Quantcast
Channel: A PERSON IN THE DARK
Viewing all 169 articles
Browse latest View live

THE BORZOI - ELEGANT ACCESSORY OF THE STARS

$
0
0
I am not a fan of using animals as accessories, but there is no denying that a beautiful beast can class up a joint. lately, all of the "it" people like to have a mini  pooch stuffed in a carry-all, but back in the day, nothing said elegance like the sleek Borzoi (also know as the Russian Wolfhound). They were the dogs of royalty, fashion, and of course, movie stars.

1923: A Chic Parisian Needs 2 Borzois For the Ultimate Style Statement
Borzois of the Stars

Theda and her Borzoi


Olivia de Havilland and her elegant Borzoi

Mary Pickford has 2 Borzois! One for hubby Doug, perhaps?

Harlow and Borzoi: which is more glamorous?

Mae West and her Borzois. I'll bet they are a male and female

Lovely Olive Thomas and her Borzoi

Pola Negri and Borzoi, a dog fit for a diva
Garbo snuggles with a Borzoi
Ethel Barrymore likes the dramatic appearance of the Borzois

Kim Novak vamps it up with a couple of Borzois

A poetic portrait of Leila Hyams and her Borzoi

Marilyn's Borzoi looks a bit apprehensive
Author Anita Loos knows what adds elegance to a portrait
Carroll Baker as Harlow: Borzois add a touch of '30s elegance

Carol Kane on the set of "Valentino" -
again the Borzoi suggests elegance of an earlier time

Diana Rigg updates the elegance of the Borzoi
Hopefully, all dogs in the photos were loved and cared for. Being a sex symbol is no fun when there are no treats and belly rubs at the end of the day.

Keeping up with the Barrymores: If Reality TV Was Around Then!

$
0
0
This is my contribution to the Barrymore Trilogy Blogathon, hosted by The Good Old Days of Classic Hollywood. Click HERE for more great posts about this Royal Family of stage and screen.

Kardashians? Nah - if I am going to spend reality time with a Hollywood family, Id much rather spend it with a clan like the Barrymores. Now there's a family worth following!
YES

NO
Episode One:  Dramatic Beginnings

Herbert Arthur Chamberlain Blythe (1849-1905), the son of a surveyor for the British East India Company, here's the call of the theater and adopts the stage name Maurice Barrymore to spare his respectable family the shame of having a child on the stage. He made his way from India to England to Broadway, where he met, fell in love with and married the actress, Georgiana Drew (1856-1893). Georgiana came from acting family, John and Louise Lane Drew. Louisa was a thrice-married woman, quite scandalous at the time. 
The Dashing Maurice Barrymore
I'm sure there was much chatter about that over the mutton chops.
The Lovely Georgiana Drew Barrymore
Georgiana and Maurice had three children (Ethel, Lionel and John) and were happy at first, but, alas, hubby possessed a wandering eye and the marriage became yet another unhappy theatrical venture.  His rumored amours were: Helena Modjeska, Mrs. Fiske, Mrs. Leslie Carter, Lillian Russell and - gasp! - Lily Langtry. Take that, George Clooney!! Poor Georgiana died of tuberculosis at age 36, leaving her children in the care of her mother in Philadelphia. Maurice, who had limited contact with his children until their teens, continued to act. At the time of his death (from syphilis), he was playing vaudeville. 
Georgie with children Ethel, Lionel and John.
There are no known photos of Maurice with his 3 children.
Juicy, no? Stay tuned for Episode 2 of Keeping Up With the Barrymores! 


Episode 2: Oh those kids!

While mama and papa Barrymore were colorful characters, they couldn't hold a candle to their world-famous progeny. Bursting with intelligence, talent beauty and and unsurpassed thirst for life, Lionel, Ethel and the great John Barrymore made sure that their famous name would never be forgotten.

Ethel

Lovely young Ethel began working on stage while still in her teens. Before long she was the toast of London and soon men were falling at her dainty feet. One famous suitor was Winston Churchill and, while Ethel decline to marry him, she maintained an intimate "friendship" with old Winnie for the rest of her life. 

The lovely young Ethel: no wonder the boys were mad for her

Her fame abroad paved the way for a triumphant return to the states and a deserved reputation as a great Broadway star in the early part of the 20th century. While she dabbled in silent cinema, she is chiefly remembered by film fans for her later roles in such films as "The Spiral Staircase" (1946) and "Rasputin and the Empress" (1932) in which she appeared with brothers Lionel and John. 
The Great Lady of the Theater
Ethel also dipped her dainty toes in radio and TV, but lest you think this lady a bit of a prig, she was a Barrymore by blood and that meant she was a lusty lass. Besides Churchill, she raised quite a romantic rumpus across pond, breaking the hearts of a Duke and several famous actors. She finally married Russell Colt (of the Colt firearms fame) in 1909. It was a rocky marriage that ended in divorce in 1923. While she never remarried, it is hard to imagine Ethel being lonely. She passed away in 1959 at age 79, her reputation as a great lady of the theater carved in stone.

Lionel

Big brother Lionel was the non-glamorous Barrymore. He began his career on the stage, as all good Barrymores do, but Lionel took to the new medium of film with gusto. From the earliest days of silents with D.W. Griffith to the golden age of the big studios, Lionel Barrymore was a distinguished and reliable (if sometimes grouchy) presence.


An intense Lionel Barrymore
Although Lionel was a talented actor, artist and composer, his private life was a little tame compared to his flamboyant family. He did enter into a squabble with brother John over the "honor" of his wife, actress Irene Fenwick. It seems Irene had dallied with wild brother John before she settled down with Lionel for a happy marriage in 1923 that lasted until her untimely death in 1936. 


The meanest man in town
Later in life Lionel suffered from health problems that caused him to suffer great pain while walking and eventually landed him in a wheelchair from the late 1930s until his death at age 76 in 1954.

John

The best known Barrymore, the best looking, the greatest star of the family and by far the biggest hell raiser, the legend of John Barrymore is larger than life. His reputation as a great actor is well known, but if this reality show is going to make it to episode 3, we need to follow JB on his off-stage and off-screen exploits. 
The Great Profile: a heart throb of the stage and screen
Already an alcoholic as a teenager, his reputation as a carouser and a ladies man was epic. As the baby of the family, John was a handful and the apple of his grandmother's eye. It seems women could not resist him from the start. He thought he might like to be an artist, but the lure of the stage was too great for him to resist. Before his great stage success, an early important love was the notorious and beautiful Evelyn Nesbit. 

Once Barrymore turned his attentions full-time to the theater there was no denying his beauty, presence and talent. He was the matinee idol deluxe, but decided to marry socialite Katherine Corri Harris in 1910. He soon described the union was a "bus accident." Katharine said he drank too much. The couple divorced in 1917.

During this time John began dividing his time between the stage and silent films. While the stage claimed his heart, films were a good source of much needed income. He also found time to romance the married writer, Blanche Oelrichs, who published poetry under the name "Michael Strange." Blanche became pregnant in 1920 and she managed to divorce her husband and marry John 6 months before daughter Diana was born.


Barrymore as Hamlet

Meanwhile, Barrymore had hit his stride on stage and screen. The legendary performances as "Hamlet" and "Richard III" wowed the critics and film fans were mesmerized by his "Dr. Jekyll and Mr. Hyde." As his second marriage began to crumble, Barrymore began an affair with his 17-year old "Beau Brummel" co-star, Mary Astor. However, it was his co-star in 1926's "The Sea-Beast" that won his heart. Falling head over heels in love with beautiful Dolores Costello, Barrymore divorced his second wife and embarked on his third marriage. Sadly, alcoholism destroyed this union, as well.


Beautiful Dolores Costello: John's third wife
and Drew Barrymore's grandmother
Barrymore's beautiful speaking voice made the transition to talking films easy. He was aging, but still managed to play the lover, notably to Garbo in 1932's "Grand Hotel." But his days as the ideal lover were coming to close. The physical deterioration due to alcoholism was becoming increasingly noticable and the great Barrymore now began playing a parody of himself - the washed up has-been. His performance in "Dinner at Eight" is almost too sad to watch. He still managed a home run or two (1934's "Twentieth Century" is still a favorite of classic film fans), but it became well known that he was increasingly unable to remember his lines and was holding up productions. In 1934 he suffered a collapse and Costello was granted a divorce in 1936. By then, Barrymore, the jolly, witty bon vivant, had become a shadow of the man he once was.  


"The Twentieth Century" - one of Barrymore's greatest roles
He continued to work (with the aid of cue cards) as a supporting player in such A-list films as "Marie Antoinette" (1938) and "Romeo and Juliet" (1936), and even managed one last, great starring role in 1939's "The Great Man Votes," but time was running out. With his last wife, Elaine Barrie, he toured in a dog of  play called "My Dear Children." The show was a success primarily because Barrymore, unable to remember his lines, made up new ones every night and freely let the expletives flow. Sometimes he was drunk. The actor who set the theater world on fire with his Hamlet was but a memory.

His final performances were on radio, continuing with the self-parody that had become his stock in trade. In 1942 he died of cirrhosis of the liver. Legend is that fellow hell-raisers Errol Flynn and Raoul Walsh stole Barrymore's embalmed body before his funeral to share one last toast with their departed friend. Biographer Gene Fowler denies the legend, but it sure would make for a great show.

