My Favorite Movie! HOLIDAY Tonight and Saturday at the Normal Theater

When the Normal Theater asked Bloomington-Normal folks what holiday movies they might like to see, I piped up immediately with Holiday, the 1938 film based on a Philip Barry play, starring Cary Grant and Katharine Hepburn. I was definitely filled with holiday spirit when I saw that the Normal Theater had heard me and actually scheduled my beloved Holiday for two showings. It will be screened tonight at 7 pm and also Saturday the 16th at 1 pm. You can do one or both, but you can't go wrong as long as you get to see Holiday on the big screen.

You see, Holiday is one of my favorite movies of all time. Maybe THE favorite. Here's what I said about it the last time it came up on my blog:

I've been asked more than once why I like Holiday so well or why I like it better than The Philadelphia Story or Bringing Up Baby, better-known Grant/Hepburn collaborations. The answer is partly grounded in the fact that I got attached to Holiday when I was ten or eleven, and you really don't know why you like things at that age. You just do. But there's more to it than that.

I like Cary Grant, of course. He's at his most fetching here, as Johnny Case, man of the people, who came from nothing and worked really hard at some vague financial job that has made him a nice amount of money, so now he wants nothing more than to take his money and take a holiday around the world. It's sort of an anti-capitalist philosophy. Or maybe "capitalism that knows when enough is enough and then wants to have some fun." I like that refreshing attitude. Cary is also not terribly serious in this movie; he does acrobatic tricks, he messes up his hair, and he lets himself get kicked in the bootie to show he hasn't turned stuffy or puffed-up. But he still looks really good in a tux.

And then there's Kate. The plot of Holiday treats her far better than The Philadelphia Story where everybody keeps telling her that she's too perfect, she's an ice queen, she's judgmental, she needs to change while the male philanderers (her father) and alcoholics (her ex) are just fine the way they are. That always struck me as sexist and unpleasant and not very nice. Here, she's trying to do the right thing and find her own way, stuck in a pretentious, wealthy family she doesn't like much and at the same time desperately attracted to the man her sister has brought home as a fiance. As Linda Seton, Ms. Hepburn is as lively and vivacious as ever, plus she's warm and funny and nobody is blaming her for anything.

I also like the supporting cast, with Edward Everett Horton and Jean Dixon as an amusing pair of Johnny's friends who like Linda far better than her prissy sister and Lew Ayres as Linda's unhappy brother. Plus Binnie Barnes and Henry Daniell are hilarious as snooty relatives that Linda calls the Witch and Dopey.

There are serious issues here, and yet it's all treated lightly and sweetly, with enough romance ("Happy New Year, Johnny" and the almost kiss is my favorite) and funny stuff (with everybody doing gymnastic stunts and Punch and Judy in the old playroom) to keep the story moving. George Cukor's direction is dandy, with the emphasis on just how attractive Grant and Hepburn are. It's also really cool to see what the privileged set lived like in 1938. Special ties, special church, special parties... And that Manhattan mansion is pretty swell.

I should also note that the title Holiday does not refer to Christmas or New Year's, but to Johnny's plan to take a long holiday, a vacation, now that he's made the money he wants.

When it's Cary Grant playing Johnny, it's hard not to support his holiday. It's hard not to try to book a cabin on that ship and go right along with him. As Linda says, "If he wants to dream for a while, he can dream for a while, and if he wants to come back and sell peanuts, oh, how I'll believe in those peanuts!"

Right there with you, sister.

And I'll be right there at the Normal Theater, siding with Linda, rooting for Johnny, and sharing all the hijinks and high spirits.

Six Week Film School Features Bergman and Grant in Hitchcock's NOTORIOUS

Tonight is Week 2 of Bill McBride's Six Week Film School at the Normal Theater. Professor McBride hosted a Film Noir series last fall, but this time he's focusing on Alfred Hitchcock. It doesn't get any better for film students than Hitchcock, the master of suspense who was also a master of "the stylized language of cinema." You'll find Hitchcock movies on almost every film school syllabus because he employed so many different cinematic techniques to create suspense and keep his audience connected as well as recoiling. 

