And Now The Return of Another New Slideshow (Sort of) [**Now featuring alternate versions of scenes - see replies #60,#82,#116,#138,#157,#180,#224,#240,#280,#372,#526**]

[Gothick]

One further comment that I personally find it very unlikely that an artist--professional or otherwise--would allow anyone else to haul around his own easel and materials, etc.  I would have expected Quentin to simply do this himself rather than asking Carlotta to do it, particularly since in all likelihood she would just pass the order along to Gerard.

For someone who was interested in antiques and the arts, Sam Hall sometimes seems to have been strangely uninformed (and at times, just plain dense) about the specifics of art conservation and related art logistics.  Remember the storyline where we were told that a painting was going to be "transferred to another canvas" so that what was painted under it could be seen?  It wasn't until I watched that story again as an adult that I realized just how absurd those lines sounded.

G.

[Mysterious Benefactor]

   Quite often a version of DS comes up with situations that require they be taken with a giant grain of salt (hello, someone being able to be hanged 1) for a crime they didn't commit, 2) where there isn't a shred of real evidence to connect them to the crime, and 3) and the real kicker, in a state without the death penalty!). But we go with the flow as much as we can. 

I do love the scene where Carlotta tells Tracy that it would perhaps be best for her to leave HER OWN HOME...

Yes! That is one of my all-time favorite scenes in any version of DS. Grayson and Kate play it to perfection and I can't even imagine NoDS without it. And to think that fool James Aubrey thought all of Grayson's scenes should have been cut!! "Fool" isn't even a strong enough word for him!! 

[Uncle Roger]

Wasn't he known as The Smiling Cobra? 😈😈😈😈

[KMR]

Maybe it's time to finally order the DVD...

Oh, heavens, are you kidding me?  Get thee to the dealer NOW!   

[KMR]

One further comment that I personally find it very unlikely that an artist--professional or otherwise--would allow anyone else to haul around his own easel and materials, etc.  I would have expected Quentin to simply do this himself rather than asking Carlotta to do it, particularly since in all likelihood she would just pass the order along to Gerard.

Yeah, I always thought that was odd, too.

Also, I'm not sure why, but for some reason watching the scene where Grayson is hauling the giant framed portrait of Angelique around just always gave me a sad feeling...

[Gothick]

Another fab Carlotta capture today!

Anyone paying attention AT ALL should have realized that that tightly pursed pout means ALL HELL is gonna break loose!

G.

[Mysterious Benefactor]

   Yes, the patented Grayson Hall pout!

Anytime one of her characters sports that pout, it's best for everyone to run for the hills as fast as they can!! 

[Mysterious Benefactor]

Wasn't he known as The Smiling Cobra? 😈😈😈😈

I don't think I'd ever heard that before, but sure enough when I looked up his Wikipedia page it says:

Despite his successes in television, Aubrey's abrasive personality and oversized ego – "Picture Machiavelli and Karl Rove at a University of Colorado football recruiting party" wrote Variety in 2004 – led to his firing from CBS amid charges of improprieties. "The circumstances rivaled the best of CBS adventure or mystery shows," declared The New York Times in its front-page story on his firing, which came on "the sunniest Sunday in February" 1965. He earned the nickname "Smiling Cobra" for his brutal decision-making ways. Aubrey governed CBS with a firm grip, and it did not go unnoticed. He was suddenly dismissed in February 1965. Aubrey offered no explanation following his dismissal, nor did CBS President Frank Stanton or Board Chairman William Paley. After four years as an independent producer, Aubrey was hired by financier Kirk Kerkorian in 1969 to preside over Metro-Goldwyn-Mayer's near-total shutdown, during which he slashed the budget and alienated producers and directors but brought profits to a company that had suffered huge losses. In 1973, Aubrey resigned from MGM, declaring his job was done, and then vanished into almost total obscurity for the last two decades of his life.

He sounds even worse than we've been led to believe. Who knew that the way he acted with DC was apparently the way he acted with practically everyone (by comparison, the details of how Aubrey operated as laid out on his Wikipedia page make DC seem positively like the gentlest of kittens!!). It's awful to say, but after reading all about his antics, I have little sympathy for the supposed fact that at the time of his death he had been largely forgotten. But NoDS fans will never forget what he did to the film, largely because we're still dealing with the consequences to this day. If only he'd resigned from MGM before he'd ever heard of NoDS. But alas... Well, unless one of us can figure out how to go back to '71 to change history.    Where are those I Ching wands...

