Spend Valentine’s Day with a ‘Picnic’

In my ongoing series celebrating William Holden, Trudy Ring guestblogs with a post about her favorite romantic Holden movie, Picnic.

Many thanks to Judy for contributing her thoughts!

If you want a romantic William Holden movie to watch for Valentine’s Day or any day, you can’t go wrong with Picnic.

Yes, I know many people adore Love Is a Many-Splendored Thing, but as far as I’m concerned, nothing beats the chemistry between Holden and Kim Novak in this 1955 release. Plus it has a compelling plot, a well-drawn setting, great supporting characters, wonderful acting all around, and oh, that music and cinematography.
For those who haven’t seen the film or just need a refresher, a brief synopsis: It’s Labor Day in the 1950s in a small Kansas town. Hal Carter, who has drifted around the country since flunking out of college, rides into town on a freight train he’s hopped. He’s hoping to meet up with his old college roommate, Alan Benson, who’s from one of the richest families in the community – Alan’s father is an “elevator man,” owner of several grain elevators, an important business in the agriculture-heavy area. Hal initially just wants a job from Alan. But he soon decides he also wants Alan’s girlfriend, the ravishing Madge Owens, who lives on the wrong side of the tracks with her single mother, Flo; brainy younger sister, Millie; and Rosemary Sydney, the “old maid schoolteacher” who rents a room in the family’s home. Over the course of the day, which includes the annual Labor Day picnic, complications ensue, to say the least.

The funny thing is, William Inge, who wrote the Pulitzer Prize-winning play on which the film is based, didn’t really think of it as tomantic. According to Joshua Logan, who directed the play in its Broadway debut as well as the film, audiences weren’t supposed to look on Hal, a rather uncouth braggart, as a hero, or think it would be a good idea for Madge to end up with him (and another comment for those who haven’t seen the movie: I’m not going to reveal if she does or not). Inge even rewrote the play late in his career as Summer Brave, which, without giving spoilers, I can say is considerably more downbeat. Inge also reportedly didn’t care for what Logan and screenwriter Daniel Taradash did in adapting Picnic into a movie. I think Inge is a great playwright (and screenwriter, having written Splendor in the Grass directly for film) and deserves to be rated up there with his mid-century peers Arthur Miller and Tennessee Williams, but I have to say I much prefer Picnic, the film, which I’ve viewed dozens of times since I was about 10 years old (and a lot of it went over my head) to Picnic, the play.

Logan and Taradash opened up the action; the play is pretty much confined to the Owens home, and we don’t even see the picnic. OK, the picnic is a bit over the top; as the New Yorker critic wrote, “Mr. Logan’s notion of an outing in the corn country includes a choir of at least 100 voices, and a sound track let loose in the most formidable music I’ve heard in my time at the movies.” But the opening-up also allows for some glorious camera work by the master cinematographer James Wong Howe; several shots are downright breathtaking. And then, of course, there’s the acting.

Holden is not only at the peak of his sex appeal as Hal; he also makes us see the insecurity underlying the character’s braggadocio. We sympathize with him, as we do with Kim Novak’s Madge, who’s tired of only being told she’s pretty. And I have to disagree with someone else I admire; the late, great reviewer Roger Ebert thought Madge’s protestations rang hollow in view of the intense erotic chemistry between Novak and Holden, but I think they convince us that the characters’ attraction is not simply physical. I’ve also been told by an Inge scholar that the playwright thought Holden was too old to play Hal – he was 37 at the time, 15 years older than Novak. But with his looks, his physique, and his talent, he passes for a much younger man, and we can certainly see how he Madge would be drawn to him. Their dance to George Duning’s soaring Picnic theme, laid over the jazz standard “Moonglow,” is one of the steamiest moments ever put on screen. And Novak, who in her prime was praised more for her beauty than her acting ability, gives an excellent performance as well, conveying the vulnerability beneath the gorgeous exterior.



