LAST UPDATE April 12, 2026
Fast Review: The Divorce of Lady X, 1938: A lot of fizzy froth in this romantic comedy about faked identity and the humorous side of a rather advanced case of misogyny. Laurence Olivier is an attorney in London who is a veteran of divorce trials, and one night returning to the city while it is engulfed with a fog thick enough to spawn a dozen 1930's Universal monster movies he has to take refuge in a luxury hotel to wait it out.
The place is swarming with guests in the hotel's huge ballroom where an elaborate costume party is taking place but now they are all marooned in the building due to the weather. With rooms all occupied and too many extra people on their hands, the management tries to get the attorney to allow some of the roomless women from the party to take up sleeping quarters in the well furnished outer room of his two room suite, but he'll have none of it. With a pitiless refusal to help out, complaining he hasn't slept for two days and is facing another long hard day at his office the next morning, he throws out the manager who now has to tell the dozen desperate ladies in the hall that there's no space for them here.
Merle Oberon, in an outfit that looks like it was tailored for Gone with the Wind, won't take "no" for an answer and once the coast is clear pushes her way into the suite. Between fast talking and manipulation she convinces the attorney to give up his outer room to her, and then pressing her advantage she ends up in control of the bedroom and wearing his pajamas, while Larry Olivier ends up sleeping unhappily on the floor in the outer room in a robe.
Part battle of the sexes and part just a playground for witty dialogue (script by Lajos Biro, Ian Dalrymple, Arthur Wimperis, Gilbert Wakefield, and Robert E. Sherwood), The Divorce of Lady X has Olivier and Oberon using up most of the screen time burning through a lot of physical energy and at times spitting out reams of bantering dialogue that zips by almost like confetti because the print I saw of the film (from the Classic Reel streaming service) looked good but had iffy audio. I'm assuming the stuff I couldn't quite catch was as good as what I did, and in that regard the film is a first rank comedy, part screwball but much more British (it is an Alexander Korda production, after all).
The Divorce of Lady X is a gorgeous film with peculiar shortcomings. For example the first half of the film seems to be all indoor sets, well decorated and colored pleasantly for this Technicolor production, but strangely many of the doorways and windows reveal all to easily this is actually a film set, such as primitive looking matte paintings in the background for the faked exteriors. When the film finally gets over its stage-like appearance we get some fabulous on location castle and fox-hunting scenes, plus a general expansion of the visual story with scenery to match as the bizarre prank played by Oberon's character on the misogynist Olivier character deepens. It is almost as if the film was shot chronologically and whoever was holding the purse strings liked what was developing so much they started really spending on opening up the visuals and getting away from the boxed rooms with people talking fast but closed up into small spaces.
There's not many bass notes in this light-hearted fare, though batting around a constant chat about divorce, implied adultery, and what it is that drives men and women to love each other gives it ample places to show a serious moment: it doesn't quite pull it off.
Binnie Barnes and Ralph Richardson are on hand and fill out the funny quite well, particularly Ralph Richardson getting drunk and repeating his lines over and over, ruminating on what he thinks everything means about his relationship with his wife when in fact he's just getting drunker in his misery because they're not getting along. In a way the message of The Divorce of Lady X seems to be that the sexes could get along better if they'd just want to do so and put a little effort into it.
Review: The Leech Woman, 1960: Convinced a breakthrough in reviving the faded youth of wealthy women can only result in his gaining incredible riches, an endocrinology researcher (Phillip Terry as Dr. Paul Talbot) alternates between hating his wealthy older wife June (Colleen Gray under a lot of age-makeup) and wooing her for both her money and as a handy body to experiment on. He promises his lonely and alcoholic wife that once he makes her young again they can be happy together, but in the meantime they fight and hurl bitter insults at each other until a chance opportunity comes their way: an ancient woman (played by Estelle Hemsley) who claims to be 150 years old. She comes to the doctor's clinic with a story of how her home tribe in Africa have a method for prolonging life such that 150 years isn't unusual. Plus, they have a way to regress a woman's age so that while she might be elderly and frail, she can again be youthful, hail and hearty using a secret method. Examining her and convinced that her story might be true, the doctor decides that to research this they'll all need to travel to the tribe's hidden location in Africa. The elderly woman (named Maila) will be happy to guide them if the doctor and wife will put up the funding.