I'm sorry I'm a week late to talk about Shadow of a Doubt, the creepy "Merry Widow Murderer" movie that centers on a family in a small town and how young Charlie (played by Teresa Wright) unravels the mystery of her charming Uncle Charlie (the reason she got her name) and just why he's come to visit after so long. Joseph Cotten, a warm, appealing actor, creates a portrait of Uncle Charles that's all the more creepy because he seems like such a regular guy. Hitchcock casts evil into the midst of an apple-pie sort of town, with a Little Charlie/Big Charlie duality that makes all of us feel guilty.

Cary Grant and Ingrid Bergman steam up the screen in Notorious.

Notorious, this week's Hitchcock, is one of his best, too, with another sympathetic villain in Claude Rains' Alexander Sebastian, who happens to be a rich Nazi hanging out in South America in 1946. The minute I said "Nazi" I'm sure you jumped back with "Sympathetic? A Nazi?" but it's Sebastian's love for Alicia Huberman, the "notorious" woman in the title, played by Ingrid Bergman at her most luminous, that makes him sympathetic even as it proves his undoing. Alicia is the daughter of another Nazi, one who's been uncovered and prosecuted in Florida before the movie starts. Dark and devilish spy Cary Grant (it's no coincidence his character's name is Devlin) puts Miss Huberman between a rock and a hard place (sexual innuendo intended) when he forces her to get close to Alexander Sebastian to infiltrate the gang of bad guys.

The sexual politics in the film are definitely dicey -- let's just say in today's world it could've been called "Slut Shaming" just as easily as "Notorious" -- and Devlin is a rat if ever there was one. Because of her father's crimes and her own reputation as a party girl, Alicia is a pawn in a game created by a whole lot of controlling, judgmental, cruel men. It doesn't matter to Devlin if he punches her or pimps her out or almost kills her. He's handsome. He's cynical. His important big-guy spy stuff is much more important than any woman. And, in fact, the notion that all the punishment Alicia gets may just be what she deserves to clean away the "spots" of her sexuality is definitely present.

Hitchcock was often creepy about his female characters and the way he treats Alicia Huberman is no exception, even as she does show a certain agency as a sleuth and we are given some focus on her point of view. Bergman's big-screen persona and charisma function to give her character both sensuality and virtue, to make her seem like a real, three-dimensional human being, no mere victim or paper doll to be cut to size. We know she's good and honorable, no matter how notorious she is or how many smutty comments a roomful of American agents toss her way. In the end, the fact that she has been known to drink to excess and have sex, including with Devlin and Sebastian, makes her more sympathetic and attractive, not less.

It doesn't hurt that Cary Grant has his own big-screen persona and charisma working on all cylinders and the sparks Bergman and Grant create together make Notorious work really, really well.

The famous sweeping shot to a key in Bergman's hand, a huge coffee cup, smoke and mirrors, the use of light and shadow, off-kilter angles, flipping point-of-view, a staircase of doom, the MacGuffin in a wine cellar... And the sexual politics. All fodder for a ripping good discussion of Hitchcock as a cinematic artist.

Notorious will be screened tonight at 7 pm at the Normal Theater. The movies included in the Six Week Film School are offered free of charge, and the program includes a post-show discussion with Professor McBride. Click here for McBride's notes on the film, including links to some excellent reading material.

Next week: Strangers on a Train. After that, McBride's schedule includes Vertigo, Psycho and The Birds.

New Year's Means Fred and Ginger and HOLIDAY... Always.

I am bumping up two old pieces I wrote about what I watch on New Year's Eve. As it happens, neither is on my dial this year -- the closest thing is the mini-marathon at Turner Classic Movies with the three iterations of That's Entertainment plus That's Dancing from 7 pm to about 4 am Central time -- but that doesn't mean I can't do my own film fest right here at home.

First, my take on Swing Time, one of the classic Fred-and-Ginger pics that I like to watch every New Year's Eve. This was written in 2010, when Swing Time was the only Fred-and-Ginger I could find airing that night. Left to my own devices (and DVDs) I will probably watch three or four from my collection, maybe starting with Flying Down to Rio (1933) and ending with Shall We Dance (1937).

After that, some notes on why I love Holiday, a movie that is my idea of perfection. And, yes, I also own a copy of that. One cannot depend upon the vagaries of television programmers when planning one's New Year's Eve.

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Anybody who knows me knows I love Fred Astaire movies. I don't know if it's in my gene pool (my mom was also a fan) or a learned thing (my mom and I watched a lot of his movies together) but... Whatever the reason, I'm glad I have this thing for Fred Astaire.