The supporting players are likewise fine. Cliff Robertson, in his film debut, is a believable spoiled rich boy as Alan (and, by the way, he was 10 years older than Novak). I had the pleasure of meeting Robertson at a screening of some of his early TV dramas back in 2006, and he was one of the nicest celebrities I’ve ever encountered – he stayed around for two extra hours to answer fans’ questions. I of course had to ask him about Picnic, and he said he came to the production as a snooty stage actor, looking down on movies, but he soon developed a respect for film acting. He also said he and Bill Holden became lifelong friends. Another standout is Susan Strasberg as Millie, who has confidence in her intellect but feels unattractive compared to Madge, although Strasberg was actually very pretty. At one point Millie says that she’s never going to fall in love, but after college she’s going to go to New York and “write novels that’ll shock people right out of their senses.” I like to think of her doing that in a Greenwich Village apartment, but hope she found love as well.

Rosalind Russell, playing the “old maid schoolteacher” Rosemary – yes, the film is very much of its time, when being unmarried after a certain age was a fate worse than death – hams it up a bit, but I can’t fail to love Roz Russell. Arthur O’Connell exudes likability as her easygoing beau, Howard Bevans, and he got a well-deserved Oscar nomination as Best Supporting Actor, ultimately losing to the Jack Lemmon, who gave a terrific performance as Ensign Pulver in Mister Roberts. Betty Field does a good job as Flo, and Verna Felton is a highlight as the Owenses’ sweet next-door neighbor, Helen Potts.

Picnic was nominated for six Oscars, including Best Picture and Logan for Best Director; Marty and its director, Delbert Mann, prevailed in those categories. It did win for Best Art Direction and Set Decoration in a color film (there were then separate categories for color and black-and-white), with William Flannery, Jo Mielziner, and Robert Priestley all receiving statuettes. That award was certainly merited, as the movie, shot partly on location in Kansas, has an authentic Midwestern small-town atmosphere. Charles Nelson and William A. Lyon won the Oscar for Best Film Editing.

James Wong Howe was robbed, with not even a nomination for his cinematography; the film’s final shot alone should have assured him of one. Those of you who’ve seen Picnic will know what I’m talking about, and those of you who haven’t, well, you can look forward to it. Duning’s music complements Howe’s camera work perfectly in that scene and enhances the entire movie; he got an Oscar nomination but lost to the redoubtable Alfred Newman for that year’s other romantic Bill Holden picture, Love Is a Many-Splendored Thing.

And yes, Holden deserved a nomination, but at least he’d won two years earlier for Stalag 17. Picnic added to his string of memorable films – Sunset Boulevard, Born Yesterday, The Bridge on the River Kwai, up through Network and his final movie, S.O.B., in which he acts rings around most of his castmates. With ample talent in addition to his good looks and charisma, he’s worth watching even in his lesser films, but Picnic is certainly one of his best as well as perhaps his most romantic. Queue it up whenever you’re in the mood for love.

PROGRAMMING NOTE: Picnic will air on Sunday, February 25 at 6 p.m. on TCM as part of their 31 Days of Oscar celebration. The film was nominated for six Oscars and won two.


The Great Holden Binge-a-Thon: Golden Boy

As part of my ongoing #Holden100 project this year I decided to do something I’ve been wanting to do for a while and that’s watch all of William Holden’s films in chronological order. I’ve seen about 80-percent of his filmography already but I’m excited to watch him grow as a performer by seeing the films in order of their release.

Tonight, I started with 1939’s Golden Boy directed by Rouben Mamoulian.


Famously, William Holden was almost removed from the film until Barbara Stanwyck stepped in and pleaded with producers to keep him on. Personally, I think he gives a fine debut performance. As Joe Bonaparte, Holden brings a sensitivity to the youthful character who wants to appear tough but isn’t quite sure if boxing is for him. It’s a perfect combination that makes you understand and root for his character. At just 21, he is almost unrecognizable in this role and even his voice is hard to recognize. What you see in Golden Boy is the promise of what would unfold in his career. Holden was unafraid to play multidimensional men who challenged the way we look at masculinity. At the center of the film is Joe’s conflict with wanting fame as a prize fighter or fulfilling his father’s wishes by becoming a professional violinist. You see this conflict grow and the result is a heartbreaking climax where he is forced to choose what his real passion is.

One of the things I love most about Golden Boy is Holden’s relationship with his father played by Lee J. Cobb. Cobb was just 6 years older than Holden in this part! Holden and Cobb bring to the screen a beautiful father-son dynamic and in the scenes where Cobb isn’t present and Holden’s character finds success in the ring, his presence is felt. I thought these two did a good job at conveying a deep, loving father-son dynamic that you don’t often seen on film. I also really loved the scenes with his sister and brother-in-law. Small gestures really added to Joe’s character and his struggle.