The international scope of the tale doesn't translate that well to the screen since the fine shots of the group moving through the thick jungle is interspersed with them reacting nonchalantly to obvious stock footage of charging elephants and other exciting, but somehow, judging by their non-reactions, non-threatening African sights. When they finally reach the African village it is a compact place fitted within a single camera angle that implies there's more there though we never get to see it.
Their aged guide (who Gloria Talbot, in a supporting role as a nurse, earlier called "a mummy" when spotting her in the clinic waiting room) is soon transformed into a strong, young, robust woman (the young version of Maila is played by Kim Hamilton). She sets in motion a series of events that will "free" June to pursue a life completely liberated from caring at all what her bossy husband Dr. Talbot thinks or wants. After an interlude that shows that Maila didn't lie about the wonders her tribe possess, the Americans head back to the states.
In The Leech Woman, Coleen Gray is sometimes thoroughly made up to look her part as an older woman, but more often she isn't and looks healthy and pretty with some odd wrinkly makeup effects that can't disguise her firm (and youthful) jawline, cheeks and mouth. But Gray goes at the part with a lot of verve but it is a hard lift to get across the seriousness of the character's dilemma. 1950's and 60's films often used a wife's alcoholism as the manifestation of an unhealthy or miserable marriage, and that's certainly the case here. Once Gray's character has made a few important decisions about her future (with the earnest encouragement of the youthful and lethal Maila), the alcoholism is gone and she is now energetically trying to arrange her world to suit her new goals.
We know early on in the tale that the husband-doctor is more than a bit of a rat (we see it pretty early on but the cast doesn't, except for Maila) and the doctor will pay the price for his rattiness. Grant Williams (he of Universal's great The Incredible Shrinking Man) is an attorney who gets caught up in an instant infatuation with June's niece, who is in fact June reverted to her (temporary) youth again. June is using the ruse of a double identity to hide what's really going on. This becomes particularly necessary as the police are getting concerned about the dead bodies piling up, even if the corpses are cheap hoods and confidence men who think they've spotted an ideal mark for exploiting a vulnerable old woman.
Unfortunately for June the effects of this African method of rejuvenation only lasts about 24 hours and she progressively becomes, shall we say, morally compromised in the pursuit of what's necessary to make the tribal secret work (The Leech Woman in some way seems like a half-baked version of H. Rider Haggerd's She novel of 1887. Both stories cover similar ground and both use the mystery of Africa as a way to explain the unexplainable and impossible).
Despite the title, "leeches" don't actually show up in this film, the title is pure metaphor. The story (by David Duncan, Ben Pivar, and Francis Rosenwald) barely tries to examine the shadowy "why" of the plot which is the lust for youth that is gone is a poor substitution for love. As a tool to gain love the rejuvenation method is a time-bomb, and since the starting point of our tale is endocrinology, why can't the story state the obvious which is that this supernatural whats-it is crossed with the science of hormones. Besides the reactions of some of the more expendable characters in the cast, it would also explain why Grant Williams' attorney character goes off half-cocked whenever he's with the suddenly rejuvenated June (it also would help to inform why Gloria Talbot's nurse character develops a conviction she must do combat to save the attorney from... well, himself).
The horror movie elements are more mid or late-1950s instead of what the release date of June 1960 would imply. Produced by Universal to fill out the bottom-half of a double bill with the more elaborate and higher-production The Brides of Dracula from England's Hammer Studios at the top of the bill, both films feature doctors in main roles (in the Hammer film it is Van Helsing played by Peter Cushing) and each film features the mad idea of consuming other beings to sustain life, and the subsequent diminishing ability to remain human in the process.
Star Coleen Gray throws a lot of energy into her role, and because this film was the only time she got top billing in her long career on film and TV, she said later in interviews it held a special place for her in a quite long resume, though she also said the premise was laughably crazy.
Cheaply made though with professionalism all around, the film is a fairly high-quality movie for the type of low-quality film it is. Coleen Gray, Phillip Terry, Estelle Hemsley and Kim Hamilton get opportunities to push the story forward with energy and skill and show us clearly articulated characters. Grant Williams and Gloria Tolbot less so but chiefly because there's not a lot of room left over for them in this 77 minute tale.
