Dear Mr. Gable

A Tale of Two Cities (1935)

2011-07-27T09:55:00.000-04:00

I felt the need to include the year in the title this time, because there are, according to IMDB, fifteen film versions of this Dickens classic, including a 2000 German version titled Eine Erzählung von zwei Städten. I recently saw the David O. Selznick production starring Ronald Colman, Reginald Owen, Edna May Oliver, and Basil Rathbone.

Basil is at his evil best here as Marquis St. Evremonde, your sterotypical (but deliciously so) cruel and unfeeling French aristocrat. After his coach runs over a small boy, his response is to complain about the inconvenience to himself, so you know he's not going to last very long in a movie about the French revolution, and he doesn't.

"Sure, I seem like a drunken jerk now, but just you wait..."

I don't think I'd ever seen Ronald Colman in a movie before, and he was just great as Sydney Carton, the world-weary, alcoholic lawyer who in the end does a "far, far better thing than [he] has ever done..." The role is tragic, of course, but Colman also managed to find the bits of humor in it, such as the scene when he is writing notes in the courtroom for Stryver to read outloud, sometimes with unintentionally hilarious consequences. He also portrays Sydney as more than just a cad; even when he's at his most obnoxious, he still manages to be sympathetic.

The movie is famous for its scene of the peasants storming the Bastille, and rightly so. It's very well done, considering the only special effects they had were the set and the people. Selznick may have been an obsessive compulsive control freak, but you have to admit he achieved quite the result.

I just bought the book yesterday, and I'm looking forward to seeing if it lives up to the movie, instead of the other way around.

A Dispatch from Reuters

2011-07-26T10:21:00.013-04:00

I think I have a new favorite classic film sub-genre: biographical films starring Edward G. Robinson. Yesterday I saw A Dispatch from Reuters, the story of Paul Julius Reuter and how he started the famous news wire service with some passenger pigeons. I'm beginning to think I love Eddie G. in these kinds of roles more than the gangster films. Although Johnny Rocco is hard to top.

The real Julius Reuter, also
well known for his sideburns.

Like another Eddie G. biopic I love, Dr. Ehrlich's Magic Bullet, Robinson here plays a character completely unlike any of his gangsters: an industrious, hard working man who wants to speed up the dissemination of news not for any profit, but because "the news belongs to everyone." He starts out providing stock prices via carrier pigeons, and just to be as fair as possible, he locks the subscribers in the room while he reads the prices, and then lets them out all at once so no one has an advantage over anyone else. This leads to some hijinks where one banker tries to cheat by tossing the prices out the window to his office boy; Reuter notices this and next time, gives the wrong prices and doesn't correct himself until he sees the office boy run away.

The story reaches its climax when Reuter is the first, by over 7 hours (because he has built his own telegraph line from Ireland to England), to get the news of Lincoln's assassination. He won't hold it back, not even to save his best friend from losing a bundle in the stock market. The news starts a panic, but when no other source can confirm it, the brokers decide Reuter made it up to crash the market, and that leads to a session of Parliament where the members argue about whether Reuter can or should be punished. Right when it gets the most tense, however, a messenger comes in with the news that Lincoln has, in fact, been murdered. All the MPs have egg on their faces, but they do apologize to Reuter, and the movies ends on this great triumph.

Sadly, Robinson did not grow
similar sideburns for the movie.

One person I felt was kind of unnecessary to the film was Eddie Albert, who plays Reuter's friend Max. They're in business together from the start (back in the days when the local village children call Reuter "the pigeon fool" and throw rocks at him), but Max is lazy and irresponsible, at one point letting all the pigeons get away. He does provide contrast by making Reuter/Robinson look all that more industrious, but I don't think he brought much else to the film, and Reuter looks hardworking enough on his own.

As always at Warner Bros, there is all kind of character actor goodness to be found in this film, including Otto Kruger (Reuter's father-in-law), Albert Basserman (Reuter's partner Geller), Nigel Bruce (Sir Randolph), Montagu Love (John Delane, head of The Times), and Gene Lockhart (Bauer the banker).

Sporting Blood

2011-07-13T18:35:00.001-04:00

Comcast description of movie: Racetrack yarn with Clark Gable as a gambler who saves a horse from mistreatment.

My description of movie: The life and times of a horse named Tommy Boy. Clark Gable shows up half way through.

I was a little wary of watching this movie during the first couple minutes, because it has animals in it and I know the studios did not treat them well back then, and thus today we have the disclaimer "no animals were harmed..." (dear God, 20th Century Fox, you rode a blindfolded horse off a cliff to its death?).

In the first 10 minutes, Tommy Boy's mother Southern Queen falls down in the mud while trotting back to the stable, and you can see, briefly, that she appears to be tied down by her back leg as she thrashes in the puddle and stuggles to get up. Sadly, her leg is broken, and she has to be shot right there on the spot, leaving our hero, Tommy Boy, an newborn foal without a mother.

The owner of the horse farm, Jim Rellence, (scenes are actually filmed in Kentucky) where Tommy is raised loves him very much, but he eventually has to sell him because he needs the money. The new owner (whose name escapes me) ends up selling Tommy to a spolied rich woman (Marie Prevost) and her husband (Hallam Cooley), who obviously know nothing about taking care of a horse.

"I don't want him anymore. Just shoot him!" (Sadly, an actual quote.)

After Tommy loses a race, they lose interest and sell Tommy to a crooked gambler, Tip Scanlon (Lew Cody) who runs the horse into the ground with doping and too much racing. Before he's killed over a bad bet, he gives the horse to his girlfriend Ruby (Madge Evans) who decides to rehabiliate Tommy, and herself and ends up reforming slightly crooked gambler Rid Riddell (Clark Gable) in the process.

It's one of those feel-good animal movies, and apparently based on a true story of a horse named Sporting Blood and his owner, gangster Arnold Rothstein, who brought us the 1919 Black Sox scandal, so I suppose doping a racehorse and fixing a race should come as no surprise.

Best part of the credits: Tommy Boy played "By Himself." Nothing like starring in the movie of your own inspirational life story. ;)

Cute picture, although this is not actually Tommy Boy.

Heat Lightning

2011-07-12T13:16:00.000-04:00

The title, Heat Lightning, caught my eye because it's roughly 112 degrees around here (or at least that's what it feels like) and because it listed among the cast members Aline MacMahon and Ann Dvorak, both great actresses who I think were overlooked in their day. I wasn't expecting a lot out of it (I assumed it was a B picture, as it's only 64 minutes long and has no big stars), but I was pleasantly surprised by how much I enjoyed it.

Aline plays Olga, owner of a gas station/lunch counter/auto camp out in the Arizona desert, and as I had guessed, she's the unglamourous sister, spending most of the movie in overalls with a bandanna tied around her head, while Ann Dvorak (Olga's sister, Myra) gets to use all the makeup and wear dresses.

Oh, Warner Bros. Really?

(As an aside, Warners did the same thing to her more than once; in Gold Diggers of 1933, she's the only chorus girl out of the four roommates who didn't wake up in the morning perfectly coiffed and made up. I know she's not what Hollywood would consider a "traditional beauty," but really, did they have to go out of their way to make her the plain Jane all the time?)

Could I at least get some cover-up for my under eye shadows?

Various tourists drop by this desolate place, including two bank robbers on the lam (Preston Foster and Lyle Talbot), two ladies returning from their latest Reno divorce (Ruth Donnelly and Glenda Farrell, both delightfully snooty) and their much put-upon chauffeur, Frank (Frank McHugh).

Olga seems content to be a mechanic; it's her younger sister Myra who longs to get away (preferably with her shady boyfriend Steve) and lead a more exciting life. Olga is very strict with Myra and you gradually realize that Olga is trying to protect her sister from making the same mistakes she did.

Once the two robbers come along, however, it's a different story, because Olga knows one of them from her life "up in Tulsa," where she was a cabaret singer and apparently led a rather unsavory life. He could care less about her, but she obviously still has feelings for him, which he exploits in order to rob the Reno ladies of their jewels. Things don't turn out quite as planned, though. I usually try not to spoil endings, but since the movie poster did it for me, what the hell.

It's still worth a look, though, and happily, it's been released on DVD as part of the Warners archive collection.

Movies that grab me

2011-07-06T09:11:00.000-04:00

Following up on Sam's comment about White Heat not really catching his eye anymore, I wanted to talk about a few other movies that, even after repeated viewings, still draw me in and make me want to watch them over and over, even if I've just seen them recently.

Key Largo - I talked about this one just the other day. Eddie G. is just so fabulous in this role, by turns snarky and mean and vulnerable, that I haven't tired of it yet. Like Rocco, I still want more. It's really Eddie G. and Claire Trevor that make this movie for me. I like Bogart and Bacall okay, but I would watch this movie even without them. Without Eddie G., probably not so much.

Objective Burma! - Probably my favorite war movie, if I had to narrow it down to just one. It's over two hours long but it never feels like that to me. There is a good variety of adventures (just when you think they've made it to safety, something else happens), and it always keeps me watching until the end.

The Women - This movie is just plain fun. It's totally dated, of course, with women taking the train to Reno to divorce and living on their alimony the rest of their lives, but it still makes me laugh. George Cukor was so right to tell Ros Russell to play Sylvia as completely crazy; that's how she got the part after several audtions. There's some small, mean part of me that enjoys the cattiness, especially when Sylvia and Crystal get their just desserts in the end.

Fannnn-eee!

Gold Diggers of 1933 - My favorite of all the Busby Berkley movies, this one not only has several famous musical mumbers ("We're in the Money," "Remember My Forgotten Man") but the best backstage story as well, with Ginger Rogers, Aline MacMahon, Ruby Keeler, and Joan Blondell as a group of chorus girls entangled in various romances. While Joan and Ruby have "straight" romances, Aline is paried with Guy Kibbee to be the "comedy" couple of the movie, and they are both just so cute and hilarious. Warren William I could live without, but you can't have a BB musical without Dick Powell in some capacity.

White Heat

2011-07-05T08:15:00.000-04:00

According to some of the film historians who commented on this film in the special feature, Cagney wanted to do something "different" playing a gangster this time, and he decided to play Cody Jarrett as a complete lunatic. Congrats, Jim! It worked beautifully.

I love this film in a special kind of way because Cody is so bananas. You get the adventure and suspense of the usual crime movie, but Cagney's performance adds an extra layer of entertainment. He makes you wonder what he's going to do next, and just how far he will go. Oh, the guy he locked in the trunk of his car wants a little air? Cody will give him air -- via the six bullet holes he shoots into the trunk. While casually eating a chicken leg. I often enjoy a little black comedy with my gangsters.

My favorite scene is one of the most famous: Cody is in the prison mess hall, and learns from the grapevine that his mother has been killed. Cue full-on, beserker freak-out. The best part is that none of the extras knew what was coming, so the looks to surprise on their faces are genuine. Edmund O'Brien, who plays Vic Pardo and is sitting directly across from Cagney, has the best "oh my God!" face of them all.

Cagney just told Raoul Walsh, the director, to put the two biggest extras on either side of him (so he could boost himself up on their shoulders) and to keep the cameras rolling, no matter what. When I hear about acting tricks like this, I usually think they're kind of gimmicky, yet with Cagney it seems like a brilliant idea, and he pulled it off beautifully.

Made it, Ma! Top of the world!

A Face In The Crowd

2011-07-03T19:20:00.005-04:00

I was flipping through TCM's listings the other day, looking for interesting movies to tape. I came across A Face In The Crowd and the cable description intrigued me (something like, "meglomanical performer goes from Arkansas jail to nationwide publicity"), so I taped it. I was looking for something to watch today, and seeing that it was 135 minutes and didn't have any of my favorites in it, I almost deleted it. I am so glad I didn't!

This was Andy Griffith's film debut, and if you've only ever seen him on Matlock and The Andy Griffith Show, as I have, oh my God are you in for a surprise. First off, just look at the DVD cover:

And this doesn't even begin to show you the level of crazy that Andy brings to the role of "Lonesome" Rhodes. He's like a cross between a psychotic Will Rogers and Lex Luthor. You have an idea right from the start that he's not going to really be a good guy (although he is sure good at playing one), since Patricia Neal finds him in a scuzzy country jail, but just wait and see what happens when he gets a little power. One of his trademarks is this big hearty belly laugh that at first just seems a bit overdone. By the end of the movie he might as well be going "mwa ha ha" like the rest of the super villains; this laugh is now one of the creepiest things you've ever heard.

Patricia Neal is wonderful as a woman radio reporter who discovers Lonesome, and is slowly crushed as she comes to realize just what kind of person she has introduced to the world. Walter Matthau plays Mel Miller, a writer for the original "Lonesome Rhodes" show, who is the first to see how truly frightening Lonesome really is, and makes his escape, to eventually pen a tell-all book. The best part is, he doesn't even have to publish it, because Lonesome is exposed in a much more satisfying way, which I won't spoil for you.

The movie makes a statement about the power of celebrity, and just what kind of people we are putting up on these pedestals. I highly recommend it.

How this face ended up becoming the beloved Sherriff Taylor, I have no idea.

A Slight Case of Murder

2011-06-25T21:06:00.003-04:00

If there's anything I love more than a good gangster flick, it's actors like Eddie G. spoofing their gangster image in comedies. At my dad's house today I popped this DVD in. "Oh," he said after a few minutes, "I've seen this before. It's a serious movie about a gangster trying to go straight."

"Um," I replied, "If you think it's a serious movie, you definitely haven't seen it before."

I thought it would make him laugh and I was right. Eddie is so cute and funny as Remy Marko, a gangster who sees the end of Prohibition coming and makes plans to go "strictly legitimate." His goofy sidekicks include some of my favorite character actors: Alan Jenkins, Edward Brophy, and Harold Huber.

I've seen other movies where a gangster character of Eddie's is determined to be "classy;" he even does it in Little Caesar, although there's not much to like about that character. However, I usually find it very touching that this guy wants to improve himself so much. He plays a very similiar role in The Little Giant and he makes it work really well there, too, but with less hilarity.

Ruth Donnelly is an absolute scream as Mrs. Marko, who's not too sure at first about this whole "going straight" deal but gets to like it in spite of herself. Watching her shift back and forth between society matron ("I can't imagine where our butler and steward have got to.") and the asides as her former gangster moll self ("Where are those mugs?") is a treat.

Afterwards Mr. Roberts was on TCM, so we watched that too. I love, love Cagney in this role, even though he is pure evil, because he's just so over the top crazy with it. And of course, one of the best final lines in movie history: "Captain, it is I, Ensign Pulver, and I just threw your stinkin' palm tree overboard!"

Hot summer movies

2011-06-22T18:57:00.004-04:00

It's hot and humid here in lovely Philadelphia, and with that comes a yen to watch certain movies. Although I'm not a big fan of being out in this weather, I love movies about other people who are. Here are some tried and true favorites I've been rewatching lately.

Objective, Burma! - (please note that official title includes the punctuation, haha) Poor Errol Flynn. He made this movie in an attempt to help with the war effort, and the British press just chewed him up for it, feeling that he was trying to take all the glory of the Burma fight for the Americans. Although he wanted to, he was unable to serve due to health issues (recurring malaria and a heart murmur) that of course Warners would never let him admit to. However, I agree with George Tobias that I would "follow him down the mouth of a cannon." Lots of adventure, highly recommended.

Key Largo - Oh, Eddie G., how I adore you. I know he got tired of the gangster roles, but he is so delicious in this one. I could usually take or leave Bogart, but I love him this time. Poor Lionel Barrymore was really in a wheelchair (L.B. Mayer had the role written specifically to accomodate him) and I always wince when he takes a dive trying to sock Johnny Rocco. One of my favorite scenes is when Frank asks Rocco what he really wants out of life...Rocco isn't sure, until Frank says he just wants "more." "Yeah, that's it, I want more!" Rocco exclaims. Will he ever get enough?, Frank asks. No, Rocco says, he hasn't ever before, so he doesn't suppose he ever will. A brilliant summation of all the gangsters Robinson played.

Rain - I've talked about this one before; Crawford is just amazing in the role of Sadie Thompson in one of the many film adaptations of Maugham's story. The scene near the end when Walter Huston loses control still makes me jump, although I know it's coming.

Red Dust - I watched this one last night and I was delighted to remember how funny Harlow can be. It's not always what she says, but the way she says it. "You won't grow up to be a big strong boy like Grandpa here if you don't eat your din-din, Fred." Watch it and see if it doesn't make you chuckle, too. (The line comes at 1:10.) Gene Raymond is a little too "gee whiz" for my tastes, but in a way that makes him better for the role of the husband.

Did ya or didn't ya?

2010-06-27T18:10:00.002-04:00

A wonderful clip on YouTube, where Pat O'Brien tells how he met James Cagney, and Cagney talks about a young boy who asked him if Rocky went yellow or not.

P.S. Also, he never said "You dirty rat."

God bless you, Sean Flynn

2010-03-29T20:14:00.006-04:00

Hopefully, an answer at last.

Pay your respects to Sean.

Girl 27

2010-01-02T08:34:00.008-05:00

I was originally going to talk about a few different movies in this post, but changed my mind after watching Girl 27. The story is as horrifying as I expected it to be, based on the Vanity Fair article. In brief: in 1937 Patricia Douglas answered what she thought was a casting call for an MGM western picture. Instead, she and 100+ other girls were taken out to Hal Roach's ranch to a party for MGM's salesmen, who were in town for a convention. David Ross, a salesman from Chicago, brutally raped Patricia. Neither Ross, nor anyone at MGM, ever paid for the crime in any way.

David Stenn found footage of the actual sales convention, with Louis B. Mayer telling the salesmen they can have "anything they want," (which in light of later events becomes quite chilling), and even showed a clip of Ross arriving at the convention.

I've been reading comments about the movie on IMDB, and some of the criticisms I agree with; I didn't like the use of movie clips to "illustrate" (for lack of a better word) Patricia's story, especially the cartoons. It does distract from her story, and felt like padding. People commented that the interview where Patricia talks about David Stenn (the writer, director, and interviewer) was too much, but I actually liked that part; she talked about how she's never been in love and doesn't connect with other people, then we realize how fond she is of David. Maybe it did go on a bit too long.

One note of irony: when asked shortly before he died whatever became of "that girlie who took on MGM", Eddie Mannix, Mayer's toadie, said, "We had her killed." Not only did she survive, but she had the last word.

Winter weather watching

2009-12-19T20:34:00.016-05:00

What better way to spend the "blizzard of '09" then watching some movies I'd taped off TCM.

The Painted Veil - I thought this one would be an automic win, what with Garbo and all, but I'm rather lukewarm about it. I'm so attached to the Somerset Maugham novel that this adaptation disappointed me. I understand they need to make Garbo the heroine, but I think that could have been done without straying so very far from the novel. In its place I would recommend the 2006 version with Naomi Watts, Edward Norton, and Liev Schrieber.

Her Cardboard Lover - This movie gets a bad rap, and is often cited as the reason Norma Shearer retired from movies, but I loved it. Granted, she does go over the top a bit with all the "darling Tony!" stuff, but I kind of expect that from her. Robert Taylor was abolutely delightful with the silly bits and one liners. And who better to play the cad than George Sanders? Character actor bonus: Frank McHugh (whose character was named Chappie Champagne, how can you not love that?).

I Am a Fugitive From a Chain Gang - I'd taped this months ago, when Alec Baldwin was guest hosting The Essentials. (Suggestion to Robert Osbourne: maybe next time let the guest host get a few words in edgewise?) Finally got around to watching it, and promptly went and bought the DVD from Amazon when the movie was over. EGAD. Paul Muni is brilliant, and Alec Baldwin was so right to advise the viewer to make sure and stay for the final scene (which happened the way it does by accident; I love those kind of stories). The plot is very like "The Roaring Twenties," one of my favorite Cagney movies.

Next Up: Bedlam (Karloff runs the infamous insane asylum!), Never Say Goodbye, 84 Charing Cross Road, and Girl 27 (you can read that [horrifying and true] story here.)

Squeeeeeeeeeeee!

2009-06-07T14:55:00.003-04:00

I happened to be watching TCM today (it's Michael Curtiz today, which translates, for me, into Errol Flynn day) and they ran an ad for their new Warners Archive Collection. Lots of new movies never before on DVD, they promised! And I have to say, Ted Turner has delivered. Some of my favorite movies are now on DVD, so I scooped up a bunch: Idiot's Delight, Laughing Sinners, Dance Fools Dance, Possessed, Chained, and Forsaking All Others. There's a couple others I have my eye on, but I tried to restrain myself. ;) Maybe when I win the lottery.

For Memorial Day

2009-05-24T14:30:00.009-04:00

In honor of the holiday, I thought I'd list some of my favorite classic war movies. I haven't been watching many movies lately, hence the lack of updates, so this will have to do.

Objective, Burma!
Destination Tokyo
Thirty Seconds Over Tokyo
They Were Expendable
Blood On The Sun
13 Rue Madeleine
Mister Roberts
Run Silent, Run Deep
The Gallant Hours
Europa, Europa
Der Untergang (The Downfall)
Sophie Scholl - Die Letzten Tage (The Final Days)
The Fighting 69th
Captains of the Clouds
The Dawn Patrol
Dive Bomber
You, John Jones! (one reel short)

On an unrelated note, I'd also like to salute my family members who have served in the armed forces: Charles Kissinger, Jack Lehr, Richard Burroughs, Harry Maurer, and Buddy Sarvis.

IMDB's Top 10!

2009-03-10T20:52:00.003-04:00

As I noted once before, IMDB numbers each star as part of the URL, and #1 is Mr. Fred Astaire. I was curious to see who the "top 10" would be.