The main standout of the film is Barbara Stanwyck. Once again, she dominates her scenes as the tough Lorna who has a tender side. She is street smart, strong and as much of a fighter as Joe. Her scenes with Holden bring out the best in him and you can see her support of him that was behind the scenes. One of my favorite scenes is when she says “See you in 1960, maybe you’ll be somebody by then!” it’s quite prophetic when you consider his career. When a character asks Stanwyck’s boyfriend, “This your girl?,” she responds with the no-nonsense rigor as best as Stanwyck could with “I’m my mother’s girl,” it’s such a great moment.

The boxing scenes are surprisingly gritty. The main fight is staged very well interspersing cutaway shots of the cheering fans. Joe’s character fights a character from Harlem in 1939 and to see a segregated Madison Square Garden and I appreciated this about Golden Boy as it showed a more realistic New York City than we normally see in 1930s Hollywood (even if the Italian family wasn’t played by Italian actors).  To me, it’s important that we see this so that we remember how difficult it was and that we value how far we’ve come. There’s a great shot of Joe playing the violin and it’s framed beautifully showing Stanwyck and his family reacting. There’s also a great montage of Joe’s success that conveys how quickly this journey is with shots of him in the ring, fans cheering and newspaper headlines that is one of the better efforts of this tried and true technique.

Golden Boy is an underrated gem and I am forever grateful for Stanwyck’s fight to keep Holden on board. Here’s the famous moment at the Oscars when Holden went off script and thanked a surprised Stanwyck before presenting the award for Best Sound and Visual Effects.


31 Days of Oscar: William Holden’s performance in Stalag 17

holden_oscar.gifTCM’s 31 Days of Oscar celebration kicked off last week and on the first night they aired Love is a Many Splendored Thing as part of their salute to the Best Original Song category. I was so thrilled to see a William Holden film being celebrated and then I looked at the guide and hours later another film was shown, the 1940 film adaptation of Our Town. This is an early Holden performance I adore. He is so young and innocent in the role of George. It’s a very sweet movie.
Throughout the 31 days of Oscar programming are a number of William Holden films and I’ll be livetweeting each of them so if you have Twitter, join the conversation with the hashtag #Holden100.
Here’s the schedule for the remaining Holden films that will be shown:
Born Yesterday on February 21
Network on February 24
Picnic on February 25
The Bridge on the River Kwai on February 28
Now, to look back at Holden’s Oscar-winning performance as Sgt. J. J. Sefton, Amy from Amy’s Rib: A Life of Film has written a wonderful guest blog post about his role. It’s hard to believe Holden won just one Oscar but what a performance he gave!
STALAG 17 (1953)
William Holden is a true Hollywood Legend.  He had a career that spanned over 40 stalag17_holdenyears.  His movies jumped across the different genres.  On the screen he conveyed ruggedness, handsomeness, toughness, and cynicism.  His screen presence couldn’t be denied.  He worked with some of the best actors of the Golden Age of Cinema (Gloria Swanson, Judy Holliday,  Barbara Stanwyck, Alec Guinness, and Humphrey Bogart) and he held his own. Many of his movies are considered true classics- Sunset Blvd, The Bridge On the River Kwai, Network, and Stalag 17 to name a small few. This April will mark his centennial birthday.  As part of a birthday celebration, I am going to discuss one of his most iconic movies, the previously mentioned Stalag 17.
Stalag 17 (1953)  is the movie that won William Holden the Academy Award for Best Actor.  Set in a German Prisoner of War Camp, the movie is filled with both intrigue and humor.  Holden plays POW SGT J.J. Sefton, a cynic.  He’s a guy who has been a prisoner for some time and has learned how to navigate the ropes of Camp Life.  He’s decided the best bet for him is to sit tight and make himself as comfortable as possible. No escape attempts for Sefton; the odds are too much of a long shot.  In order to make himself comfortable, Sefton has to trade and do business with the German Guards, with the enemy.  Of course, this does not make him popular with his fellow bunkhouse mates.
The Intrigue in the movie comes by the German Guards  always being one step ahead of the Prisoners. The Guards seem to find out their plans and know of hidden contraband and tunnels.  How are the Guards always figuring things out? Is there a Spy among the group? Is an American actually ratting out fellow Americans? If so, who is this person?  Given Sefton’s ability to trade with the Guards and gain privileges and benefits, he naturally becomes Suspect #1.  Is Sefton the traitor?  Of course he isn’t, but I won’t tell you who is the actual Spy.  Watch the movie!
The humor mainly comes from two of the Prisoners named Animal and Shapiro.  Animal is obsessed with Betty Grable, and his tears and mooning over Grable never fails to bring the laughs.  Be on the look-out for a funny scene between Shapiro and Animal during the Camp’s Christmas celebration.
Although the movie has a lot of humor, it also doesn’t ignore the horrors of war.  It shows the horror in the form of a prisoner named Joey. He is a man shell-shocked who only finds comfort from playing an Ocarina.  The care and compassion that Joey receives from his bunk mates is very sweet to watch.
Stalag 17 was directed by the masterful Billy Wilder.  Along with Holden, it also features Otto Preminger, Don Taylor, and a young Peter Graves.   A great director, great cast, and a great story makes for one great movie watch.  In celebration of what would have been William Holden’s 100th birthday, pop in Stalag 17 and have a cigar on Sefton.
Many thanks to Amy for writing the above tribute. If you’d like to contribute to this year-long celebration of #Holden100, drop me a comment below or send me an email. The more, the merrier!