Made at a time when youth culture in the United States was building on a humongous wave of "Baby Boom" births following WW2, the sheer commodity value of "youth" is put on a pedestal in this tale much the way the production of these kind of films aimed at the youth market. The word "teenager" was invented post-WW2 to conceptualize this community where disposable income and 'cheap thrills' had currency and could be seized upon if the right product was put out in front of the "kids". Compared to what was to come in later 1960s and 1970s horror films, The Leech Woman is a rather reserved item that tries to hang onto its dignity, though there is a dispairing and even cynical tone as the husband and wife set up vicious background of heartbreak and dysfunction. And then like a faery tale a solution is proffered. The Leech Woman then goes on to show us that the trade-off for gaining lost youth involves violence and deathm and it simply can't end well for those involved: and it doesn't.
The Marion Davies' film It's A Wise Child, 1931, Warner Archive Blu Ray, release coming May 26, 2026.
HD master from a new 4K scan of best preservation elements!" "...a witty portrait of small-town morality turned upside down – and a reminder of why she ranked among Hollywood’s most engaging stars. Out of general distribution for decades and never shown on television..."
Anniversary Sale on DVDs and Blu Rays – Classicflix
Powerhouse Films - UK and USA versions of films on Blu Ray - Sale through April 7 – Powerhouse Films
Looks like mostly Region B versions on disk.
Reviews of Classic Film, with artwork and news
At the end of The Searchers, John Wayne is shown holding his right elbow with his left hand in honor of Harry Carey who would often use that pose in his films. pic.twitter.com/9mzx805rtW
— DrPopCulture (@DrPopCultureUSA) March 14, 2026
Robert Duvall 1931 – 2026
"Chameleon of the silver screen"
Story at Washington Post
Adam Sandler, Alec Baldwin and Jamie Lee Curtis remember 'One of the Greatest Actors'
Story at Yahoo News
Robert Duvall's ties to Texas' films
Story at TPR News
"Mourning one of the greats"
Story at Yahoo
Robert Duvall's final video message to his fans
Story at MSN People
Duvall's unique role in a bizarre Depression-Era tale from East Tennessee
Story at WATE Knoxville
Frederick Wiseman 1930-2026 "dean of documentary filmmaking" has died – Washington Post
In an era of shrinking attention spans, Mr. Wiseman’s movies were defiantly long and slow-moving, frequently lasting three hours and — in the case of “Near Death” (1989), shot at an intensive care unit in Boston’s Beth Israel Hospital — sometimes stretching to six..."
Seen at the local Barnes and Noble, Feb 2026
Three Girls About Town (1941)
Joan Blondell and John Howard have an argumentative on-then-off then-on-again relationship as they deal with problems that keep cropping at a huge hotel they desperately want to protect from scandal. In between drunken conventioneers filling the huge building, an unexplained dead body shows up in the middle of a Mortician's convention, and then on top of that Blondell's character's little sister (played by Janet Blair in her first film role) shows up having left her all-girl's school in a boy-mad state looking for male attention. She arrives and throws her sights on John Howard's humble newspaper reporter which tangles up his relationship with Blondell's character even more.
More about Three Girl's About Town 1941
On Blu Ray: The Gay Divorcee - Ginger Rogers and Fred Astaire – Amazon
Spencer Tracy 4-Film Collection Blu Ray set comes Feb 17, 2026
- Fury 1936 - Dir. Fritz Lang
- Libeled Lady 1936 - w/Jean Harlow, Wm. Powell and Myrna Loy
- Northwest Passage 1940 - Dir. King Vidor
- Bad Day at Black Rock 1955 - Dir. John Sturges
Warner Archives Facebook announcement
Producer Kenneth Hyman has died at the age of 97 – MSN Hollywood Reporter
Hyman produced a long roster of famous films, such as: Whatever Happened to Baby Jane?, The Dirty Dozen, The Hill, Camelot, The Wild Bunch, among others.
4K Blu Ray coming for 1930 Hell's Angels wth Jean Harlow "in her bombshell breakthrough" – Criterion
New 4K digital restoration of the Magnascope road-show version of the film, with uncompressed monaural soundtrack..."
The 1952 Narrow Margin (with Marie Windsor and Charles McGraw) comes out Jan 27th on Blu Ray – Amazon
The Kay Francis, Herbert Marshall and Miriam Hopkins Trouble in Paradise directed by Ernst Lubitsch coming to Blu Ray/4K April 14 – Criterion
Kino has a up to half-off "Box Set" sale until January 26, Monday – Kino Lorber
Flicker Alley to release disk of Focus on Louise Brooks – Flicker Alley
Disk includes The Street of Forgotten Men and fragment material from Now We're In The Air, Just Another Blonde, and American Venus. Also has commentaries, "Looking at Lulu" featurette and other extra material.
