but is now blind, and happily married and does not remember her. Esma Cannon (later in the CARRY ONs) as her twittery friend fares less well, as she falls prey to Dennis Price's murdering conman. The Huggett family (from the radio) are enjoying themselves, led by father Jack Warner and mum Kathleen Harrison, with daughter Hazel Court, Jimmy Hanley and Diana Dors as well as Patricia Roc also pop up. Below: Mr and Mrs Huggett get used to being on holiday, Dennis Price with murder in mind, and Dame Flora - noble as ever. 

Its an enjoyable time capsule now, as is:

DANCE HALL - Charles Crichton's 1950 portrait of 4 working class girls who work in the local factory and let off steam at the Saturday night dance (the Chiswick Palais). This is a roll-call of ‘50s British showbiz with a very varied cast here: the girls are young Petula Clark, Natasha Perry, Jane Hylton and the rising Diana Dors. Its a fairly grim look at working class life, but lots of fun too. Donald Houston and Bonar Colleano are among the men they attract, Kay Kendall pops in for a minute, as do Eunice Gayson and Dandy Nichols, Sydney Tafler is the dance hall manager and dear old Gladys Henson is Petula's mum who gives her an awfully old-fashioned dress to wear at the dance contest! Dors is great fun as the good-natured blonde with an eye for a hunky fella! Parry is torn between stolid Houston and wide boy Colleano, while Hylton remains a spinster. 
10 years later SATURDAY NIGHT AND SUNDAY MORNING would be a new male-dominated update on working class life, as the '60s dawned, but this 1950 version is just as pleasing and relevant now. This and HOLIDAY CAMP are as essentially '40s and early '50s British as IT ALWAYS RAINS ON SUNDAY, POOL OF LONDON, THE BLUE LAMP, HUNTED etc. - those movies where the likes of Jack Warner and Jimmy Hanley were bobbies on the beat or dependable guys next door, and Canadian Bonar Colleano (of the circus family, he died in a car crash in 1958, aged 34) was the not to be trusted wide boy or American G.I. in England, and young Bogarde was a spiv with a gun before graduating to war hero roles.

Factory girls

Diana lets rip on the dance floor

PLAY IT COOL. A hopelessly square 1962 British musical showing the pop scene at the time, showcasing pop idol of the time Billy Fury in his movie debut. We liked Billy then, an authentic rocker with a great look and voice (“Halfway to Paradise”) who died too young, aged 43 in 1983. 
He and his jolly gang (Michael Anderson Jr, Keith Hamshere, Jeremy Bulloch, and a very young David Hemmings) are en route to Gatwick Airport when they decide to help out a runaway heiress (don’t laugh, this isn’t the 1930s) – Dennis Price plays her oily father and others roped in include Mr Showbiz: Lionel Blair and his dancers. 

Statue of Billy in Liverpool

There is a twist number, the twist was big at the time – and American Bobby Vee gets to sing, as does Helen Shapiro, the school girl singer of the time (I was an early teen then, and loved her songs). Michael Winner directs and keeps it all moving. This pop scene though, along with the Cliff Richard films (THE YOUNG ONES, SUMMER HOLIDAY) and those earlier Tommy Steele, Frankie Vaughan, Adam Faith ones,  was swept away the next year, when The Beatles exploded in 1963, and 1964’s A HARD DAY’S NIGHT showed how to make a pop movie which also captured the moment perfectly.

SOME PEOPLE – more pop from 1962. I remember this one vividly, being 16 at the time. This is a lively look at teenagers in a suburban city – Bristol – with a lead role for Kenneth More as the well-meaning choirmaster with that church hall where the kids can play their instruments. It features the then up and coming Ray Brooks (THE KNACK) and a gormless David Hemmings (4 years before Antonioni made him an icon of the 60s in BLOW-UP), Anneke Wills who wears her jeans in the bath to shrink them, Angela Douglas (who married More). 