#Holden100: A year long celebration of William Holden


This April marks William Holden’s centenary and Flickin’ Out is commemorating the occasion in a big way! On Twitter, I’ve been chronicling his filmography with behind-the-scenes facts about the making of his films and their impact on his career.

I’d love for you to be a part of the celebration! Use the hashtag #Holden100 to be a part of the conversation on Twitter or Instagram. I will also have guest columns from bloggers about his work all throughout the year. I am still taking submissions so if you’d like to be a part of this, email me at flickinout@gmail.com.

Throughout the celebration, I’ll be hosting livetweets of his films as well. I kicked it off with Born Yesterday on January 1st and on January 16, it was Father is a Bachelor. The next livetweet will be January 27th for The Wild Bunch, the groundbreaking western that revitalized Holden’s career. That airs on TCM at 11:45 PM ET.

To kick things off here on the blog, let’s revisit the podcast episode of Flickin’ Out featuring Wrong Reel and Cinema Crossroads’ Julia Ricci discussing Holden’s work:

I look forward to discussing William Holden all year long and hope you join the conversation about one of cinema’s great leading men!




Giving Tuesday with classic films

Happy Giving Tuesday, everyone!

I love this day and this movement! It’s what the holiday season is all about! You may not know this but I’m a long distance runner and I’m currently training for my 10th half marathon in February. This year, I’m running on behalf of the Children’s Miracle Network. Children’s Miracle Network Hospitals raises funds and awareness for 170 children’s hospitals in the U.S. and Canada, which in turn, use the money where it’s needed most. I’m so honored to be representing this organization.


I’m hosting a raffle this week that features donations given to me by some wonderful people in the classic movie community. Any Ladles Sweet, a monthly film podcast dedicated to classic era Hollywood women, donated the Squad Goals tote bag featuring the cast of The Women, Kate Gabrielle donated an original art print of Bette Davis in All About Eve and a set of character actor buttons, author Michael Troyan donated a signed copy of his book, 20th Century Fox: A Century of Entertainment, and the gift set also features the TCM book Kirk and Anne: Letters of love, laughter, and a lifetime in Hollywood and A Touch of Grace: How to be a Princess, the Grace Kelly way. The raffle will take place until Friday at 6 PM ET. Tickets are just a donation of $5 which can be made directly onto my fundraising page here.

I hope you will join me in supporting this great cause!




Kicking off Noirvember with a week of films I’ve never seen

Happy Noirvember, mugs and dames!

What’s Noirvember? It’s a celebration of all things film noir. It was started by @oldfilmsflicker eight years ago and it’s taken on a life of its own. This year, I’m really committing to Noirvember here on the blog. I started on Wednesday by watching a new-to-me noir each day until Sunday as I decided to break up the month with different themes each week. I was so glad to finally sit down and watch these films that I’ve been wanting to see but haven’t gotten the chance to.

Here’s a recap of the films I watched during the first week of Noirvember.