Fred Astaire
Lauren Bacall
Brigitte Bardot
John Belushi (toga! toga! toga!)
Ingmar Bergman
Ingrid Bergman
Humphrey Bogart
Marlon Brando
Richard Burton
James Cagney (I was just thinking, he must be in the top 10)

I'm surprised. I never would have expected Belushi to be in the top 10. I assumed they'd start with all the "classic" stars first. I wonder how they came up with the "pecking order" in the first place.

A sensible review...

2009-03-10T20:43:00.002-04:00

...of Gone With the Wind. I came across this on Amazon today and thought it made some good points.

Movie Poster Art

2009-02-01T09:56:00.014-05:00

I love movie posters from the 1930's. They have a style, half photographic and half painted, that visually appeals to me. I have been tempted to buy certain posters, even when I think the movie is only so-so, just because I love the artwork. Some examples:

One of my favorite Harlow posters. Not my favorite Harlow movie.

My all time favorite Crawford poster. I thought the movie was blah. Look at that hair! And I like the script at the top.

I love the look of her face, although not the skin tone.

I love the poster and the movie in this case. Ann Sheridan is just beautiful.

A little over the top, but still gorgeous.

I just like the yellow, and the heads of the cast members.

Snow day = movie day!

2009-01-28T18:43:00.016-05:00

What with all the snow and layers of ice that decorated the world this morning, I chickened out and stayed home, which translated into vegging in front of the TV, watching the last of my Christmas DVDs. It was a lovely day.

Hellooooooo, ladies!

First up was San Antonio, the case for which notes, "Despite his Tasmanian roots and elegant British accent, Flynn made an ideal all-American cowboy. With his steely gaze, lean frame, and understated humor, he tamed the West in eight thrilling sagebrush sagas." Amen to that. He is a wonderful cowboy, basically because he is a wonderful anything. Pirate, pilot, boxer, George Armstrong Custer, I don't care, as long as he smiles that smile at me. Yum.

I worked my way through my Flynn Westerns box set this weekend, also viewing Montana, Rocky Mountain, and Virginia City. Flynn's sidekick in two of these films was S.Z. "Cuddles" Sakall, and I'm of two minds about that. On the one hand, "Cuddles" is absolutely adorable in everything he does, which usually includes a lot of bumbling (and how awesome is it that he always had his nickname in the credits?). On the other hand, there's few things more out of place in a Western than a chubby guy with a thick Hungarian accent. Alan Hale is my preferred Flynn buddy, but Sakall turned out to be an acceptable, if somewhat unsuitable, substitute. My all time favorite Flynn western, though, is Dodge City.

I also polished off the last of my Warners Gangsters Vol. 4 set with Invisible Stripes, and Kid Galahad. We'll talk about those next time.

Snuggly blankets and hot chocolate in front of a cozy fire

2009-01-24T20:04:00.004-05:00

That's what the Andy Hardy movies are to me. When TCM shows them, they usually do a chunk of them in a row in one day. I think I've seen most of them now, the most recent block being shown over Christmas, which was the perfect time for them, what with the gooey family feelings and all.

They are, of course, a completely unrealistic picture of family life -- even more so now than when they were made. And yet, I love them, and watching them is so relaxing. For one thing, you always know what to expect -- Andy falls for girl, gets in some kind of (totally harmless) trouble, has man-to-man talk with Dad -- and yet the details of the story are different each time, so there's a combination of old and new which keeps my interest.

Even as the feminist in me kind of recoils from Mother Hardy's obvious belief that she's just a mere woman who can't even balance her checkbook, there is something comforting in watching her fuss over the children or bustle around in the kitchen -- and what dinners she makes! And the men always come to the table in coats and ties! It's hard to believe that people actually lived that way, although my dad tells stories of the days when men walked the boardwalk at the Jersey shores in coats and ties and hats, the women in dresses and pantyhose and gloves. There is a style about it (and classic films in general, from the manners to the decor) that seems so quaint today, but it's a style I enjoy.

My current box set dream is an Andy Hardy box set...and my birthday is next month, Ted Turner! Hear my cries! For your benefit, here's a list of the films (and in checking IMDB to create the list, I notice Mickey Rooney currently has 323 movies to his name...wow!):

A Family Affair (Lionel Barrymore was the original Judge Hardy, but I like Lewis Stone much better)
You're Only Young Once
Judge Hardy's Children
Love Finds Andy Hardy
Out West with the Hardys
The Hardys Ride High
Andy Hardy Gets Spring Fever
Judge Hardy and Son
Andy Hardy Meets Debutante
Andy Hardy's Private Secretary
Life Begins for Andy Hardy
The Courtship of Andy Hardy
Andy Hardy's Double Life
Andy Hardy's Blonde Trouble
Love Laughs at Andy Hardy
Andy Hardy Comes Home

Hmm. Maybe I haven't seen most of them after all.

Portraits of Hollywood's Golden Age

2009-01-24T15:47:00.003-05:00

A nifty Newsweek photo gallery I discovered today. Say what you will about Joan Crawford, she could take am amazing picture (#5), and that's not even my favorite of her. The James Cagney picture (#8) is great, a wonderful example of what they did with light and shadow back then. The Hitchcock one (#14) is just plain funny.

Driven into exile by the Nazis, they changed Hollywood forever

2009-01-19T08:50:00.003-05:00

I saw an excellent documentary over the weekend, Cinema's Exiles: From Hitler to Hollywood. The film documents the experiences of some well known (Fritz Lang, Peter Lorre) and less well known (Erich Pommer, Joseph Mai) Jews from Germany's film industry who escaped Hitler's Germany and wound up in Hollywood, with varying degress of success. Some of the history I knew, but most I didn't, and the documentary as a whole was fascinating.

Ah, bio pics!

2008-10-13T18:49:00.008-04:00

How I love a good one from the 1930s. And there were so many interesting ones back then. Who cares if they played a little (okay, a lot) loose with the facts? If I want facts, I'll read a book! ;) When I watch a movie, I want to be entertained. And I certainly was by the movie I saw today, a bio pic of Florence Nightingale called The White Angel.

Robert Osbourne felt it necessary in one of his introductions to point out that Kay was known as "the Wavishing Kay Fwancis" around the studio due to her speech impediment. To be honest, I didn't notice it until he pointed out (introducing Mandalay), and then during that film all I could do was listen for it. I didn't think it was as bad as he makes it out, although it's definitely there. However, during The White Angel, I never once thought about it, in main part due to the great story and Kay's acting. I thought the story was well told without being overbearing, as old movies can sometimes be.

Last month was Kay Francis month on TCM, and as a result I've been watching a lot of her movies lately. I think I've found my new favorite pre-Code actress (formerly Barbara Stanwyck); I think Kay's films from the early 30s are some of the best examples of pre-Code. She's a doctor! In more than one movie! You didn't see that very often. Of course she's also lovely to look at and dressed beautifully, but I enjoyed her performances for more than that. I'll be doing a few more entries on her in the near future, I think. Her other films I've seen lately include:

Dr. Monica
Mary Stevens, M.D.
Jewel Robbery (with William Powell, yay!)
Confession
Another Dawn (with Errol Flynn, yum)
Guilty Hands
Mandalay

Do I see another box set request on the horizon? I think I do, Ted Turner! (You can leave out Guilty Hands, though. That was kind of meh. Lionel Barrymore sure can chew some scenery, though.)

Smell that? It's "The Women"

2008-09-15T20:27:00.005-04:00

Thank you, Radar Online, for this handy summary of bad reviews. I thoroughly enjoyed it.

(I don't think I've felt this strongly about a movie since Blues Brothers 2000, or as I like to call it, That Sound You Hear Is John Belushi Spinning In His Grave.)

I could have told you that.

2008-09-13T17:30:00.001-04:00

Unnecessary remake embodies everything we hate about chick flicks.

Confessions of a (Mediocre) Nazi Spy

2008-08-29T19:37:00.003-04:00

So, onward to Confessions of a Nazi Spy. This was one of the first anti-Nazi films, and I'm hearing various things about whether it was a hit or a flop at the time. I was kind of disappointed that Robinson didn't show up until the second half of the film, but the rabid Germans were enough to hold my interest until then. When I saw George Sanders in the credits, I assumed he would be playing some suave British agent, with that great purring voice of his. Turns out he was one of the lead Nazis, with a "high and tight" haircut and fairly good German accent. In his first scene he's giving a speech to some fellow Nazis and almost frothing at the mouth. As the camera moved in tighter on his face, I kept thinking, "That looks a little like George Sanders. But it can't be. Is it? No, it can't be." It was more difficult than I would have expected to recognize him with the haircut and accent.

As for the Nazi spies...well, let's say it was no surprise they got caught (in the real life case, FBI historian John Fox pointed out, only 3 of the 18 conspirators were caught; in the film they convict about 6, and 2-3 get kidnapped back to Germany by the Gestapo to a fate, we are to assume, worse than death). They all follow the same pattern: first, hysterical denial and demands to be let go. The German consulate will protest this!

Once they realize the jig is up, they all start singing like canaries. If the spy in question happens to be confronted by his menacing colleagues, there are more hysterics along the lines of, "Oh, please, don't send me back to Germany. I can't go back to Germany!" Five minutes ago you were singing the praises of the Fatherland, and now you don't want to go back?

The spy who begins the story gets his job by writing to a German newspaper and volunteering his services. You heard me. All through the movie, he keeps asking George Sanders how much he's going to get paid. No wonder you were the first domino to fall, Schneider. I'm sure a lot of the gratification for audiences came not only with the bad guys getting caught, but getting caught because they were so monumentally stupid.

Robinson is fine as FBI agent Renard; his part is less substanstial than I would have expected, but he does a good job as an FBI agent who gets all the spies to spill their guts. One loose end the movie left was the fate of Schlager/George Sanders. He's not caught or tried, it seems, but we never really see him escape, either. He just disappears about 2/3 of the way through the film and is never mentioned again. Overall, though, it was a pretty good WWII movie, and I would recommend it.

Dr. Ehrlich's Magic Bullet

2008-08-28T18:49:00.007-04:00

I'm skipping ahead of myself to talk about Dr. Ehrlich's Magic Bullet. I love a bio pic if it's done well, and this one was. One of my litmus tests: after I see the movie, do I want to learn more about the person? Would I buy a biography of them, if one was available? In this case, the answer was yes. There were so many interesting bio pics back in the 30's and 40's: Marie Antoinette, The Barretts of Wimpole Street, and Queen Christina, to name just a few. (Yes, I realize these movies all took liberties with the facts.) And there are many more fascinating stories to be told; Hollywood, I'm looking in your direction. Why not find someone interesting and historically important, like Paul Ehrlich, and do a bio pic of them, rather than Mission Impossible 4 or a remake of a classic film that was fine in the first place, and yes I mean you, The Women. Ugh, let's not go there. I'm not even going to link it. The trailer commercials I'm seeing now make me grit my teeth.

Anyhow, back to the movie. I was really surprised that the film revealed the true subject of the bulk of Ehrlich's research: syphilis. After all, this is the Code age of Hollywood, (the film was released in 1940) when references to venereal disease were specifically forbidden (along with a bushel of other things). I can't imagine how this one got by Joe Breen, whose enforcement of the Code was "rigid and notorious." They do actually use the word "syphilis" (despite what IMDB would have you believe); there is in fact one amusing scene when Ehrlich, at a society dinner with a potential benefactress, is asked what he's working on, and he matter-of-factly says, "Syphilis." Everyone at the table stops cold and gasps; several reaction shots are shown. (His benefactress is not bothered at all, and does end up funding his research.)

While it's not stated outright that the men (and only men, although one female patient of another doctor is mentioned) Ehrlich treats caught the disease by sleeping around, it is hinted at in oblique ways; Ehrlich tells one patient he can "never get married," and the patient later kills himself.

However Warner Bros. got this one by the censors, I applaud them for doing so, because it is a film well worth seeing. The movie is also stuffed with character actor goodness, including appearances by Otto Kruger, Donald Crisp, Sig Ruman, Donald Meek, Henry O'Neill, Harry Davenport, and Montagu Love.

Dr. Clitterhouse, you ARE amazing!

2008-08-27T20:42:00.008-04:00

Today I would like to speak of my current classic movie boyfriend, Edward G. Robinson. Between TCM's Eddie G. day on "Summer Under the Stars" and a DVD or two, it has been a regular Ed-fest around here.

Last night I watched The Amazing Dr. Clitterhouse. Having watched Little Caesar on Sunday, it was naturally quite a contrast to see Robinson as a character who is intelligent, urbane, cultured, kindly, and has a gentle speaking voice. From what I've read about him, this seems like a role that would be fairly close to his real life (well, except for one thing, which I'm not going to specify because it would spoil the ending). It was a treat to see him in this role after all the "Meh, see?" squealing of LC. Although that also has its place, and I love him in those roles, too.

The movie had my attention from the start; I thought I understood the premise from the summary on my cable recording, but it took me awhile to be sure one way or the other. I love a movie that keeps me guessing like that, and has a few tricky turns on the way to the ending (one plot point in particular had me very surprised). To me, this is one of the most satisfying kinds of movie viewing experiences.

The roles of the gang members and police were filled by some familiar and well-loved character actors (Ward Bond, Allen Jenkins, Donald Crisp, Maxie Rosenbloom), which always adds more to a movie for me. As corny as it sounds, it's like running into old friends to see them listed in the opening credits. You know they're going to give a solid performance, no matter what the role. I enjoyed the interactions between the gang members and Dr. Clitterhouse; I found the respect they had for their "professor" rather touching.

The movie is being released on October 21 as part of the Warner Gangsters Collection, Vol. 4, and it's already on my Amazon wish list.

Next up on the discussion list: Confessions of a Nazi Spy.

They Met In Bombay

2008-08-04T20:08:00.007-04:00

July was Roz Russell month on TCM, so I have a boatload of her movies saved on my DVR. Last week I watched They Met in Bombay, which starred Clark Gable in the kind of role I think he does best: the guy whom the girl thinks she hates but is really falling in love with, and he knows it. From almost any other actor, I think I might find that "yeah, baby, you know you love me" attitude annoying, but Gable pulls it off with a sideways glance and crooked grin that I love. Sort of like this, except imagine him looking down at a dame. (Can't get the image to upload, so just a link for now.)

He and Roz are competing jewel thieves who end up escaping from the law together, falling in love, and going straight. Much like the Gable/Harlow movie Hold Your Man, the beginning starts out all snazzy wisecracks and ends up kind of mushy. Roz's doe eyes couldn't have gotten any more limpid or starry, and she did lose a lot of the pizzaz that I usually love her for. I thought some interest was added to the "Gable becomes a hero" part of the story by including Roz in his adventures as a fake Winnipeg Grenadier escaping from the Japanese army; usually the women get left at home during these kinds of escapades.

Included in the cast was one of my favorite character actors, Jessie Ralph, as the raucous and tipsy Duchess of Beltravers. She is a scream in these kind of "fiesty matron" parts; she plays another duchess in The Last of Mrs. Cheyney, which is another role of hers I like. My all time favorite, though, is Jessie as Aunt Katherine ("Nic-oh-las!") in After the Thin Man.

While this movie could easily fall into a "romantic caper" pigeonhole along with dozens of other movies, I would still recommend it.

On a totally unrelated note, IMDB has just informed me that they're remaking The Day The Earth Stood Still. (Keanu Reeves? Really?) Must they remake every classic movie just to jazz it up with CGI and rock music?

Canteen, get your canteen right here

2008-08-01T20:25:00.009-04:00

Nothing like a nasty head cold to give you time to catch up on a movie or two. This week on TCM I happened to catch Hollywood Canteen, the movie I really wanted to see when I rented Stage Door Canteen from Netflix. I saw SDC last year, and looking at the cast on Netflix (Katharine Hepburn, Tallulah Bankhead, Ray Bolger, and Ethel Merman, among others) I can't say I really remember any of them from the film. It kind of made a non-impression on me, probably in part because I was expecting it to be another movie entirely. But the main plot was three soldiers meet three girls, and I suspect the reason why all the famous faces didn't stick in my memory is because they had very little screen time.

HC, by comparison, was a treat. The cast includes almost all of the Warner Bros. stars, with the "notable exceptions" (says Robert Osbourne) of Errol Flynn and Ann Sheridan (and, I note, James Cagney). Ann was offered the lead (played by Joan Leslie) but refused it, because she didn't want any part of a movie that would make a GI think he could come to the canteen and marry a movie star. I guess I see your point, Ann, but come on, do you really think many people would actually believe that? It's for the war effort! Well, Joan did a nice job, and I think she is a better match for Robert Hutton as Cpl. "Slim" Green. Joan has that girl-next-door quality, and Ann I would consider more of a siren, so in this case I think Joan works better in the role. (Although Ann can be quite a good ingenue, as evidenced by her performance in Angels With Dirty Faces. But I tend to think of her more like this.)

The story is based on the actual Hollywood Canteen, founded by Bette Davis, although I don't know if it was actually filmed on location. It was made during the war, so I guess it's possible. During the film John Garfield, another founder, gives a speech about the origins of the canteen, which you can read about at the link above.

(Side note: I was horrified to learn that something called the Hollywood Canteen was reopened in 2001, and "caters to some of Hollywood's biggest names including: Paris Hilton, Marilyn Manson, Keith Jardine, Vince Vaughn, and Lindsay Lohan to name a few." Oh, vomit. Where do I start? If you're going to call it a canteen, then it should be free for service members, like the original was. Oh, wait: Wikipedia tells me that a canteen doesn't necessarily refer to a military eating place, but is rather a type of food service location in which there is little or no table service, whether a restaurant or within an institution such as a large office building or school. Point taken. But still. There's a lot of history behind that name. That sound you hear is Bette Davis spinning in her grave.)

The list of movie stars who volunteered their time to the original canteen is lengthy and impressive. I doubt very much you would see many of today's "stars" (and I use that term loosely) doing anything like this. But maybe that's just cynical me.

(Somewhat related aside: I admire Kathy Griffin for going to Iraq with the USO to entertain the troops, and I love it when she uses that fact to shame loudmouths like Bill Maher who bust on her: "I recently got back from Iraq, when are you going?")

Anyhow, the movie. While the romance between Slim and Joan Leslie is rather hokey, it's still cute and not overplayed. The stars who appeared in the film seem very natural, and you see them not just performing (Andrews Sisters, etc.), but waiting tables (Jack Carson) and washing dishes (Paul Henreid). From the little I've read on the canteen, it seems they really did get out there and mingle with the troops quite a bit. (Another aside for a funny story: a soldier at the canteen bet his friend $5 he couldn't get a kiss from Bette Davis. Bette kissed the soldier when he asked and gave him $5 to pay the bet. Then she gave the other soldier $10 and said, "thanks for believing in my virtue." Heh.)

One of my favorite moments from the film is when Dane Cook, as Sgt. Nowland, is dancing with a woman and says to her, "Has anyone ever told you you look just like Joan Crawford?" The couple pans around as they dance..."By the way, I am Joan Crawford," Joan Crawford says. Another funny moment was the bit with Sidney Greenstreet and Peter Lorre.

[after unintentionally scaring away a marine sergeant]
Peter Lorre: [sadly] All I wanted to ask him is to join me in a cigarette!
Sydney Greenstreet: He didn't trust us, Peter.
Peter Lorre: No... and we are such gentle people!
Sydney Greenstreet: Are we? [bugs eyes out in menacing manner]

(<-- as close as I could get)

Peter Lorre: [Backs away, frightened]

Overall, this movie was a combination of several thing I love to see in a classic film: behind the scenes glimpses of Hollywood, a ton of stars and character actors, a morale boosting WWII movie, and a good portrayal of the times. I would definitely recommend this one.

Roz vs. Joan Smackdown!

2008-07-12T08:00:00.002-04:00

One evening this week I was flipping channels and I came across the 1936 movie, "Craig's Wife," which is based on the play by George Kelly and stars Rosalind Russell and John Boles. The movie is probably more well known in its 1950 incarnation, "Harriet Craig," starring Joan Crawford. Yes, that movie about which people say, "oh, it was so much like Joan in real life, with the obsession with material things and general craziness and all that!" And by "people" you know I mean "Christina Crawford."

I like comparing version of classic films; see my earlier entry on "Red Dust" vs. "Mogambo." Maybe I should make that a more regular feature. Yeah, like Character Actors I Love, which I haven't done in forever. Although my virtual cemetery on the subject continues to grow.

So, HC vs. CW. I came into CW about 15 minutes late; Harriet and her niece (I think it's her cousin in HC) are on their way home on the train, having been visiting Harriet's sick sister. I came in right in the middle of a juicy speech in which Harriet explains to her mildly horrified niece her views on marriage: Harriet married so she could be "completely independent" and have her own house, basically. She doesn't love her husband "in that silly, romantic way you mean." So right off we get the character exposition and find out almost all we need to know about Harriet (note I say almost; more on that later).

The story progresses as expected: everyone but Harriet's husband Walter realizes that she's a scheming, manipulative bitch. He just acts like a goofball in love, and while I get the point of that (it makes it all the more shocking later when he does come to see Harriet as she really is), John Boles takes it a little overboard, what with the gushing and turtledove cooing and whatnot. Gradually, people start to withdraw from the home, and especially from Harriet: she herself fires Maisie, the maid; Walter's Aunt Ellen moves out (after giving him a lecture on the subject of his wife), Mrs. Landford, the long-time housekeeper, quits. Ethel, the niece, leaves with her fiancee, who has come to retrieve her, apparently having also sensed Harriet's evil from afar.

