“The Mary Tyler Moore Show” 1970-1977: A Tribute

The original 1970 cast of “The Mary Tyler Moore Show.” Front (left to right): Gavin MacLeod, Mary Tyler Moore, Ted Knight. Back (left to right): Valerie Harper, Ed Asner, Cloris Leachman

Ed Asner passed away this morning at the age of 91. He was the last surviving cast member of the original cast of “The Mary Tyler Moore Show” (My #2 favorite show). 2021 has been a particularly tough year for fans of ‘Mary Tyler Moore,’ as we lost Cloris Leachman in January and Gavin MacLeod in May. 2019 marked the loss of Valerie Harper. 2017 was particularly heartbreaking, in that we lost Mary Tyler Moore. Ted Knight sadly passed away from cancer in 1986. During the fourth season of the series, we were introduced to Georgia Engel and Betty White who played Georgette Franklin and Sue Ann Nivens, respectively. Ms. Engel passed away in 2019. Betty White and John Amos (who played Gordy the Weatherman in a few episodes throughout the series, but was never a regular) are the only surviving cast members of the series. Betty White is also the only surviving cast member of “The Golden Girls” (my #3 favorite show).

Lou Grant hates Mary Richards’ spunk in the first episode of “The Mary Tyler Moore Show.”

The characters of Georgette and Sue Ann were intended to serve as replacements to Rhoda (Harper) and Phyllis (Leachman) whose characters were spun-off into their own series. With the departure of Mary Richards’ (Moore) two best friends, the focus of the show switched from Mary’s home life to her work. Georgette’s role as Ted Baxter’s (Knight) girlfriend and later wife, and Sue Ann’s job as “The Happy Homemaker” made sense to shift the show’s attention to life at WJM. With this increased focus on WJM, Mary’s relationship with her co-workers deepened. Much like a real job where co-workers have spent a lot of time (and years) together, you become like a family. Mary regularly went to Lou Grant (Asner) for advice or solace. She also had touching moments confiding in her work BFF Murray (MacLeod). Mary even had some wonderful moments consoling Ted and Sue Ann. WJM was a family. The real heart of the show though was the relationship between Mary and Lou Grant.

Mary and Lou Grant’s relationship was very much like a father/daughter relationship, even though I believe that Lou was really only like 15 years older than Mary. We’ll ignore the episode toward the end of the series where they tried going out on a date, that was just awkward. Thank goodness that Mary and Lou did not become an item at the end of the show. A romantic relationship was not what Mary and Lou were about. Mary was able to confide in Lou about her deepest insecurities, her toughest problems. Lou was there to give her advice and his opinion, whether she wanted it or not. At the same time, Mary was a source of comfort for Lou. When he separated from wife Edie and later when Edie remarries, Mary is there as a shoulder to cry on–though she’s the one who ends up crying. Even after WJM fires Mary and Lou, and the two of them presumably go their own ways, we know that they’ll remain friends to the end.

As a tribute to my second favorite show with one of the all-time greatest ensemble casts ever assembled, my top five favorite episodes:

#1 Put on a Happy Face. Season 3, Episode 23. Originally aired February 24, 1973.

Mary’s look for the Teddy Awards. This is “ready,” Ted.

Summary: Poor Mary is having the worst week ever. It starts off with her coffee cup having a crack and dribbling coffee all over her new sweater. She then learns that her date, Dan, has made plans to attend a basketball game instead of being her plus-one to the annual “Teddy Awards.” Needing a date, Ted promises to hook her up with a “good-looking version of Robert Redford.” At first, Mary turns down his request, but relents after she’s unable to secure a date on her own (it seems that every man in her address book is unavailable or married). The next day or so, Mary’s hair is being unruly and she has a big “hair bump.” While trying to walk to the bathroom to fix her hair bump, Mary slips and sprains her ankle on the newly waxed floors. Now at home, Mary ends up catching a cold from having to soak her ankle in water. Throughout the week, it’s one thing after another for Mary: she drops her phone in her foot water, the dry cleaner ruins her Teddy Awards gown, her hairdryer breaks, and she has a run in her stocking while getting ready for the Teddy Awards. Then of course, it’s raining when Mary has to leave for the award show. And, if things aren’t bad enough, her “good-looking version of Robert Redford” ends up being none other than Ted!