Back in the 70s, one of the Chicago TV stations used to run Fred Astaire & Ginger Rogers marathons on New Year's Eve. I remember several times telling my date I had to be home by midnight so I didn't miss Top Hat or Shall We Dance or The Gay Divorcee. They don't seem to be doing that anymore, but to me, Fred & Ginger need to be dancing on New Year's Eve or it isn't New Year's Eve.

...Swing Time is not actually my favorite among the Fred movies (I don't like second banana Victor Moore, I don't like the silly forced laughing bit, I don't really like Fred wearing a bowler hat, and parts of the plot are very silly, especially the one involving whether formal trousers need cuffs) but it does have its charms (the Jerome Kern/Dorothy Fields score, some gorgeous dances, and dances used beautifully to advance the plot).

Although "The Way You Look Tonight" has become somewhat overexposed in a whole lot of movies and TV shows, it's still a lovely song, and it's quite appealing when Fred (as Lucky Garnett, dancing gambling man) sings it to Ginger (as Penny Carroll, a dance instructor), even if her hair is covered in shampoo and bubbles. Mr. Astaire always had a way with the sincere songs, and his delivery is as sweet and charming as it gets on "The Way You Look Tonight." Breathless charm, indeed.

"Never Gonna Dance" is also a classic for good reason; it gets a big, swoony production number involving sweeping Art Deco staircases and it involves all kinds of angst and heartache because of its place in the plot. There are all kinds of backstories on this dance that say they filmed endless takes into the wee hours and Ginger was bleeding into her shoes and all sorts of things... Whether you believe them or not, it's still a moving and lovely piece of dance and romance on film.

But my favorite number is "Pick Yourself Up," a sprightly piece where Lucky pretends to be a bad dancer who improves amazingly quickly in order to save Penny's job. They dance all around a dance studio under the disapproving eye of Eric Blore, an adorable supporting player you'll see throughout the Astaire/Rogers flicks, so that's one reason to enjoy it. Number 2: Ginger got a flippy black dress that makes her look as cute as she ever looked. And number 3: I absolutely love the little lifts back and forth over a tiny fence around the dance floor. They both look like they're having a great time, and when Fred pops out the real Astaire dance moves, there is a joy of performance that just zings off the screen. I'm smiling just thinking about it.

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Holiday (the 1938 film based on a Philip Barry play, starring Cary Grant and Katharine Hepburn, not the more recent thing with Kate Winslet, Jack Black and Jude Law) is one of my favorite movies of all time. Maybe THE favorite.

I've been asked more than once why I like Holiday so well or why I like it better than The Philadelphia Story or Bringing Up Baby, better-known Grant/Hepburn collaborations. The answer is partly grounded in the fact that I got attached to Holiday when I was ten or eleven, and you really don't know why you like things at that age. You just do. But there's more to it than that.

I like Cary Grant, of course. He's at his most fetching here, as Johnny Case, man of the people, who came from nothing and worked really hard at some vague financial job that has made him a nice amount of money, so now he wants nothing more than to take his money and take a holiday around the world. It's sort of an anti-capitalist philosophy. Or maybe "capitalism that knows when enough is enough and then wants to have some fun." I like that refreshing attitude. Cary is also not terribly serious in this movie; he does acrobatic tricks, he messes up his hair, and he lets himself get kicked in the bootie to show he hasn't turned stuffy or puffed-up. But he still looks really good in a tux.

And then there's Kate. The plot of Holiday treats her far better than The Philadelphia Story where everybody keeps telling her that she's too perfect, she's an ice queen, she's judgmental, she needs to change while the male philanderers (her father) and alcoholics (her ex) are just fine the way they are. That always struck me as sexist and unpleasant and not very nice. Here, she's trying to do the right thing and find her own way, stuck in a pretentious, wealthy family she doesn't like much and at the same time desperately attracted to the man her sister has brought home as a fiance. As Linda Seton, Ms. Hepburn is as lively and vivacious as ever, plus she's warm and funny and nobody is blaming her for anything.

I also like the supporting cast, with Edward Everett Horton and Jean Dixon as an amusing pair of Johnny's friends who like Linda far better than her prissy sister and Lew Ayres as Linda's unhappy brother. Plus Binnie Barnes and Henry Daniell are hilarious as snooty relatives that Linda calls the Witch and Dopey.