There's a murder of one of Walter's friends as part of the plot, but I think I missed out on some of that, because it was just background to the story by the time I came into it. It functions mainly as plot device to really drive home Harriet's manipulations: she gets caught by the police inquiring about the deceased's phone number (spying on her husband, to see what he was up to while she was out of town) and when the detective comes to the house, she lies about it. Walter finds out, and they get into an argument, in which Harriet (sort of) inadvertantly reveals that her main concern is keeping their good name out of a scandal, and not so much whether Walter is innocent or not (he is, it turns out to be a murder/suicide). This is what finally lets the scales drop from Walter's eyes, and after he smashes Harriet's prize knick-knack, they argue some more, and he walks out on her. Harriet exposits that she is obsessed with having a home because her father mortgaged her childhood home to support his mistress, and the family ended up on the street. Walter isn't having any, though. She can have the house, he says, since it's what's really important to her.

The exits of the people involved in Harriet's life have a lot of impact, because they all occur in the last 15-20 minutes of the movie, so you get a sense of this mass exodus from the house. Walter is the last to leave. Right after he drives off, Harriet gets a telegram telling her that her sister died at 6:00 that morning. (This is the sister she left at the beginning of the film, dragging her niece away from her mother because "she didn't know she was that ill.") Harriet flops on the divan to have a good cry, when the next door neighbor Mrs. Frazier comes in with roses from her garden (Harriet never liked her and was jealous of any attention her husband paid to her or her little boy). Harriet, slightly incoherent by this time, accepts them. Mrs. Frazier offers sympathy upon learning of the death in the family, but Harriet's too dazed to really respond, so Mrs. Frazier leaves. Harriet starts to say, "I'm alone in the house, so if you wouldn't mind..." but when she turns to Mrs. Frazier, she's long gone. Harriet starts for the door but can't bring herself to go out. The movie ends with a close-up of Harriet's big eyes leaking tears, and the epitaph "Those that live for themselves are usually left to themselves."

Now, this surprised me, because the version of Harriet in HC (which in the version I saw first), is much more unsympathetic. There is no explanation of her nastiness with a childhood trauma. Joan's Harriet only seems angry when she's thwarted, never upset or scared. (Disclaimer: I haven't seen HC in awhile.) I don't think there's an aunt in the house, but there is a long-time housekeeper, devoted to Mr. Craig, who walks out near the end. Ethel the niece is now Claire the cousin, and her story unfolds more or less the same. The last scene of the movie, if I remember correctly, is Joan walking up the magnificent staircase of her house, now completely alone. She doesn't seem all that upset to have the house to herself. There may have been a few tears on her part through out the movie, but my memory is that they were more for effect than out of sincerity.

Overall, the impression I had of the Harriet character in HC is a much colder woman, and more of a one dimensional character. I thought the two versions of the film made an interesting contrast, however, I liked the earlier version better. (Aside: while Roz is more know for her comedy roles, she was great as the cool, sharp Harriet Craig). I would recommend both films, though.

I don't know which version is closer to the play, but I'll find out when my copy of "Three Plays by George Kelly" arrives from Amazon. Stay tuned.

Nope. No, sir, I don't approve.

2008-05-20T19:54:00.004-04:00

I have borrowed that line from Disapproving Rabbits to express my feelings about June Allyson's performance in "The Secret Heart." I watched it because it featured her and Claudette Colbert, who I'm really liking right now because I recently saw her in the 1934 "Imitation of Life," and I just finished the book as well (an entry on all of that is forthcoming).

Anyhow, I was talking about June. With her little girl looks and squeaky voice, she is ideal for bubbly musicals like "Till The Clouds Roll By," wherein she does that "Cleopatterer" number (lyrics by P.G. Wodehouse, there's a neat factoid) I keep seeing in the "That's Entertainment!" compilations. I also liked her in "The Glen Miller Story;" that kind of drama works for her. However, in "The Secret Heart," she is supposed to be a disturbed young woman with a mild sort of Electra complex who dislikes her stepmother. I thought her performance was just average; I could not, in my mind, put aside the perky June Allyson long enough to find her credible in this role. When she has a "breakdown" near the end, and ends up temporarily catatonic, then bursts into hysterical tears, I wasn't really moved. Of couse, the movie ends with her miraculous recovery as she moves on with her happy life (apparently crying in the arms of Claudette Colbert is a cure for years of mental illness; who knew?).

Another ho-hum addition to the cast was Walter Pidgeon, who I think works perfectly well in small character roles (I liked him in "The Bad and The Beautiful"), but doesn't have what it takes to pull off a leading man role. That was kind of distracting to me as well. I had the same feeling about him in "That Forsyte Woman;" I just could not buy that Greer Garson would leave Errol Flynn for Pidgeon. Not just because of Pidgeon's looks (which are average at best, although he does have a great, deep voice), but because he was just sort of...meh. No reflection on his acting, he just doesn't thrill me, is I guess what I'm trying to say. I've never been really absorbed in one of her performances.

An amusing fact with which to close: June Allyson guest starred in an episode of "The Incredible Hulk," which tickles me. For some reason it's easier to imagine her as Dr. Kate Lowell than Penny Addams.

The Barretts of Wimpole Street

2008-05-12T21:00:00.006-04:00

Yesterday I watched the 1934 movie "The Barretts of Wimpole Street," with Norma Shearer, Charles Laughton, and Frederic March. Today it is chilly, and pouring rain. On the surface, these two facts may seem unrelated. To me, however, the nasty weather makes me envy Norma Shearer, who got to play most of this role reclining on a beautiful chaise lounge in front of a toasty fire with Flush, the adorable cocker spaniel, curled up in her lap. Right now, that sounds like heaven. (I can't find a picture of Norma in the role, but her lovely chaise lounge looked something like this, only more old-fashioned, with the buttons set deep in the upholstery).

I liked the movie quite a lot. Norma was very good as Elizabeth Barrett Browning, and looked just gorgeous in those long curls. I thought Maureen O'Sullivan was too shrill as her sister Henrietta. I understand Henrietta's thwarted love affair and conflicts with their father were to lend drama to the story, but O'Sullivan gave it too much drama, in the scenery eating style you often see in old movies. When she shrieks at her father, "Is it nothing to you that I shall hate you for this to the end of my life?" and he answers, "Less than nothing," I was actually a little bit on his side. And her crying jag as she clings to his knees...dear, please get up and show some dignity. For all our sakes. I found O'Sullivan delightful as a "modern" girl, Dorothy, in "The Thin Man." There, her energy works well with the character. Here, in this period drama, she seems out of place.

It has been said that the scenes between Elizabeth and her father were toned down to lessen the suggestion of his incestous feelings for her. Charles Laughton famously replied, "They can't censor the gleam in my eye," and he was so right. It's rather subtly done at first; you don't get the idea right from the start that he's panting after his own daughter. He just seems like a big old control freak, who dominates over all his children. As the movie progresses, more and more hints come out that Elizabeth is his favorite child, in both (relatively) good ways and really, really bad ways. He's a master at manipulating her (and the rest of his children) with guilt trips.

Then there is the scene near the end, right before she runs away to marry Browning, where her father grabs her and goes on and on about how the family will move away to the country and Elizabeth will be his confidant and his comfort and...okay, now it's extremely icky. Sneaking out of the house with only the clothes on her back and her dog suddenly seems like a great idea. And she does. In a final touch of evil, Laughton orders one of Elizabeth's brothers to find her dog, take it to the vet, and have it destroyed. Henrietta triumphantly informs her father that Elizabeth has taken the dog with her.

Frederic March as Robert Browning...eh, March has never really done anything for me. He was good in "Anna Karenina," and "Susan and God," but I never see a movie listing and think to myself, "oooh, Frederic March, yay!" You don't actually see Browning much in the movie, so March made his usual non-impression on me.

Overall, I would recommend this movie, and was disappointed to learn that it's not out on DVD yet. In my world, it would be released as a Norma Shearer boxset with the following other movies (I'm only choosing ones that have not already been released on DVD):

Idiot's Delight (seeing Clark Gable perform "Puttin' on the Ritz" should be on every classic movie lover's list)
Strange Interlude
Romeo and Juliet
Riptide
Private Lives

Two of Norma's movies have recently been released on DVD as part of the Forbidden Hollywood, Vol. 2 collection: "The Divorcee" and "A Free Soul."

The funniest movie I'd never heard of

2008-04-30T17:36:00.006-04:00

Robert Osbourne said it in the introduction, so it must be true: this is a great screwball comedy, written by Billy Wilder, that often gets overlooked. Well, as it turns out, I agree with him. I'd taped it last week and got to watch it this afternoon. I wasn't familiar with the movie at all before, but I'm sure glad I am now.

I'll crib a plot summary from IMDB: Showgirl Eve [Claudette Colbert], stranded in Paris without a sou, befriends taxi driver Tibor Czerny [Don Ameche], then gives him the slip to crash a party. There she meets Helene Flammarion [Mary Astor] and her gigolo Picot, who's attracted to Eve. Helene's scheming husband Georges [John Barrymore] enlists Eve's aid in taking Picot away from his wife. It works well... at first. Meanwhile, lovestruck Tibor searches for Eve. But then he learns she's calling herself Baroness Czerny!

You could say this is a typical 30's "mistaken identity" comedy, and you'd be mostly right. I have to say, though, some of the plot twists were rather clever. Just when you think Claudette Colbert is going to be found out, she or John Barrymore come up with some spur of the moment story to save their skins. Quite creative stories, too. Barrymore is a delight, especially in the scene where he's portraying Eve's imaginary daughter Francie on the phone: "Dada? Is that you?" If you see it on the TCM schedule again, check it out (or you can, as Robert helpfully pointed out, buy it on DVD).

Inside jokes are hilarious

2008-04-19T20:03:00.006-04:00

Today I rewatched an old favorite, "It's a Great Feeling," with Jack Carson, Doris Day, and Dennis Morgan. I love this film in part because it's one huge inside joke; Doris Day is a young girl from Gurkey's Corners, Wisconsin who's in Hollywood to become a movie star, and she's discovered by Morgan and Carson, who play themselves. As do a host of other Warner Bros. stars, such as Edward G. Robinson, Joan Crawford (whose scene I just adore, it's so funny), Gary Cooper ("Yep"), Sydney Greenstreet, Danny Kaye, Patricia Neal, Ronald Reagan, Jane Wyman (and daughter Maureen Reagan), and directors Michael Curtiz (who famously said, "Bring on the empty horses!" the title of David Niven's autobiography), King Vidor, and Raoul Walsh. The running joke is that no one at Warners' wants to work with Jack Carson because he's "such a ham." Which he sometimes was, but I love him for it. He was so great in "Mildred Pierce." I love his line, "Oh, boy, I'm so smart it's a disease."

Doris Day goes through various adventures trying (with help from Jack and Dennis) to win the attention of studio head Arthur Trent. In the end (and I have to spoil the ending because it is so damn cute) she winds up going home to Wisconsin to marry her fiance, Jeffrey Bushdinkle, played in a wee little cameo by...Errol Flynn. I fall out laughing every time I see that. The movie overall is really funny, and I highly recommend it, if you should happen to come across it on TCM.

"Life Between Takes"

2008-01-13T11:38:00.000-05:00

Right now I'm reading a great book, Joan Blondell: A Life Between Takes. I've long thought that she was an underrated and underappreciated star, and it's great to see a full-length book about her. It was written with the participation of her children, Ellen and Norman Powell, so it's full of all kinds of wonderful personal details. I highly recommend it.

Check out the banner!

2007-10-27T07:58:00.001-04:00

Is that awesome, or what? Thanks to Harry's Beef Trust for the banner.

Aw, yeah!

2007-09-05T20:39:00.000-04:00

By a lucky accident, I have discovered the following new/about to be released DVD sets:

The Mickey Rooney & Judy Garland Collection

The Myrna Loy & William Powell Collection

Barbara Stanwyck Signature Collection

I don't know what to say, except...I'm just so happy! I have to do serious Amazon browsing more often.

Go vote! Now, right now! Now!

2007-07-31T20:57:00.000-04:00

Turner Classic Movies does an ongoing poll of the most requested classic movies not currently on DVD. Go vote for your favorites now. Way to go, Ted Turner. This is an awesome idea.

Boys Town

2007-04-30T16:14:00.000-04:00

I usually don't cry at movies. Sure, I'm moved by them, and tears will often come to my eyes. I can count on one hand the number of movies that have actually turned on the waterworks. Today I saw another one: Boys Town, the 1938 classic with Spencer Tracy and Mickey Rooney. Oh, man. When Mickey started bawling after Pee-Wee was run over by the car...the tears began to fall. Actually, every time Mickey started bawling, I shed a few sympathy tears myself. Way to act, kiddo.

The story in and of itself is great, not in small part because it's true. Boys Town (now known as Girls and Boys Town) is still in operation today. The real Father Flanagan is buried in the school chapel. A very moving story. This DVD is going on the Amazon wish list, for sure.

Happy Birthday to me, and this blog

2007-03-01T21:01:00.000-05:00

It was two years ago this month that I started this blog. That's a lot of Netflix and TCM ago. ;) Time got away from me, hence the lack of posts last year. I'm going to do better this year.

My birthday last month was a classic movie bonanza. Thanks, family! Here's a rundown of the loot:

Yankee Doodle Dandy (we're going to have a lengthy Cagney entry, if I ever get it done)
Lullaby Of Broadway: The Best Of Busby Berkeley At Warner Bros.: Motion Picture Soundtrack Anthology

I also bought myself the Yankee Doodle soundtrack, and Cagney's autobiography. Sensing a theme, here?

Classic film website

2007-02-02T20:14:00.000-05:00

I just discovered this site today, and I'm in love with it already: Ravin' Maven of Classic Film. Check out the awesome "If I Had A Talking Picture of You."

Also well worth watching: an excerpt from James Cagney's AFI Lifetime Achievement acceptance speech. "I'm a wreck!" Hee.

I have a sneaking suspicion this great site also sells bootlegs, though. Boo! On the other hand, I would love to see some of these movies...no, no, I'll resist temptation.

"You've got the cutest little...holy crap!"

2007-01-23T21:15:00.001-05:00

"Babyface." This is the movie I'm currently mini-obsessed with. I got the Turner Classic Movies "Forbidden Hollywood Vol. 1" DVD set for Christmas (thanks, Dad!) and I watched all three movies within a few days.

"Waterloo Bridge" kind of grew on me; I liked it well enough from the beginning, although I wasn't wowed by it. "Red Headed Woman" was very good. I had never seen Chester Morris before, and I liked him right away. I can see why the movie was shocking in its time (and helped promote the wrath of the censors) and it's even kind of shocking today, in some ways. In one scene, Morris slaps Jean Harlow across the face, and she gasps, "Do it again! I like it! Do it again!" Yeah...I don't think you'd see that, even today. And the cuts between Una Merkel (she's always funny) and Harlow as Una sheds Jean's pajamas to give them back to her...very well done; racy without being at all explicit. Ah, being subtle is a lost art in today's films, what with boobs and butts flying out all over the place.

But "Babyface"...that took the cake. Ted Turner, bless his heart, put both versions on the DVD set: the theatrical release, and the pre-cut version. One is shocking enough; the other blows right off the chart. TCM's review of the movie talks about the differences between the two here. When they say the cuts change the whole tone of the film, they're not kidding. The character of Adolf Cragg does a complete 180, from a "Nietzsche-quoting local cobbler" to a "spokesman of morality." His scenes with Barbara Stanwyck make a lot more sense in the original form; when he's being all preachy to her, you wonder why she's agreeing with him, because she obviously has other (less savory) ideas. In his original form, Cragg and Lily are of the same mind, and so her attitude feels much more natural. I watched the theatrical version first, then the pre-cut. I found the pre-cut version superior. I've watched it a couple times since then, and it just gets better. I don't think they'd remake this movie even today; at least not with the same level of cynicism. Which is sort a shame, and yet a good thing, because no remake could top the original.

TCM ends their review by saying, "In all, this is an excellent, entertaining movie, and comparing the two versions is tremendously interesting. This DVD is one of the most notable of 2006 and belongs on every collector's shelf." I couldn't agree more.

P.S. I'm slowing going back and adding tags to my previous posts. Thanks for the nifty feature, Google.

Golllllllllllllld Diiiiiiiiiiiggerrrrrrrrrrr

2007-01-13T21:57:00.000-05:00

That's what happens when you watch "Goldfinger" immediately following "Gold Diggers of 1937." You keep singing the GF theme, but with the word digger instead of finger (yes, I am insane).

It's been so long since I posted, I had no idea Blogger had merged with Google. Oops.

Anyhow, I had recorded Gold Diggers on DVR, so I watched that last night. I love Dick Powell and Joan Blondell together, and this movie had the added bonus of no Ruby Keeler (not that I hate her...but I don't like her a lot, either). After seeing this one, though, I can see why they stopped with 1937. The plot is boring (when a movie opens with a song about insurance salesman, you know you're in for a slow ride), and you wait waaaaay too long for the Busby Berkeley musical number, which, face it, is pretty much the main reason to watch a movie like this anyway. (Well, the first GD is pretty funny, what with Aline MacMahon ("Oh, Fanny!") and Guy Kibbee; plus, you get a musical number right off the bat, and a famous one, at that: "We're In The Money.") One bright spot was Victor Moore as JJ Hobart; he was a total hoot. He along with Glenda Farrell have just been added to my Find A Grave What A Character! virtual cemetery.

After that Dad and I were channel surfing, and we came across Goldfinger, about half way through, so we watched that until the end. I've seen it a bunch of times, but never all the way through at once. I think it's my favorite Bond movie by default; it's the one I've seen the most times. Plus, I like Goldfinger. He's evil, but he has style. ;)

Gable vs. Gable

2006-07-17T12:49:00.001-04:00

I received my Gable box set right on time, and I've been working my way through the movies since then. Some of them I had already seen: Dancing Lady, China Seas, and Wife vs. Secretary (now I can sell my VHS tapes on eBay). The other weekend was an action double feature with Boom Town and San Francisco. Last night was Mogambo, which of course I had to compare with its previos incarnation, Red Dust.

Mary Astor vs. Grace Kelly? Eh, I could take or leave either of them. Grace was a little too uptightly British, I thought. Mary Astor did the shooting scene better. It was easier to believe her outraged emotions. Grace just screamed and twirled around and hid her face in her hands in a cliched bit of overacting.

Jean Harlow vs. Ava Gardner? This one was closer, but I'm going to have to give it to Jean here, because I just adore her. Her character, as a prostitute, was tougher and in a way, more interesting, and therefore more of a contrast to the other woman (Grace/Mary) than Ava's society lady character was.

Gene Raymond vs. Donald Sinden? I guess we'll call this one a tie. I like Gene as an actor better mainly due to his role in Sadie McKee, but Donald did a good job as the husband. He seemed alittle less clueless than Gene Raymond sometimes. But only a little.

Philip Stainton was quite likeable as Gable's sidekick, Brownie. I don't remember the equivalent character in Red Dust, if there even was one (it's been a few years since I saw it) so Stainton wins by default. He was jolly and fun but also serious about his job and the dangers of the jungle.

As far as the love story goes, I'm about even with both versions of Gable pining away after the saintly English wife. Even though I prefer Harlow to Gardner, I did like Gable's relationship with the latter better. There seemed to be more fondness between the two. In RD I got the impression Gable thought of Harlow as little more than a warm body. He's so mean to her sometimes, you wonder how she can go on loving him. There was more genuine liking and tenderness between Gable and Gardner.

As it stands, the box set is an excellent one. I stand by my earlier thought that I would have substituted one of the Gable action movies with Spencer Tracy for the great gangster film Manhattan Melodrama. Since Jeanette MacDonald doesn't do much for me, I would have pulled San Francisco for MM.

So many of Jean Harlow's movies have now been released on DVD on their own and as part of other people's box sets, that there aren't a whole lot left (she only made 41, and that's generously including the bit parts) for a "signature collection" set of her own (and she absolutely should have one). Here's what I would include in her set:

Bombshell
The Girl From Missouri
Hold Your Man
Red-Headed Woman
Reckless (well, maybe not; not such a great film)
Suzy (I'm kind of lukewarm about this one; her undying love for cad Cary Grant kind of annoyed me)

A lot of her other movies I have never seen, so I can't really say for sure which ones I would include. Additional options include:

Saratoga
Personal Property
Riffraff

I'm only counting movies that aren't on DVD already (and there's more than I thought). Of course some could be rereleased, like they did with Mildred Pierce when they made the Joan Crawford box set.

Again I ask: Ted Turner, are you listening? ;)

It's Alive!

2006-04-16T15:53:00.000-04:00

No, no, not Frankenstein. The Clark Gable Signature Collection! He should have been the first to get one, being the "King of Hollywood" and all, but at least he has one now. Or he will, come June. I've already pre-ordered mine.

I found the selection of movies somewhat surprising:

Dancing Lady
China Seas
San Francisco
Boom Town
Wife vs. Secretary
Mogambo

First, I thought I was the only one who adored Dancing Lady and thought it a great example of Gable's work. He is good in that film (everyone is), but I think instead I would have selected Forsaking All Others, which is a fabulous witty drawing-room romatic comedy with some great zingers in the dialogue. It's just a joy to watch. I've talked about it before.

China Seas I like, but I would have picked Red Dust for a Jean Harlow/Gable pairing for this set, especially since Mogambo was also chosen, and it's a remake with Ava Gardner and Grace Kelly in the female roles. Maybe that would have seemed repetitive, but on the other hand, it could be interesting to compare the two.