Episode 3: The Curse, the Legacy and Hope

Diana Barrymore

Poor Diana Barrymore. The daughter of John and Blanche, she never had a chance. The child of divorce, she did not have a close relationship with her father until she was an adult. Her famous name and her pretty face got her on the cover of a magazine and a role in a play on Broadway. Hollywood wanted her, too, but she had inherited her father's weakness for alcohol. In 1942 she was called the year's "Most Sensational Screen Personality." By 1950 she was broke, depressed, a drug addict and an alcoholic. In 1957 she published her autobiography, "Too Much Too Soon," and by 1960, after 3 marriages, she ended it all with a handful of sleeping pills and an alcohol chaser.

John Drew Barrymore

The son of John and Dolores, John Drew Barrymore was a stranger to his father. His famous name and good look assured his opportunity in film. He was afforded some good roles, but the Barrymore curse followed him as surely as it had his father and his half-sister, Diana. He became better known for public displays of drunkenness and arrests for drug use and spousal abuse.

He managed to find work on television, but by the 1960s his addictions and mental problems were so great that he was unable to function, much less work. Married four times,he had four children. His last child, Drew, cared for him until his death in 2004 from cancer.

Drew Barrymore

Can the curse be broken? Finger crossed, because Drew Barrymore has shown herself to the family member who can beat the odds. A little bit of Ethel and a little bit of Dolores, she's the cute kid who beat the booze and is living the life that can bring some luster and respect back to the Barrymore name. You go girl - you've done it and you never let the world forget you're a Barrymore, a member of the theatrical Royal Family. We are all staying tuned for episode 4!







The Italian Vamps: All For Love

$
0
0
This is my entry in the Anti-Damsel blogathon, hosted by Movies, Silently and The Last Drive In. Click HERE for more great posts about the great, strong women of film. This post also serves as the second part of the 3-part series on Vamps. Click HERE for the first entry about Theda Babra and Nita Naldi. 

The Vamp, the term for ladies who, in the early days of the 20 th century, liked sex, was a potent antidote to the virginal heroines of the silent screen.  The cure for too much Mary Pickford might be “take a Theda Bara and call me in the morning.” Too much Lillian Gish? A shot of Nita Naldi might cure what ails you.

During these vamp-ish times, a trio of Italian divas tore up the screen and added an element of suffering and passion on a grand, operatic scale. They made Theda look positively sedate. They were never damsel s in distress in the strict sense. No, the overwhelming passion and were usually the cause of the distress of their own making.
Lyda Borelli

Beautiful and fashionable, Lyda Borelli was an Italian stage and screen actress of great influence. Lyda was born in 1887 into a family of actors. By the time she was 18, she had already made a name for herself on the Italian stage, based on her beauty, talent and fashionable appearance. Her looks, mannerisms and clothing were copied by her many admirers.  Young women who copied her looks were said to have dressed in the “borellismo” style.

In 1913 she made her first film (“Everlasting Love”). It was a smash and her success now extended beyond the Italian stage to the world of screen. She was the epitome of florid romance, desire and sensuality.  Her characters emotionally operatic and usually ended up at the wrong end of a bottle of poison or a dagger (her fate was death in more than half of her films).


She continued her highly successful film career through 1918, when she married a count and abruptly retired. At her last theatrical performance the audience wept and pelted her with flowers, so great was her enchantment.   Lyda spent the rest of her life caring for family and living the life of a countess until her death in 1959. Clearly, the drama was for the stage and screen only.

Francesca Bertini


Francesca Bertini (born in 1892) was also the child of an actress. Like Lyda Borelli, she got her start on the stage, but unlike Lyda, she moved quickly into the new art of the silent films.

She began her movie career in 1913 and quickly established herself as a strong, elegant and talented performer. Her fame quickly spread beyond the borders of Italy. By 1915 she was earning more than Mary Pickford. While her roles included the heavy-duty characters of Odette, Tosca and Camille , her acting was considered to be more natural and understated than that of the typical vamp. She suffered, she loved, but she did it “naturally.”


Bertini was able to move into sound films with limited success, but the Italian film industry took a nose dive starting in the 1930s and during World War II. She was offered a Hollywood contract by Fox, but she had retired after the war, enjoying her life with her wealthy Swiss husband. She had made but a handful of films from 1930 – 1943. She appeared for Bernardo Bertolucci in is 1976 film “Novecento (“1900”) and consented to an interview in 1982.  Francesca passed away at age 93 in 1985.

Check out this fabulous diva in all her glory. What a woman.




Pina Menichelli

Think decadent, think bodice-ripping, think hand-wringing and eye-popping and you pretty much have the acting style of silent screen  vamp Pina Menichelli, known as  "our lady of spasms."




Like her sister-vamps, Pina was born into a theatrical family and acted as a child, but unlike Lyda and Francesca, she was a passionate off-screen as on. After a failed teenage marriage to an Argentine gent, Pina began her Italian film career in 1913 at the age of 23. Critics took notice and she soon entered the rarefied queendom of fellow divas Borellia and Bertini. She attained international stardom in "The Fire" and "Royal Tiger," 2 films whose names aptly describe Pina's ardent, florid, and dangerous persona.




Pina maintained her stardom through 1923, when she retired. Although she was estranged from her first husband, he would not divorce her. Upon his death in 1924 Pina was free to marry again and, like the true diva she was, she destroyed all physical evidence of her great film career and never spoke of it again in public for the rest of her life. Pina Menichelli passed away at age 94 in 1984. 

Lyda Borelli, Francesca Bertini and Pina Menichelli- divine divas and vamps who were larger than life and definitely bellisima!


Tragic Stars: Alma Rubens

$
0
0
There is no shortage of tragic star stories from Hollywood, but few stars ever get to write of their own dramatic demise. 



Alma Rubens is remembered not for her successful (but short) time as a movie star, but for the drug addiction that cut her career and her life short.
In a serialized autobiography, published in several newspapers and magazines in 1930 - 1931 and called “Bright World Again,” silent star Alma Rubens told her harrowing tale to the public. Beautiful, talented and married to sexy heart-throb Ricardo Cortez, Alma seemed to have it all. How could this stunning and successful girl go from glamorous star to pathetic addict in just a few short years?


Alma Rubens: Her face was her fortune

Alma's story starts with a poor but loving childhood in San Francisco. From the beginning, her mother was the one constant and stabilizing force in her life. But Alma was a wayward girl. She had a strong sense of adventure and was easily tempted to stray off the path she knew was safest.  In order to help her family, Alma needed to work, but clerical or retail jobs were not for her. Her pretty face and form got her noticed and, by 1916, she was in the movies. An early marriage to the much older star, Franklyn Farnum, lasted only a month or so, with Alma claiming he dislocated her jaw. Poor little Alma, she seemed so gentle, but was always getting into scrapes.

Alma worked her way down from San Francisco to Hollywood, managed a contract with W.R. Hearst’s Cosmopolitan Pictures and married her second husband, Dr. Daniel Carson Goodman, doctor and prominent film producer.  In Hollywood, Alma began to live a lavish life style, with beautiful clothes, furs and jewels.  However, Alma was restless. And sneaky.  Like other stars (notably Wallace Reid), Alma’s drug troubles started when she was treated for an injury. Her addiction was swift and Alma spares no one, not even herself, in her harrowing tale of her swift and painful decline.


The sweet and sophisticated look of Alma Rubens

At the beginning of her addiction, Alma managed to maintain her career, divorce the doctor and marry Ricardo Cortez (in 1926). Meanwhile, she was very adept at finding doctors to provide her with more and more morphine, her initial drug of choice. As she became increasingly dependent on the drugs, she became unreliable, unprofessional and unable to work. Her contract with Hearst was dissolved. She worked for a while at Fox and Columbia, but mainly kept very busy selling her personal possessions to feed her habit (notably some silken undergarments to a drug-dealing maid). Mother and husband tried to help her.  She was admitted several times to private sanitariums, but Alma proved to be an unwilling patient. Several times she escaped, even wounding a doctor with a knife. Finally, her family had enough and committed her to Patton Institute, surely the model for any psychiatric horror story every filmed.  Truly, the Snake Pit would have been an improvement. At Patton she suffered, and suffered greatly. Her awful story has to be read to be believed. Her dignity and sanity were compromised. But, after 7 months, she was released and she swore she was done with dope.


Alma and hubby, Ricardo Cortez
But, Alma never could stay away from it very long. Truly, this woman’s appetite for drugs was astounding.  In an effort to jump start her career, Alma and her husband went to New York and appeared together in a Vaudeville act in 1930. It seemed that the public liked Alma and she always got good reviews for her work. So much more the shame that she just could not kick her habit. In New York she and Cortez split (although they did not divorce) and Alma sunk into the depths of depravity, going to drug parties,  giving into random sexual encounters and running from the cops. She sold everything she owned, including furs and the last of the expensive lingerie, and ended up rooming with other ladies who shared her struggle.


Alma loved being a movie star
Time and time again Alma tried to kick the habit, but her addiction was too strong. In 193- she penned her story as a cautionary tale (and a bid to make some much needed money) and set off across the country to go home to California and her mother. She and a friend were travelling by car and she knew in her heart that if she didn’t leave New York and return home to her mother she would die. Her story ends with the hope that she will be able to achieve her dream.
Alma's lovely profile
Sadly, by the time Alma’s story was printed, she was dead. Arrested in San Diego on the suspicion of smuggling dope from Mexico she was jailed. Her mother came to her rescue, but by then, Alma had developed a cold that worsened into pneumonia. Her system, so weakened by abuse, could not combat the infection and on January 21, 1931, she was dead. It was confirmed that, at the time o her arrest, she was drug free.