[Gothick]

I remember Grayson made very effective use of The Pout in a memorable scene in 1897.  Angelique is berating Julia, telling her that she's wasting her time with Barnabas because he is a COLD, UNRESPONSIVE man.

Julia offers her The Pout, The Freeze, and DEMANDS to know, with an icily arched eyebrow: "WHO made him that way?"

It's one of the few times I've ever seen Angelique look taken aback...

G.

[Mysterious Benefactor]

Continuing Scene 115 with yesterday's quote, Quentin's reason for not using the tower -

Page 54/Scene 115 - Quentin: 'This room seems better to me. Would you mind moving down my easel and paints tonight?'

- coming up, followed by today's quote -

Page 54/Scene 115 - Carlotta: 'If you're sure, I'll start now.'

- coming up.

And when it comes to differences in the dialogue, what Quentin actually says is "This room seems better to me. Would you mind having my easel and paints moved down tonight?" - and what Carlotta actually replies is "If you're sure, I'll start right now" - and again there's a note in Grayson's script that Carlotta is aiming that at Tracy more so than Quentin - and while that can be detected during Carlotta's delivery, immediately afterward at the outset of the long shot -

- Carlotta's expression and direct gaze really brings it home. It's a wonder that Tracy doesn't burst into flames from the fire Carlotta's eyes aim at her.

And when it comes to any differences in the directions and descriptions, there aren't any in this section of the scene.

[KMR]

I don't think I'd ever heard that before, but sure enough when I looked up his Wikipedia page it says:

<snip>After four years as an independent producer, Aubrey was hired by financier Kirk Kerkorian in 1969 to preside over Metro-Goldwyn-Mayer's near-total shutdown, during which he slashed the budget and alienated producers and directors but brought profits to a company that had suffered huge losses. <snip>

<snip> But NoDS fans will never forget what he did to the film, largely because we're still dealing with the consequences to this day. If only he'd resigned from MGM before he'd ever heard of NoDS. <snip>

And we're left to wonder:  If Aubrey hadn't ordered the mutilation of NODS, would what turned out to be a moderately successful film have perhaps become much more of a success for the studio?

[Gothick]

Grayson Hall, GODDESS.

No wonder Danny Horn once proclaimed Grayson Hall the Greatest Actress who Ever Walked the Earth!

G.

[Mysterious Benefactor]

Moving on with the scene, beginning with Quentin's response to Carlotta asking if he's sure that he wants his painting materials moved from the tower:

115    CONTD                                     CONTD   115        He nods.  Frowning, Carlotta leaves the room, as        Tracy is in Quentin's arms.

And that's when today's quote -

Page 55/Scene 115 - Tracy: 'Oh, darling, I won't bother you here. I swear I won't. When you were in the tower, I always felt you were so far away.'

- comes up.

And when it comes to differences in the dialogue, what Tracy actually says is "Oh, Quentin, I won't bother you down here. I swear I won't. I always felt you were so far away when you were in the tower."

And when it comes to differences in the directions and descriptions, as Carlotta leaves the room, Quentin sighs and lowers his head like he can't believe the way Carlotta reacted - and Tracy isn't in Quentin's arms because, as can be seen in today's capture -

- she leans in closer to him, but they're still simply holding hands.

And both Grayson's and DC's scripts have notations for this section: Grayson's script reiterates that Carlotta has decided to get rid of Tracy - and DC's script has that the camera is supposed to pan with Tracy as she goes into Quentin's arms, which doesn't actually happen.

[Mysterious Benefactor]

Wrapping up Scene 115, beginning with today's first quote -

Page 55/Scene 115 - Quentin: 'Well, I won't be anymore. So I want you to stop worrying. Everything's going to be all right.'

- coming up, followed by today's second quote -

Page 55/Scene 115 - Tracy (with great hope): 'Now I know it will.'

- coming up, followed by the scene ending in the script with:

They kiss.

And so far as any differences in the dialogue, what Quentin actually says is "Well, I won't be anymore. So I want you to stop worrying about it. Everything's gonna be all right." - and what Tracy actually replies is "I know. Now it will."

And so far as any differences in the directions and descriptions, Quentin and Tracy don't actually kiss at the end because the scene ends right after Tracy's lines. Whether they do kiss in the 129 minute version remains to be seen...

And speaking of the 129 minute version, tomorrow's slideshow begins yet another scene that only appears in that longer version of the film...

[Gothick]

WickedNick posted this fab publicity photo of Carlotta on his site today:

http://shadowsonthewallzine.blogspot.com/2016/07/night-of-dark-shadows-carlotta-with.html

G.