I love Wife vs. Secretary and would have chosen that one myself. It's another great example of Gable being wonderfully happy-go-lucky, and it also has romance and some drama. Also great costars in Myrna Loy, Jean Harlow, and Jimmy Stewart. It was one of Harlow's rare "good girl" roles, and her favorite, so that makes it doubly a good choice.

I've never seen San Francisco or Boom Town, so I'll have some comments about those after I get my boxed set in June. I'm counting the days. ;) If they wanted a "tough guy" role, which I suspect these are, I would have chosen Manhattan Melodrama in place of one of those.

Next up, I would LOVE to see a box set of Joan Crawford/Clark Gable movies. This set would include:

Chained
Possessed
Strange Cargo
Dance, Fools, Dance
Laughing Sinners
Forsaking All Others
Love on the Run

Come on, Ted Turner. Make my day. :)

Pilgrim? Duuuuude!

2006-04-02T16:06:00.000-04:00

Last night I watched The Man Who Shot Liberty Valance, which I think has become my new favorite Western (a close second behind Dodge City). I'm going through a John Wayne phase right now, and Jimmy Stewart is always a winner in my book, so I decided to give this one a viewing. Rounding out the cast are Vera Miles, Andy Devine, and the uber-macho Lee Marvin (who, I was interested to discover, was a Marine and is buried at Arlington). When I saw the Netflix sleeve, I thought, "oh, geez, two hours," but the time flew by with this one.

I didn't realize this was the movie that started a million John Wayne imitations with "howdy, pilgrim." That's his nickname for Jimmy Stewart, and it sticks all through the movie; I couldn't help but giggle every time he said it, because it has become such a staple of the John Wayne persona. Also sort of darkly amusing yet also menacing is Lee Marvin's nickname for Jimmy, "dude," which he bullfrogs in a suitably sinister way. There was a decent amount of action and suspense; although I figured out right away who shot Liberty Valance, and not too long after realized how the rest of the plot would unfold, I did find myself tensing up in a few of the most dramatic scenes. When John Wayne goes home and throws the lamp into the half-finished addition to his house, it's such a painful moment, emotionally. You don't think of Duke as going to piece over a woman, but he does it here; knowing from the start of the movie how he ended up makes it even more difficult to watch, because you know this is the beginning of his downward spiral in that moment.

One thing that stuck in my mind, because I am obsessed by these kind of small details: the hairstyles. Duke looked all right, but Jimmy's hairpiece looked like a dead badger with an Elvis curl over the forehead. And Vera Miles, with her 60's bouffant with two braids clipped to the ends...not very frontier. Yes, I am insane.

Another movie, which I ended up spacing out over the course of the entire week, was one of my favorite Joan Crawford/Clark Gable pairings, Possessed. I'm a sucker for a good romance story where one person does something noble for the benefit of the other; here Joan pretends to be bored and sick of her lover Clark so she won't ruin his reputation when he runs for governor in the near future. The look on her face, which we see over his shoulder as he embraces her and proposes marriage (which she has long waited for) goes through so many emotions so beautifully, from a flash of joy to regret to steeling herself to hurt him so he'll let her go. And Clark's face, as he goes from laughter to disbelief to an angry resignation that Joan has made a fool of him...you can almost feel the ice hardening around his heart. Oh, I know I'm talking like a bad romance novelist, but I do love those two, best of all when they act together.

Again, with the laxness

2006-03-10T21:25:00.000-05:00

The movie viewing has gone on as usual. The blogging, as you can see, has not. I've watched a ton of movies since I last updated. Instead of one or two giant entries talking about them all, I think I'm going to stick with short, more frequent entries. (Famous last words.)

Here's a list of what I've seen lately:

The Lives of a Bengal Lancer
On the Beach
Crash Dive
Brief Encounter
Laurel & Hardy: This Is Your Life (so cute...they were really surprised)
The Hustler
Love Laughs at Andy Hardy
Gunga Din
Shall We Dance (1937)
The Barefoot Contessa
Laura
They Were Expendable

And the entire Greta Garbo box set, when I got snowed in over a weekend. The silents were great, as were the talkies, of course.

So hopefully we'll have some updates, sooner rather than later.

One more thing

2005-12-19T20:32:00.000-05:00

I've created a "virtual cemetery" at Find A Grave of all my famous character actors; you can pay your respects here.

In the Christmas Mood

2005-12-19T20:06:00.000-05:00

The title has nothing really to do with the movie I watched today, The Glenn Miller Story. It's just that now I'm mini-obsessed with Miller, and I'm listening to In the Christmas Mood, Vol. 1 while I type this. And I've added a book about him to my Amazon wish list, which I'll delete in a week when my interest wanes back to normal levels (I've loved Miller's brand of big band music for awhile now).

So, the movie. I liked it. I love Jimmy Stewart in pretty much everything I've ever seen him do, even the cheese (read: Airport '77). Bonus points for appearances by George Tobias and Harry "Col. Potter" Morgan. I didn't recognize him until I heard him talk. Coincidentally, I had seen another minor player, Sig Ruman, in another film this weekend, To Be or Not To Be, which we'll get to in a minute. Now, back to Glenn...

I don't know anything about Glenn Miller's life, so I can't say how much is fictionalized or prettied up, but I still enjoyed the film. I read on IMDB that he never actually saw his adopted daughter; she was adopted while he was overseas, and he died only days afterwards, never having seen her. In the film, she's adopted as an infant while he's still in the States, and is about 2-3 when he leaves on his band tour; there's a sweet little scene where he sees her for the first time and gives her a bottle. The music, of course, was a delight -- I enjoyed the way they portrayed him composing his best known pieces (especially "Moonlight Serenade"); although I realize that may not be how it happened at all, the music wove its way into the movie very nicely.

As I mentioned, I also watched To Be Or Not To Be this weekend. Carole Lombard and Jack Benny: now that's an interesting combination. The movie is ostensibly about a group of Polish actors rebelling against the Germans, but of course the cast couldn't be more American. Robert Stack as a character named Stanislav Sobinski? Yeah, don't expect to be dazzled by that performance. I mean, he was good; everyone was. Carole was a delight, as always, and Benny was a big ham, again as always. The plot reminded me a bit of the Joan Crawford movie Reunion in France, which is even more ridiculous, plot-wise. Having glamorous Hollywood starlets, dressed to the nines, playing Europeans oppressed by the Nazis just never flies, at least not in any of the movies I've seen. Now, let one of them strip off the make-up and dress down like Norma Shearer did at the end of Marie Antoinette, and I'll be more inclined to suspend my disbelief. But you don't look terribly downtrodden when your lashes are three inches long. I'm just saying.

As you can see...

2005-12-17T10:58:00.000-05:00

...I have been shamefully lax about updating this blog. Part of the reason is that I took a vacation from classic movies to watch most of the first season of Alfred Hitchcock Presents, which was recently released on DVD. I also plowed my way through all six seasons of Sex and the City, which I became addicted to instantly once I started watching. I also rented a few SNL "Best of" discs, namely John Belushi, Gilda Radner, and Dan Aykroyd ("You're spending the night with Fred Garvin, male prostitute!"). I will also admit, with much shame, that I rented Batman & Robin. Okay, don't judge me! I was curious to see the crazy villains. I didn't know the whole movie was going to be a big ball of cheese!

There have been a few classic movies scattered in there, though. (I had to stop taping them from Comcast for awhile as I was gathering more than I could possibly watch, and using up all the space on my dad's DVR.) As I mentioned at the end of my last post, I did rent Airport '77, if only to see how aging Hollywood legends would survive trapped in a plane at the bottom of the ocean in the Bermuda Triangle. Dun dun dun! I'm happy to report that Olivia de Havilland, Joseph Cotton and Jimmy Stewart all survived (well, especially Jimmy, since he wasn't even on the plane). Sadly, Christopher Lee did not make it, but he sacrificed his life for the greater good.

Back in October I watched Kim, mostly because it had Errol Flynn in it. Not as much Flynn as I was expecting, though, and I've never been a huge fan of curly-headed moppets, although Dean Stockwell did a fine job.

After that came Sin Takes a Holiday, which lasted only about five minutes, as it was a very poor transfer to DVD. I'm beginning to realize a lot of these old, old movies are in the public domain, which allows any rinky-dink production company (Macady, I'm looking in your direction) to slap them onto to a DVD. Which is a shame, because I think there should be some kind of studio control over how their movies are released. Then again, they probably wouldn't put the effort into restoring and/or releasing copies of every old movie they find in the vaults, so maybe it's a draw.

January 21, 2006 will be my third anniversary with Netflix. In honor of that, I'd mention every movie I've rented, but the list is so long it would bore you to tears. One early rental I will mention is The Cat's Meow, about the mysterious death of Thomas Ince on William Randolph Hearst's yacht in 1924. Because if there's anything that fascinates me more than classic films, it's modern movies about classic film stars.

I Heart Comcast

2005-09-05T20:11:00.000-04:00

And their digital cable with DVR. Now I can easily pluck movies from Turner Classic Movies with the onscreen guide and record them with a click of a button! No more painstaking calculations of how long the movie's really going to run, with introductions by Robert Osborne and whatnot. (My last attempt to tape several movies in one week was a miserable failure, as I missed the last 5-10 minutes of each movie.) I was on my own for the holiday weekend, so I settled down to watch a bunch I had taped (and one from Netflix today).

First up was Suzy, with Jean Harlow, Franchot Tone (and can he rock an Irish brogue), and Cary Grant. Rounding out the cast was character actress Inez Courtney as Maisie (who looked familiar to me because she played another Mazie in one of my favorite Jean movies, Hold Your Man), Una O'Connor, and Lewis Stone. I don't think this was oneof Harlow's more popular movies, and I suppose I can see one reason why...her devotion to Cary Grant is incomprehensible to me, after all the dirty tricks he plays on her. Plus he was just all-around not a nice guy. I mean, who doesn't write to his ailing father when he goes off to war? I thought Suzy's devotion to the Baron was very touching, however. I was hoping for a nice romantic reunion with Terry at the end of the film, not Suzy and Terry dragging Andre's body out to the plane so France will think he died a hero. I say, let him die as what he was -- a philandering playboy pilot who was duped and shot by a spy. Oh, well. I guess Suzy is a bigger person than I.

Next was The Unknown, with Lon Chaney and a very young and almost unrecognizable Joan Crawford. Silent films are a taste recently acquired, and I liked this one. The soundtrack was gorgeous. Lon Chaney was delightfully creepy as "Alonzo the Armless." Joan was very pretty, but didn't have the usual "face" that I think most fans associate with her. If I hadn't know ahead of time it was her, I'm not sure I would have known her. Her famous beautiful eyes are rather unremarkable here. And here's an interesting bit of trivia from IMDB: For many years, this film only existed in murky 9.5mm dupes on the black market. In March 1973, at a screening of this film at George Eastman House, archivist James Card said that Henri Langlois and his staff at the Cinematheque Francais discovered The Unknown in 1968 among other miscellaneous cans of film marked "l'inconnu" (films "unknown" due to missing titles, etc.). I could tell that the titles were of a modern era, but I'm not sure about the music. I guess, looking back on it, that it did have an electronic quality to it that would indicate it's not original to the film.

I made it a Joan Crawford double feature with the next movie, The Story of Esther Costello. It was heavy-handed in parts, and of course Joan chews her share of the scenery in places. Overall, though, I enjoyed her performance, and the movie as a whole, very much. Heather Sears was excellent as Esther, and Rossano Brazzi appropriately slimy as Joan's estranged husband. The ending is a little abrupt, with the eventual fate of Joan and her dastardly husband relayed in one sentence, and the last shot of Esther walking away to, I assumed, speak to a crowd gathered for an Esther Costello Fund benefit. (There's a blink-and-you'll-miss-her appearance by Bessie Love, she of Broadway Melody fame, as "Matron in Art Gallery.")

Last on the bill was Beau Geste, which I had a hankering to see after watching Lawrence of Arabia last weekend (which I know is this great epic, but to me it was just...okay). Gary Cooper and Ray Milland together was quite a lot of eye candy to handle at once. I thought Robert Preston was an odd choice as the third brother; he'll always be Professor Harold Hill to me, and the pencil mustache didn't suit him at all. It made him look rather sleazy, I thought. I'll admit that I didn't see the ending coming at all, specifically the last scene at the house with Aunt Pat reads the letter. Look closely and you'll see a very young Donald O'Connor playing Beau Geste as a young boy. This was the first Gary Cooper movie I'd ever seen, and I liked him enough that I think I'll be adding some of his movies to my Netflix queue, along with some more Ray Milland. I could listen to Ray just read the phone book -- a lovely, cultured voice.

Coming attractions include a double feature of Airport '77 and The Concorde: Airport '79, two of those movies in a category I like to call "disaster movies featuring aging Hollywood legends." Hey, I rented Airport 1975 for the sole purpose of seeing Myrna Loy, who did not disappoint as a sensible, calm but cute little old lady. Let's see how Olivia de Havilland handles being trapped in a plane at *snicker* the bottom of the ocean, in the Bermuda triangle! *cue dramatic music*

Also, arriving in the mail this week is The Bela Lugosi Collection on DVD. Yay!

Clark and Olive

2005-08-06T08:40:00.000-04:00

I know, a random pairing. It's just what I've been watching lately.

I’ve read in several books that Clark Gable was never the same after the death of Carole Lombard. Well, who would be. It was evident, the various authors said, by comparing his films before and after 1942. Again, I thought: of course he’s going to be different, he lost his wife in a fiery plane crash and then joined the army and flew bomber missions! Jimmy Stewart did more or less the same, and came back with slightly thinner and grayer hair, maybe, but nothing drastic. How much worse could Gable look?

I found out the other day, when I watched Teacher’s Pet. Okay, granted, this movie was made in 1958, so it was only two years before Gable died and over ten since the war had ended. But yikes, he did not age well. The only other “late Gable” movie I’d seen was Run Silent, Run Deep, and yes he looks old, but you kind of expect the grimness, seeing as how it’s a WWII submarine movie. Teacher’s Pet is a romantic comedy; in brief, Gable the journalist goes undercover to Doris Day’s journalism class to disprove its usefulness, and they fall in love. His character is a crusty sort of newshound, but not overly so. But there’s none of the joy or daffy romance with which Gable would have played this character in say, the 1930’s. I’m reminded of one his own quotes (which I’ve cadged from IMDB): "The only reason they come to see me is that I know that life is great -- and they know I know it." I didn’t get any of that feeling in Teacher’s Pet.

I've also recently watched Forsaking All Others, which is a wonderful light comedy written by Joseph Mankiewicz, which also stars Joan Crawford, Robert Montgomery, Billie Burke, Rosalind Russell, and Charles Butterworth. The dialogue is full of zingers and the action often borders on the goofy. Gable is smooth and urbane yet also happy and full of boyish mischief, always ready with a wisecrack and a hearty laugh. In comparing these two performances, Teacher’s Pet comes off the worse. (Probably not helped by the fact that Gable seems old enough to be Day’s father.)

Thinking it over, though, it’s not really a good comparison. I suppose to be really fair, I should watch Somewhere I’ll Find You, the movie he was filming when Carole was killed (or maybe Honky Tonk, the one before that), and then Adventure, his first movie after the war (Gable’s back and Garson’s got him, so on and so forth).

Next up was the wee little Olive Thomas Collection, which consisted of a documentary (Olive Thomas: Everybody’s Sweetheart) and a film (The Flapper). I had heard of Olive before, primarily through (I’m ashamed to admit) Hollywood Babylon. That picture of her in the straw hat, with big eyes and long curls down her shoulders, is so lovely. When Netflix suggested the DVD, I went ahead and bumped it to the top of my queue.

The documentary was good, augmented by the inclusion of several of Olive’s family members. Frankly, though, I thought Olive’s many sketches (at the hands of Christie and Vargas, among other illustrators) were more beautiful than Olive herself. In some of her photos, she was very pretty. When I saw her in The Flapper, she was pretty, but not what I would label “the most beautiful girl in New York.” I guess it’s all a matter of what was in vogue at the time, though. Which was not, apparently, perfect teeth. (Okay, I said it. And not to be mean to poor Olive, but I just couldn’t help noticing it through out The Flapper.) I thought she was cute, and enjoyed the movie. I’ve never been a huge fan of the silents, although they’re starting to grow on me.

Turner Classic Movies stole my idea!

2005-07-25T19:58:00.000-04:00

Or, um, I inadvertantly stole theirs. I caught the end of Now, Voyager over the weekend (which I also just bought on DVD) and afterwards they had a brief biography of Guy Kibbee. I only caught the tail end of that as I was still flipping channels. I think it's a series TCM does, and I'm assuming it's called "What A Character" since that was the tag line they ended the piece with.

Anyhow, I have somehow tragically overlooked Guy when doing my little "Character Actors I Love" profiles (and TCM's name is much better, damn it) so he's up next, I have decided. I've really liked him since I first saw him in Laughing Sinners. Which is odd when you think about it, because he plays a somewhat sleazy traveling salesman in that film. I've seen him in other, much more sympathetic roles. But we'll talk more about that next time...

Movies are the best medicine

2005-07-22T22:32:00.000-04:00

Nothing like being sick and missing almost a whole week of work to allow one to get caught up on their classic movie viewing. Thank God for Netflix, because I didn't have the energy to go out and rent movies.

Anyhow, my most recent movie was Lady for a Day, and oh, I loved this movie! First off, it was full of character-actory goodness: May Robson, Guy Kibbee, Ned Sparks, Walter Connolly, and Nat Pendleton. Bonanza!

The scene when Apple Annie is about to confess her true identity to Count Romero, and then the party guests finally arrive, including the mayor and governor...I cried at the look on her face. And I don't usually cry at movies. But I'm a little choked up just talking about it now. May was just wonderful. So touching when she sees her daughter again for the first time.

I was so rooting for Annie and the Judge to fall in love and get married...they were so cute together. The look on the Judge's face when he sees her as "Mrs. E. Worthington Manville" for the first time was just adorable. From what I could tell, Guy did his own trick pool shots. At least, I'm fairly sure he did. Very impressive. The one thing I would have changed was the casting of Walter Connolly as a Spanish count. Just...no. His nasal squeak of a voice and a "Spanish accent" are two things that should be kept as far apart as possible. He did not work at all in that part. He's better playing father to society girls or frustrated bosses, as we've discussed before.

Plus you have to love a movie with a character named "Dave the Dude." Heh.

Next up was The Damned Don't Cry!, one of the new Joan Crawford DVD releases. Joan's Warner Brothers films are on the edge of an era I don't like in her work. I much prefer her as a 30's shopgirl to the 40's hardened dames with rapidly thickening eyebrows. I'll go as far as Mildred Pierce, which I love, but that's about it. And the 60's scream films...no, we'll not speak of those.

Damned was all right. Joan's character makes an interesting transition from poor but hard-working mother to tough dress model/gangster's moll. Maybe a bit too quick of a transition. The men in film were no one I had ever really heard of before; definitely not the A-listers than Joan had been partnered with in the past. Kent Smith was good, but the rest didn't do much for me. I suppose Warners was trying to boost their careers by putting them in a Joan movie, but it doesn't seem to have done much, in my (albeit limited) opinion.

Next was a double feature of sorts: The Aviator and Hell's Angels. As you know, I'm not much for modern movies, but I thought Leonardo DiCaprio was good as Howard Hughes (he got that creepy, beetling brow stare down, all right) and Cate Blanchett was unbelievably great as Kate Hepburn. I'd give her another Oscar if I could. The special effects were quite nifty, and hey, look! Hawkeye plays a sleazy senator. Aviator qualifies as a classic movie in a "by association" way. It's about classic movie stars and making classic movies, so I'll allow it in. ;)

After seeing that, of course I was curious about the original Hell's Angels, so I gave that a look. Good drama, amazing flight scenes, and Jean Harlow in color was a treat. With natural eyebrows, too! That's not a look you saw often. I thought James Hall looked familiar, and I was right; he also played Jack Maitland in Millie. The character of Monte constantly got on my nerves, and I wanted to smack him, Roy's goodness kind of balanced him out.

We wound up with a encore presentation of an old favorite, Objective, Burma! I would follow Errol Flynn into the jungle in a heartbeat. Yum. Such a great WWII film. After seeing brave and handsomely sweaty Errol lead his troops through the steamy jungles of Burma, I was well enough to go back to work, and so I did.

Up for this weekend: the 1932 Little Women, Teacher's Pet (yay, Gable!), and Olive Thomas: The Flapper and Everybody's Sweetheart.

Old favorites

2005-07-22T22:08:00.000-04:00

A favorite movie is like a warm bath. I have different movies for different moods. The ones I’ve seen a frillion times I’ll sometimes put on just for company/background noise while I’m cooking or doing other things around the house, kind of like listening to baseball on the radio, which I also do. Of course, I often sit down just to watch them, too; a good movie can be background noise, but it is of course much more than just that. It’s an entertaining old pal.

Yesterday I was feeling under the weather, so when I finally dragged myself from bed I popped in "The Women," a tried and true favorite. I rented it one day a few years back out of curiosity, after seeing the DVD case on the shelf at TLA, and after I saw it could not believe I had been without this delicious film in my head up to that point.

It’s so delightfully witty; I think the humor holds up even by today’s standards. If the rumors are correct and they are going to remake the movie (which is a bad idea, but you know how the studios are), they could use all the same dialogue, and it would still be funny. Of course they’ll sex it up a lot, but hopefully they’ll keep the gold standard of not having any men in the movie. No, really. None whatsoever. Even the dogs were all female. That was Cukor’s idea, I heard. The movie’s tag line may be "It’s all about men!" but you won’t see one here. Not everyone notices this, and I love to point it out afterwards. "There must be at least one man," people say, "A butler, something." Nope, nary a man in sight throughout.