Sadly, Alma’s screen achievements are largely forgotten. Her one foray into sound films, 1929’s “Showboat” (as Julie), is in tatters, with the sound missing.  Her fame rests on her tragic tale.


With John Gilbert in 1928's "Masks of the Devil"
Alma’s story in her own words and a brief biography can be found in Gary D. Rhodes' and Alexander Web's “Silent Snowbird.”

In 2015, Patton opened a museum, a record of the horrors of the treatment of addicted and mentally ill patients in the early 20th century.  By 1930, over 2,000 patients who died at Patton were buried on an on-site cemetery. The cemetery was full in 1930. The unclaimed bodies of those who died after that date were donated to science.

Hollywood's Hispanic Heritage Blogathon: John Sayles' LONE STAR

$
0
0
This is my entry in the Hollywood's Hispanic Heritage Blogathon, hosted by the lovey Aurora at Once Upon a Screen. Click HERE for mucho more!


I love this film. Everything about it feels authentic, everything from the town, the characters, the emotions and the secrets. It is my favorite John Sayles film, and that is saying a lot. Dealing with the deceptively ordinary, it is anything but. The overwhelming humanity makes you catch your breath, not so much as it unfolds before you, but maybe later, as you sit back and go “aha…of course.”

The story begins with the discovery of a skeleton in the Texas/Mexican border town of Frontera. Frontera is a melting pot whose diversity keeps it simmering. Turns out the bones belong to the hated sheriff Charlie Wade (Kris Kristofferson), who disappeared in 1957. By all accounts, Charlie was a real SOB – a corrupt tyrant, a bigot and thug. The Mexicans hated him, the blacks hated him and the whites weren’t too fond of him, either.  Legend has it that Charlie had absconded with $10,000 of county money. There are lots of legends and lots of back stories in Frontera. There are spoilers galore ahead, so if you’d prefer not to know how it all turns out, stop reading now.

He used to be a big shot....
The current Sheriff, Sam Deeds (Chris Cooper) is a man who got his job on the coattails of his wildly popular father, the late sheriff Buddy Deeds (Matthew McConaughey). Buddy was Charlie Wade’s deputy at the time of his disappearance and as glad as everyone was to see Charlie go, they were glad to see Buddy stay. It’s up to Sam to find out what happened to Charlie Wade.

Sam really, really wants another job......
Reluctantly, Sam must revisit the stories of the fathers and sons and mothers and daughters of Frontera in order to learn the truth. Otis “Big O” Payne is owner of nightclub and a leader in the town’s African-American community. His son, Delmore, is the base commander of the nearby Army base. Delmore has no respect for Otis, due to his cheating ways. Otis runs a somewhat shady establishment, but Otis learned long ago what had to be done to get along when men like Charlie Wade ran the show. Otis knows something, but what?

Good Cop/Bad Cop
Miriam Colon, the owner of a local restaurant, knows something, too, Sam has a particular dislike for Miriam because Sam was sweet on Miriam’s daughter, Pilar (Elizabeth Pena), but both Miriam and Buddy put the kibosh on romance. Sam thought it was because both parents disapproved of a white/Hispanic relationship.

Star-crossed lovers
By chance, Sam and Pilar reconnect and resume their love story. Meanwhile, Sam learns the final truth about everyone: Charlie tried to kill Otis because he thought he was being cut out of Otis’s illegal gambling profits, Buddy and his partner, Hollis, shot Wade to protect Otis and buried him in the desert, and Buddy and Miriam were lovers. As the last piece of the puzzle slips into place, Sayles’s story of diversity and community comes into focus. Buddy was Pilar’s father; Sam and Pilar are half brother and sister. And they don’t care. They agree to continue their thwarted romance and say to hell with the past. In a place where everyone is different yet the same, this feels right.

So many secrets in such a small town


Remember - there is mucho more at Once Upon a Screen!


CMBA Blogathon: Buster Keaton's "Our Hospitality"

$
0
0
This is my entry in the Classic Movie Blog Association Planes, Trains and Automobile Blogathon. Click HERE to view more fabulous entries about our favorite modes of transportation in film.



Buster Keaton loved trains.  “The General,” one of his most famous films, is about a man’s love for his train; a love that transcends his love for (an admittedly dopey) woman. Keaton found ways to incorporate trains in short films, long films, early films and late films. One of my favorite sight gags of all time – from Keaton’s 1920 short “One Week” – involves a locomotive. Check it out if you’ve never seen it. It never gets old.



But by far my most favorite train in all of Keaton’s films is the recreation of Stephenson’s Rocket for his first feature length film, 1921’s “Our Hospitality.”

The real Rocket

Buster plays Willie McKay, a dandified youth living in pre-Civil War New York. Unbeknownst to Willie, his family, the McKays, were engaged in an epic family feud with the Canfields for decades down South. Willie’s mother, now deceased, wanted to raise her boy away from the feudin’ and fightin’ and moved up North without ever telling her boy that the Canfields were the McKay’s mortal enemies. Twenty years later we find Willie, a true innocent, living with his aunt in the big city.

Willie gets around New York City on his Gentleman's Hobby Horse



One day Willie gets a letter informing him that he is heir to his father’s estate. Willie dreams of a great Southern mansion and immediately prepares to head down South. His aunt tells him of the feud, but Willie is determined to collect his inheritance. His method of transportation will be the train. This train.



Keaton and his team built a replica of Stephenson’s Rocket and train becomes one of the film’s most endearing characters. Based on the time period, he said that had a choice between the Rocket and The DeWitt Clinton and chose the Rocket because it was funnier looking. It also had personality. It was genteel, it was homey, it constantly jumped the tracks and magnified every bump and dip in its path. It was a modern mode of transportation that retained the elegance of an earlier time. The New York to Appalachia trip is beautifully photographed. There is a loving, nostalgic quality to the journey, as seen in Willie’s little dog follows the train to be with his master.

On this charming, unique and faintly ridiculous train, Willie meets, Virginia, the lady of his dreams. Unfortunately, he doesn’t learn until much later that Virginia’s last name is Canfield. After a harrowing, bumpy, dirty, and wholly delightful train trip, Willie and Virginia are in love. Virginia, also innocent of Willie’s pedigree, invites him to dinner to meet her family… a family that consists of a father and 2 brothers who remain rabid for McKay blood.


Willie and Virginia: Strangers on a Train

Willie, of course, is oblivious at first as the brothers try to rub him out. But, they are inept and Willie is just plain lucky. After many hilarious attempts on his life that are thwarted by Willie’s clever escapes, the 2 families finally bury the hatchet (sort of) when Willie bravely rescues Virginia from a raging river. In one of Keaton’s greatest stunts, he clings to a tree branch as it sweeps across the river, managing to pluck the drowning Virginia out just as she was almost carried over a waterfall. Willie and Virginia marry and the brothers lay down their arms (but Buster has a few pistols concealed in his coat – just in case). Oh, and, of course, Willie's inheritance was a shack.


Willie must always keep one eye open when the Canfield Boys are around

“Our Hospitality” was a real Keaton family affair. In the prologue, Buster’s infant son, Buster, Jr., played Willie as a baby. Virginia was played by his wife, Natalie Talmadge. While Natalie as not a star like her sisters Norma and Constance, she is quite lovely here and very convincing. The Engineer, who had to put up with much harassment on his journey, was played by Buster’s father, Joe Keaton, and it is a treasure to see them perform together.


3 generations of Keatons: Buster, Jr., Buster and Joseph Keaton

As Stephenson’s rocket roams the American landscape, navigating tracks laid over logs, rocks and gullies, Keaton’s eye for beauty is on full display. The journey and the mode of transportation are one: modern with an appreciation of the past. Keaton loved the steam that takes us places, but also loves the beauty and serenity of all of the places on the way.








Shadow of a Doubt: Girl Power!

$
0
0
This is my entry in The Universal Pictures Blogathon hosted by Silver Scenes. Click HERE for more Universal entertainment!


The Sick Rose

O Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm:

Has found out thy bed
Of crimson joy
And his dark secret love
Does thy life destroy
 - William Blake

I've never viewed Alfred Hitchcock's 1943 "Shadow of a Doubt" as a case for feminism, but lately I'm beginning to wonder....

Like Blake's sick rose, "Shadow of a Doubt" presents us with a sick, creeping evil that lurks beneath something lovely. A lovely town (Santa Rosa, California), a lovely average family (the Newtons), a perfectly charming visiting relative (that would be Uncle Charlie). Nothing is as it seems or should be.


When we first meet her, Young Charlie (a perfectly cast Theresa Wright) is restless. Lying on her bed, she is critical of her small town life and her ordinary family. She longs for some excitement, something to "shake things up." On the other side of the country her Uncle Charlie (Joseph Cotten in an unforgettable performance) is also lying in bed. He, too, views his world with disdain, but he does not long for excitement. He longs to elude the police and live another day.


Young Charlie has a sixth sense when it comes to her Uncle. She rushes to send him a telegram, only to find out that he has already sent one to her telling her he is on his way. The Merry Widow Waltz is inside her head while her Uncle, The Merry Widow Murderer, smiles at her across the table. But she can't see the worm in the rose. Not yet.



The longer Uncle Charlie stays, the more he begins to wear his welcome out with almost everyone except his sweet and simple sister (who he accuses of being just a gullible woman when the police try to infiltrate the Newton home with a phony magazine article ruse). He behaves boorishly at Mr. Newton's bank and place of employment and spews his corrosive view of widows enjoying their lives with their dead husbands' money. When Young Charlie challenges him with the statement that they are still human beings, Uncle Charlie sneers "are they?" Big Charlie's only positive world views are expressed when he is looking backwards, to a time when everything was (or seemed) sweet and pretty. There is no place in that world for an independent woman, a woman with money or thoughts or a will of her own. 