There are serious issues here, and yet it's all treated lightly and sweetly, with enough romance ("Happy New Year, Johnny" and the almost kiss is my favorite) and funny stuff (with everybody doing gymnastic stunts and Punch and Judy in the old playroom) to keep the story moving. George Cukor's direction is dandy, with the emphasis on just how attractive Grant and Hepburn are. It's also really cool to see what the privileged set lived like in 1938. Special ties, special church, special parties... And that Manhattan mansion is pretty swell.

Holiday ... [is] part of a Cary Grant box set. I plan to watch it on New Year's Eve, since that's the holiday I like the best in the movie. I should also note that the title Holiday does not refer to Christmas or New Year's, but to Johnny's plan to take a long holiday, a vacation, now that he's made the money he wants.

When it's Cary Grant playing Johnny, it's hard not to support his holiday. It's hard not to try to book a cabin on that ship and go right along with him. As Linda says, "If he wants to dream for a while, he can dream for a while, and if he wants to come back and sell peanuts, oh, how I'll believe in those peanuts!"

Right there with you, sister.

---

And that, my friends, is what I'll be doing New Year's Eve!

It's Cary Grant Day Tomorrow on TCM

Yesterday was my birthday, but tomorrow is the day Turner Classic Movies sends me the gift of a whole day of Cary Grant movies. I can't think of a better birthday present.

The Cary Grantapalooza starts at 6 am Eastern/5 am Central time with one of Mr. Grant's best. The Awful Truth, directed by Leo McCarey, is what has come to be called a screwball comedy. Specifically, it's a divorce comedy, with Grant and Irene Dunne as a husband and wife who split up and then flirt with getting back together. Dunne combines a certain daffy charm with intelligence and wit, making her an excellent match for the dashing Mr. Grant. Add Ralph Bellamy as the Wrong Man and Joyce Compton as the Wrong Woman, a performer named Dixie Belle Lee whose act includes fans blowing up her skirt, and the always adorable Asta, a very famous fox terrier, as Mr. Smith, their dog, and you end up with a winning romantic comedy that makes it clear why Cary Grant was already a hot item by 1937.

After The Awful Truth, it's time for Howard Hawks' Bringing Up Baby, the 1938 Katharine Hepburn/Grant comedy which plays both actors against type. Hepburn is a loopy heiress with a missing leopard named Baby and a mischievous dog (once again played by Asta), while Grant is a bespectacled professor of paleontology whose entire life is turned upside-down by Hurricane Hepburn. It's a famous example of another niche in the romantic comedy genre, the one where a woman with wild ways hooks up with (and loosens up) a buttoned-up man. See: Ball of Fire, The Lady Eve, Something Wild... Bringing Up Baby was famously not a hit at the time, just about when Katharine Hepburn hit the Box Office Poison list. But it's been rediscovered by generations of film students and rom com fans, making it a perennial favorite. Bringing Up Baby starts at 6:45 am Central time.

Howard Hawks also directed His Girl Friday, the super-fast-talking 1940 comedy based on The Front Page, which airs at 8:30 am. Rosalyn Russell plays Hildy, the reporter (and ex-wife) trying to work around her controlling editor, played by Grant, while he does everything he can to keep her on his payroll and in his life.

My Favorite Wife, which pops up at 10:15 am Central time, will look familiar to fans of Move Over Darling, a Rock Hudson/Doris Day trifle from 1963. You'll recognize the old Enoch Arden plot, where a presumed dead spouse (Dunne) returns at the precise moment the left-at-home spouse (Grant) is moving on with someone else. And, yes, it's a comedy. It pairs Grant with Irene Dunne again, this time with Garson Kanin in the director's chair and Randolph Scott as the Wrong Man. It's also much, much better than Move Over Darling.

His Girl Friday, My Favorite Wife and The Philadelphia Story, playing on TCM at 11:45 am Central time, were all released in 1940, a banner year for Cary Grant. Jimmy Stewart won the Best Actor Oscar for his performance as a "man of the people" writer who vies against dapper ex-husband C. K. Dexter Haven, played by Grant, for the affections of Hepburn's Tracy Lord. Hepburn was nominated for Best Actress, as was Ruth Hussey, who played the fourth member of the quartet. Why no nomination for Grant? I have no idea. He and Hepburn are perfect for each other and perfectly directed by George Cukor.