I’ve read the play, and it’s equally good. The character of Mary Haines is a little less sunshiny-sweet than she is in the movie, which makes it more balanced. It’s a fast and amusing read. I still think Crystal Allen has the best exit line ever: "There’s a name for you ladies, but it isn’t used in high society...outside of a kennel." I want that on a bumper sticker.

Later in the day I watched "Chained," which I think may be the first Joan Crawford/Clark Gable movie I ever saw. My local TLA had a decent collection of them, and they comprised most of my early classic movie viewing. I wish they didn’t tease out Joan’s hair quite so much, but she is just adorable as she walks the ship’s deck with Clark, or swims in the pool with a wee Mickey Rooney (in an unbilled cameo role). Watching her devour roast chicken and milk for lunch with Clark and Stu Erwin always makes me hungry for a good, home-cooked meal.

Food in old movies seems so much more wholesome than today, doesn’t it? No strategically placed cans of Pepsi or bags of Doritos. No, it’s big homey meals (with no preservatives!), or the blue plate special in a diner (and even that seems appetizing) or maybe hors d’oeuvres at a swanky cocktail party. Whatever the occasion, the eating is usually good. And most movie stars ate in what I call the "European" style, which means they use both knife and fork, keep the fork in the left hand, and keep the tines pointed downwards. It looks so elegant. I’ve tried it, but I usually end up dropping food all over my lap. I do eat with my left hand, though.

[I just found this post in the drafts folder. It was originally dated 6/29 but I'm posting it with today's date so it floats to the top.]

Either I'm psychic...

2005-07-09T12:35:00.000-04:00

...or someone up there is listening to me, because I just found out a Bela Lugosi DVD collection is being released this September. And it contains all of the movies I picked in my previous entry.

Spooky...

Pre-Code-Dependence Day

2005-07-08T18:41:00.000-04:00

It was a pre-code extravaganza this 4th of July, as my dad (who was over for a picnic) got interested in my Pre Code Hollywood: The Risqué Years DVD set, and we watched Kept Husbands and Millie back to back. I hadn’t seen them since I rented them from Netflix a few months back (which made me decide to buy them), and I’d forgotten how much I liked them, especially Millie.

After each movie, my dad would ask me, "Okay, what was wrong with that one?" Meaning, why would it not have passed the Hays Office Production Code, which began in 1934. Well, the whole idea of a "kept husband," for one. The broad hints at (and sometimes outright portrayals of) adultery. The fact that Mille dates Tommy Rock, the reporter, for four years, implying they’ve slept together (and may have lived together) without being married. In fact, Millie’s whole fall from grace, from her divorce from Jack Maitland to her murder trial at the end of the film, was too racy for a post-code Hollywood. Today, of course, it seems sweetly tame, which is why he had to ask, I suppose.

I have three Joan Crawford movies that are also pre-code: Laughing Sinners, in which she plays a night club singer who has a two year affair with a traveling salesman, before he leaves her to marry a "respectable" woman; Possessed, in which she plays Clark Gable’s mistress (he’s been hurt in the past and doesn’t want to marry; she doesn’t mind), and Rain, in which she played the prostitute Sadie Thompson. I know Joan made more movies before the code set in, but I haven’t seen any of them.

[I take that back; I have seen Grand Hotel (in which it’s implied Flaemmchen is a loose girl), and Dance, Fools, Dance, where she "tries love out on approval" and goes swimming in her lingerie. ]

Truth be told, I find these movies more interesting than some of her post-code movies I own, which include Love on the Run, Forsaking All Others, and The Women. In The Women she’s a mistress, but she clearly gets her comeuppance at the end. In Possessed, the mistress gets her man, when he gives up his chance at a political career to be with her, scandal be damned. Love on the Run is a fluffy confection containing a runaway bride and a reporter who in the end can’t bring himself to go on lying and taking advantage of her (no, not that way, but by using her story to sell papers). Laughing Sinners, by contrast, has Ivy repent at the end by sticking with the Salvation Army, but in between she works in a nightclub, has an affair with Howard Palmer, and later spends the night with him when, now as a Salvation Army girl, she sees him again for the first time after being dumped by him.

None of it is completely true to life, of course, being Hollywood, but the pre-code movies are a lot closer. Which is what makes them interesting, and also what started the Catholic League of Decency on the code in the first place.

But I started out talking about Kept Husbands and Millie. Thought I’d forgotten, didn’t you? I like Millie better, because the "one woman’s story" angle is more appealing to me than watching Joel McCrea slowly struggle (then fail, but later succeed) to not become a "kept husband." He’s kind of a weenie at first, letting Dot order him around and taking a cushy job (which mostly entails learning how to play bridge) at his father-in-law’s construction firm. It obviously bothers him, but not enough to do anything about it until near the end of the film. He takes the St. Louis job, Dot comes to her senses and promises from then on to live on his salary and keep him with love, not her family’s money. On a side note, the actress who plays his mother, Mary Carr, was just adorable. (I like her even more since I just discovered she was born in Philadelphia and lived to be 99, bless her heart.)

Mille, as I said, was my favorite of the two. Her downfall comes in subtle and realistic steps, occurring gradually over the course of the movie. If you looked only at the beginning and then the end, you’d wonder how she could have fallen so far. The rest of the movie shows you. She marries young and has a child; a few years later, she discovers her husband is cheating on her and divorces him, leaving baby Connie with her father so the child can have the wealthy life he can provide.

Millie’s not down and out yet, though. She gets a job selling cigarettes in a hotel concession stand and seems content with her simpler life. She starts dating Tommy Rock, local boy reporter, but tells him marriage isn’t for her. After four years together (during which Millie starts her own concession business) she finds out he’s cheating on her. Now the slide down picks up speed, as Millie’s drinking increases; a title card tells us eight years go by, and "Millie’s still the red-headed girl...but no one cares anymore." I’ve spoiled most of the plot points, I see, so I’ll just sum up the ending by saying there’s a murder trial, and Millie’s long estranged daughter makes an appearance.

It’s a sad story, all the more touching because it’s believable. At least, I feel it is, for the times in which it was made. Not having lived in those times, obviously, I can’t completely vouch for its authenticity, and of course I’m viewing the movies through the "lens" of my time and experiences. Still, I think people then, and probably even now, can relate to Millie’s story, and understand her pain, and the choices she makes. It’s a genuine human story...why did there need to be a code against things like that?

"Mister, your climate's bum."

2005-06-30T20:22:00.000-04:00

Read the W. Somerset Maugham story "Rain" upon which the Joan Crawford movie of the same name is based. It's a fabulous read.

We're having a heat wave, a tropical heat wave

2005-06-28T20:33:00.000-04:00

Pretty darn close; it's been over 90 almost every day for the past week and a half. But it was purely by coincidence that my latest movie, Only Angels Have Wings, was set in the steamy jungles of Panama, where if it's not cinematically pouring rain, it will be any second. Luckily, I was able to cuddle up with my air conditioner and enjoy the film.

I had never seen Jean Arthur in anything before, and I liked her well enough, although after awhile her voice kind of got to me. Not to be mean or anything, because she was a fine actress, but it sounded sort of squeaky to me. I could believe her as a chorus girl, though, so it worked in its own way. I'd rented the movie promarily because of Cary Grant and Rita Hayworth (who had a smaller role and lower hairline than I'd anticipated); as an added bonus there was also Thomas Mitchell, perhaps best known as the beloved Gerald O'Hara. Movies with pilots always have the best character (nick)names: Kid Dabb, Bat McPherson, Dutchy, Sparks, Tex, and Gent. Heh.

I don't think I'd buy it or rent it again, but I was well worth the Netflix rental.

After that, I was in the mood for another movie in a rainy, tropical setting, so I popped in my copy of Rain. While it may sound like a big cliche to say so, every time I see this movie I am astounded all over again. It is so beautifully and, in places, cleverly shot, it's amazing for its time, I think. Right from the beginning, where the rain starts to fall on different areas of the beach, I'm hooked.

The scene where the drunken quartermaster is trying to find the door, and instead keeps circling the table saying, "Goodbye, Mr. Davidson," as the camera pans around the table right along with him, is just wonderful. I imagine that must have been quite a difficult shot back in 1932. The scene of Davidson saving Sadie's soul as he stands on the steps and she kneels at the bottom, is amazing, too. Some of the long pans up and out of the rooms bring so much to the story and the mood of a particular moment. And the shots of Joan as Sadie, after she's been saved and is waiting to go back to San Francisco...I don't think she's ever looked more beautiful on film. Just breathtaking. Davidson's last scene, as he's standing on the porch listening to the native drums and trying to overcome temptation...when he opens his eyes after that brief prayer, and you can tell by the look on his face he's going into Sadie's room...I involuntarily back away a little, every time, even though I know by now it's coming. Well done, Walter Huston.

It would be interesting to see this movie remade today, but it would also be a shame, because you know that scene when Davidson goes to Sadie wouldn't end with him going around the corner, her door creaking, and a fade to black. No, today we'd probably have to have screams and heaving bosoms and furniture overturned. I think the way it's filmed is much more shocking, because it leaves it up to the viewer's imagination. When Sadie comes out the next day and she's back in her old clothes and makeup, you don't have to have seen what happened, what Davidson did to her. You just know.

Return of the Box Set

2005-06-27T19:56:00.000-04:00

I had so much fun last time creating my own box sets, I decided to have another go. As an aside, imagine how much money the studios could make if they made their movies -- all their movies, including the old ones, whether released on VHS but not DVD, or not ever released commercially at all -- available for download to burn to DVD, a la Napster. I would be downloading black and white movies until the cows came home. Ted Turner, call me! I’ll let you have the idea for a modest fee. ;)

So, next up is...

Flynn and Hale: The Buddy Movie Collection

I would have sworn Alan was also in Captain Blood. My bad. Anyhow, some of these movies I’ve never seen, and some I’ve seen where Alan has the bittiest of bit parts (Prince & Pauper, for example) but any pairing of Alan and Errol (yeah, we’re all on a first name basis) is full of buddy goodness. These guys started the genre. Well, as far as I’m concerned. Okay, I guess technically Laurel & Hardy came earlier, and others before that, but I’m talking action buddy, not comedy buddy. Although Alan can be very droll.

Bela Lugosi: Only the Good Movies (or ones I’ve heard are good)

Poor Bela. So underrated, so typecast. So delicious with the haunting eyes and exotic accent. I’m tentative on Rue Morgue because I’ve heard good and bad about it. So we could trim that one and leave it at seven. Ed Wood would make kind of a nifty addition, though, now that it’s finally released on DVD. For real. Not to be withdrawn later. Sheesh.

You could do a Lugosi and Karloff "good movies" set, which would have maybe four of five movies (IMHO). If that sounds slim, keep in mind that James Dean’s collection is only three. The...only three movies he ever made (or at least the only ones he made in which he wasn’t an uncredited extra). Now that’s fame.

Make your own box set!

2005-06-26T13:12:00.000-04:00

I can’t believe I didn’t think of this sooner. Well, actually, Borders thought of it already; I think it was last summer. Buy 3 DVDs, get the 4th one free, and you got a handy little sleeve that you could color yourself. I checked it out, but none of the movies appealed to me. Mostly action, sci-fi, that kind of stuff. I’m going to pretend I have the power to release movies on DVD, and create a few box sets that need to be created, posthaste. Major studios and Ted Turner, are you listening? Here we go...

Joan Crawford: The Best of the 1930s

Okay, this would obviously be a rather hefty box set**, but I would totally buy it. The new Garbo one coming out this fall has seven sound movies (eight if you count both the German and English versions of Anna Christie) plus three silents and a documentary on ten discs for $69.94 (Amazon price). So how about nine Crawford movies for, say, $49.95? There are more good movies of hers from the 1930s, I just picked my favorites. You could also toss in Letty Lynton, I Live My Life, Gorgeous Hussy, The Last of Mrs. Cheyney, or The Bride Wore Red.

**Pausing to look over some of the other "signature collection" box sets, I see that 9 movies in a set wouldn’t be outrageous at all. Here’s how many movies are in various other box sets:
Cary Grant – 5
Judy Garland – 7
Hitchcock – 9
Errol Flynn – 5, plus a documentary
John Wayne – 4
Hepburn & Tracy – 3, plus a documentary
Elizabeth Taylor – 4

So the bigger, the better is now my motto!

Moving on, let’s take a look at Jean Harlow, who should have had a box set long ago.

Jean Harlow: The Signature Collection

I think that would about do it. Most people would probably take out Hold Your Man as it’s not one of her better known films, but I included it because I adore it. Also Saratoga could go, because it is kind of morbid to play "spot the body double." So that would make it an even ten. There’s room to fiddle – I could easily take out China Seas and put in The Girl from Missouri. I find myself inexplicably fascinated with Reckless, but that was pretty much a bomb, so we’ll skip it.

How about...

Judy and Mickey: The Collection

Or you could just whip up an Andy Hardy box set, although the last one, Andy Hardy Comes Home, has always seemed like a depressing idea to me.

Oh! How could I have almost neglected to mention...

Clark Gable: The Signature Collection

I know I’m missing a lot here, because there are quite a few of his films I haven’t seen. I know there’s one or several documentaries out there, so toss your favorite in. Another idea would be a Clark Gable and Joan Crawford collection.

Norma Shearer: The Signature Collection

I skipped The Women because it’s been released by itself as well as part of Joan’s new box set. Marie Antoinette should be released on DVD right now, just by itself, because it is a wonderful film, and Norma is fabulous in it.

Other random films that I’d love to see on DVD, not necessarily as part of a box set:

Jane Eyre
No Man of Her Own
I Love You Again
To Each His Own
Love Crazy
The Raven
The Black Cat (1934)

Okay, whoever owns the distributions rights to these movies, you’ve got your work cut out for you. Get cracking!

I hate bootlegs

2005-06-24T06:31:00.000-04:00

I knew bootlegs existed, of course. I didn’t see the appeal, personally. If I want to own a movie, I want to own it, with box art and inserts and a real case. I am a movie consumer in every sense of the word.

So last year when I saw a listing on eBay for a "rare!" Joan Crawford movie, you would think all my alarms and sirens would have gone off. But no, I was in the throes of discovering both eBay (it was my second auction) and a passion for collecting Joan Crawford memorabilia (save your wire hanger comments). My collection has since expanded to an entire shelf, but at the time I was just starting out, and I was dazzled by the listing. Crawford! Franchot Tone! Robert Montgomery! All in the same movie! And it’s rare!

So I bid. And won. Promptly paid, promptly got the movie. Promptly left feedback – my first mistake. The movie had looked kind of dodgy to me right out of the package. No cover art – a clear plastic box. Well, I’d seen that mentioned in the listing. Label on the tape itself that looked suspiciously homemade. Hmmm. Well, it’s not like it was written in crayon, so maybe I was just being suspicious for no reason. Still, I had what I’d paid for, so I left positive feedback: fast shipping, glad to have hard to find movie, blah blee blah.

In retrospect, I think my comment makes me look like an even bigger rube.

I pop the movie in the VCR, and we’re off. So far, so good. Until about 20 minutes into the movie, when Ted’s TCM logo appears in the bottom right corner of the screen, as it is wont to do. I literally can’t believe my eyes. I end up watching the same scene with Edna Oliver a zillion times because I just could not fathom that I was really seeing that logo.

Then I got mad. Logged back on to eBay, amended my feedback. Emailed the seller and requested a refund, post haste. Fumed for awhile. Watched the scene again. Checked IMDB – this movie has never been commercially released, duh. So "rare" applies in the "rare because it’s an illegal copy" sense. Finally went to bed.

The next morning, I have an email from the seller. He strives for satisfaction, and since I’m not satisfied, here’s my refund. I can keep the movie. (Damn right I’m keeping it! Now it’s evidence!) I also have a PayPal refund. Well, at least it didn’t turn into a bloodbath.

I’m still ticked, though, especially when I check the seller’s listings and see that he has over 200 movies for sale. A cursory check leads me to believe they’re all bootlegs. Fucker. Now I’m ready to bring the pain.

I report him to eBay. They suspend him. He comes back, lists more movies. I report him to eBay again. They suspend him. He comes back, lists more movies. I report him to eBay yet again. They suspend him. He comes back, lists more movies.

(Cutting and pasting was used in creating the above paragraph. Just repeat until you’re dizzy. I reported him 12 times before I stopped counting.)

I see the Joan Crawford movie listed again – by another seller with a suspiciously similar name. Sing it with me: I report him to eBay. They suspend him. He comes back, lists more movies.

I contact TCM. Thanks, they say, they’re always interested in protecting their intellectual property, la la la. I report him to the MPAA. No response. I report him to the FBI, with some embarrassment, because obviously more important things are going on in the world. They thank me, and advise me to contact the MPAA. Hey, what about those warnings at the beginning of movies about ginormous fines and jail time and all that? No public flogging? No arrest in front of a gaggle of TV cameras? Oh, well.

As of this writing, the seller is, of course, still on eBay. However, I haven’t seen him list any movies in a long time. At least not under any IDs that I am aware of. I know he has at least three. I occasionally check for that Crawford title, and nothing comes up. So I suppose some kind of justice did eventually prevail. Just not the publicly humiliating kind I was hoping for. And I learned a lesson, at no cost to myself, which I can now pass along to you.

In case you’re curious, the seller’s ID was besttrader2004. Look at all that positive feedback. Either people are stupid or don’t care that they’re getting illegal copies, that this guy is profiting off of them with blank tapes and his cable hook-up. His other ID was beststuff4, which has since been suspended – yay! I can’t remember the third one, it had the word gift in it. I don’t check every day anymore – I eventually gave that up for the sake of my sanity – but if you ever see him or anyone else selling bootleg movies on eBay, report their asses, won’t you?

Another offender (I somehow find all the Crawford ones) is billiecassin (get it?) who sells "rare" DVDs of Joan Crawford’s television appearances and commercials. I’ve reported her a boatload of times, but the listings keep on coming. Gah, just looking at them again makes me grit my teeth. If I were a vengeful person, or someone who disrespects the law as much as these people do, I would get another eBay ID and start some ridiculous high bidding just to fuck up her auctions. Or win and not pay. But I’m not, so I never would. Plus I’m too much of a weenie.

Only one to report

2005-06-13T19:42:00.000-04:00

The movie viewing has kind of slowed down lately, for a variety of reasons. Only one this weekend, That Touch of Mink. I don't usually go for these "watch Doris Day remain a virgin" comedies, although they are cute in their own way. That whole wacky 60's, retina-burning Technicolor, bongo-drum-music movie type is not my style at all, as previously stated. Which is why my definition of "classic" stops around 1960, and also why I was so, so disappointed in Ted Turner the other weekend when a Clint Eastwood/chimp buddy movie was playing. Ted, what have I done to be treated so disrespectfully?

Anyhow, I gave Mink airtime based on that fact that it contained 1: Cary Grant and 2: Audrey Meadows. I would watch Cary read the phone book, and I love (love!) Audrey from The Honeymooners. Looking over her credits, actually, it seems Mink is one of only three movies she made. She had a boatload of guest appearances on TV, though, her last ones being on Dave's World a few months before she died.

So, the movie. I liked it well enough, Audrey was great as the well-meaning best friend who works in an Automat -- why did those go out of style, anyway? I think they're a neat idea. Cary was his usual delicious self, and I liked Doris, even if I don't like the twinkly kind of character she portrayed. Rounding out the cast was Gig Young, who kind of gave me the creeps, knowing how he ended up.

On another note, I got my two boxes from Barnes & Noble today, which contained all kinds of goodies. One DVD, Pre-Code Hollywood: The Risque Years, which contains Millie, Kept Husbands, and Of Human Bondage. I'd rented this from Netflix before and really liked the first two movies -- Human Bondage was just okay. Also, in books: Garbo, by Barry Paris, Evenings with Cary Grant, by Nancy Nelson, Joan Crawford: Her Life in Letters, by Michelle Vogel, Dishing Hollywood, by Laurie Jacobson, and Lion of Hollywood: The Life & Legend of Louis B. Mayer by Scott Eyman. Ooh, which to start first? I can't decide, maybe I'll have to draw numbers. ;)

Recent viewing has been mostly the early seasons of "Cheers" on DVD. I love Nicholas Colasanto, the show was never the same without Coach. I feel sad when they have the little special feature about him, and Ted Danson and George Wendt talk about working him, and what a sweet man he was. I wrote Nick's Find-A-Grave biography, check it out.

Dodge City

2005-06-02T20:29:00.000-04:00

Errol Flynn slips into some buckskin for his first (I believe) western, Dodge City, along with a boatload of character actors: Alan Hale (with the biggest part in which I think I've ever seen him), Victor Jory (egad, it's Jonas Wilkerson, the evil overseer of Tara!), Guinn Williams (who appeared in yesterday's movie You'll Never Get Rich), Gloria Holden (it drove me mad trying to recognize her, and I couldn't, I had to look it up -- I saw her in Dracula's Daughter), Henry Travers (hi, Clarence!), and Frank McHugh, who I just adored in the Powell/Loy movie I Love You Again.

I think I prefer Errol when he's buckling swashes (or is it swashing buckles?), but I enjoyed him as a cowboy/cattle herder/reluctant yet effective sherriff, too. Olivia de Havilland is always beautiful and delightful as his love interest; as Robert Osbourne pointed out during the special feature, in most (if not all) of their movies together, their characters hate each at first, then end up falling madly in love. Usually when Errol insists upon it, but who could resist him, anyway?