Young Charlie, no matter what her fate, will not become her mother. She will not be a loving slave, even if she marries her policeman suitor. The young ladies of the Newton household will become the things that Uncle Charlie despises. Little  Ann clearly has a curious mind that will not be satisfied with dolls and dress-up. And Young Charlie, once the apple of her Uncle's eye, the recipient of his trophy and token of love (that telltale emerald ring), she is put in the precarious position of defending the veneer of the life she questions by combating the person she felt was her soulmate. She has seen the worm and life will never be simple again. Her innocence is gone, her intelligence is rewarded. Take your place in the world, Young Charlie. The price is high, but you will go far.

GIVEAWAY! Take a chance to win The Chaplin Archives!

$
0
0
'Tis the season to give your favorite film fan (who might just be yourself) a great holiday treasure.
From the publisher:

"Within a year of arriving in Hollywood in 1914, British-born Charlie Chaplin had become the slapstick king of America. By the end of his second year on the silver screen, Chaplin's fame had spread worldwide. He was the first international film star and rapidly one of the richest men in the world, with a million dollar contract, his own studio and his stock company of close collaborators. From Alaska to Zimbabwe, the bowler hat, cane, baggy trousers and outsized shoes of the Tramp became, and remains, an instantly recognizable silhouette.



With unrestricted access to the Chaplin archives, TASCHEN presents the ultimate book on the making of every one of his films. With 900 images, including stills, memos, storyboards and on-set photos, as well as interviews with Chaplin and his closest collaborators, it reveals the process behind the Chaplin genius, from the impromptu invention of early shots to the meticulous retakes and reworking of scenes and gags in his classic movies: The Kid (1921), The Gold Rush (1925), The Circus(1928), City Lights (1931), Modern Times (1936), and the provocative Hitler parody The Great Dictator(1940). 

The book includes:

  • The Chaplin life history in words and pictures
  • 900 images including many previously unseen stills, on-set photos, memos, documents, storyboards, posters, and designs, plus scripts and images for unmade films
  • An oral history, told from the point of view of Chaplin himself, drawing upon his extensive writings, many of which have never been reprinted before.
  • Supplementary interviews with some of his closest collaborators.
  • Material from over 150 books of press clippings in Chaplin's archives, which range from his early days in music halls to his death
  • Chaplin's short films, from Making a Living (1914) to The Pilgrim (1923), as well as all of his feature-length movies, from The Kid (1921) to A Countess from Hong Kong (1967)
  • The first print run of 10,000 copies includes a precious 12 frame strip from City Lights (1931), cut from a 35 mm print in Chaplin’s archives."


Documents from the Chaplin Archives Property and Copyright of Roy Export Company Establishment, scanned by Cineteca di Bologna

Interested? Here's how to enter:

Simply send me an email at flickchick1953@aol.com and write "Chaplin" in the message line. You will be entered in the drawing, which will take place on December 11th. Good Luck!!

Here's a cool little video on the making of this awesome book, just in case you need your whistle whetted even more.




TRAGIC STARS: THELMA TODD

$
0
0
The death of fun-loving and beautiful Thelma Todd was one of Hollywood's most tragic deaths. 
Beautiful Thelma Todd
She was a smart, beautiful movie star. She was loved by her public and by many men. Yet, somehow, Thelma Todd never seemed to be able to grab and hold that brass ring. Something always seemed to be missing for Thelma. Sadly, she never had the time to find happiness and satisfying success. 

Fans of comedy know Thelma from her performances with the Marx Brothers, Charley Chase, Laurel and Hardy and Buster Keaton (and a swell hair-pulling contest with Clara Bow in "Call Her Savage"), but if her name is generally known today, it is due to her death at age 29 and the mystery surrounding it.

Thelma was a fun-loving gal
Thelma's story has been sensationalized in print and film (anyone remember Loni Anderson's TV movie? No? Just as well), but nobody really knows what happened on the night of December 16, 1935 when Thelma died of carbon monoxide poisoning in her own car in her own garage. Author Michelle Morgan, in her new book "The Ice Cream Blonde: The Whirlwind Life and Mysterious Death of Screwball Comedienne Thelma Todd" presents a sympathetic portrait of Thelma and a thoughtful and plausible account of events leading up to her death.

There never seemed to be a bad word said about Thelma. From her earliest years in Lawrence, Massachusetts right up to her final days in Hollywood she was universally adored by her friends and coworkers. She did, however, like so many women, have notoriously bad taste in men. Her husband, Pat DiCicco, was abusive and her married lover, director Roland West, was weak and unsupportive of her. She was so smart and so charming. If only Thelma had found a man worthy of her!

Though she was popular on screen and off, Thelma never managed to hit the real big time, instead appearing in successful Hal Roach shorts (first with Zasu Pitts and then Patsy Kelly). She was a bit Carole Lombard and a bit Jean Harlow, but she never got the A-list roles offered to those ladies. Her roles in the bigger films were generally in support of bigger stars. She was intelligent enough to know that time was not a friend to an actress in Hollywood and she needed to find another means of support and security for the future. Lover Roland West seemed to offer her just the ticket.



Thelma's cafe was a posh and popular destination
Somewhere around 1934, Thelma and Roland became partners in a very successful restaurant called Thelma Todd's Roadside Cafe. Thelma was the draw and, by Morgan's account, was very involved in the running of the restaurant and took great pride in its success. Author Morgan gives some fascinating background on the property, built in the Pacific Palisades community of Castellammare. Early residents of the beautiful (but susceptible to mud slides) area included the Thomas Ince studio. Residents in 1934 included West and Jewel Carmen. Roland West was married to former film star Jewel Carmen, but it appeared to be a marriage that was eternally on the rocks. Both Thelma and Roland lived a great deal of time above the restaurant. While there was an illusion of separate quarters, they were certainly co-habitating some of the time. Still, Thelma dated other men and Jewel Carmen didn't seem to mind West's relationship with her.

Roland West and Jewel Carmen
The last year of Thelma's life was filled with torment. First, she began getting threatening letters from some wacko called "The Ace," who turned out to be an extortionist who did a good job of scaring Thelma. More troubling was the pressure from gangsters who wanted to turn the restaurant into a profitable (for them) and illegal gambling establishment. Thelma was dead set against it.
One tormentor was caught, but another was not
This is where Morgan's book really starts to shed some new light on Thelma's story as her last days loomed. During her last night alive Thelma attended a party at the famed Cafe Trocadero Nightclub where she seemed to be in good spirits (although there was a nasty encounter with her ex-husband, who attended the night spot with actress Margaret Lindsay). Her driver left her off in the early hours of December 16th and that was the last that anyone admitted to seeing Thelma alive (except for loony Jewel Carmen, who claimed to have seen Thelma driving around town after she had actually died). Found by her maid the next morning in the driver's seat of her car still dressed in her evening clothes from the night before, her death was concluded to be either an accident or a suicide. No foul play was indicated. Buy why was Thelma there? Why didn't she just go into her apartment?


Thelma and frequent co-star Patsy Kelly.
I'm sure this never went on at Thelma's cafe! 
Over the years, the mob connection with Lucky Luciano has been popular but never proven. Morgan has another take on the gambling angle and it is a good one. But I don't want to spoil it! "The Ice Cream Blonde" is a good read for film fans and unsolved mystery fans alike. While we will never know for sure how Thelma ended up dead at age 29, clues abound and Michelle Morgan has compiled facts to present a very plausible and reasonable theory.


Thelma as she should be remembered: lovely and joyful and full of fun
A footnote on Thelma's cafe: Word has it that the beautiful building was set for demolition in January 2016, but that it may be saved. Let's hope so!


Many thanks for the book's publisher for a complimentary copy of "The Ice Cream Blonde:The Whirlwind Life and Mysterious Death of Screwball Comedienne Thelma Todd." The book is available at all retailers, including Amazon.





Merry and Happy Days to the Solitary Souls of Cinema

$
0
0

Holiday films are supposed to make us feel better. They usually end with the main characters eventually basking in the warmth of friends and family and reminding us that this is what it is all about. But what kind of Christmas would the solitary souls of cinema enjoy?




Ethan Edwards ("The Searchers")


What kind of holiday would Ethan enjoy? I seriously doubt he'd really enjoy an old fashioned rum punch with his family, even after Debbie returned home. After a morning of scorching a Comanche village or two, he might top the day off with a few swigs of Chain Lighting (a furniture varnish flavored whiskey favored in western saloons) and a meditative stare into Monument Valley.

Jay Gatsby ("The Great Gatsby")


Since Gatsby is destined not to spend his holidays with Daisy, he might throw a raucous party at his elegant/vulgar estate. All of his "friends" would be there, but in his soul he alone because she - Daisy - his true love -  is not there. His loneliness is a prison among a crowd. He stares at the green light atop his tree.

Catherine Sloper ("The Heiress")


Oh, pity the poor lonely spinster! But don't pity Catherine. She found out that Morris was a gold digger before it was too late, her hateful father is dead as a door nail and she has Daddy's fortune. No, once she finishes her tapestry she is off to Paris to kick up her heels. But Catherine will always keep her own council and walk her own solitary path, even if she takes a mate. I predict she will invent the pre-nup.