CEO of Paul Newman's "Painted Turtle" children's charity was caught embezzling $5.2 million – NY Daily News
Brigitte Bardot has died
Born in Paris on September 28, 1934
"Brigitte Bardot, French femme fatale and cultural phenomenon, dies at 91" – Washington Post
Hollywood had voluptuous but fragile Marilyn Monroe, and Italy had earthy but dignified Sophia Loren, but Ms. Bardot’s unapologetic hedonism made her a singular phenomenon. One of the most photographed women in the world, she triggered a million fantasies and think pieces. In an Esquire essay, Simone de Beauvoir found existential meaning in Ms. Bardot’s physical allure and dubbed her a "locomotive of women’s history."
...Over the years, Ms. Bardot aggressively downplayed her looks. As an older woman, she shunned makeup and often barely managed to pull her graying hair into a bun. Slowed by arthritis, she became increasingly reclusive. Her means of communication with the outside world became a fax machine..."
"Brigitte Bardot, French screen legend, dies aged 91" – UK The Times
Bardot devoted the latter part of her life to her animal rescue charity, but she was also a controversial figure..."
The death of the legendary "Babe" of French cinema – Kathimerini [Greek]
Despite her influence, Bardot found the life of a celebrity isolating. She often spoke of being a prisoner of her own fame, unable to enjoy the simple joys of life. "No one can imagine how horrible it was, such an ordeal," she reflected decades later. "I couldn’t go on living like that."
"Global grief: Brigitte Bardot dies at age 91" – Iefimerida [Greek]
Announcement of her death came from the The Brigitte Bardot Foundation
Question: Is the 'mad as hell' speech by Peter Finch from the 1976 Network written by Paddy Chayefsky kind of a parody or "heightened" revision of the Robert Riskin penned speech by "John Doe" (Gary Cooper) in Capra's 1941 Meet John Doe? And doesn't the situation of a media "puppet" controlled by powerful forces (or not controlled) link the films together?
William Powell & Myrna Loy I Love You Again on Blu Ray from Warner Archives – Amazon
Fast Review
Grand Exit - 1935: It sure is nice to be wanted, and that is the premise of this film. Thomas Ignatius “Tom” Fletcher (Edmund Lowe), an arson investigator, is desperately asked to return to his former employer, the Interoceanic Fire Insurance Company—the same company that had laid him off after he approved payouts on several expensive properties that burned. At the time, Fletcher was blamed for failing to find some mitigating circumstance that might have saved the company money.
More Grand Exit, 1935
Laurel and Hardy - The Restored Features, Volume 1 released – Classicflix
Pardon Us (1931) and Pack Up Your Troubles (1932)
BONUS FEATURES: Opening title sequence of the preview version of Pardon Us (which had the working title of Their First Mistake) featuring the "talking titles" with the Crane twins; Never-before-seen alternate ending for Pardon Us (no audio); Pardon Us alternate audio track without incidental music
Review
Miracle on 34th Street (1947) – If you're willing to believe in Santa Clause, this film has a story for you. And if you're not? Well, it's got an angle on that, too.
Maureen O'Hara plays Doris Walker, a senior manager at the huge Macy's department store in New York City. She's a single parent with a young daughter (played by 8 year old Natalie Wood) who, as the Macy's annual Christmas parade begins to assemble for the march through NYC, she suddenly needs to replace their very inebriated Santa Clause for the store's float. An unhappy Edmund Gwen is right there with her because he has already complained to the Macy's employees that their Santa was drunk and "a disgrace." Doris takes one look at Gwen's nicely groomed white beard and impish, elfish face and makes a panicked offer: will you replace our drunken Santa? Gwen is delighted to put on the suit.
What seems like a happy miracle of coincidence soon becomes complicated. This new Santa has not only made a good impression on the crowds in the streets, but after he is asked to play their store Santa inside the sprawling empire of the multi-story Macy's department store, long lines of kids and parents find this old gentleman a perfect incarnation of Kris Kringle. What's the problem? Maureen O'Hara's character discovers their new Santa Clause thinks he is Kris Kringle.
Fearing she might have a madman on her hands, Doris investigates and learns that Kris comes from an asylum that took care of old people. The institution's physician (James Seay) assures them, Kris's delusion is harmless and is only an expression of his desire to be helpful and kind. Maureen's character is afraid of what might happen if the delusion is challenged, but she's also afraid of what will happen if they try to replace this very popular Santa Clause. The solution is to just keep a close eye on him, and in the scheme to do so, she arranges for Kris to come live downtown at the home of senior store manager Julian Shellhammer (Philip Tonge), but before this gets accomplished Kris has already been offered a place at the home of Doris's earnest, want-to-be boyfriend Fred Gailey (John Payne) who lives in Doris Walker's own apartment building.