I was never much for westerns, and I don't think this movie is going to make me run out and start renting them by the wagonload, but I did like it, mostly for the enjoyable performances by all the actors mentioned above. My grandfather was a big western fan, and he and my mom would go to the movies almost every week. I don't know why, they just never grew on me. I'll take a WWII movie for action and adventure over a western.

I have now officially seen all the movies in the Errol Flynn box set. Now I can rest up for the Garbo set coming out in September. ;)

Upcoming DVD goodness

2005-06-01T20:01:00.000-04:00

God bless the studios that are deciding to release classic movies on DVD, thereby eliminating my need to feverishly bid for VHS tapes on eBay. Coming up this summer we have:

The Complete Thin Man Collection (August 2)
Garbo: The Signature Collection (September 6)
Astaire & Rogers Collection, Vol. 1 (August 16)
The Damned Don't Cry (June 14)
Possessed (June 14) [I wish they'd release Joan's other movie called Possessed on DVD.]
The Star (June 14)
Humoresque (June 14)

And so on. I've completely reorganized my Netflix queue to keep up. Yes, I am that nerdy. The first 3 items listed above are already on my wish list at Amazon. I already have Possessed and Humoresque on tape; I liked them okay, but not really enough to rush out and buy the DVD, too. I've never seen The Star, and I don't always like Bette Davis, but I'll give it a test drive.

The most recent movie viewed is You'll Never Get Rich. The verdict: okay. Fred is always good, Rita was lovely as usual, Robert Benchley is cute, and a shout-out to Garry Owen, who was also in Hold Your Man, one of my favorites (although IMDB doesn't even list him in the full cast, the title is listed on his page). I like military movies, and backstage dramas, and I got two for the price of one here.

Happy Memorial Day

2005-05-30T21:04:00.000-04:00

Since I had a fun-filled, activity packed holiday weekend, I only got to watch one film. I know, I must be slipping. It was Thirty Seconds Over Tokyo, part of TCM's weekend-long war-movie-palooza. Spencer Tracy is okay, not one of my favorites, just a guy. I liked his performance as Doolittle. Van Johnson was also good. I enjoyed watching this one, but I'm not sure I'd go back and rent it to see it again. For war movies, my two favorites are Destination Tokyo and Objective, Burma! (Movies with exclamation points in the title are usually good! Or terribly bad!)

On a completely different topic, have you ever noticed how people are listed on IMDB with a url like this: http://imdb.com/name/nm0000075/? I always wondered who was number 0000001. I found out by accident the other day: Fred Astaire. Now I wonder which movie title would have a URL ending in 0000001? Anyone?

50's Musicals and Queens of England

2005-05-22T21:17:00.001-04:00

In that order. It was a triple feature this weekend...first up was The Band Wagon, something I bumped to the top of my Netflix queue when I got a hankering for some Fred Astaire, after watching Gene Kelly: Anatomy of a Dancer. I know, go figure. I also bumped Singin' in the Rain to the top, so that was my Saturday double feature, a pair of 50's musicals.

I like musicals, as a general rule, although I'm not really one of those people who's nuts about them. I'll pick a good weepy 30's drama first. And I prefer my classics in black and white; once the studios went Technicolor, boy, did they go color. Hot pink and neon green and electric blue and that day-glo yellow "Casino number" set from Rain...pass me the sunglasses. Some of the color combos on the costumes, too...no sane human wears those combinations. I prefer a nice, silvery-toned black and white film, thanks. Plus, the dancing they do in some of these musicals is too avant grade for my taste. Give me Astaire and Powell doing a tap to "Begin the Beguine" rather than Gene Kelly slinging Cyd Charisse around while the brass blares. Not that there's anything wrong with that kind of movie, it's just not my first choice.

So, with that in mind, I sat down to watch The Band Wagon and, finally, Singin' in the Rain, one of those movies people always talk about: "You haven't seen it? Ever? What is wrong with you?" I very much enjoyed the premise of Rain, with the story being about the transition from silent movies to sound (although that did make the Casino number seem even more out of place). Fred's starting to look a little creased around the edges in Wagon, but he still can dance, and how. Gene's character of Don Lockwood reminded me of Harry Palmer from For Me and My Gal, one of my all-time favorite movies, ever. And, of course, Gene is extremely easy on the eyes. Especially mine. ;)

Today it was one of the movies from the Errol Flynn box set, The Private Lives of Elizabeth and Essex. I've been especially looking forward to this one because I have a great interest in Tudor history, I have a whole shelf of books in my library on the subject. I was impressed by how Bette Davis looked, and also her acting, although I thought there was a bit too much begging for a queen in the scene where she sees Essex for the last time before his execution. Errol Flynn, always good in tights, and an all-around wonderful job as Earl of Essex. I can already tell this is one I'll be watching over again quite often. As in Warner's release of The Adventures of Robin Hood, they put together on the DVD a "Warner night at the movies," with a cartoon, newsreel, preview (of Dark Victory), and a short subject. It really sets the atmosphere of going to the movies, and having it be a whole event, which to me is a part of what watching classic movies is all about.

Playing catch-up

2005-05-21T16:49:00.000-04:00

So much for my resolve to update this blog every day, or at least several times a week. I’ve watched a boatload of movies since I last wrote, but I’ve been too lazy to sit down and actually write about them, preferring instead to continue stuffing my gaping maw with popcorn. Well, I have a list, so here goes.

Queen Christina -- Greta, for the love of little apples, stop mumbling. I had the volume on my TV turned way up, and still spent most of the movie thinking, "huh?" A good performance, though, and I liked the story so much I went out and bought a biography of Queen Christina, which is on top of my huge "books to read" pile. (I buy way faster than I could possibly read.) I had never seen John Gilbert in a movie before, and after awhile I could understand why he didn’t make it in talkies; his voice is just a little too high and nasal to be pleasing. All that heavy "Spanish" makeup didn’t help, either. Whether Louis B. Mayer purposely tinkered with the treble on the sound board to purposely ruin Gilbert’s career is a debate for another day.

Romance -- second movie on my Garbo hit parade. The video box made much of the fact that this was Gavin Gordon’s first and only film role! Which turned out to be not true; according to the IMDB, he appeared in 70 movies. Maybe that was his only starring role, which I would be more inclined to believe as his other roles include the likes of "Frisbie the Butler" and "Geoffrey Miles, Costume Director." Anyhow, it was a very nice little love story. Garbo is beautiful, of course. Gordon does much bugging of the eyes and flaring of the nostrils as an aspiring minister who can’t quite believe he’s fallen for this scandalous woman. A very sad and touching ending, without being too gooey.

Mata Hari -- last of the Garbos for now, and also good. Some of those outfits, though...skin tight glittery leggings attached to boots, worn under a dress/cape? Okay, I get that Hollywood is trying to glam it up, but come on. The hats were kind of cool, though. I had never seen Ramon Navarro, and I thought he was great. The scene at the end, after he’s been blinded, when they bring him to the prison to say goodbye to her but tell him it’s a hospital? Ah, so sad. And it’s always good to see Lionel Barrymore.

Strike Up the Band -- after all that gloom and failed romance I needed a peppy movie, and you can’t do better than Mickey and Judy. (And by the way, on the subject of Judy, every time I go to IMDB I'm always surprised again to see that she was only in 35 movies. Doesn't it seem like a lot more?) I own Babes in Arms and have wanted to see the sort-of sequel Babes on Broadway, but this was all TLA had, so it had to suffice. Your usual "let’s put on a show, kids!" movie, with the added bonus of June Preisser, cute little blond rival for Mickey’s affections and a nifty acrobat to boot. It’s such a typical Judy & Mickey musical that I can’t think of anything else distinctive to say about it.

The Adventures of Errol Flynn -- a documentary/biography of the man himself, part of the fabulous box set that was released recently. Comments from Flynn’s daughter Deirdre and Olivia de Havilland (who is beautiful as ever) lend it credibility that many print biographies of Flynn have lacked. Voiceover comments from Flynn himself, culled from radio interviews, are another good addition. I thought this was a very well done biography; the ones produced by TCM always are, in my experience.

In Name Only -- Carole Lombard plays not a screwball, but a widowed young mother who falls in love with "in name only" married Cary Grant in this great romance. Lombard and Grant go together quite well, and she more than proves she can handle drama as well as comedy. She has an earnestness about her that is really quite appealing. You’re totally rooting for them to overcome their obstacles, and when Carole cries that she can’t take it anymore, or Grant ties one on and catches pneumonia in the process, it’s what a good weepy story is all about. Charles Coburn as Grant’s father and Peggy Ann Garner (who played "young Jane" in Jane Eyre) as Carole’s daughter are so much "character actor" gravy.

Stella Dallas -- I caught this during TCM’s Mother Day extravaganza (which featured the mother of all mother movies, Mildred Pierce); I usually don’t stay with movies if I’ve missed the opening (I came in about 15 minutes into the movie) but Alan Hale carousing around caught my eye, and I was hooked from there. It was the first time I’d seen Barbara Stanwyck (a lot of firsts in my recent movies) and I thought she was amazing. I rented the movie from Netflix the next week to see the beginning and find out how Stella and Stephen (John Boles) ended up getting married, because I just didn’t get it. I had the feeling the actress playing Helen Morrison looked familiar, and found out during the end credits that I was right -- hi, Mrs. O’Hara! Now there is an underrated beauty, Barbara O’Neil.

There’s No Business Like Show Business -- which has no business being billed as a Marilyn Monroe movie (it’s part of one of her Diamond collections) because she didn’t show up until about an hour into it. Ethel Merman, though...wowza. I watched it with a friend and we ended up talking like her the rest of the day. And singing the song as we marched to the kitchen for more snacks. I love me some vaudeville, so I was happy.

Arsenic and Old Lace -- last week’s "Essential" on TCM; they rerun the Saturday show on Sunday nights at 6:00, so it’s becoming a tradition for my dad and I to watch it over Sunday dinner. I love Cary Grant (just started reading the Marc Eliot biography) and he is HI-larious in this movie. His multiple takes when he finds the first body in the window seat are too funny. Nobody does comedy like him. I was disappointed to read, in the biography, that this was one of Grant's least favorite performances. Jean Adair and Josephine Hull are just darling as the murderous aunts. Too bad they couldn’t actually get Boris Karloff.

Thank Your Lucky Stars -- I bought a used copy of this, never having seen it before, after seeing a clip of Jack Carson and Alan Hale doing a tap dance together. That was good enough for me; musical numbers by Errol Flynn and Bette Davis were also a big incentive. It wasn’t exactly what I expected; I didn’t anticipate so much of a back story involving Dinah Shore, Eddie Cantor (in a double role -- that’s a lot of Eddie) and a couple of unknown hopefuls. I was hoping we’d cut right to the musical numbers. When they finally did arrive, though, they were worth waiting for. Some of it is not so much singing as "talking to music" (Bette Davis; although she was a good sport to let herself get swung around in that dance step), and some numbers showcased previously unexpected talents (Errol Flynn, who can really sing and dance). Then again, some people were misused to the point of being unrecognizable. During one number, I pointed to the gingham-clad, gum-chomping, tap-dancing, curly-haired, scat-singing gal on the left. "Guess who that is," I said to my dad. He had no idea. "Olivia de Havilland," I said. I don’t think he believed me until he put on his glasses and double-checked for himself. Not the best use of Miss de H, but she seemed to be enjoying herself, and after all, it was for the war effort.

The Broadway Melody (1929) -- the first musical to win an Academy Award for Best Picture, I’d seen this before and rented it from Netflix again to see if I liked it enough to buy it, since I saw it at Borders when I bought Broadway Melody of 1940 (Astaire and Powell, that one was a no-brainer). The verdict: eh, I’ll rent it if I ever want to see it again. Bessie Love was cute if a little hyper, everyone else was okay. The dancing numbers were good, typical for the day. It's memorable if for no other reason than that the sisters are named Hank and Queenie.

Funny Girl -- I include this on the list not because I consider it a classic movie (my definition of "classic movie" stops around 1960 or so -- I’m referring to an era rather than a film’s endurance or popularity), but because it’s about someone I would consider a classic performer, Fanny Brice. Actually, it’s supposed to be about Fanny, but it’s really yet another movie that proves Barbara Streisand loves no one so much as herself. Not for one second did I get any feeling that I was seeing Fanny Brice up on the screen -- it was always Fanny heavily diluted by Barbara. And I’m not a big Babs fan in the first place, so you know I was watching the DVD player count down the minutes until the movie was over. I’ll be skipping the sequel, Funny Lady, thanks very much.

Character Actors I Love: Ted Healy

2005-04-25T21:54:00.000-04:00

If I had to sum up Ted Healy in one sentence, it would be "more than just a Stooge." I don’t care for the Three Stooges at all (don’t email me), but I enjoy the work of their "founding father," Ted Healy. I’ve seen him in 3 movies: Reckless, Dancing Lady, and Bombshell.

Ted was born in Houston in 1896. His real name is a matter of dispute; various sources state it as Ernest Lee Nash, Charles Lee Nash, or Clarence Lee Nash. He gave up the life of a salesman in 1919 and went to work on vaudeville, changing his name to Ted Healy. He and his wife Betty (both his wives were named Betty, so I’m not sure which one it was) had an act called "Ted & Betty Healy: The Flapper and The Philosopher." That must have been interesting, to say the least. In 1923 he founded a stage act with two childhood friends, Moe and Shemp Howard (later joined by Larry Fine) and called it "Ted Healy and His Stooges." Thus a legend was born. Shemp left the act and was replaced by Moe’s brother Jerome, who shaved his head and was known as Curly. The Stooges parted ways with Ted in 1934 when they were offered a contract with Columbia Studios.

Ted and The Stooges were still an act, however, when I first saw him, in Dancing Lady. Ted plays Steve, the assistant to Patch Gallagher (Clark Gable), a Broadway producer. (The Stooges are stagehands who make minor appearances, mainly to tease Joan Crawford.) Steve is not just comic relief but a fairly well-rounded character, somewhat inept on his own but loyal to his boss. In Bombshell, he plays Jean Harlow’s drunken lout of a brother, but doesn’t show up until the second half of the film, just in time to stomp all over her plans to adopt a baby with his bad behavior. In Reckless he’s rather endearing as one of William Powell’s sidekicks, Smiley, another not-too-bright-but-loyal-pal-of-the-leading-man. At the racetrack with a stiff and proper English lady, he’s boorish but funny. I don’t think Ted ever could have been a leading man, but he’s still fun to watch, and gives a good performance. Ted also wrote five films: Nertsery Rhymes, Beer and Pretzels, Hello Pop!, Plane Nuts, and The Big Idea.

Sadly, Ted had a problem with alcohol, which was one of the factors in his split from the Stooges. His only child, John Jacob Nash, was born December 17, 1937, and Ted went out drinking that night to celebrate. He ended up in a bar fight, was found unconscious on the sidewalk, and died on December 21 from his injuries and kidney failure brought on by years of alcoholism. He’s buried in Calvary Cemetery in Los Angeles.

I picked Ted as a CAIL mainly because of his performance in Dancing Lady, which is one of my all time favorite classic movies, ever. I can’t really explain why. It’s not a great epic like Gone With the Wind, or even a popular classic like The Women, two of my other favorites. Dancing Lady is the movie equivalent of comfort food to me; I’ll pop it in even when I’m not planning to sit down and watch it all the way through. It serves as background noise while I’m doing chores or cooking, something I can watch in bits and pieces just to unwind, or I’ll actually sit down for another complete viewing of an old favorite. It has quite a cast: Joan Crawford, Clark Gable, Franchot Tone, Winnie Lightner, Robert Benchley, Ted & The Stooges, May Robson, Nelson Eddy, Sterling Holloway (voice of Winnie the Pooh) and Fred Astaire, playing himself in his first movie role. It’s a musical, a backstage story, a comedy, a love story, a drama. The songs are hokey (example: "Let’s Go Bavarian," about the joys of German beer), and not ones anyone remembers fondly today, but I’ll catch myself humming them under my breath. I’ll stop here because I could (and plan to) do a whole separate entry about this movie, and I didn’t mean to get so far off the original topic. (It was Ted Healy, remember?)

Simpler times

2005-04-23T08:50:00.000-04:00

Myrna Loy, in her autobiography Being and Becoming, wondered about the modern nostalgia for the war years, as evidenced in both movies, and things people had said to her over the years. Why would people look back fondly on such a time, she wondered, which was full of terrible fears and tragedies. I see her point; I suppose people who look back are seeing those years through rose colored glasses, thinking about (or imagining, if they weren’t there) the good things, and not the bad. Another thing that lends itself to happier memories is the fact that we know now how it turned out -- a happy ending. I love big band music, including WWII songs (and also movies), and one theme that I can see the appeal of is the unity; there were clear cut good guys and bad guys, and from what I can tell, not many people questioned that, especially after Pearl Harbor. Not that people shouldn’t question, but compare our country’s attitude towards that war with, say, Vietnam, or the current war in Iraq. I can’t imagine our country, or at least a good majority of it, throwing itself behind a war like they did in WWII ever again. I’m not sure if that’s good or bad.

My own nostalgia goes back a decade farther, so the 1930s, when most of my favorite movies were made. I won’t list them all here, because the list is too long, and if I haven’t talked about them already, I soon will. The atmosphere of those movies, besides being so beautiful and glamorous, is one of an age that was sometimes rich and easy, sometimes poor and difficult (but of course not too difficult), but always…simpler. At least that’s how it seems to me. And yes, of course I know that this is Hollywood, and everything is covered with a patina of happiness, whether it’s a slapstick comedy, or a tearjerker that doesn’t seem bright until the end. I do know that life is never so simple as a movie. Yet the innocence that the studios put into their movies must have existed to some extent out in the world, I choose to believe. After all, this was the era when no one locked their doors, or so my grandfather told me.

An example of that very thing is the beginning of the 1933 movie Hold Your Man, which I’ve talked about before. Ruby is in the bath when Eddie bursts into her apartment, on the run from the police (he is a penny ante con man, no one dangerous). Ruby shrieks when Eddie runs into the bathroom, and he immediately goes back out. She comes out in her (ostrich feather trimmed) robe and demands to know what’s going on. Eddie coaxes Ruby to help him, and he hides in her tub (under a layer of suds) eluding the police with her help. Flirtatious banter ensues, Ruby dries his pants in her oven (ha), and Eddie takes off when Ruby’s neighbor comes to call (for a cup of bathtub gin). After realizing he’s sneaked out the bathroom window, Ruby runs to her dresser and shakes her piggy bank, whistling in relief when she finds that Eddie didn’t steal the money.

Now imagine that scene today. Granted, we still have the "encounter a stranger who changes your life for the better" premise in movies, but more it’s more likely that Eddie would be some psycho featured on America’s Most Wanted, and Ruby would be a crack dealing hooker, or worse (rather than just the "good time gal" she is in the movie). Either Eddie would attack her and she’d end up as this week’s victim on Law & Order SVU, or she’d have a gun and blow the intruder’s brains out. Never in a million years would they fall for each other and get married for the sake of their baby and for love, which is how Ruby "holds her man." No, today she’d have to go on Maury to prove paternity, if she ever got the kid back from foster care, since he was born while she was in prison.

See what I mean about simpler times?

Let’s take another example: Mary Haines from The Women. Mary finds out her husband Stephen is having an affair (sex is somewhat implied but never addressed directly) with a girl at the perfume counter of a department store, Crystal. They have it out in the fitting room of a boutique after a fashion show. Mary’s pride is hurt, and she goes to Reno and divorces him, making some lovely new girlfriends in the process. Mary suffers no other hardships, presumably living quite well on her alimony. Two years pass, Mary find out her ex is unhappy in his new marriage and that Crystal has a new paramour. She exposes Crystal (with the help of her pals and the friendly neighborhood gossip columnist, played by Hedda Hopper), and ends the movie by rushing back into her husband’s arms. "Pride! That’s something a woman in love can’t afford," she says happily.

Again, set the movie today (and I’ve heard that Hollywood is remaking The Women, which is an appalling idea). Mary, Crystal and Stephen would all end up on Jerry Springer, taking off their clothes and throwing chairs at each other. Mary would be lucky to get child support from Stephen, would have to go back to work, and most likely suffer financial hardships. Or if they were celebrities, their divorce documents would be on The Smoking Gun and tabloid photographers would follow them everywhere. There would be an ugly custody battle, Mary’s friends would talk to the tabloids, and Little Mary would need years of therapy to recover.

I’m sure terrible and painful things like this did happen to people back then, but I don’t imagine them to be as bad as things can get today. Maybe that’s naïve of me, and maybe I am buying too much into the MGM version of the world at that time. Yet I hear stories about my grandparents and great-grandparents, and I think…no, it’s not entirely false. Things were not always hearts and flowers, but they also weren’t as ugly as some things get today, either.

This is not to say that I wish we could, or think we should, go back to those times. As the saying goes, it’s a nice place to visit, but I wouldn’t want to live there. If I had kidney failure like Jean Harlow did, I would want to live in a world where there are transplants and dialysis, not 1937 when my only option would be a slow, painful death. And I may love vintage phones, but I love the Internet more. Still, when the world around me becomes too ugly or scary or annoying to deal with, it’s lovely to know that I can put in a movie and go back to simpler times.

See how I wrapped up the essay with the title? Clever, eh? ;)

Essential? Hardly!

2005-04-13T17:57:00.001-04:00

Joan Crawford: The Essential Biography by William Schoell and Lawrence Quirk

Rating: 1 out of 5 stars

The main problem with this book can be summed up by quoting its own dust jacket: "Schoell and Quirk [the authors] move beyond the myths and misconceptions about Crawford by looking extensively at her film work, which in many respects -- as Crawford herself admitted -- was her life."