David Hemmings, centre

The bored teenagers are only interested in motorbikes and music and are convinced society has no use for them, but are hardly rebels without a cause. Kenny More soon gets them playing – this was all part of the Duke of Edinburgh Awards Scheme, which features here. The music is catchy though and it all looks nice in colour. Clive Donner – another under-rated 60s director – helms it, he also directed the Hemmings starrer ALFRED THE GREAT in 1969, after his like WHAT’S NEW PUSSYCAT? and THE CARETAKER, and that other look at teenagers in a suburban city HERE WE GO ROUND THE MULBERRY BUSH in swinging '67. What is interesting here is the contrast between the options for teenagers in 1962 (in pre-Beatles England) and 5 years later, at the start of the hippie and psychedelic era in 1967 in HERE WE GO ROUND THE MULBERRY BUSH ... it was a different world for them then!

More early '60s British movies:

TWICE ROUND THE DAFFODILS. This 1962 comedy, adapted from a play, is a CARRY ON in all but name, produced by the regular team Peter Rogers and Gerald Thomas. Of interest now mainly for that supporting cast of familiar faces. We join 4 patients who arrive at a hospital for tuberculosis patients (they are still allowed to smoke though!) – RAF type Donald Sinden with an eye for the ladies, funny man Lance Percival, boorish Wesh Donald Houston who is in denial and refuses to accept he is ill – one wants to reach for the mute button every time he starts ranting, and young Andrew Ray. Already on the ward are Ronald Lewis and snobby Kenneth Williams whose only visitor is his dowdy sister Joan Sims. Head nurse is Juliet Mills, and others include nurse Jill Ireland, Sheila Hancock as a loyal girlfriend,. Nanette Newman as the glamorous one who has found someone else with a sports car. The patients are getting better when they can walk twice around the daffodil patch … a slight amusement, matinee fodder perhaps, which shows that the 1960s had yet to begin at Pinewood. 

THE VERY EDGE. This long forgotten 1963 thriller has suddenly been re-discovered – the BFI are screening it in April, but thanks to a fellow correspondent here I have got a ‘screener’. It’s a taut thriller (filmed in Ireland), a Raymond Stross production starring his wife Anne Heywood again as the happy housewife, looking after her husband Richard Todd and her ideal early ‘60s home, who is stalked by a deranged stranger – young Jeremy Brett, terrific here. He follows her around the supermarket and attacks her in her home causing her to miscarry her child. Worried policeman Jack Hedley notes the stranger will be back. Our worried couple move home, but its no use. 

Brett soon has her in his power again as she tries to fight back. We end up on the roof as our brave heroine has to outwit him before help arrives. Add in Nicole Maurey as Todd’s super-efficient secretary with a yen for him, as his and his wife’s marriage falls apart and tension is maintained to the very end. A routine thriller perhaps, but certainly watchable now. With Pauline Delaney, Gwen Watford, Maurice Denham, Barbara Mullen and Patrick Magee, and ably directed by journeyman Cyril Frankel.We liked Heywood recently in that revived I WANT WHAT I WANT from 1972 - Heywood label - where she is a transexual ...

More '40s/'50s British bad girls ...

PASSPORT TO SHAME & GOOD TIME GIRL .. We reported on the Italian WHITE SLAVE TRADE, an early Loren from 1952 recently, see below ... here's the British view in 1958, a white slavery expose,  - but first a delicious slice of '40s moralising ...

GOOD TIME GIRL. This essentially British post-war (1947) lurid melodrama is a rich treat now. Told as a cautionary tale by social worker Flora Robson to wayward teenager Diana Dors, it tells the story of Gwen, a nice girl initally who goes bad, it reads like one of those Hollywood movies starring Lana Turner or Susan Hayward in which they go spectacularly bad - and then pay and pay for it. MADAME X or I WANT TO LIVE have nothing on Jean Kent, 27 here playing a 16 year old. 

