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Lalo Schifrin wrote a cool-jazzy score for “Les Felins” (Jimmy Smith cut two of the tunes from the soundtrack on his album “The Cat”).Elmer Bernstein’s theme from “Walk On The Wild Side” became a part of the ‘60s-jazz repertoire (Dizzy Gillespie, Bill Evans, Quincy Jones and, again, Jimmy Smith).In her early dramas, you can see all the Actors Studio marks on her, but in comedies, she was filled with mischief.Some actresses of that time had that playfulness: Stella Stevens, Tuesday Weld, Paula Prentiss, like their sexuality was a shiny toy they got a kick out of unwrapping.In “Sunday In New York,” she plants herself on a couch next to Rod Taylor, bolts down a drink, and says, matter-of-factly, “If I were you, I’d kiss me.” Well, naturally, It only makes perfect sense.Bosworth says that when Fonda saw “Breathless,” she was disappointed that Godard hadn’t thought of her for the role (he wouldn’t have: it came out the same year as “Tall Story,” so where would he have seen her? But that American girl in Paris part would have been ideal for her. That comparison doesn’t hold up (although Vadim did sometimes put her in B.
Because this is primarily a music blog, it’s a nice bonus that Fonda’s movies have provided some lingering musical moments.
But the whole 1960-1966 Fonda filmography is filled with scenes where she’s the only sparkler at the picnic.
You never want to watch “Hurry Sundown” or “The Chapman Report” or “The Chase,” but if you’re flipping around, and “Period of Adjustment” or “Walk On The Wild Side” happens to be on, or even one of the creakier comedies, stay for a few minutes.
Mainly because they were in crummy movies, vehicles like “Any Wednesday,” “Sunday In New York,” “Hurry Sundown” and “The Chase.” She was in a lot of junk throughout the ‘60s, but she was often the only thing in the movie worth watching.
In her first film, the campus comedy “Tall Story,” she played a coed determined to snag a husband in college, and sets out to seduce lanky Anthony Perkins.It all went by so fast, the 20 or so songs, and in the car back to Manhattan, I couldn’t articulate what was so exciting about it, except to say that they were The Stones; they looked like The Stones — unusually close to each other on that stage, the way they were when I first saw them — and they were living up to the responsibility of being The Stones, but not in an arena/stadium way of being The Greatest Rock Band In The World (which they were), but acknowledging that there was something new out there, and they had to keep up. I’d said some kind things about Elvis Costello’s “My Aim Is True” in Creem, and had a few friends at Columbia, so I was invited to a celebratory Elvis show at the Ukrainian National Hall in the East Village.