Union Station (1950, Dir. Rudolph Mate)


Not all noirs are created equal. For every masterpiece that is Laura, there are probably 10 bad noirs around. I really wanted to like Union Station but this fell flat to me, which is surprising because it stars…WILLIAM HOLDEN. Union Station was the second film pairing of Holden and Nancy Olson. The duo made this one right after another noir masterpiece, Sunset Boulevard. In this film, Holden plays the top cop of the Union Station railroad police. Olson, on a train, notices a man with a gun and her instincts tell her he’s up to no good. She alerts the police and this helps them in their search for her friend, a blind heiress who has been kidnapped. Union Station has some really great suspenseful moments, and a few scenes are actually quite brutal but there were some aspects of Holden and Olson’s performances that didn’t do it for me. Not for one second did I buy Holden as the lead of a railroad police force. He didn’t seem to have the commanding presence I’m used to seeing. Also, a majority of the film he’s wearing a fedora and coat that are much too big. The ill-fitting costume honestly made it hard for me to take seriously. I wanted to really like Olson’s character, a sharp female who isn’t afraid to track down criminals in order to do the right thing, but she came across as annoying to me. In some scenes, I kept thinking that she should go home and let the police do their jobs. When it comes to the film noir canon, Union Station isn’t exactly memorable when it comes to story but the climax of the film is suspenseful and again, there are some standout moments so I still recommend it but I was disappointed in its two leads, two actors who I adore.

Gun Crazy (1950, Dir. Joseph H. Lewis)

I don’t know what took me so long to see this one! WOW! This film just left me with my jaw on the ground. Peggy freakin’ Cummins! My goodness! She is so good in this film. Her beauty and cooing perfectly masquerade her ice cold interior she’s hiding underneath. She has such presence here, you feel her power. The sexual tension between her and John Dall is electric from their very first scene together. It’s not just the performances that make Gun Crazy a masterpiece of the genre. Lewis’ direction is outstanding. The final bank heist that ultimately dooms the couple is one shot and it adds so much to the film’s suspense.

In a Lonely Place (1950, Dir. Nicholas Ray)

In a Lonely Place is another highly regarded noir that I hadn’t gotten around to watching. What I didn’t expect from this film was how genuinely moved I was. To me, this is one of Humphrey Bogart’s best performances. He easily comes across as a hollow jerk but as the film progresses there is a vulnerability to his character that is heartbreaking. But the real star here is Gloria Grahame. Grahame is excellent in a very difficult role that you don’t fully understand how hard of a job she has to put together her character until the film’s final scenes. She comes into the film as a mysterious woman but the more you learn about her, the more you’re drawn in. What I love about this film is that as much as it is a film noir, it has deep psychological comments on love, loss and loneliness. There’s an extra layer there that really packs a punch in the end.

Lured (1947, Dir. Douglas Sirk)

This Douglas Sirk film blends a strong cast and element of mystery, horror, light comedy and film noir. Lucille Ball plays a dancer who, get this — is enlisted by police to help them find her missing friend who they believe might be the latest victim of a serial killer. I feel like “women helping the police” inadvertently became the theme this week. The killer is murdering young women he meets through personal ads in the newspaper. He announces their killings with poems. Ball is great in her part, in one of her dramatic roles that are often overshadowed by Lucy Ricardo. She’s tough and no nonsense. George Sanders, Boris Karloff and Charles Coburn round out the cast. Karloff’s part is kooky but he’s given time to chew the scenery as only he could do and it’s great, he’s one of many characters Ball meets on her quest to find answers.

Phantom Lady (1944, Dir. Robert Siodmak)

1944 was a banner year for film noir. Along with Phantom Lady, Laura, Murder, My Sweet, Gaslight, and To Have and Have Not were all made. That’s crazy! Phantom Lady is considered a “B noir” and is elusive when it comes to home video. I think the only official DVD release is in a TCM boxset, which is disappointing because it’s excellent. In the film, Ella Raines plays a secretary in search of a woman who may prove that her boss didn’t murder his wife. Raines’ performance is what I was missing out of Olson’s in Union Station. Raines commands the film as a strong woman who goes head to head with authorities and puts herself in danger to try and solve the murder. Raines is also Franchot Tone, who receives top billing, doesn’t appear in the film until 45 minutes in and he makes the most of his role turning in a chilling performance. If that doesn’t convince you to see this movie, noir regular Elisha Cook Jr. (best known as the “gunsel” in The Maltese Falcon) plays a drummer in a jazz band and there’s one scene in particular that is worth the price of admission alone.