The Tramp ("The Circus")


The Tramp has always been a solitary soul. Yes, he ended  "The Kid" with a warm welcome from mother and son, and he did whoop it up (in his imagination) on New Year's Eve with those dance hall girls from "The Gold Rush," but "The Circus" finds him alone again. Christmas is a melancholy time for the little fellow, a time of sentimentality. But, the Tramp is an observer, never really a participant. His heart is great, but he is, in the end, meant to be alone, free to move on, free to find more beauty in this mixed up world.


Whether you are alone or in a crowd, make sure you taste the eggnog and look for the beauty in life. And for goodness sake, put some rum in it!





The France on Film Blogathon: GIGI: You would think it would embarrass all the people here in Paris to be thinking every minute of love!

$
0
0
This is my entry in the France on Film Blogathon, hosted by Serendipitous Anachronisms. Click HERE for the full roster of all things oo la la

I write this entry with a special ache of the heart. Paris is the one destination that never disappointed me and more than lived up to my lofty imaginings. Prayers for the city of light and the city of dreams.No matter what, we'll always have Paris.

Gigi (1958)


Gigi is all about love, all kinds of love.
 
Love of Family

Madame Alvarez, what a woman. Her home reflects the warmth and comfiness of this wonderful lady. She is all about love. First, there is her love for her granddaughter, Gigi. She grooms Gigi for the family business, but wants a better life for her.  In the end, she defies her sister and breathes a sigh of relief at Gigi's fate.

Although a courtesan, she obviously felt great love for Honore.
 
And Madame loves her daughter (Honore’s daughter?), who was not raised in the family business, but follow her passion and slaves as a soprano at the Comédie-Française. Ah, the irony. It was a soprano that caused dear Honore to stray. She is my favorite character. 
 
Love as a business
 
This is personified by Gigi's Aunt Alicia She attempts to schooled the wayward Gigi in the fine art of gems and cigars as symbols of love. She is retired from the family trade, but seems happy in her reclusive life, surrounded by the proof of past loves. 
 
And who can ignore the avaricious Liane d'Exelmans? While Gaston is besotted for a time with the faithless wench, she eventually can't close the business deal with the romantic Gaston.
 
Love as a sport


 Honore Lachille  - with a twinkle in his eye, he is the pursuer, the hunter and women are his prey.He is the true athlete. He loves his sport, he keeps in shape and he brings joy to his audience. He may be a rogue, but who can resist a lovable one? Chevalier brings his vast legend to the role. Who can tell where one ends and one begins? He is the Parisian soul of Gigi
 
Love as loyalty to a beautiful memory


Madame Alvarez and Honore: wouldn't it be nice if they got back together? I know it's a long shot, but I am always rooting for them. They both have known love as a business and love as a sport, yet they hold on to a sentimental and youthful love. Sigh.....
 
Love as romance: Gig 


 The transformation from girl to woman while skipping mistress and going straight to wife is the fulfillment of her romantic dream. She holds on to her ideals and gets her prince charming.

Love as romance: Gaston


Poor Gaston! Like Gigi, his role in the game of love has been predetermined. While Gigi is the prize, he is the buyer.  And like Gigi he rejects the cynical view of love for romantic rose colored glasses. Louis Jourdan is almost too handsome to bear.


And then there is Paris, the city of light that can embrace love in all of its forms.


Gigi gives us the Paris of our dreams: opulent, elegant and romantic. It captures beautifully the romance of youth that never deserts even its oldest practitioners. The Paris of Gigi is the spring in the step of the enchanted, the skip of the heart beat of a new love. 



MAD FOR STAN AND OLLIE!

$
0
0
Words cannot express the love I have for Chaplin, and there are almost no words for the love I have for Keaton, closely followed by the great Harold Lloyd.  However, when it comes to finding 2 fellows to pal around with, nobody beats Stan and Ollie for me.

Why, you ask?

They laugh a lot. Laughter is good for the soul, the spirit , your health and the universe in general. So there.

They are enterprising in ingenious ways. I would love to hear all about the ways they have attempted to make a buck.


They don't hold back. Stan and Ollie are 100% in touch with their emotions.

And their inner child.

They appreciate a fine woman.

But are good husbands.

They love a good drink.

They know how to party.


They are pro-education.

But are not "know it alls."

They are "just like that" with the Toy Maker. Huzzah!!

They take care of one another when they are sick.

And, they were loyal friends to the end.

They were and are just the best!

Safe in the Dream of Cinema

$
0
0
In a dream, in a place and time that never changes, in a piece of film, that is my safe place. No matter how uncertain the world, I can count on:

C.C. Baxter and Miss Kubelik playing gin
The Little Tramp's joy at realizing the Blind Girl can see
Eve Kendall recommending the trout to Roger Thornhill
The super shine of the floor (not to mention the starry sky) as Fred Astaire and Eleanor Powell tap to Begin the Beguine
Norma Desmond's cigarette holder

They are always there, always a comfort when things turn topsy-turvy. That's how it is with classic movie lovers, and like genies we can disappear into the magic lantern that is the world of cinema. 
Safe inside our enchanted bottle, we can count on the fixed, repetitive nature of film as an occasional escape from the onslaught of the unknown. 

Like many movie lovers, I tend to gravitate towards the well-known-to-me comfort of a film I have seen many times when feeling the need for escape. However, as I read the posts of other classic film bloggers, knowledgeable Facebook folks and other internet cinephiles, I realize that I also tend to resist watching some must-see classic films. 

I was recently inspired by Leticia at Critica Retro, who listed her 2016 list of classic films she must see. Brave girl! Because I can't quite commit to 12 films, I am going to try to see 6 classic films this year that I have managed to avoid because they are either slightly out of my comfort zone or for some other crazy resistance:

The Lost Weekend
This is already waiting on my DVR. Although Billy Wilder is tops in my book, I tend to avoid films about drinking. But, I have been convinced it is worth watching.

How Green Was My Valley
I know, I know.... I'm on it.

Gun Crazy 
I'm actually excited about this one. I'll do it this time!

L'Age D'Or
I'm kind of afraid, but I'm going in......

The Palm Beach Story
Why have I resisted? Probably because, for some reason, Preston Sturges makes me a little nervous. I'm not sure why, but I think it's for no good reason.

To Have and Have Not

I generally do not like Hawks, Hemingway, or Bogart and am not over the moon about Bacall, but it's a classic, right? 

Wish me luck!

A Kiss is Just a Kiss: Charlie ♥s Edna Forever

$
0
0


A kiss is just a kiss. True, but it depends on whether you are the kisser or the kissee or - as are we movie-goers, an observer.

Now, kisser and kissee could be steamy and passionate...

Or, they could be innocent and chaste.

As a kisser (or kissee) I shall keep my preferences to my self (of course if Cary Grant is either one... oh, but I digress...).

No, we are here as observers, and as an observer it is the romantic kiss that pleases me most of all. You know, the kiss that is not quite innocent, but not quite lusty, coming just at the dawn of of love. Like a flower opening to the sun, it is full of promise and joy. It is the end of single and the beginning of plural, and, for me, there is no sweeter plural than Charlie Chaplin and his lovely leading lady, Edna Purviance.



 Charlie and Edna Forever

Before Edna, Charlie was a troublesome tramp. Once Edna entered the picture (and Charlie's real life for a time), the Little Fellow became a sweeter,gentler character. The Tramp still had tricks, but Edna awakened the romance in his soul.

Best Kisses
Charlie ardently pursued Edna through 34 films from 1915 through 1923. Here's some of their 5-star smooches:

The Immigrant

Charlie and Edna are two poor immigrants who find love and luck in the land of liberty.

Behind the Screen


Charlie and Edna find love at a movie studio (even through he thinks she might be a boy).

A Burlesque on Carmen
As thwarted lover Darn Hosiery, Charlie gives his Carmen the kiss of death (sort of).

But enough observing. Sometimes, lovers need privacy...



And just in case you want to try kissing Charlie for yourself (sort of), here's a cute little game. See how many kisses you can steal!



This is my entry into the Kiss is Just a Kiss Blogathon. Put some oomph into your Valentine's Day and head on over toSecond Sight Cinema for more super smooches.

the Epic Oscar Snub of Robert Preston in "Victor Victoria"

$
0
0

Entertainment-wise, there are just some things I can't see to get over. 

For example, Lucy and Desi's divorce.

Growing up with Lucy and Ricky, I mean Desi, they seemed a lock to be in love forever. Ricky said "I Love Lucy," right? And we all knew Ricky and Desi were one. Until his death I kept hoping for a reunion. 

And then there was the breakup of Sonny and Cher. I guess "I Got You, Babe" was only temporary. 

However, the really big thing that I just can't seem to get over is Robert Preston's loss for Best Supporting Actor for his BRILLIANT performance in 1982's "Victor Victoria." 

Robert Preston had a personality and presence made for the stage. Close up, it was almost a bit too overwhelming for the screen. However, actor and role combined perfectly in Professor Harold Hill, the con man extraordinaire from "The Music Man"



Once Preston was able to recreate his signature role on film, the audience got to see Preston in his true element - charming, playful, energetic and enthusiastic. Harold Hill freed him from "B" roles in "B" films. He was no longer the baddie or the stooge to the leading man. While he still might be a bit of a baddie, he now added a wink. He was now the star.

After "The Music Man," Robert Preston never failed to fill the screen at the expense of all others. After his early death as the father in "All the Way Home," the loss of his "being" was felt for every remaining moment of the film. 