Why I Like This Episode: I love this episode because it finally shows Mary having some bad luck. I very much identify with Rhoda while watching this series and it seems that everything works out in Mary’s favor. To see Mary having a bad week, with one minute thing happening after another, it makes it so much fun to watch. And of course, Mary Tyler Moore delivers a tour de force performance, culminating with her having to go on stage in front of everyone to accept her Teddy Award. Mary Richards’ comedy very much stems from the fact that she hates embarrassment and hates making a scene. At the Teddy Awards, this is probably the one time that Mary hopes that she doesn’t win. But of course, nothing else that week is going right, so why should it now? Poor Mary has to go on stage with one wet slipper, her hair a mess, her fake eyelashes all askew, sniffling and sneezing because of her foot-water cold… all leading up to her starting off her acceptance speech with, “I usually look so much better than this.”

Favorite Quote:

RHODA (to MARY): You’re having a lousy streak. I happen to be having a terrific streak. Soon the world will be back to normal again. Tomorrow you will meet a crown head of Europe and marry. I will have a fat attack, eat 300 peanut butter cups and die.

#2 Angels in the Snow. Season 4, Episode 2. Originally aired September 22, 1973.

Mary and Rhoda feel horribly out of place at Stephen’s party with other 20-somethings. My favorite person is the girl on the end who says, “Why do you ask that now?” When Mary asks her how she is.

Summary: Mary meets and picks up (!) a young man, Stephen, from the market. They end up spending the day together, cavorting in the snow. When Rhoda meets Stephen, she’s instantly concerned about the age difference between Mary and Stephen. It turns out that Stephen is 25 to Mary’s 33. From the way that Mary and the rest of the gang talk about her age, you would have thought Mary was 70 dating an 18-year old. Anyway, Mary is unconcerned about the age difference. When Lou, Murray and Ted meet Stephen, they are also concerned about the age difference. Lou says to Mary, “Your young man, he’s a YOUNG man.” And of course, Ted babbles on about how he and Mary are both carrying on “Autumn/Spring” relationships. Anyway, Mary is determined to prove all the naysayers wrong. Stephen invites her to a party at his place. Wanting to fit in and look younger, Mary and Rhoda go shopping in this ridiculous store, “Shot Down in Ecuador Jr.” She puts on a hideous pair of pants with patches on them, that would look terrible on a 5-year old. Thankfully, Mary gives up on the clothes and wears her own wardrobe. When Mary and Rhoda go to Stephen’s party, they discover that they are completely out of place and it becomes apparent to Mary that she and Stephen are not compatible.

Why I Like This Episode: I like this episode purely for the “Shot down in Ecuador Jr” scene and the ridiculous party where Mary and Rhoda talk about “hitching to Europe” and “staying in one of the funkier rooms” in Amsterdam. There’s just something about this episode that I find it fun to watch–even the awkward voice-over in one scene where Mary obviously re-records her line, “Maybe I’ll see if Rhoda wants to come to the party.”

Favorite Quote:

BECK (Stephen’s friend at the party): Hey Rhoda, don’t go yet. We could go downtown and goof on people.”
RHODA: Goof on people? What’s that?
BECK: You know. Walk around, act weird, hope somebody notices.
RHODA: That’s my life, kid.

#3 The Lars Affair. Season 4. Episode 1. Originally aired September 15, 1973.

Sue Ann chews out Phyllis for ruining her chocolate souffle who “never did [her] any harm.” In response, Phyllis tells Sue Ann that she’s “bananas.”

Summary: Mary is throwing a party, which surprisingly isn’t terrible–except that Lou and Edie have an offscreen argument. But that doesn’t matter. The real story is Sue Ann and Phyllis’ never-seen husband, Lars. This episode introduces the hilarious Sue Ann Nivens (Betty White) who hosts “The Happy Homemaker Show” at WJM. Sue Ann regularly gives unsolicited household tips and can be very catty while continually keeping a smile plastered on her dimpled face. It seems that Lars has offered to give Sue Ann a ride home. Hours later, Lars still hasn’t returned home and calls Phyllis with the absurd story that their car broke down and he has taken it to an all-night body shop for repairs. In the days following, Phyllis reports that Lars and Sue Ann are continuing to see each other. Ted even sees them having lunch together. Upset, Phyllis goes down to the studio to confront Sue Ann. Mary gets pulled into the middle.