Arsenic and Old Lace brings Grant up to 1943, putting him into a classic comedy about two older ladies cheerfully dispatching lonely men into the Great Beyond by way of poisoned elderberry wine. He's the normal nephew, trying to juggle corpses, gangsters and cops while hoping to keep his aunties out of trouble. Arsenic airs at 1:45 pm Central time, followed by The Bachelor and the Bobby-Soxer, with Myrna Loy and Shirley Temple, at 3:45 pm Central time.

Every Girl Should Be Married, a bit of a mess of a film from 1948, is notable only because Grant plays opposite Betsy Drake, one of his real-life wives. It plays at 5:30 pm Central, a good time to take a snack break and wait for Hot Saturday, in the marquee spot at 8 pm Eastern/7 pm Central. This little-known 1932 potboiler is all about small-town girl Ruth Brock, a good girl bank clerk, whose reputation is unfairly sullied. If you want to see what Cary Grant looked and acted like before he was CARY GRANT, check out Hot Saturday.

You'll see a very different, older, more settled Cary in Mr. Blandings Builds His Dream House, a movie that's more about how tough it is for a city-dweller to move to the country. Note that his character's name is Blandings. If you'd like to see mature Cary put-upon by house-building nightmares, check out Mr. Blandings Builds His Dream House at 8:30 pm Central time.

Gunga Din shows yet another side of Mr. Grant. Adventure Cary goes to India with pals Victor McLaglen and Douglas Fairbanks Jr. to stop the Thuggees. And Sam Jaffe, a Jewish guy from New York City, plays Indian water carrier Gunga Din. You can judge Gunga Din's questionable politics for yourself at 10:15 pm Central time.

Destination Tokyo, the after-midnight movie, is a more standard war story from 1943, with Grant captaining a submarine that ventures into dangerous waters. That leads him into 1952 and Room for One More, a family film about parents "Poppy" and Anna Rose, who build their family by adopting orphans. It's sweet and a little sappy, not one of the movies people usually think of when they think of Cary Grant, but still... It has its charms, and it's another opportunity to see the wonderful Cary with Betsy Drake, wife no. 3.

I'm afraid that's the end of Cary Grant Day. TCM is on to Charlie Chaplin Day at 5 am on Thursday. But if you're like me, you'll pull out DVDs of Holiday, Notorious, North By Northwest, Charade, To Catch a Thief and maybe even Mr. Lucky to keep the party going.

Happy Cary Grant Day!

Today is Cary Grant's birthday. And TCM is offering us a chance to celebrate with The Philadelphia Story at 3:15 pm Central time, followed by The Bachelor and the Bobby-Soxer at 5:15.

Those are two very different roles, with the first the irresistible, maddening, aristocratic C. K. Dexter Haven, the first husband of Katharine Hepburn's Tracy Lord, the heiress staging the wedding of the century in Philadelphia, and the second a sly playboy of a bachelor who finds himself the object of a teen crush from Shirley Temple, while Shirley's big sis Myrna Loy, a judge, looks on unamused. You can see Myrna looking on unamused right there in the Bachelor and the Bobby-Soxer poster image above.

The roles are different, but they share Cary Grant, which means both have all the charm and wit anyone could want. I'm not going to waste your time with more plot details or analyses of Mr. Grant's particular brand of movie star appeal. He was one of a kind. He was perfect. That's it.

So go watch The Philadelphia Story and The Bachelor and the Bobby-Soxer, or if you prefer, you can substitute or add on Holiday, The Awful Truth, Notorious, Charade and North by Northwest. Some of those movies are included in a handy Cary Grant DVD collection, while others only come as singletons. But I invite you to find what you can, cue up a movie or two or three, and wallow in Cary Grant all day.

And here's a lovely picture of Cary as the devilish Devlin, cozying up to Ingrid Bergman in Notorious, just to inspire your Cary Celebration. I think it says everything you need to know about why he was who he was.

Cary Grant, Perfection

Another Don't Miss -- NOTORIOUS -- on TCM at Midnight

The programmers at Turner Classic Movies have certainly had my number this month, what with all the film noir and a focus on screenwriter Donald Ogden Stewart, who specialized in romantic comedy.