By 1960, this actor whose first movie career spanned 1938 through the 50s when he headed east to Broadway and appeared in a string of hits, was finally getting his due. He appeared sparingly in films in the 70s, preferring to concentrate on the stage, but his performances were always worthy of the star status of Harold Hill.

In 1981 he hooked up with Blake Edwards for the memorable "S.O.B.," which lead to the role of Carroll "Toddy" Todd in Edwards's 1982 comedy, "Victor Victoria."

Toddy was such a wonderful role for Preston. He of the testosterone plated voice and the uber-masculine hairline, playing a flamboyantly gay man was genius. He jumped in with both feet and gave a fearless and joyful performance. He was audacious and hilarious and never held back. Plus - he looked great in a tux or a gown.

Underscored with a golden and burnished humanity that glowed like a warm fire, it was a performance that lifted the film, capped a long and memorable career and was deserving of that little gold man. No disrespect meant to Lou Gossett, Jr. (the winner that year), but Robert Preston was robbed.

That was the very last time I was emotionally invested in rooting for a winner. Now, I sit back and watch the show and try not to care who wins. This year I will repeat my dispassionate performance in front of the TV. I really do want Leo to win for "The Revenant," but I will allow Oscar (that dirty dog) no more heart breaks for me. 

This is my entry in the Oscars Snubs Blogathon, hosted by The Midnite Drive-In and Silver Scenes. Click HERE for more great overlooked performances by that gold-plated so-and-so.


A HOLLYWOOD MYSTERY

$
0
0
Just what is going on at the Brown Derby and other various Hollywood locations in 1939? Some of my fiends on Facebook at FlickChick's Movie Playground are taking turns writing a portion of the story. It's anybody's guess how it all will turn out. Entries are posted weekly. 

Please join us on our little literary journey and see if we can guess how this puzzle will be solved!

A Hollywood Mystery
Part 1
It was a busy Saturday night at the Brown Derby. Hedda held court in one booth, Louella in another (a respectable distance apart, of course). Current King of Hollywood Clark Gable and new bride Carole Lombard had their heads together like the lovebirds they were. Clark had just finished shooting the highly anticipated “Gone with the Wind” and was looking forward to spending some much needed alone-time with his wife before going off to the Atlanta premier. Clark’s co-star Vivien Leigh and her companion, Laurence Olivier, were deep in conversation in a dark corner and a bored Paulette Goddard toyed with her luscious diamond and emerald bracelet while husband Charlie Chaplin and best pal, and past King of Hollywood, Douglas Fairbanks reminisced about the old days. Doug was with new wife, Sylvia, who Charlie only tolerated. Paulette liked her just fine, but was hoping Doug’s ex, Mary Pickford, would stroll in with her pretty hubby, Buddy Rogers, just to add some spice to the evening. Money men, producers and directors chatted about their next projects and everyone eyed everyone else to make sure they missed nothing.
Sitting below the caricatures of himself and Groucho Marx were Cary Grant and his usual date, Phyllis Brooks. Miss Brooks was a pretty blonde and a good, undemanding companion – just what Cary needed after a busy year of filming “Gunga Din,” “Only Angels have Wings,” and “In Name Only.” They were enjoying their dinner of Spaghetti and veal cutlets when suddenly a waiter ran from the kitchen out onto the restaurant floor. His jacket was covered in blood and, before he could utter a word, he collapsed, dead, right at Louella Parson’s feet. All in attendance here horrified, Hedda was steamed, and it became quite clear that there would be no desert served that night.

Management and wait staff attempted to escort everyone out of the restaurant.  Startled stars wandered out onto North Vine Street, while Louella and Hedda had to be forcibly removed before the police came. Cary and Phyllis were among the amazed crowd that lingered in front of the restaurant. Cary thought it best to go home and leave things to the police, but Phyllis wanted to stay. “Why, Phyllis?” he asked. “What can we do except get in the way?” Phyllis started to speak, but her speech was muffled by the sobs she had been suppressing.  “We can’t leave”, she managed, “not just yet. That waiter - I know him.”
To be continued…….
Submitted by Marsha Collock
Part 2
Phyllis looked up at Cary, her teary eyes held his gaze. "You see...I know him from...."
Just then a long black limousine stopped in front of them. A handsome chauffeur got out of the driver side and came around to open the passenger door. Another handsome man in a tuxedo came out and assisted Mae West out of the car. Her long satin gown was the color of moonlight in evening. "Hey Cary, what's going on? This place looks deader than a temperance meeting on St. Patrick's Day."

"A waiter was killed here tonight Mae, we were just leaving," he said, taking Phyllis's hand in his.
"Oh, I missed all the drama. Let's go to the Coconut Grove then," Mae said looking up at her date.

Out of the shadows a lone figure walked up to the two couples. He smelled of alcohol and was hiding something in his pocket. He stopped and swayed a little on his feet. 
"Any a youse got a quarter for some coffee?" He slurred. Mae took a quarter out of her beaded hand bag and gave it to him. "Thanks lady." He handed her a folded note and said, "You'll want to read that, it's important" as he walked back into the shadows.


To be continued…….
Submitted by Tracey Witt
Part 3

And, earlier that day….

Charlie Chaplin steered his Pierce-Arrow south on Vine and turned left onto Sunset Boulevard.  He swerved around the corner to view scores of hopeful actors lined up outside of Chaplin Studios.  They were all there for the same purpose -- to audition for a handful of small parts in Chaplin’s new controversial film, The Great Dictator.  The crowd of actors moved away from the studio gate and allowed the pale blue convertible to pass -- the aspirants all stretching to catch a glimpse of the great Chaplin.

Once inside, Carl Voss waited patiently as other actor’s names were called before his. “Another cattle call.  It never ends,” said Carl to a familiar looking mug in the next seat.  There were so many actors, and so few roles.  Chaplin, forever the perfectionist, took his time, hand selecting his choices for even the smallest of parts.  The hours passed and still Carl waited.  He knew he would soon have to leave if he was to be on time for work or he would pay the consequences. 

Like other actors, Carl had to support himself between gigs.  After all, he hadn’t had a paying part since his bit role in Little Miss Broadway, and that was months ago.  The sweet Shirley Temple film had helped to launch Phyllis’ career to the next level.  So much so, that she had moved on to a better social circle and left poor Carl flat -- brokenhearted and struggling.  Phyllis really thought she was the cat’s meow since she caught Cary Grant’s eye.  She was all dolled up and rubbing elbows with the right crowd now.  Grant not only had the looks; he had deep pockets.  Carl felt double crossed, but he still carried a torch for Phyllis and he wouldn’t give up.  Carl felt sure that this new film would bring him a perfect opportunity and his life would take a new direction.  If Chaplin only knew about his past he would know that Carl was made for this picture. So much was riding on his success.  Carl just needed one good break so he would no longer have to wait tables at… The Brown Derby.  Sure, it helped pay the bills, and it allowed him to network with some of Hollywood’s highest royalty, but Johnny, the abusive head waiter, seemed to have some kind of beef with Carl.  It started over a waitress named Betty.  Johnny had eyes for the little brunette tomato who liked to flirt with Carl even though she wasn’t Carl’s type.  Carl had to get out of there.  He wasn’t going to take it anymore.  Just one lucky break was all he needed to steal the show.  Then Phyllis would come back.  He knew it.

The clock ticked.  It was now 4:27.  Carl would have to leave soon if he were to race the 2 blocks to The Derby and still sign in before 5:00.  He desperately wanted a part in Chaplin’s new film.  Carl opened his portfolio and removed a small piece of stationery.  He carefully crafted his note and then made his way to the receptionist’s desk.  “Hello, my name is Carl Voss.  Miss West asked Mr. Chaplin to see me today,” he said to the efficient looking woman behind the desk.   She looked back at him with an expression of disinterest.  “Mr. Chaplin is currently engaged in the last audition of the day.  You’ll have to come back tomorrow,” she said.  “Please,” Carl urged, “I wonder if you would be so kind as to give Mr. Chaplin this note.  Please!”

Carl ran out the door and hurried up Sunset Boulevard toward Vine.  Then – a lucky break.  A jalopy slowed and blasted the horn.  “Hey, Hotshot! You headed to work? Hop in.  I’ll give you a ride!”  It was Carl’s old pal Alan – another aspiring actor/waiter.  “Aw go chase yourself!” Carl called back laughing.  Carl and Al were chums from way back.  Phyllis had introduced them at an audition and they ended up sharing a bungalow for a while.  Al was a swell guy even if he had done some time in the big house – something about getting even with a guy for not paying some gambling debts.  Carl didn’t want anything to do with it.  But hey, sometimes it’s good to have a pal who’s packing heat.  Carl vaulted into the car and they sped toward the Derby making it to work with time to spare.

To be continued…..
Submitted by Elaine Mosher
PART 4
Mae was not in the least bit surprised by the inebriated stranger who had staggered over to her as she stood outside The Brown Derby with her date, Roy, Cary Grant and his starlet of the month Phyllis Brooks.  She was accustomed to having strangers approach her for an autograph, a hand out, even asking for a small part in one of her movies.  She took the note with her gloved hand and stuffed it in her beaded purse which had just enough room in it for some lipstick and a gold compact. The purse had been a gift from W.C. Fields. He had it sent to Mae after the movie, "My Little Chickadee" had finished filming its last scene.

It was that horrid man's attempt at an apology for the way she had been treated by Universal. The nerve of those big shots they had the gall to give both Mae and Fields equal screen writing credit for the movie. Everyone in Hollywood knew that Mae had written the original screenplay.  Now after waiting for an hour in her limousine for traffic to clear and start moving all she wanted to do was go home...she had a note to read. 