Now, not only is Kris at the store, but he's just a few doors away when off-duty. He is soon spending time with Doris' daughter and Kris learns little Susan Walker is being raised with a parental attitude of complete honesty at all times and the complete exclusion of any forms of phantasy. Kris begins amending this by teaching Susan how to imagine being an animal from the zoo, for example, a monkey, such as comically scratching and saying "ook, ook" as they pretend to drag around their extra-long arms.
Meanwhile, Fred Gailey is trying to overcome the refusal of the mother to respond to his amorous interest, and with a little prodding discovers a rich vein of bitterness from the past that hints at a painful and traumatic experience about Doris's daughter's father. Now that he knows what he is up against, a cheerful Fred gets to work, and with Kris teaching the daughter how to be a kid, the pair each have clear cut missions in mind. But then a major problem develops at the store involving the official psychiatrist at Macy's who takes a very dim view of this Santa Clause delusion...
A sharp script (by George Seaton and Valentine Davies) sometimes has enough Frank Capra-Robert Riskin flavor to it to make you wonder if that pair ghosted some of the story. There's also a reworked A Christmas Carole flowing around the character of the angry and wounded Doris Walker who needs a little help toward redeeming her future. Kris isn't a time-shifting angel like the spirits in the Dicken's tale, but when his certainty that he is Santa Clause blossoms into a court case hearing in which he could be "put away" at Bellevue, Doris has got to choose which side she is on. Erstwhile boyfriend Fred, who fortunately is an attorney, only see's one way out of the mess and that's to prove Kris really is Santa Clause.
Miracle on 34th Street has long been a staple of holiday TV programming, and the care taken in making the film reflects the access the production had to actual Macy's stores, but the original packaging of the movie didn't emphasize Christmas at all. The parade scenes were actual real parades (sometimes filmed using hidden cameras) that the production recorded during the 1946 Christmas season. Natalie Wood later said she thought Ed Gwenn's Santa Clause (he grew his beard out for the role) was "the real Santa" during filming.
Despite the obvious seasonal nature of the story, head of Twentieth Century Fox, Darryl Zanuck, was convinced the film would do better with a May-June release, so this quintessential December movie was actually put into theaters in early summer. Zanuck was certain the relatively low cost on the movie had more potential for box office in the months when attendance at theatres was highest, and it paid off: the earnings were four times production cost. Marketing at the time down played the Christmas connection and played up the Maureen O'Hara - John Payne romance, and Ed Gwenn was miniaturized on the posters.
Miracle on 34th Street went on to get three Oscars: Best Supporting Actor for Ed Gwenn; Best Screenplay and Best Original Story wins for the film's director George Seaton.
The Criterion Feb 2026 releases on disk
Network 1976 - 4K and Blu Ray HD disks. Directed by Sidney Lumet "from a brilliantly incisive script by Paddy Chayefsky" - Criterion Page
Lubitsch Musicals 4-film box set – The Love Parade (1929) with Maurice Chevalier and Jeanette MacDonald; Monte Carlo (1930) with Jeanette MacDonald; The Smiling Lieutenant (1931) with Maurice Chevalier, Claudette Colbert and Miriam Hopkins; One Hour with You (1932) With Maurice Chevalier and Jeanette MacDonald. 2 Disk Blu Ray set. - Criterion page
3:10 to Yuma 1957 - 4K, Blu Ray and DVD. Classic western from a story by Elmore Leonard. Starring Glenn Ford and Van Heflin. Criterion Page
Captain Blood 1935 - 4K, Blu Ray and DVD. Erroll Flynn stars with a "groundbreaking symphonic score by Erich Wolfgang Korngold." – Criterion Page
Review
Review:
Island of Desire – 1951: A flawed movie with very nice color photography and an occasional witty moment from the script:
Linda Darnell: Dugan, I really wanted to help, but I was terrified. You've never been afraid, have you?
Tab Hunter: Sister, the only thing that scares the tar out of me is you.