Last week, they aired Holiday, the Cary Grant/Katharine Hepburn comedy that sits at the top of my all-time favorite list. And now, tonight, we get Notorious, not the B.I.G.one, but a 1946 suspense classic directed by Alfred Hitchcock, starring Ingrid Bergman as a bad girl, one Alicia Huberman, and Cary Grant as the dark and dangerous spy who's keeping an eye on her. He's keeping a few other things on her, too, and it's that combination of seduction, betrayal and danger that makes Notorious so delicious.

Cary Grant may have created the perfect screen hero using elegance and charm, intelligence and mischief, to make an indelible mark on film. Notorious shows off his dark side. And that is a very good side for Mr. Grant.

Even aside from Grant's drop-dead gorgeous, drop-dead sardonic spy, there's a lot to love about Notorious. Ingrid Bergman is a wonderful partner for him. He's all sharp edges, while she's all soft doubt and sensuality. You believe in the attraction as well as the doubts. Hitchcock makes sure of that.

The plot sets her up as the daughter of a Nazi convicted of treason to the United States in a very public trial. So she's the notorious one, since everyone suspects her of aiding and abetting Dad. Plus she's been known to drink and party too much, making her reputation even worse. Enter Cary Grant as Devlin, the cynical spy who woos her long enough to get her to go after one of Dad's former compatriots, now living the good life in Brazil.

That compatriot is Alexander Sebastian, a small, seemingly sweet man who has a battle-ax of a mother and some very nasty friends. The elegant and urbane Claude Rains turns Sebastian into one of Hitchcock's best villains, someone who is warm and sympathetic, clearly smitten with Bergman's Alicia, even as he plots with Nazis on the side.

The romantic complication for Devlin and Alicia is that it's his job to get her to seduce Sebastian, and to clear her name from her father's evil deeds, she has to do it, even though the two are really in love with each other. That is a pretty dandy conflict as conflicts go.

So Alicia goes through with it, playing on Sebastian's major crush to get herself into his life and his household. And then the games really begin, building to a swanky party where she has to steal a key to the champagne cellar, trade the key to Dev right under Sebastian's nose, get into the wine cellar to find the hidden uranium (I'm not making this up!) and get back to the party before anyone is the wiser. Uranium! Poison! Champagne! Jealousy! Jeopardy!

It's really, really good stuff.

I cannot recommend Notorious highly enough. It's just that good. And it begins tonight at midnight (Central time) on Turner Classic Movies.

My Gold Medal Goes to "Walk, Don't Run"

With the London Summer Olympics in high gear, there are all sorts of lists of Olympics movies floating around out there. There's a lot of love for Oscar-winner "Chariots of Fire," of course, as well as "Cool Runnings," about the novelty of the Jamaican bobsled team; "Jim Thorpe -- All-American," with Burt Lancaster as the Native American decathlete; "Miracle," about the 1980 US hockey team; and even "Million Dollar Legs," a 1932 W.C. Fields movie about the fictional country of Klopstokia and their Olympic efforts.

But there's one movie that everybody has completely overlooked. It's got Cary Grant. It preserves the 1964 Tokyo Summer Olympics for posterity. It centers on an Olympic event that is both funny and obscure. It's an Olympified remake of a classic film. What's not to love about "Walk, Don't Run"?

Okay, so Cary Grant is not the romantic lead, just the matchmaker scheming to get Samantha Eggar and Jim Hutton together. And, yes, that plot concept -- where a man and a woman unexpectedly have to share an apartment -- has been done a lot, not always with the best results, and, yes, "The More the Merrier," the post-World War II precursor, was terrific.

I don't care. I love "Walk, Don't Run." Cary Grant is as charming and wonderful as ever, even if he's playing Cupid instead of Romeo. He has a killer scene where he strips down to his skivvies to try to catch up with Hutton while he's racewalking, and that alone is worth the price of admission. And it's Grant's last film. Every Cary Grant-o-phile needs to see it for that reason alone.

Plus Samantha Eggar makes a pretty, fresh kind of 60s chick, much less vapid than most of that period, and Jim Hutton's brand of sweet, awkward romantic hero is very appealing. I like their chemistry, and I love the milieu of Tokyo in the bright pop 60s.

So if you need a little Olympics on the side, an Olympics that includes Cary Grant in his underwear, you can watch "Walk, Don't Run" instantly at Amazon.com, or order the DVD through either Amazon or Turner Classic Movies. Quick! Before they get past the racewalking event!