"Phyllis darling,""Calm yourself" said Cary with concern in his voice. "What did you mean when you said," "I know that waiter from"... after what seemed like an eternity they had finally arrived at her modest apartment in Burbank. Phyll, as Cary liked to call her, nervously paced the living room floor while smoking a cigarette. "He is, I mean, he used to be my husband." she sobbed.  


Instead of going straight to The Brown Derby from the auditions, Al had made a stop to talk to an "acquaintance" of his. Carl, was impatiently waiting in the car for Al to finish talking to the beefy guy in the pin stripe suit. The guy’s name was Mick De La Rosa.  Carl had seen him hanging around the back entrance of The Brown Derby. Waiters had set up a couple of tables and chairs outside and would take their breaks in the smelly alley.  Al was a swell guy but the crowd he hung out with made Carl’s skin crawl.  After waiting for 30 minutes Carl jumped out of the car and hurriedly made his way to The Brown Derby...

To be continued……
 Submitted by Tina Cosio
Part 5
Solitude.  Sometimes all a girl wants is some alone time.  


Mae West had sent her insistent beau of the evening off to his own devices.  Having slipped into a comfortable, yet showy kimono Mae surveyed her luxurious art deco living room with satisfaction.  She had worked long and hard for her success, and she enjoyed it.  The bear rug, three paneled mirror and meticulously cared for porcelain knick-knacks were signs that she had made it.  The small beaded bag she had taken with her for the evening's entertainment lay on the silken upholstered divan.  Inside was the start of something big.  She could sense it.  She was never wrong.  Slowly she poured herself a glass of perrie in a Waterford cut glass and circled the bag as if circling an admiring swain.  Anticipation was often the greatest part of pleasure.

Barely an hour had passed since the scene out front of the Brown Derby.  The well-dressed coterie Hollywood's elite shell-shocked and wondering how to react in front of the press and the police with no script to follow and no director to provide motivation.  If only she could have gotten inside to see the body.  Surely the radio would have the story by now.  The top-of-the-line Crosley model 639M had a console to match Mae's luxurious taste and worked at the push of a button with no muss or fuss.

"It appears that the murdered man was not an employee of the restaurant after all, despite his attire.  According to police sources no identification was found on the body.  Witnesses are being unco-operative at the present time.  Sources close to the scene have disclosed a possible gangland connection to the incident.  We will update you with further news should it become available."

Mae turned the radio off and stretched out her full 5' frame on the antique lounge.  Another sip from the chilled glass and now to see what Henry  had to say for himself.  She was the only one of the group, too spellbound by the trouble to recognize dear old H.B. Warner on one of his toots.  Mae shook her head.  Warner was getting lots of work these days, why would he risk it in such a way?

The note was slightly crumpled from having been quickly tossed into the crowded bag.  The writing, however, showed an educated and practiced hand.  It read ...

"When is a marriage not really a marriage."

More hastily scrawled at the bottom, as if an afterthought:

"Someone likes to gamble."

Mae smiled softly and hummed a little tune.  A phony marriage?  Gamblers?  Wouldn't the police like to know?  Well maybe she'd tell them, but maybe first she'd do the Torchy Blane act and bring the cops the solution to this crime on a silver platter.  There wasn't anyone in this town she didn't know and nothing Mae West couldn't do.  Plus, she had just the outfit for a lady detective!

To be continued……

 Submitted by Patricia Nolan-Hall
Part 6:
Cary cradled Phyll in his arms.  "Is there more that you want to tell me?" Cary gently asked her. 

Phyllis wanted to forget everything she had ever known about her ex-husband. The memory of the days of being in love with him and living the good life had been erased by the events preceding the end of their marriage. He had become involved with unsavory characters who were a threat to her career as well as her life. She did not want to reveal his real identity, but she did feel some obligation to tell Cary more. After all, they had just seen him murdered. And, Phyllis had as many questions as answers.

"I'm not sure what to tell you," she began. "You see, my own life is in danger if I tell all that I know. Bill, my ex, was known by the elite of the Hollywood community early in his career; he was much older than I and knew some of the most elite stars in Hollywood. I don't know much about his life before me. But his star had faded, and many of his so-called friends had forgotten him. He was devastated that he could no longer get work in Hollywood and began to drink heavily and gamble. His drinking led to...well, let's just say, I divorced him so that I could go on with my life. I suppose I should have kept in touch with him, but I didn't, and now ... well, now I may not ever know what really happened to him...or who he was involved with. Oh, Cary, what should I do?"
To be continued...
Submitted by Linda Thacker

Part 7:
Cary was reeling. In the space of just under an hour he had witnessed a man dying, learned that the dead waiter was a former movie star and that Phyllis was once married to him. And, to make matters worse, she felt her life was in danger. He wanted to help, really he did, but he was not thinking clearly because earlier that night….
Cary had arranged to meet Phyllis at the Brown Derby at 7. Normally he would have done the gentlemanly thing and called for her, but both of them were meeting directly after a long day before the cameras and meeting at the Derby for dinner seemed easier. Cary arrived at about 6:30. Minutes later an assembled crowd of notable guests entered into the Brown Derby. Among these were John Barrymore, Ethel Barrymore and Lionel Barrymore. John, needing a pre-dinner alcoholic pick-me-up, saw Cary and asked him to join him at the bar. Cary was thrilled – he admired John Barrymore so much, and soon found himself engaged in a vodka-fueled conversation. John was only getting started, but after 2 drinks, Cary was feeling a bit buzzed. While he and John dished the Hollywood dirt, Cary noticed that many of the restaurants patrons were tying one on. In particular, he noticed Mae West’s old pal, H.B. Warner getting ready to go on one of his famous toots.
Back in the main lounge at the Brown Derby, Ethel and Lionel became concerned over John’s disappearance to the bar. They thought he might have forgotten where their table was in the large restaurant, but after a half hour of waiting, John was nowhere to be found. Ethel began to worry about her little brother. "Oh no, I hope he's alright" she said, but Lionel knew brother Jack was either drunk or flirting with some starlet or both. Forty minutes had passed and John still had not returned. Ethel spied Phyllis Brooks sitting by herself, patiently waiting for her date. "I must go and see where John is" said a worried Ethel. “Stay here, “said Lionel, “I’ll get him – as usual.” Lionel scanned every section of the Brown Derby for John and Cary, but they were nowhere to be found. Lionel was now starting to worry. Just as he was about to head back to his table, he heard the sound of laughter coming from an alley behind the building. Making his way back there he found John, Cary and assorted waiters and other types engaged in a game of dice. Upon Lionel’s appearance, John quickly hid the open bottle of vodka behind him. Cary suddenly remembered Phyllis and dashed past the growling Lionel, feeling mighty unsteady on his feet. But he was sure steadier than John Barrymore, who after standing up and bowing to his brother, promptly passed out on the pavement.
Phyllis was annoyed at having been kept waiting, but soon all of that was forgotten when Carl Voss a.k.a. Bill Cassidy dropped dead before the appetizers were ordered.
 To be continued….

Submitted by Crystal Kalyana Pacey and Marsha Collock




THEODORA GOES WILD (1936):Unmoral and Unfit to Print!

$
0
0
This is my entry in the Classic Movie Blog Association Words, Words, Words! Blogathon celebrating writers in film. Click HERE for more words about words!
Who among us has not dreamed of writing a juicy best seller? Imagine the fame, the fortune, the fun! And, just because we are all quite respectable individuals here (wink wink), imagine creating a literary identity – one who says all of the things you’d never dare (at least while anyone is watching). Sounds delicious, right? It might be, just as long as you don’t get busted. Which is exactly what happened to poor little Theodora Lynn.
Meet Theodora Lynn (Irene Dunne) – prim and proper Sunday School teacher, daughter of the founding fathers of Lynnfield, Connecticut, youngest member of the stuffy Lynnfield Literary Circle – and author of The Sinnerunder the pen name Caroline Adams. 
Outwardly meek and mild Theodora manages to balance her compartmentalized existence with woman of the world Caroline (ducking down to New York to meet with her publisher and presumably keep an eye on the big bucks her runaway best seller is raking in) quite well until the Lynnfield Bugle, Theodora’s hometown newspaper, decides to run a serialized version of The Sinner. That’s when all heck breaks loose.
Small town Theodora visits her publisher
The old hens of the Lynnfield Literary Society are up in arms. Staining their local paper is the purple prose of The Sinner. While some of the ladies obviously find the salacious story a guilty pleasure (most noticeably Spring Byington as a delightfully hypocritical peahen who gets hers in the end), it is decried as “unmoral and unprintable.” 
The Literary Society is scandalized!
Wielding their civic power over the local press, they attempt to strong-arm the Bugle’s publisher, Jed Waterbury (played by Thomas Mitchell), into silence. He resents the self-righteous censorship, is frustrated by it and is maddened by the old gossips, but he never gives up on freedom of the press.
Thomas Mitchell as the editor of the Bugle
Meanwhile, Theodora goes positively wild. Artist and scoundrel Michael Grant (Melvyn Douglas) has discovered her true identity and invades Theodora’s neat little world in Lynnfield to toy with her (posing rather improbably as a gardener looking for work). 
Michael shows Theodora he can fit into her "normal" life
He keeps her secret, but soon he and Theodora are canoodling and the gossip machine is fired up. Michael encourages her to break free of those small town constraints and live life to the fullest (which means sleep with him).  Ah, poor Theodora, she thinks sex means love. She takes Michael’s advice and declares her love to the world as well as her secret identity as Caroline Adams. The town is shocked and Michael bolts.
Irene Dunne demonstrating her
wild side on Melvyn Douglas 
Theodora is now in full Caroline Adams mode. She follows her love to New York and plants herself in his apartment. Michael is suddenly reticent, but why? Well, it turns out he is married and his behavior is dictated by a father who is no better than those controlling ladies of the Lynnfield Literary Society. Turns out big city hypocrisy is pretty much the same as the small town variety. 
Theodora hits the big city with a vengeance and an over the top wardrobe

As the mildly wild Theodora/Caroline, Irene Dunne is a wacky delight. Somewhat reminiscent of her performance as the Cary Grant’s faux showgirl sister in The Awful Truth, she is raucous and dresses with bad taste and abandon. She plants herself wherever Michael is and has the complicit approval of the wife who wants to be rid of him. Michael’s double life soon comes to light thanks to the glaring flashbulbs of a hungry press.
Caught by the press
In the end, Theodora and Michael are united, it appears Caroline Adams will be writing a new best seller and the gentlemen of the press not only continue to serialize The Sinner, but get one hot and juicy story that is sure to sell more papers to a public hungry for a good story.