Why I Like This Episode: This episode is absolutely hilarious. From Phyllis’ monologue about the mating rituals of bees and trying to compete with Sue Ann and bake a pie, to Sue Ann’s collapsed chocolate soufflé, this episode has everything. Mary’s speech telling off Sue Ann is hilarious. Phyllis trying to talk Sue Ann out of an affair with her husband, by discussing his irrational fear of swallowing hair is hilarious. This entire episode is a riot from beginning to end. The funniest moment of the entire episode though might be when the supposedly prim and proper Sue Ann shuts the oven door with her knee after removing the collapsed chocolate soufflé from the oven.

Favorite Quotes:

PHYLLIS: “Do you know how hard it is to make an apple pie? My beautiful hands, hands that once touched the notes of Chopin. This is what that woman has driven me to to save my marriage! Cooking a damn pie!”

PHYLLIS: “I was reading this wonderful book called ‘The Life of the Bee.’ Maybe you’ve read it. Did you know that the male bee is nothing but the slave of the queen? And once the male bee… uh, how should I say… um, has serviced the queen, the male dies. All in all, not a bad system.”

#4 I Was a Single For WJM. Season 4, Episode 24. Originally aired, March 2, 1974.

The WJM gang scares everyone out of the singles bar

Summary: Lou wants to do a location feature as something different on WJM. Murray suggests covering the new singles’ bar, Valentino’s. However, Murray’s wife isn’t keen on Murray covering the goings on in a singles bar and he’s unable to cover the story. Being single and wanting to prove that she can handle the assignment, Mary offers to perform the reconnaissance work at the bar solo. Wanting to make sure that Mary is okay (not that she can’t handle the assignment), Lou also goes to the bar, but mostly to make sure Mary doesn’t get into trouble. Mary is irritated but continues to talk to the regulars and find out some information for their story. However, when it comes time to film, the bar-goers find out about Mary and WJM and their cameras, and flee for a neighboring bar. On camera, Lou, Murray and Mary have to report the story from an empty bar. The funniest part of the entire episode is when Ted asks Mary the reporter how she found about about Valentino’s. Mary points at Murray and says, “he told me.” And Murray has a deer in headlights look on camera.

Why I Like This Episode: I love the entire scene at the singles bar, with Big Dino, and Penny Marshall and Arlene Golonka (who just passed this year as well). But the funniest part is the part at the end with the WJM staff reporting from an empty bar, trying to salvage their story. From Mary’s discussion of “remnants of people,” and Murray’s hilarious “deer in headlights” face, to Lou’s very poignant, stoic speech that falls four minutes short, to Ted’s four minutes of silence for the closing of the Auto show, it’s very funny.

MY FAVORITE QUOTE:

LOU (on camera, trying to salvage the story by giving it a poignant closing): “There’s nobody here tonight. Our camera crew scared them off. Uh…we…uh…we wanted to tell you, something new about a singles bar. We didn’t find anything new. Uh, the people here, got what they came for. They met each other. Maybe that’s all we found out. I guess, it’s our blessing, and our affliction, that people, need people. My name is Lou Grant.

CAMERAMAN: Lou, we still have four minutes to fill.

LOU: And back to you, Ted.

#5 The Square-Shaped Room. Season 2. Episode 13. Originally aired, December 11, 1971.

Lou’s newly redesigned living room in “one burst.”