And that's it right there: as admirable an actress as Crawford may have been (and I am a huge fan of many her performances), her roles in films cannot provide much of a basis for a biography about her actual life. The line between fantasy and reality is, in this case, not only blurred, but erased almost completely.

I understand that Quirk was a fan and professed confidant of Crawford's (that fact is hard to miss, it's mentioned so many times) and his intentions seem to be to try his best to defend her honor and reveal his version of the truth about her. In doing so, however, Quirk makes several missteps, the most notable among them being his complete and utter of savaging of Christina Crawford because of her allegations of abuse against her mother. He says terrible things; for example, he expresses his opinion that Christina's near fatal stroke in 1981 was "Joan getting revenge beyond the grave." For someone who thinks Christina was wrong to say bad things about her mother, Quirk in turn says even worse things about Christina. In trying to dispute the charges she made in "Mommie Dearest," he protests way, way too much, and stoops even lower than the level he accuses her of sinking to.

Even other friends of Crawford's are criticized for not living up to his exacting standards. For example, in 1984 about 125 friends and family of Crawford took out a tribute ad in the "Daily Variety" to show their support in the wake of the Mommie book and movie. I thought it was a nice gesture, myself, but Quirk says that it was "put together for the wrong reasons by the wrong people." What really seems to be wrong is the fact that he wasn't included, and now he's pouting.

When I got to the "Notes" section at the end of the book, I thought, "okay, now we'll see where he got all this information." I was disappointed to discover that the majority of his sources are "Joan Crawford to Lawrence Quirk." Interviewing the subject of a biography is of course helpful when it's possible to do, but any writer worth his salt knows that it can't be your only, or even your primary, source. People have an impression of themselves they want to perpetuate; this needs to be balanced by opinions and information from others as well. In that regard, this book falls far short.

Captain Blood, redux?

2005-04-12T12:41:00.000-04:00

The Master of Ballantrae

starring Errol Flynn, Roger Livesey, Beatrice Campbell, Anthony Steel

Rating: 3 out of 5 stars

Flynn tries to recapture his Captain Blood days, and does a so-so job. The plot of Master of Ballantrae is somewhat similar to Captain Blood (our hero gets on the wrong side of a tyrant, escapes danger to live the life of a pirate, and returns home and/or to his one true love) but in comparing the two Ballantrae comes off the worse; Flynn looks his age and then some (although he still looks fabulous in tights, even if they are plaid), and his lady love (Beatrice Campbell) is certainly no Olivia de Havilland. On the plus side, Roger Livesey, as Col. Francis Burke, is a suitably entertaining sidekick. I couldn't get into the other characters enough to care what happened to them (the parts of the storyline without Flynn are only average at best), but it's always fun to watch Errol swashbuckling away.

P.S. The Errol Flynn Signature Collection is being released on April 19. Yay!

Character Actors I Love: Charles Butterworth

2005-04-11T16:47:00.000-04:00

Before my recent viewing of Love Me Tonight, I had only seen Charles Butterworth in one other movie: Forsaking All Others, in which he’s hilarious. The whole film (starring Joan Crawford, Clark Gable, Robert Montgomery, Billie Burke and Rosalind Russell) is so, so funny, and Butterworth as "Shep" (The IMDB has "Shemp" but trust me, they're wrong) has some of the best lines of all.

Eleanor: [commenting on bachelor parties] I wish I were a man.
Shep: Were, or had?

Sometimes it’s the way he says the lines, rather than the dialogue itself.

Shep: Look, a cow!
Jeff: Yes, Sheppy, a great big moo cow.

He’s so good at playing silly and witty at the same time. Shep’s not dumb, exactly, but definitely rather spacey. Everyone in this film is funny, but because of Butterworth’s delivery and demeanor, the character of Shep makes me laugh the most.

Forsaking All Others is filled with witty banter and amusing one-liners. I've seen the movie dozens of times, and it still makes me laugh every time.

Dill: I don’t need matches, I can start a fire by rubbing two Boy Scouts together!

(I don’t think you could get away with that today.)

Also, watching Eleanor and Shep "tango" is too cute. Butterworth often played the leading man’s daffy sidekick, in fact so well that script writers starting leaving blank chunks in the screenplays, so Butterworth would improvise and fill in with his own well-appreciated wit.

Butterworth graduated from Notre Dame with a degree in law, and also tried his hand at journalism before drifting into acting. He was best friends with Robert Benchley, and I have heard that Butterworth’s death in a car crash wasn’t an accident, but rather a suicide; he was despondent over Benchley’s death seven months before. Butterworth is buried in St. Joseph Valley Cemetery in his hometown of South Bend, Indiana.

Misleading, but still worthwhile

2005-04-10T14:39:00.000-04:00

The Lost Films of Laurel & Hardy Volume 3

starring Oliver Hardy, Stan Laurel, Jimmy Finlayson, Mae Busch, Charley Chase,

Rating: 4 out of 5 stars

I think calling this DVD "Lost Films of Laurel & Hardy" is somewhat misleading, because only 3 out of the 6 shorts feature the boys as the pair that most fans are familiar with.

Love 'Em And Weep, for example, has Oliver Hardy, buried under a thick mustache, in a small role as a dinner guest of Jimmy Finlayson, and Stan Laurel as one of Jimmy's employees; the two never meet in the film. In another short, Bromo and Juliet, Hardy shows up for a few minutes as a taxi driver.

In addition, the picture quality is not always good, but that's to be expected in films so old. Also, the same soundtrack is used over and over, which can get a little monotonous after awhile.

Depsite the fact that this DVD wasn't exactly what I expected, however, I still enjoyed it. It was interesting to see Laurel & Hardy in roles other than "the boys" and the rest of the casts (Charley Chase, Mae Busch, Vivian Oakland, to name a few) gave hilarious performances. I recommend it to fans of Laurel & Hardy (and other silent stars as well), but be aware that not all the films may be what you might have expected.

Character Actors I Love: (Sir) C. Aubrey Smith

2005-04-07T21:37:00.000-04:00

Three words: tall, craggy, and English. That would be Sir C. Aubrey Smith, character actor I love (and also an excellent cricket player). I first saw Sir Aubrey as Colonel MacFay in Another Thin Man, where his character is vaguely English, rather excitable, somewhat paranoid, and ends up murdered. Not his most distinguished role. Luckily, I’ve also seen him in Little Women (perfectly cast as James Laurence), Rebecca, China Seas, Bombshell, and most recently, Love Me Tonight. He sings a little in LMT, and has a lovely deep singing voice. Take a look at his picture and you’ll probably recognize him immediately, what with the bushy eyebrows and giant mustache and all. He almost always played military officers or English gentlemen, being very suitable for either type of role.

Biographical information is somewhat scarce; he was a champion cricket player, captian of the Hollywood Cricket Club, and was knighted in 1944. He died in 1949 and is buried in St. Lawrence Churchyard in England.

My eyes! Oh, it burns!

2005-04-04T20:39:00.000-04:00

RKO 281: The Battle Over Citizen Kane

starring Liev Schrieber, John Malkovich, James Cromwell, Melanie Griffith, David Suchet

Rating: 2 out of 5 stars

Okay, maybe it's not that bad, but it's close. I went into this movie with a lot of anticipation, being a long-time fan of Welles and Citizen Kane, but my hopes were crushed by the mediocre acting, blatant inaccuracies (yes, I know it's a movie, but a movie about a real situation shouldn't have quite so much make believe) and overdramatics. For instance, that scene where Welles talks Mankiewicz into coming back on Kane by telling that sob story about his father? Feh. Not even close to believable.

Liev Schrieber is, sadly, typecast (at least in my mind) as the might-be-a-killer, Cotton Weary, from the Scream films. I tried not to hold that against him, but his performance as Welles was so unconvincing that it kept coming to mind. Welles was such an unusual and magnetic personality, with his deep, distinctive voice, that it's hard to imagine any actor playing him well. Vincent D'Onofrio gave a better performance in Ed Wood as Welles than Schrieber can manage here. Not to say his acting was bad, mind you, but just that I didn't for a moment have any kind of feeling that it was Orson Welles. The yelling and screaming about how Kane is all he's got seemed so phony. Unfortunately, that was about the most exciting thing about the role.

That is only one of the reasons, however, why it was impossible to enjoy the movie. Melanie Griffith was so bad as Marion Davies, I can hardly put it into words. I'm sure poor Miss Davies is spinning like a top in her grave. John Malkovich gets some good lines as Herman Mankiewicz; he's at his best when trying to talk Welles out of making Kane. James Cromwell does a creditable job as William Randolph Hearst, and the scenes between Hearst and Marion could have been really quite touching if it weren't for Melanie and her enormous hot pink lips. Ech.

For serious Welles fans and film historians, or even those with only a casual interest, you are much better off watching the documentary The Battle Over Citizen Kane than trying to get the "making of Kane" story from this film.

Tries to be avant garde, ends up just pretentious

2005-04-04T20:03:00.000-04:00

Rosebud: The Story of Orson Welles, by David Thomson

Rating: 3 out of 5 stars

I was so looking forward to reading it, but it turned out to be not at all what I expected. Perhaps I'm too used to a more conventional style of biography, but I found Rosebud hard to get through. As fascinating a person as Orson Welles was, parts of this book were still slow going. The author constantly interrupts the narrative with "dialogues" between himself and...himself? The publisher? An imaginary reader? It's hard to say, and seems to be used mostly to insert his own presence into the biography.

Other unnecessary bits include a whole chapter of this dialogue between the author and his imaginary friend as they watch the first few minutes of Citizen Kane, and another entire chapter about how the author became a fan of Welles. This is supposed to be a biography of Orson Welles, not a book about how David Thomson feels about Orson Welles, and how Thomson has taught Citizen Kane in his class for years, blah blah blah. Every time Welles' own story gets interesting, Thomson pops up to remind you he's there. Ideally, a reader shouldn't be bombarded with the presence of the author in a biography.

There is some interesting information, but the book as a whole is not put together well at all.

Rainy Saturday triple feature

2005-04-02T22:20:00.000-05:00

It poured buckets today, so I decided all my errands could wait, and it was going to be a movie day. I'd just gotten one in the mail I bought on eBay, and have three new ones from Netflix. Let's see how many I plowed through today.

First up, Ziegfeld Follies, which I bought never having seen it before. Usually I like to see movies at least once before I buy them, but lately I will buy them if they have lots of stars I love. Then it's usually a good bet the purchase will be well worthwhile. ZF, however ... not so much. It has your usual MGM tag line: Greatest Production Since The Birth Of Motion Pictures! Heh. I love MGM taglines ... every movies is the greatest thing since sliced bread! Musical numbers are always major hits! Technicolor! Cinemascope! Stereophonic sound! More stars than there are in heaven! It's the movie of the year! And so on.

I was all excited to see William Powell back as Ziegfeld, until the movie actually started. Good news: he's just as sexy with silver hair. Bad news: he's playing Ziegfeld-in-Heaven, planning a new show from beyond the grave with "today's stars". Which means, whoever MGM wanted to showcase in 1946. Yeah, that ... wasn't a good idea. (Heaven is apparently furnished with set decorations from Anna Held's suite in The Great Ziegfeld.) Oh, I almost forgot to mention the dolls. You see, when Ziegfeld-in-Heaven reminisces about the Follies he made when he was, you know, actually alive, they recreate the acts with...claymation dolls. Ugly ones. I wish I was kidding. Which I guess makes Ziggy some kind of showbiz puppet master or something.

I was expecting a movie along the lines of The Great Ziegfeld and Ziegfeld Girl, both of which I love, and both of which have a healthy dose of plot to balance out the musical numbers. ZF, however, is all musical numbers, one right after the other, introduced with pages from a "storybook." Oh, wait, there were also a few comedy sketches. Fanny Brice -- cute and funny, her usual schtick. Keenan Wynn -- not so much funny, but he tried. Red Skelton -- funny for Red Skelton fans.

The musical numbers ... very strange and not what I consider MGM standards. Fred Astaire as a Chinese person? Um, no. Lucille Ball all in pink, cracking a whip at women dressed as slinky cats? I think not. The one high point was Gene Kelly and Fred Astaire in a number called "The Babbit and the Bromide," which was wonderfully danced and very cute, if somewhat repetitious in the lyrics.

I think this is one purchase that may eventually go back up for sale. Although maybe not, because I am somewhat vain about my classic movie collection, and I would like to see Gene and Fred's number again. We'll see.

Next on the program was Love Me Tonight, a newly released DVD I got from Netflix solely because it had Myrna Loy in it, and as a result of watching it, Maurice Chevalier is my new boyfriend. So charming, so adorable. I could listen to him sing all day. (Why is there not a soundtrack for this movie on Amazon?) Jeanette MacDonald I had only ever seen in clips, never in a whole movie, and I liked her a lot. C. Aubrey Smith and Charles Butterworth, two guys I love to see, who are now the next two in line for a Character Actors I Love profile. I thought the story was great (yes, it's your typical "royalty falls in love with a commoner in disguise" plot, but in this movie it seemed fresh and new) and it was beautifully shot and directed. This one may go on the Amazon wish list.

Lastly, Meet Me in St. Louis; oddly enough, I think this movie is the one about which I have the least to say. It was a Judy Garland musical, which usually means an automatic win, and that was the case here. Great performances, catchy tunes, you know the drill. Two of my favorite supporting actors, Marjorie Main and Harry Davenport (who will always be "Dr. Meade" to me). Leon Ames kept reminding me of Jerry Orbach. It's not my all time favorite Garland musical extravaganza (that would be For Me and My Gal) but I liked it. Liza's introduction was nice, but she looked very trembly.

Ah, it's always nice when you have an entire day to spend watching movies. At least to me it is.

Powerful drama whose ending does not quite do it justice

2005-04-02T14:15:00.000-05:00

The Lost Weekend (1945)
starring Ray Milland, Jane Wyman, Phillip Terry

Rating: 5 out of 5 stars

I can understand why the studio did not want to release The Lost Weekend in 1945: it's a gritty and realistic (sometimes horrifyingly so) account of an alcoholic's weekend binge. Going against years of movies that portrayed drunkeness as something cute and harmless, this movie pulls no punches in illustrating to what depths a man will stoop when he just has to have a drink.

There's a story told about the filming of LW, in which another of Ray Milland's on-the-street takes were ruined when someone recognized him. Instead of asking for his autograph, though, the woman offered to bring him back to her apartment for a drink. She didn't believe him when he said he was making a movie about a drunk; she thought the actor was down on his luck and really was a drunk. Billy Wilder came out from behind the hidden camera and finally set her straight. This is a good illustration of the power of Milland's performance; his work is quite extraordinary. Jane Wyman as his girlfriend Helen does a good job with a small role, as does Phillip Terry as Don's brother Wick.

While the drama of the movie moves along at a fevered pitch, it really starts to build to a level of unbearable tension when Helen goes to retrieve her coat (which Don has stolen) from the pawnbroker, only to discover Don didn't trade it for money for booze, but rather a gun he had pawned earlier. After his earlier talk of putting a bullet through his head, the audience and Helen realize at the same time what his intentions are, and we find ourselves as anxious as Helen as she races back to his apartment. She gets there in time, and the two play a game of cat and mouse, warily stepping around each other as he tries to get her to leave, and she tries to get to the gun first.

After winding things up so tightly, though, the movie ends with an anti-climax: Helen gives Don her same old inspirational speech about his having the talent to make a go of it as a writer, and suddenly, this time he believes her, vowing once again (and we're to assume that this time it took) to give up drinking and make something of himself. He gives us a pat little explanation of his alcoholism, and ends by saying gee, he feels sorry for all those other drunks out in NYC that think they're fooling everyone. Fade to black.

I realize this is a typical Hollywood ending of the time, with everything working out okay, but I felt cheated. I had been so captivated by this true to life story, with nothing glossed over, that the ending didn't ring true at all. Strange as it may sound, I think I would have almost preferred Don to put a bullet in his head. It would have felt much more realistic than him basically saying, "You're right Helen, I will stop drinking and write that book," and with a snap of the fingers, put his drunken ways behind him.

This is my only complaint about the movie, and it is an extremely small one; don't let my thoughts about the ending stop you from watching this film. It is an astonishing movie even in this day and age, even more so when you consider it was made 60 years ago.

The best laid plans...

2005-04-02T14:09:00.000-05:00

Sudden Fear (1952)
starring Joan Crawford, Jack Palance, Gloria Grahame

Rating: 5 out of 5 stars

Joan Crawford chews the scenery, Jack Palance looks ugly and menacing, and Gloria Grahame slinks around in this fabulous film noir. Crawford is a wealthy socialite and playwright who marries Palance, an actor she had previously rejected from one of her plays. Turns out he has a girlfriend (Grahame) and they're plotting to murder Joan for her money. Joan finds out and decides to beat them to the punch (so to speak) by hatching a plan to murder her husband first and frame his lover for the crime, complete with a little dream sequence showing the audience how it's supposed to turn out. In the middle of the plan, however, Joan loses her nerve ... and that's when things get really interesting. The suspense starts about halfway through the film, when Joan discovers the plot against her, but the last ten minutes of the film dials up it a few levels. A must for any fan of Crawford and/or film noir.

Character Actors I Love: Walter Connolly

2005-03-31T20:44:00.000-05:00

I’ve seen Walter Connolly in three movies: Too Hot to Handle, Libeled Lady, and It Happened One Night. In the last two out of those three, he was the overprotective millionaire father to a glamorous young debutante (Myrna Loy and Claudette Colbert, respectively). Like Jessie Ralph, there’s very little biographical information on him, other than the fact that he was born (and is buried) in Cincinnati, which automatically endears him to me for personal reasons. Also like Jessie, there’s a fairly big gap in his career (between 1915’s A Soldier’s Oath and 1930’s Many Happy Returns) for which I can find no explanation. However, he worked steadily from 1930 until the year before his death, making 47 out of his 49 movies in that decade.

Walter was a shortish, rotund man with a nasal, somewhat high-pitched voice. He puts it to good use as "Arthur ‘Gabby’ MacArthur," the Universal Newsreel chief (and Clark Gable’s boss) in Too Hot to Handle. He’s just as good at playing a frustrated, wacky boss as he is at millionaire fathers. He lets out a version of "d’oh!" that’s pretty funny when rascally Gable pulls another outrageous stunt. My favorite role is that of J.B. Allenbury from "Libeled Lady." He’s Myrna’s father who’s suing Spencer Tracy’s paper for libel. William Powell and Jean Harlow team up with Spence to try and trick Myrna into committing the act (stealing a husband) of which she’s been accused, so the story won’t be libelous after all. Walter’s comedic skills are at their best when he and Myrna take Powell trout fishing. When I see Walter’s name listed in the credits, I know the movie is going to have some good laughs.

Walter died in 1940 and is buried in St. Joseph’s New Cemetery in Cincinnati, Ohio.

Character Actors I Love: Nat Pendleton

2005-03-30T20:38:00.000-05:00

Nat Pendleton, how do I love thee? Let me count the ways: The Thin Man, The Great Ziegfeld, Reckless, Manhattan Melodrama, Another Thin Man, and The Girl From Missouri.

Don’t let Nat’s bohunk physique and Brooklyn-accented characters fool you; he was a smart guy who accomplished more than most actors. Born in Davenport, Iowa, he graduated from Columbia University in 1916, where he was two-time Eastern Intercollegiate Wrestling Association champion (1914-1915). He competed as a wrestler in the 1920 Olympics in Antwerp, Belgium, losing only one match (on a controversial decision) and earning a silver medal. Afterwards, he went into pro-wrestling, and from there into acting. He also wrote a movie for himself, 1932’s Deception, in which he played a wrestler. He appeared in 112 movies between 1924 and 1947.

He came by one of his most famous roles, that of the strongman Sandow in The Great Ziegfeld, in an interesting manner. He’d played MacHardie in the Marx Brother movie Horse Feathers; that character was modeled after the real Eugene Sandow, and Nat’s performance was very impressive. When the time came to cast Ziegfeld, he won the part. Who among us will ever forget those magnificent biceps flexing in time to the music of Little Egypt. ;)

I first saw Nat as police Lt. John Guild in The Thin Man. Although he comes across as a little dim next to William Powell’s suave sleuthing, he gets in his share of wisecracks and lends his heroics to the case. He reprised the role in 1939’s Another Thin Man. Guild hero-worships Nick Charles and is constantly in awe of Nick’s detective abilities.

Another role of Nat’s I liked was that of Blossom, one of William Powell’s sidekicks (along with Ted Healy) in Reckless. Again, he plays a big oaf with a heart of gold; quite a bit dumber than Lt. Guild, but fun to watch nonetheless. When he takes a beating in a boxing match just to provide Powell with some backing money for Jean Harlow’s comeback show, you can’t help but love him. He may not be the brightest bulb on the tree, but he’s loyal and good-hearted, which counts for more.

Nat also appeared in six Dr. Kildare movies, and three Dr. Gillespie movies. His acting career seems to have ended in 1947, aside from one TV appearance in 1956, on "Schlitz Playhouse of Stars." Nat died in 1967 and is buried in Cypress View Mausoleum and Crematory. His Find-A-Grave biography was written by yours truly.

Jean Harlow double feature

2005-03-28T18:49:00.000-05:00

It's cute, my dad has developed kind of a liking for Jean Harlow after we watched the new DVD releases of Libeled Lady and Dinner at Eight a few weeks ago. "I wouldn't mind seeing more of her movies, if you have them," he said, "Do you have Red Dust"? Well, no I didn't, so we watched Bombshell (as previously mentioned) a few weeks ago, and for Easter this past Sunday we had another JH double feature: Hold Your Man and Wife vs. Secretary. I think they're my two favorite Harlow movies, although I probably would be in the minority about that.