Next week will be dedicated to the queen of film noir herself, Barbara Stanwyck, with a marathon of her noirs.

Michael Jackson reinvents the music video with the help of classic movies

Happy Halloween!

If there’s one song you’ll hear throughout the holiday, it’s without a doubt Thriller, the iconic and groundbreaking Michael Jackson single that owns Halloween. The single off of the album of the same name (which is also the best selling album of all time) was actually the seventh and final single to be released. It wasn’t even released near Halloween, it actually came out in February of 1984. In concept, the Thriller album is much more darker than Jackson’s previous Off the Wall drawing heavily from darker and supernatural themes that are evident in its beats and lyrics.


The 14-minute short film that accompanied the song is timeless but it mixes something many may not talk about when it comes to Michael Jackson: his love of classic Hollywood. Jackson’s genius was heavily influenced by old Hollywood and Thriller wasn’t the first instance where he paid homage to his favorite films. On the same album, the music video for Beat It, Jackson rewrites West Side Story. Rather than the two rival gangs being torn apart, in Beat It, they come together through the power of music and dance.


In Thriller, Jackson chose to collaborate with director John Landis after seeing American Werewolf in London. He thought Landis would be the perfect choice to bring this horror musical to life. If you’re going to create a horror musical, why not add one of the greatest actors of the genre to it? Well, that’s exactly what Jackson did. Vincent Price was brought on to lend his signature voice to a monologue on the track. By all accounts of the making of this film, Price was delighted to take part and recorded his session in just two takes.

In an interview with Johnny Carson, Price said he was given a choice between taking a percentage of the album proceeds or being paid a flat $20,000. He chose the flat rate as his career was well-established and money wasn’t a big issue. When Carson suggested that Price could have done a lot better if he had chosen album proceeds, he laughed and said “How well I know!” There’s been some accounts that Price actually demanded more money after the albums sales have soared but I haven’t read reputable sources for that, just random internet message boards so take that as you will.


Not only is Price’s voice in the film, his name appears prominently on a marquee at a movie house where Jackson and his date (portrayed by Ola Ray), you can see it as they leave the movie theater. There is also poster of one of his most famous horror films, House of Wax, outside the theater as well. Price got a kick out of the song and in this clip delivered his voice-over on a late night show complete with the creepy laugh that still haunts me!

Jackson would go on to infuse classic movies into his work in other ways. In the music video for Leave Me Alone, there are images to his close friend Elizabeth Taylor. Taylor and Jackson were kindred spirits in many ways. The most obvious way was the fact that the two were former child stars who grew up in the public eye and with the intense pressure that comes from that. Leave Me Alone was his way of sticking the middle finger to the tabloids.

Leave Me Alone was featured in Jackson’s short film, Moonwalker, but the real staple of Moonwalker is Smooth Criminal. Smooth Criminal is Jackson’s love letter to film noir and Fred Astaire. The film is an homage to Astaire’s Girl Hunt Ballet from The Band Wagon. In Smooth Criminal, Jackson is in a 1930s style lounge wearing a white suit and fedora similar to the style of suit Astaire wore in The Band Wagon. 


Astaire once commented on Jackson’s dancing saying, “Oh, God! That boy moves in a very exceptional way. That’s the greatest dancer of the century.” Jackson dedicated his 1988 autobiography, Moonwalk, to Astaire. It’s fitting that the video Jackson paid tribute to Astaire features one of his most iconic dance moves, the anti-gravity lean. It’s still jaw dropping ever time you watch it. Below is Smooth Criminal with The Girl Hunt Ballet underneath to compare.

In one of his final music videos, Jackson brought on close friend and legend Marlon Brando for You Rock My World. Similar to Smooth Criminal in its aesthetic,  Jackson wears a suit and fedora along with Chris Tucker and try to get the attention of a woman. Brando pays a sort of mob boss with Michael Madsen thrown in the mix. At over 13 minutes long, it’s another short film but not as grandiose as the others. Still – it was one of the final things Brando acted in and his presence is felt throughout even if it’s a glorified cameo.


I always get a kick out of watching the little nods to classic movies in Jackson’s music videos. I didn’t get to delve into Billie Jean, Remember the Time, and Liberian Girl but perhaps that’s for another post.

They don’t make artists like Michael Jackson any more. We were lucky he entertained us.