You can never go wrong with Irene Dunne in a comedy. Her playing is always light with a quality of springtime. But – will someone please describe to me what she does with her teeth or tongue. I can’t take my eyes off of her mouth (even when she is in some pretty overwhelming furs).

As for Melvyn Douglas – I can’t say I’m a fan. I don’t especially dislike him, and I must say he makes an awfully good wolf – but as a romantic leading man…well, I just feel that he’s a better wolf. I know he supported some of the very best (Garbo anyone?), but imagine the fun if Theodora went wild with Cary Grant?

My favorite performer in the film is Thomas Mitchell as the publisher of the Lynnfield Bugle. He is just aces as the man who wants to sell papers and give the public what it wants. He is so real in the way that real people were portrayed in 1930s Hollywood.
And of course, all's well that ends well
While it’s mighty fun to watch novelist Theodora/Caroline caught in the crosshairs between small town hypocrisy and artistic freedom, it’s the other writers of the story – those newspapermen – that caught my fancy. They are driven, they love their work and they never, never, ever back down to a good story. And they make it all seem like so much fun!

5 Movies on an Island Blogathon: It's Paradise!

$
0
0
To celebrate the second annual National Classic Movie Day, Rick at the Classic Film and TV Cafe is hosting  the Five Movies on an Island Blogathon. Please head on over to his site and check out everyone's "must haves."


I love my imaginary desert island. Not only does it have electricity, it has a spa, a gourmet chef, a fully stocked bar with a bartender who looks suspiciously like Cary Grant, and a DVR. But, the genie who granted me this wish put a condition on my dream oasis – I could only have 5 movies.  I begged for more (maybe cable with TCM?), but he was hard hearted and stood firm: only 5 movies or the bartender (who doubles as a masseur) would vanish. What to do, what to do……

Okay, as if there was a choice, here are my 5 films to keep me company in paradise. Each has to be a film I could watch over and over again. Each satisfies my rich, interior inner fantasy life.

Sunset Boulevard

There can never be too many Norma Desmonds

  Not only because it is simply the greatest film ever made (says I), but because it is endlessly surprising. No matter how many times I watch it, I am hit with something new to admire. This should help keep me entertained for quite some time. And I never tire of the monkey funeral.

City Lights

The poetry of romance
  Chaplin raises my spirits, breaks my heart and fills my soul. His artistry is endlessly inspiring and his humanity a lesson along the journey of life. The silent film is a visual poem that aims straight for the heart.

Gigi

Paris! Champagne! Louis Jourdan!

  Oh, just because it is Paris, and colorful and melodic and based upon a story by one of my favorite writers, Collette. It is joyous and romantic – and I like to feel that way!

Vertigo
Creepy? Yes, but fascinating

  A tough toss-up between this and North by Northwest (with Rear Window making a play), but I have to go with a film that I can watch over and over again and still have questions about. I figure this will give me something to chew on for a while.

The Apartment

Jack Lemmon's performance is shattering

   CC Baxter, I adore you. I never tire of Jack Lemmon’s great, great performance. I love every minute of this film, every performance, every tug of the heart and knowing smile. Yes, the world can be a nasty place, but all is not lost as long as there are CC Baxters out there.

  For classic film lovers, every day is National Classic Movie Day, but it's nice to get together once a year and say it out loud. 

Order in the Court Blogathon: Pandora's Box:The Guilty Face in the Mirror

$
0
0
This is my entry in the Order in the Court Blogathon hosted by the criminally wonderful Lesley at Second Sight Cinema and Theresa at Cinemaven's ESSAYS from the Couch. Click HERE for more posts. It's so much fun, it feels like it should be illegal!

Pandora's Box

Guilty or innocent? Usually, that's what the jury must decide about the person on trial. But sometimes, the guilty are not placed in the witness box.



Ladies and Gentleman of the blog-reading public, look upon these men.


Upstanding men of the court and jury, all, and all are convinced that if a woman drives them nuts, it must be her fault. And so, in 1929's "Pandora's Box," the innocent becomes the guilty party.

Yes, Lulu is a tramp, and a darn good one. You see, she was raised for it by the odious Schigolch, the pimp who most likely is her loving pa. But, Lulu does not resist. In fact, she excels in the family business. So much so that she attracts the attention and lust and obsession of the middle-aged, oh-so-respectable Dr. Schon.  Truly, she brings out the beast in him.

The raging beast that is Schon’s shameful desire leads him to the conclusion that Lulu should kill herself and remove the temptation from his life. Girls and boys – you’re following this, right? But, Lulu accidentally shoots Shon in a struggle. Was it an accident? It appeared to be so, but, really, I don’t blame the girl if she sort of aimed the gun at his gut.


Her trial is a sham, but the court room scenes are brilliant. Lulu, looking like the innocent little hottie she is, pleads her case. But it is clear that those high-minded hypocrites only see Schon as a member of their boy’s club. They look in the mirror and recognize Schoen as one of them: established, respectable, a pillar of the community. Therefore, the tramp must be guilty. 

Director G.W. Pabst parades their misogyny for all to see and they are resolute. Lulu has her supporters: her lover, Alwa (Schon's son), the Countess Geschwitz who developed a real yen for Lulu, and other sundry past lovers and reprobates who live on the lower rungs of society. But, they are viewed as the undesirables, even though the pillars of society desire their prize, Lulu. She is sentenced to 5 years in prison for her crime, but her friends pay no heed to the law. The deck is stacked against them and they know it. They spirit Lulu away from the courthouse amid a false fire alarm and she and Alwa are helped out of the country by their friends. They eventually land in London, where Lulu, desperate, gets picked up by Jack the Ripper, another charming fellow.

Louise Brooks has been praised mightily for her performance, and rightfully so. She and Pabst create a pleasure-loving innocent who means no harm, but continues to be a lightening rod for bad things happening to bad (or at least questionable people. One can never be quite sure what is going on with Lulu. She is neither good not bad, innocent not guilty. She just is. She comes to her lovers as a blank piece of paper. Her story is written by the men who are disgusted with themselves by their desire for her. They look in the mirror and only see a victim, never a perp.




The Reel Infatuation Blogathon: From Healthcliff to Hurstwood, I love Sir Larry

$
0
0
This is my entry in the Reel Infatuation Blogathon, hosted by Silver Screenings and Front and Frock. Click here for more crush-worthy posts (but hold on to your hearts).

Upon his knees he sank, pale as smooth, sculptured stone -
John Keats, The Eve of St. Agnes
Oh, Healthcliff!
I'm a child of the 60's, so all things British stirred my adolescent heart and mind. The Beatles, Hayley Mills, Carnaby Street, Slicker lip gloss and Twiggy, to name a few, fueled my imagination and longings. So, it was only natural that, one night while thinking I should see the local station's airing of Wuthering Heights, I should fall madly, deeply, hopelessly in love with the British hunk playing that devil, Healthcliff.
Oh, Mr. Darcy!
For those of you who don't remember life before Google, a girl had to to really be motivated to follow up on her classic movie star crush (especially if concerned a 30 year old movie and a star no longer considered "hot."). 
Oh, Maxim!
Thanks to my local library and the trusty card catalog, I studied Mr. Olivier's filmography and patiently waited for Pride and Prejudice, Rebecca, Henry V and That Hamilton Woman to appear on TV. 
Oh, Admiral Nelson!
I scoured the TV Guide every week looking for his films. Sometimes, they aired in the middle of the night. Luckily, I had a small portable TV in my room that allowed me my private early morning thrills in peace without disturbing the whole family.
Oh, King!
I wasn't even jealous when I learned that he was once half of the world's most beautiful and glamorous couple in the 1930's and 1940's. He and Vivien were sublime together.
Larry and Viv: the golden couple
Along the line, I managed to stumble upon 1952's Carrie (like Wuthering Heights, directed by William Wyler), and it was then that my crush evolved into something more: my heart was broken by the beauty of his performance. The sadness and desperation of his portrayal of the ruinous autumnal love of George Hurstwood is something I can never forget and is one of my all-time favorite film performances. 
Oh, Mr. Hurstwood, you gave all for love
Reel infatuations come and go (the memories of some still make me cringe - what was I thinking?), but I can't help but congratulate myself on the very good taste I displayed on this particularly massive crush.
Viewing all 169 articles
Browse latest View live