Hold Your Man starts out with a lot of funny and snappy dialogue between Ruby Adams and Eddie Hall (Clark Gable) as two con artists who meet when Eddie runs into Ruby's apartment, on the run from the police. Flirtation ensues, and the romance heats up pretty quickly (Ruby and Eddie obviously spend the night together after their second meeting -- it's only implied, of course, since this was 1933, but unmistakable). Eddie goes to jail for 90 days for trying to use a stolen car in a heist, and Ruby has moved into his flat by the time he gets out at Christmas. Eddie accidentally kills a drunk (whom he, Ruby, and his friend Slim were planning to blackmail) on his way out get a marriage license for himself and Ruby. She gets arrested when they come back, but Eddie gets away. While in the reformatory (and here's where most people think the movies goes wrong) Ruby discovers she's pregnant (it's remarkable how many ways they convey this without ever actually saying the word); Eddie hears about this and comes out of hiding to not only go see Ruby to tell her he loves her, but to hide out in the chapel and marry her (thanks to a handy parson) so their child won't be illegitimate. The wedding takes place with a flood of cops trying to break down the door, and ends with Eddie getting hauled off in cuffs. In the end, Eddie, Ruby and their son are reunited after Eddie serves his sentence for the accidental killing.

Most reviews I've read of the movie think it turns much too sappy and maudlin after Ruby is arrested; the site of Gable crying and begging the preacher to marry them, one person wrote, is almost too silly to bear. Yet I love the movie as a whole, even the mushy parts. The beginning is in fact a lot of fun; Gable and Harlow as a team are at their most enjoyable when they're kidding around. I'll admit that the mush has on occasion brought a little tear to my eye; when Ruby clings to Eddie, sobbing, after they're married and the cops are starting to drag him away, I find myself moved. Perhaps it is the power or Harlow's acting that manages to raise what most people call "sappy" to a level for me that I don't find it so. Plus, I'm a sucker for a happy ending, even if you do have to put up with a little mush to get there.

What I also found interesting were the scenes in the reformatory. Ruby's "cellmates" are sympathetic, believable and even entertaining characters, from Bertha, who gives Ruby her mother's ring for the wedding, to Sadie, who will start trumpeting her socialist beliefs at the drop of a hat. During a scene in the chapel, the movies attempts to show the diversity (for lack of a better word) of the inmates by showing a woman who is obviously Jewish, and one who is Asian. An unusual move at the time, when most minorities played maids (such as Louise Beavers does in this film) or other such characters. I've heard some praise for the movie's (mostly) realistic portrayal of reformatory life. Also interetsing is one of Sadie's diatribes about the class differences of the time: society debutantes aren't put in jail for the offenses that lower-class women such as themselves have committed, she says, yet there they are, serving time for public drunkenness, cavorting with sailors, and other "crimes" that are laughed off when committed by the wealthy. Sadly, not much has changed since 1933 in that regard.

Well, I went on longer about that movie than I intended. Moving on...

We also watched Wife vs. Secretary, which is probably the first JH movie I ever saw, and I bought it because of Myrna Loy and Clark Gable; I'm not sure I was much familiar with Harlow at the time. It's a movie I enjoy because it has a little bit of everything: comedy, romance, drama, and so on.

Jimmy Stewart plays Jean's boyfriend Dave, who gets fed up by her attention to her job and her crush on Gable, her boss. Myrna also gets jealous (goaded on by her mother-in-law, May Robson) and leaves Gable when she suspects that Jean has flown down to Havana to join Gable on a trip for romantic purposes. As matter of fact, it is for legitimate business reasons, and all above board, something which Jean eventually convinces Myrna of by using a little reverse psychology: Jean urges Myrna not to go back to Gable, because if his wife leaves him, he'll turn to her, his secretary, for comfort, and she won't turn away. Myrna says at first that she's still going; Jean responds, "You're a fool, for which I'm grateful," which I think is a great line, especially the way Jean says it. She's not gloating that she'll get Gable, she's merely stating the fact, and also mentions that of course he won't be as happy with her as he would with Myrna, but she doesn't mind taking him second-best. A very well done scene, by both actresses.

Naturally, Myrna comes back, the husband and wife are happily reunited (with a big smooch) and Jean walks out alone, in a scene that is rather poignant; Jimmy is waiting outside, and he tells her he loves her, and he's learned not to look for trouble, "because if you don't find it, you'll make it." Presumably engaged once again, they drive off into the night. Fade to black.

On a final note, Myrna said in her autobiography that the role of Helen "Whitey" Wilson in Wvs.S was the role of Jean's that was most like her in real life: a modest and decent person with a good heart, who didn't speak in a squawk or wear dresses cut down to her navel.

Painful to watch, for a variety of reasons

2005-03-28T13:04:00.000-05:00

(Before I begin, I'll admit that many of the movie reviews that will be posted here have been previously posted on Amazon. I'm going to bring them over bit by bit.)

Reckless (1935)
starring Jean Harlow, William Powell, Franchot Tone, May Robson, Nat Pendleton, Ted Healy.

Rating: 3 out of 5 stars

This picture seems especially designed to torture Jean Harlow, and to a lesser extent, her fans.

Her character Mona Leslie marries unstable alcoholic playboy Bob Harrsion (disturbingly well played by Franchot Tone -- he's like "The Lost Weekend" without the happy ending), whose "sadness goes so deep I couldn't make him happy," and he shoots himself in the head while Mona and her friend/manager Ned (William Powell) are in the next room.

Whoever had the idea to put Harlow in such a role shortly after the suicide by gunshot of her husband Paul Bern must have been extraordinarily cruel, or stupid, or both (David O. Selznick, I'm looking in your direction). Mona is left alone to struggle for custody of, then to raise, her son by Harrison; in real life, all of Jean's pregnancies were teminated at her mother's insistence.

In another kind of irony, Ned is secretly in love with Mona and proposes to her at the end of the movie; in real life, Harlow and Powell were lovers and she was desparate to marry him, but he strung her along until her death, unwilling to commit.

The musical numbers of the film inadvertantly become another harsh treatment of Harlow, as it become painfully obvious that she can neither sing (it's dubbed, and it's not even close to Harlow's real voice) nor dance (despite attempts at trick photography, the double is easy to spot), and to Jean's credit, she seems to know it, seeming very stiff and uncomfortable during these parts of the film.

I guess my knowledge of Harlow's life (via David Stenn's biography) made this movie seem so depressing to me; perhaps someone who's a fan of Harlow's but doesn't know much about her personally would enjoy it more. I doubt it, though; its only saving grace is some of the amusing banter between Ned and Mona's Granny (May Robson).

Characters Actors I Love: Eugene Pallette

2005-03-26T15:00:00.000-05:00

I’ve seen Eugene Pallette in only two movies: My Man Godfrey and The Adventures of Robin Hood, but anyone who’s seen him act at all could never forget him. I hate to keep quoting IMDB all the time, but their description of him as a "gargantuan-bellied, frog-voiced character actor" is right on the money. If you’re familiar with child actors George "Foghorn" Winslow or Billy "Froggy" Laughlin, then imagine them as big grown men, and you’ll have the idea.

Eugene was born in Kansas to theatrical parents, and he started performing on stage as a child. He worked as a street car conductor before he began his career in films in 1913, appearing in 242 films between then and 1946. He appeared in two of D.W. Griffith’s films, The Birth of a Nation and Intolerance. Other well known films in which he performed include The Three Musketeers (1921), The Ten Commandments (1923), Huckleberry Finn, Topper, and Mr. Smith Goes to Washington.

My favorite role of Eugene’s is that of Alexander Bullock in My Man Godfrey. Seemingly the only sane member of the family, he can only watch with Godfrey in amazement (making the occasional wisecrack) as his wife and daughters run around like maniacs. His best line: "All you need to start an asylum is an empty room and the right kind of people." Runner up: "Life in this family is one subpoena after another." His exchanges with Alice Brady, who plays his loopy wife, are priceless.

Eugene’s political views were, apparently, quite far to the right, and his "bomb paranoia" led him to purchase property in Oregon which he turned into a well-stocked compound, in case the Russians ever attacked. Clark Gable would visit him there sometimes to hunt and fish. He died in 1954 and is buried in Greenfield Cemetery in Grenola, Kansas.

Character Actors I Love: Jean Dixon

2005-03-25T20:57:00.000-05:00

I’ve seen Jean Dixon in two movies: My Man Godfrey, and Sadie McKee. Both times I thoroughly enjoyed her dry sense of humor. For example, take this exchange from Godfrey, where she plays Molly, the Bullocks’ maid:

Godfrey: May I be frank?
Molly: Is that your name?
Godfrey: No, my name is Godfrey.
Molly: All right, be frank.

She has a more substantial role in Sadie McKee, playing Joan Crawford’s best friend Opal, who stands by Sadie through all her adventures. Opal is cynical but still a romantic. She’s not adverse to riding the coat tails of Sadie’s good fortune, but never comes across as greedy; her opportunism still has a good-natured innocence to it. Yes, she wangles a diamond bracelet out of Sadie’s tipsy fiancée while they’re out shopping, but you don’t get the impression that she’s only out for the money. If she can get something for herself, okay, but it’s not her primary motivation. Opal genuinely cares about Sadie. If I were a jilted girl alone in 1930s NYC, I’d want Opal for my pal.

Jean only appeared in 13 movies, usually as the wise cracking sidekick to the leading lady. However, her acting career had quite a start: her theater debut was on a Parisian stage with Sarah Bernhardt while a student at a French university. She returned to the US in 1921 and performed on Broadway before going to Hollywood in 1929. Jean’s last movie was in 1938; I don’t know any details about why she stopped making movies or what she did afterwards. She died in 1981 in New York City.

Character Actors I Love: Alan Hale (Sr.)

2005-03-23T20:57:00.000-05:00

I’ve only seen Alan Hale in five films: Destination Tokyo, The Adventures of Robin Hood, The Sea Hawk, The Prince and the Pauper, and It Happened One Night (and the last two are smaller supporting roles) and yet I love him to death, he’s one of my favorites. He appeared in 203 movies between 1911 and 1950 (three of them released in the last year of his life; impressive considering he died in January) and also directed eight, mostly during the silent era. But, wait, that’s not all! He also invented the folding theater seat, hand fire extinguishers and greaseless potato chips, or so says Leonard Maltin. [ETA: He was also in Of Human Bondage, which I've seen, but I totally do not remember him.]

When I say Alan Hale you probably think of The Skipper from Gilligan’s Island; that was Alan Jr., who became known as plain Alan Hale after his father’s death. They looked a lot alike, and had the same cuddly-guy kind of appeal (although Alan Sr. did play more than a few heavies in his career, but it never detracted from his ability to play nice guys, too). Alan was a featured member of the Warner Brothers Stock Co., their group of character actors from the 1930s and 40s (if I find out who any of the others are, I’ll let you know). Another notable fact about his career is that he had a supporting or cameo role in twelve of Errol Flynn’s movies.

Of the two of Alan’s larger performances that I’ve seen (Tokyo and Robin Hood) I can’t pick a favorite, so they’ll tie for first. In Robin Hood, he plays Little John, and if you see the movie you’ll find out where Warner Brothers got the "dodge! turn! parry! spin!" scene from that Daffy Duck/Porky Pig cartoon (which is an extra on the RH DVD). He’s jolly and adorable, basically, just as he is in Destination Tokyo, as the submarine’s "Cookie." When he dresses up as Santa to give presents to the crew, I just wanted to hug him. The haircut scene is also very funny.

The first role I ever saw him in was that of the singing driver "Danker" who picks up the hitchhiking Clark Gable and Claudette Colbert in IHON. ("A woman in looooooooove is very seldom hungryyyyyyy..." Hee.) He had a wonderful voice, and in fact attempted a career as an opera singer before becoming an actor.

Alan was married to Gretchen Hartman (also an actress) and had two other children besides Alan Jr., although I don’t know their names or anything about them. He is buried in Forest Lawn Glendale, Whispering Pines section.

P.S. Quick story about Alan Jr. from the IMDB that totally made me cry: While battling cancer, he lost a lot of weight. When a child inquired about his weight loss, Hale simply told him that he was going to be playing Gilligan in a new Gilligan's Island show. I get all squishy inside when I hear stories like this about the ol' Skipper. He was my absolute favorite on Gilligan's Island.

Next up for CAIL, I think maybe Walter Connolly, everyone's favorite father-to-the-socialites.

Characters Actors I Love: Jessie Ralph

2005-03-22T20:18:00.000-05:00

The IMDB describes Jessie Ralph as a "thickset, homely, plump-faced, matronly character actress." Well, yes, but they don’t mention the funny. I’ve seen Jessie in seven movies: Double Wedding, The Last of Mrs. Cheyney, After the Thin Man, Camille, Captain Blood, I Live My Life, and Evelyn Prentice.

When she’s not playing a bit part like "Nanine, Camille’s maid," or Errol Flynn’s housekeeper, and sometimes even then, she totally steals the scenes she’s in with her hilarious delivery. Just the way Aunt Katherine says "Nic-o-las" in After the Thin Man sets off the giggles. Whereas May Robson (my other favorite grandma-type) had a high-pitched, sometimes trembly voice, Jessie’s voice was much deeper and perhaps for that reason, lent itself more to comedy. One of her movies I would like to see is Love Is a Headache, where she plays "Sheriff Janet Winfield," because the idea of Jessie as a sheriff, ordering the men folk around, has lots of comedic potential.

Biographical information on Jessie is scarce; other than the fact that she performed on Broadway before coming to Hollywood and was married to a Bill Patton, I can’t find much about her. There's a gap in her career between Such a Little Queen in 1921 and Child of Manhattan in 1933 that I'm at a loss to explain. She died in 1944 in her hometown of Gloucester, Massachusetts, so I’m assuming she retired from pictures and spent her last years at home. (Her final movie was 1941’s They Met in Bombay.) She's buried in Mount Pleasant Cemetery.

One other reason I like her: if she wore glasses, she’d look just like my grandma. :)

Tracy & Hepburn

2005-03-20T21:11:00.000-05:00

So I've finally (and I guess it was about time) seem my first Tracy/Hepburn movie, Adam's Rib. It came on TCM just as my dad and I were sitting down to dinner, and he loves it, so we watched it.

Maybe I'm too jaded by my years of watching Law & Order in its various incarnations, but all through the trial scenes I kept muttering, "It's not about women's rights, it's about the fact that she shot her husband, she admits she shot her husband, so can we please disperse with the irrelevant 'examples of American womanhood' witnesses?" Okay, it was funny when the circus lady lifted Spencer Tracy over her head. Hee. And I get that it was 1949 and it's also a movie, and a "battle of the sexes" comedy at that, so obviously we're not up to Dick Wolf standards here or anything. The courtroom scenes were funny, especially when they both duck under the table to pass notes or blow kisses. Very cute.

I thought Will Wright, who played Judge Marcasson, seemed familiar; or just his gravelly voice, actually. Of course I looked him up on IMDB, and I guess I'm remembering him from Mr. Blandings Builds His Dream House, or maybe it was as the voice of "Friend Owl" in Bambi. Or it's entirely possible I'm confusing him with someone else altogether. Ooh, I bet it's Eugene Pallette, another gravelly-voiced actor who was in My Man Godfrey and The Adventures of Robin Hood. Yeah, I bet that's it.

Anyhow. Adam's Rib. I liked it, and while I'm not rushing out to rent more Tracy & Hepburn movies right this second, I will give some of their others a look.

A funny story that Peter Bogdanovich told after the movie (he's hosting The Essentials now) : Spencer Tracy was asked once about the fact that they were always billed as "Tracy & Hepburn." Hadn't he ever thought about "ladies first"? Tracy replied, "This is the movies, chowderhead, not a lifeboat." Heh.

Double feature

2005-03-19T22:04:00.000-05:00

Just got finished watching a double feature of Bombshell and Monkey Business. Bombshell I've seen several times before; it's not my favorite Harlow movie (although I love that it was so true to her life, whether that was intentional or not) but the behind the scenes glimpse of Hollywood was fun.

I enjoyed Monkey Business, although the silly kids games did go on a wee bit too long in some scenes. But Cary Grant and especially Ginger Rogers were adorable when they'd taken the potion and become young children, then ran around the board meeting chasing each other. I think Charles Coburn may become another "bit player I love," now that I've seen him in MB and also Gentlemen Prefer Blondes, although I don't know enough about him or his career to be able to tell whether he would qualify as a "bit player." He could have had an enormous career, for all I know at this point. (This just in: according to the IMDB, he won an Oscar in 1943 for Best Supporting Actor for The More The Merrier, and was considered a "top billed character star." Maybe I should change the title of my future profiles to "Character Actors I Love.")

Anyhow. It was a good movie and I enjoyed it. I'm not sure I'd rush out and buy it, but it was well worth a Netflix rental. I'm off now to watch the special features, which consist entirely of trailers of other Marilyn Monroe movies (since this disc was in the second part of the Diamond Collection ... and here's part one.)

P.S. George Winslow was also adorable. "What's the matter, don't you like children?" Wonder where he is today?

Bit Players I Love: May Robson

2005-03-18T20:12:00.000-05:00

I’ve seen May in five movies (a number that surprised me; I thought it was more; maybe it’s the impression she made): Wife vs. Secretary, Anna Karenina, Reckless, Dancing Lady, and Dinner at Eight.

She also appeared in Bringing Up Baby, A Star is Born (1937), and, oddly enough, a 1941 movie called Million Dollar Baby. No idea what it was about. She appeared in 64 movies altogether, between 1915 and her death in 1942.

May was born Mary Jeanette Robison in Australia in 1858, and is the earliest-born actress to be nominated for an Oscar. She took up acting to support her three children after her first husband died, appearing on Broadway before going into motion picture work.

May was most often cast as a grandmother, mother-in-law, or servant. (In fact, some of her roles are described simply as "Grandmotherly Actress" and "Penny, the Housekeeper." Also a lot of "Aunt So-and-so" roles.) The first movie I saw her in was Dancing Lady, where she plays Franchot Tone’s little old deaf grandmother. (Aside: my spell check corrected Franchot as "Franc hot." He sure was, wasn’t he?) It’s a small part but she makes the most of it. When Franchot brings his new girlfriend Joan Crawford home to meet Granny, she trumpets, "So Todd’s brought a woman into this house at last! I didn’t think he had it in him! [looks Joan up and down] Good healthy stock! When’s the wedding?"

I think my favorite role was that of "Mrs. Granny Leslie" in Reckless. A mediocre movie that features poor Jean Harlow vainly attempting to portray a singing and dancing star, May plays Jean’s grandmother. Her best scenes are with William Powell, who plays Jean’s would-be suitor (who, of course, eventually wins her hand in the end). Some of their banter is just so cute and hilarious. (It doesn’t always translate well into writing; some of it is the way she speaks the lines.) Next time I watch the movie I'll jot down some quotes and add them here.

May died in 1942 and is buried in Flushing Cemetery with her second husband. Stop by and pay her a visit.

Dear Mr. Gable, I am writing this to you...

2005-03-17T20:09:00.000-05:00

Anyone who loves classic movies knows this song. I love classic movies, and decided to start a blog to write about them. I love Clark and a host of other actors and actresses. We'll get to them.
My favorites may not be "traditional," but they're the movies I watch over and over. Most of them are black and white, from 1930-1950 (but some beyond).

Next up: my first installment of "Bit Players I Love," featuring May Robson.

ETA: Just for posterity's sake, here are the lyrics to "Dear Mr. Gable (You Made Me Love You)," which was sung by Judy Garland.

Dear Mr. Gable, I am writing this to you
and I hope that you will read it so you'll know
My heart beats like a hammer
and I stutter and I stammer
every time I see you at the picture show.
I guess I'm just another fan of yours
and I thought I'd write and tell you so.

You made me love you
I didn't wanna do it, I didn't wanna do it.
You made me love you
and all the time you knew it, I guess you always knew it.
You made me happy, sometimes you made me glad.
But there were times, sir, you made me feel so sad.

You made me sigh 'cause
I didn't wanna tell you, I didn't wanna tell you
I think you're grand, that's true
Yes I do, 'deed I do, you know I do.
I must tell you what I'm feeling
The very mention of your namesends my heart reeling.
You know you made me love you!

[spoken to a picture of Gable]

Aw, gee, Mr. Gable, I don't wanna bother you! Guess you got a lotta girls that tell you the same thing. And if you don't wanna read this, well, you don't have to. But I just had to tell you about the time I saw you in "It Happened One Night". That was the first time I ever saw you, and I knew right then you were the nicest fella in the movies! I guess it was 'cause you acted so, well so natural like - not like a real actor at all, but just like any fella you'd meet at school or at a party. Then one time I saw you in a picture with Joan Crawford, and I had to cry a little 'cause you loved her so much and you couldn't have her - not 'till the end of the picture, anyway. And then one time I saw you in person. You were making a personal appearance at the theatre, and I was standing there when you got out of your car, and you almost knocked me down! Oh - but it wasn't your fault! Naw, I was in the way. But you looked at me, and you smiled. Yeah! You smiled right at me as if you meant it, and I cried all the way home just 'cause you smiled at me for being in your way! Aw, I'll never forget it, Mr. Gable. Honest. You're my favorite actor!

[singing]

I don't care what happens, let the whole world stop.
As far as I'm concerned, you'll always be the top,
'cause you know you made me love you.