Dame Flora & Diana

Kent had a long career, her best role maybe as the unfaithful wife in the 1951 film of Rattigan's THE BROWNING VERSION, and in those Gainsborough dramas like CARAVAN and MADONNA OF THE SEVEN MOONS). Here she is at the BFI in 2011 when she was 90. ... 

http://www.silversirens.co.uk/jean-kent/jean-kent-introduce-caravan-the-bfi-t127/

Gwen is from a poor home with a downtrodden mother and violent father,  she likes nice things like that brooch she borrows and gets caught returning. After a final beating from her father on being fired from a job in a pawn shop, she runs away and gets an apartment in London. Soon she is working as hat-check girl in Herbert Lom's jazz nightclub. Among the men pestering her is Peter Glenville (who later turned director of films like BECKET). Poor Gwen is soon on a descent into a world of booze and sleazy men. She ends up in a reform school after being framed for a robbery, despite fairly nice guy Dennis Price trying to help her. Now she has to be really tough, as she tangles with head girl Roberta (Jill Balcon - so obviously Daniel Day Lewis's mother, with that profile...). Everything goes wrong as she escapes and falls in with more bad company, back with Herbert Lom and his new nightclub in louche Brighton. Soon she is running around with a local gang, and then with 2 GI's on the make who will stop at nothing, including murder .... as poor Gwen is framed again and dragged off for a longer sojurn inside. Suitably warned off a life of crime, young Diana heeds Dame Flora's advice, and heads for home. Boy, how they must have enjoyed that back then ...

Reform school girls

Jean Kent is terrific and totally believable as the willful teenager and party girl. She's as good as any tough girl in any Hollywood film. Supporting cast offers a few great roles here: Griffith Jones, Herbert Lom as the nightclub owner; Bonar Colleano, Beatrice Varley is good as the hapless mother, and Amy Vaness (the spiteful mother-in-law in THIS HAPPY BREED) as the landlady.  Its a delicious panorama of 1940s British moviemaking, as directed by David McDonald, and written by Ted Willis and Muriel Box, and it should be as well-known as BRIGHTON ROCK or IT ALWAYS RAINS ON SUNDAY (see 1940s label). 

PASSPORT TO SHAME. Totally lurid 1958 melodrama about the evils of prostitution in London, this is a delirious trash classic now. A decade on from GOOD TIME GIRL Herbert Lom has graduated to the role of Nick Biaggi, the local Mr Big, a super-pimp controlling his street girls, as aided by the wonderful Brenda de Banzie. Among their girls is Diana Dors again, now in her late '50s prime, a day-glo blonde poured into some amazing costumes - it seems she did not follow Dame Flora's advice after all; street girls surely didn't look this good? Diana is Vicki, a good-natured girl whose kid sister fell foul of Biaggi and his cohorts as she bides her time to take her revenge on them.  Enter Odile Versois, as a very naive French girl Malou who is soon in Biaggi's grip after going through a fake wedding with a taxi driver in trouble - Eddie Constantine.  Odile is rather homely, Mylene Demongeot may have been a better choice ...

Highlights include Malou's drug-induced dream or nightmare, and all the taxi-drivers (Joan Sims is the radio controller) going to the rescue of Malou from the swish residence of Herbert, who is soon dangling on the roof as a fire takes control ... 

Another Dors treat?

the firemen attempt a rescue, will our hero Eddie reach Herbert first? Lets just say there is a happy ending for our two couples - yes Vicki finds a regular guy who will love her too - leaving poor Brenda to wail on the street as the money flies around her. This is simply a genuine British Trash Classic, as helmed by the prolific Alvin Rakoff, and has to be seen to be believed. The other couple being married (left, above) when Malou and Eddie turn up are only the young Michael Caine and Anne Reid - before she went into CORONATION STREET as Ken Barlow's first wife, soon to be electrocuted, and now one of our senior actresses.

