- 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.
Showing posts with label Errol Flynn. Show all posts
Showing posts with label Errol Flynn. Show all posts
Wednesday, June 22, 2011
Hot summer movies
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.
Monday, March 29, 2010
Wednesday, January 28, 2009
Snow day = movie day!
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.
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| 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.
Monday, October 13, 2008
Ah, bio pics!
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.)
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.)
Saturday, April 19, 2008
Inside jokes are hilarious
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.
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.
Saturday, December 17, 2005
As you can see...
...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.
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.
Friday, July 22, 2005
Movies are the best medicine
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.
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.
Monday, June 27, 2005
Return of the Box Set
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)
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.
So, next up is...
Flynn and Hale: The Buddy Movie Collection
- Adventures of Don Juan
- Dodge City
- Adventures of Robin Hood
- Desperate Journey
- Footsteps in the Dark
- Gentleman Jim
- Prince and the Pauper
- Private Lives of Elizabeth and Essex
- Santa Fe Trail
- Sea Hawk
- The Sisters
- Virginia City
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)
- Dracula
- Murders in the Rue Morgue
- White Zombie
- The Black Cat (1934)
- The Raven
- Black Friday
- Son of Frankenstein
- Ghost of Frankenstein
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.
Thursday, June 02, 2005
Dodge City
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. ;)
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. ;)
Sunday, May 22, 2005
50's Musicals and Queens of England
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.
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.
Saturday, May 21, 2005
Playing catch-up
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.
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.
Tuesday, April 12, 2005
Captain Blood, redux?
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!
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!
Wednesday, March 23, 2005
Character Actors I Love: Alan Hale (Sr.)
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.
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.
Tuesday, March 22, 2005
Characters Actors I Love: Jessie Ralph
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. :)
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. :)
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