An island melodrama somewhat in the vein of The Blue Lagoon featuring Tab Hunter as a U.S. marine and Linda Darnell a skilled veteran combat nurse who get marooned together in the South Pacific. More about Island of Desire, 1951
Review:
Road to Morocco – 1942: On the road again with Bob Hope, Dorothy Lamour and Bing Crosby trying to handle a sand-and-sandals tale which won't stay within the lines of an "exotic adventure" from Hollywood but keeps stopping to let the performers, especially Bob Hope, to talk to the audience directly. Often considered the best of the seven "Road" pictures made by the trio, the film also features Anthony Quinn and Dona Drake - more about Road to Morocco – 1942
Review:
Actors and Sin – 1952: This mini-anthology diptych written, directed and produced by Ben Hecht is about the business-end of the acting and the producing arts, two tales split in opposite extremes, each like the ancient "Thalia and Melpomene" masks of drama in which one is laughing and the other is crying, something that pictures the two stories Hecht has put together here. "a lovely piece of old-fashioned mummery."
More about Actors and Sin, 1952
Criterion classic film releases just ahead
1930 Hell's Angels with Jean Harlow - 4K release – Criterion Coming November 18
1940 His Girl Friday in 4K with Rosiland Russell and Cary Grant – Criterion Coming December 2
4K Captain Blood with Erroll Flynn – Criterion Coming January 20, 2026
The "living Caryatid" Irene Papas
The "living Caryatid" Irene Papas film retrospective at the Greek Film Archive in Athens
Story at Lifo [in Greek - English vis Google Translate]
Review:
Ladies Man – 1931: Early "talkie" with a primitive handling of audio and especially the pacing of dialogue but Carol Lombard, kay Francis and a youngish William Powell make it work toward the tragic ending. More about Ladies Man, 1931
Review:
Funny Girl – 1968: This film is half of a very, very good musical about early 20th century songstress and comedienne Fanny Brice with Omar Sharif and Barbra Striesand – more about Funny Girl.
Claudia Cardinale has died - 1938–2025
"Acclaimed Italian actor Claudia Cardinale, who starred in some of the most celebrated European films of the 1960s and 1970s, has died, AFP reported Tuesday. She was 87." – Associated Press - New York Post
"Claudia Cardinale, star of ‘8½’ and ‘The Leopard,’ dies at 87" – MSN CNN News
"The rebellious diva of Italian cinema" – La Repubblica [Italian]
From her first film Big Deal on Madonna Street by Mario Monicelli to her latest works with young directors, Claudia Cardinale made more than 150 films. Thus, ‘the girl who didn’t want to go into cinema’ became an icon of Italian identity thanks to collaborations with the greatest Italian directors, from Visconti to Fellini, from Comencini to Ferreri, from Leone to Blake Edwards. She also worked for Hollywood, though she fled from it. The list of awards is long as well: from the David di Donatello prizes for Girl with a Suitcase by Valerio Zurlini and The Day of the Owl by Damiano Damiani to the Silver Ribbons, from the Golden Bear for Lifetime Achievement at the Berlin Festival in 2002 to the Golden Lion for Lifetime Achievement at the Venice Festival in 1993..."
"A symbol of Mediterranean beauty and a beloved actress for directors such as Visconti, Fellini, Leone, and Herzog" – La Stampa [Italian]
Review:
There's Always A Woman - 1938: Melvyn Douglas and Joan Blondell are a husband-wife team working from opposite sides on a murder mystery - More about There's Always A Woman
Robert Redford has died - 1936–2025
"Elusive legend of the big screen" – UK The Times
When the success of Butch Cassidy and the Sundance Kid elevated him from promising leading man to bona fide movie star status, Robert Redford did not celebrate. Rather, he sat down and wrote a list of the three key danger points of his newly minted celebrity.... It was a curiously wary response from an actor who had spent the film shoot terrifying the rest of the cast and crew by insisting that he did his own stunts ... Physically daring but intellectually cautious, he was deeply suspicious of Hollywood and its trappings, by nature distrustful of movie industry exuberance. He was — crucially — a very private person, who kept even his closest collaborators at arm’s length. The screenwriter William Goldman recalled that even on their third film together, All the President’s Men, Redford was still too cagey to give out his home phone number."
A movie star and founder of Sundance – Washington Post
Mr. Redford remained essentially a loner who craved the solitude of his wilderness home in Utah and pushed 120 mph on the open highway in his Porsche..."
Virginia USA based Elder Care for bill payment, case management, prescriptions, tax records or support for caregivers - AllStar Care Solutions
Belief-Code, Body Code and T3 Therapy? See sacred-connection.com