A freezing afternoon double bill .....

Ideal viewing for our continuing big freeze here - it will be a wintery Easter too.

THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES - another one I had not seen since its release in 1965, though its always on tv here especially around holiday time. I thought nothing of it at the time, being a teenager - but its a delight now, Ken Annakin's comedy of the London to Paris plane race in the early 1900s. All the funny little planes and all that stunt work looks great now, as is that cast - another of those star-filled films of the time (like THE VIPS, THE LOVED ONE, OPERATION CROSSBOW, AMOROUS ADVENTURES OF MOLL FLANDERS etc).

James Fox and Sarah Miles are re-united from THE SERVANT, see below, she plays her usual saucy minx in period clothes, he is the upright English chap, Stuart Whitman the brash American, Alberto Sordi the Italian, Jean-Pierre Cassel the amorous Frenchman, Gert Frobe the German, Robert Morley the newspaper owner, Terry-Thomas is the rotter, with lots of cameos from the likes of Flora Robson as a resourceful nun, Fred Emney, Cecily Courtneidge, etc.

This was followed by the Merchant-Ivory A ROOM WITH A VIEW from 1985 - how we liked this at the time (one of my date movies in Brighton), one of their best films and the first of their E M Forster triple, followed by MAURICE (time for a re-view of that soon) in 1987 and then HOWARDS END - the definition of the much derided heritage cinema,
but they are all marvellous costume dramas, like their THE EUROPEANS (Lee Remick), THE BOSTONIANS (Vanessa Redgrave), HEAT AND DUST (Julie Christie, Greta Scacchi), QUARTET (as reviewed here, Maggie Smith label), as well as their earlier oddities like SHAKESPEARE WALLAH or SAVAGES. What a fascinating team they (director James Ivory & producer Ishmael Merchant, with scriptwriter Ruth Prawer Jhabvala ) were and the many stories of how they made those films and attracted all those casts, on meagre budgets ....

When Lucy Honeychurch and chaperone Charlotte Bartlett find themselves in Florence with rooms without views, fellow guests Mr Emerson and son George step in to remedy the situation. Meeting the Emersons could change Lucy's life forever but, once back in England, how will her experiences in Tuscany affect her marriage plans?

Maggie Smith and Judi Dench are perfection of course as the spinster aunt and the novelist Miss Lavish, Florence looks marvellous, the period detail looks perfect, there's wonderful Fabia Drake, Daniel Day Lewis as the prissy Cecil Vyse, Rosemary Leach, Denholm Elliot and that amusing scene where the Reverend Beebe (portly Simon Callow - I almost said Cowell !) joins George and Freddy (Julian Sands and Rupert Graves) for a naked swim as the ladies walk by .....  England and Italy both look great and the soundtrack and music and captions are ideal, as of course is Helena Bonham-Carter as Lucy Honeychurch. It all ends very satisfyingly with our couple back at their room with a view and the spinster aunt happy for them in her single bed. It all though makes one want to run off to Florence right now ...

There was another ROOM WITH A VIEW, a tv version in 2007 right, scripted by costume veteran Andrew Davies (also responsible for the great BBC 1995 PRIDE & PREJUDICE and the filleted new version of BRIDESHEAD REVISITED, see Costume Drama label). There is no ambiguity about the Reverend Beebe (Mark Williams) in this one ("not the marrying kind" according to Forster), he chats up Italian youths and has a leer in his eye as joins the boys stripping off .... Cecil in this one is James Fox's son Laurence .... like the recent tv version of SENSE & SENSIBILITY it amuses but is not as good as the film. It did though tack on a meaningless coda showing Lucy back in Florence in the '20s, George having perished in WW1!

THE SERVANT (see below) bandwagon rolls on - Wendy Craig is now on morning television tomorrow discussing the movie and its revival ..... will Miles and Fox also be seen more drumming up publicity ... ?