Summary: While Edie’s away, Lou wants to redecorate their living room as a surprise. He plans to get his buddy who designs bus stations to help with the design, because he doesn’t want to spend a lot of money doing so. Mary, not liking the idea of Lou’s living room being decorated by someone who decorates bus stations, helps to find him an inexpensive (but not cheap) decorator. Mary decides that the perfect candidate for this job would be Rhoda, who makes her living designing window displays at Hemple’s. Rhoda is excited about the opportunity, feeling that this might help her break out of the window decorating business and get into something more prestigious. To secure the job, Rhoda even offers to let Lou pay her after the job is done, so he can decide a fair price. Lou agrees and Rhoda has the job. However, Lou is a tough client, as he has no ideas about how he wants the room to look, only that it has to include his crappy chair, a doorknob, and he doesn’t want antiques. Rhoda goes to town collecting catalogues and re-doing his room. When it is finally revealed in one burst, we see an all white, blinding contemporary room that is very clean and minimalist but is not Lou’s style whatsoever.

Why I Like This Episode: Rhoda’s redesigned living room is everything. It is so bright and blinding and does not take into account Lou’s character at all. It’s so 1970s that it’s amazing. Parts of it are actually kind of cool, but all together, it’s completely unusable. It looks like a showroom rather than someone’s actual living space. But Lou’s tirade about the living room is hilarious as his is flip-flopping and saying “I love it” when he obviously hates it. And seeing the room in one burst, is really what makes the entire episode.

Favorite Quote:

LOU: “Mary, you may not have noticed, but I don’t live in a window.”

I DEMAND THAT NICK AT NITE CIRCA 1994-1998 COME BACK!

The Mary Tyler Moore Show was my second favorite show to watch back in the day on Nick at Nite (I Love Lucy was #1). Nick at Nite is where I discovered this show and it was one of my must-see programs. Even if I didn’t get all the jokes initially as a 10-11 year old, there was something endearing about the program and its characters. Mary Richards was and still is one of my role models and I was truly devastated when Mary Tyler Moore passed away. Now everyone is gone, and slowly as the years pass, so many of my Nick at Nite favorites are gone. Thank goodness for ME-TV and other channels devoted to classic television, streaming services, and physical media. In some form or another, all the classic shows from my childhood (albeit, I wasn’t old enough to have seen them during their first run) will live on.

Who’s up for petitioning Viacom to bring back the 1990s iteration of Nick at Nite? Surely the graphics and jingles must live on somewhere and obviously, they can be re-created with today’s computers.

Van Johnson Blogathon- I Love Lucy “The Dancing Star”

Van Johnson isn’t a name that often comes up when people think about figures from the Golden Age of Hollywood. However, that isn’t to say that he wasn’t a star. He co-starred alongside many of Hollywood’s more legendary actors; but he never got that one film that would catapult him into the echelon of “legend.” Some of the “legendary” actors Van co-starred with: Gene Kelly (Brigadoon), Katharine Hepburn and Spencer Tracy (State of the Union), Judy Garland (In the Good Old Summertime), Humphrey Bogart (The Caine Mutiny), and Elizabeth Taylor (The Last Time I Saw Paris). However, despite not ever making “the film” to propel him to legend status, Van was a big enough star to appear as himself alongside two of television’s biggest legends: Lucille Ball and Desi Arnaz, on an episode of I Love Lucy.

A young Van Johnson watches on as Frances Langford serenades the crowd in Too Many Girls.

The I Love Lucy episode, “The Dancing Star,” was not Van’s first experience working with Ball and Arnaz. In 1939, while trying to make it as a young actor in New York, Van scored a gig as understudy to the three male leads of George Abbot’s hit Broadway play (featuring the music of Rodgers and Hart), “Too Many Girls.” One of the main cast members (whom I’m going to assume that Van did not understudy) was the young 23-year old Cuban musician, Desi Arnaz. The play was a smash hit and Arnaz along with co-star Eddie Bracken were brought out to Hollywood to reprise their roles in the RKO film adaptation of the play.

In Hollywood, Van joined the cast as an uncredited part of the chorus. He can be seen in the background of a few scenes, but most prominently in the front of the crowd dancing during Desi Arnaz’ big conga number. Another new member of the cast of the RKO production was Lucille Ball. Ball was the star of the film and would play the role of the ingenue college student, Connie. Ball and Arnaz were introduced prior to the start of filming. However, their first meeting did not go well as Ball was still wearing the makeup and costume from her current film, Dance, Girl, Dance, which co-starred Maureen O’Hara. Ball’s makeup and costume was a black eye and a torn gold lamé dress that she wore while shooting a catfight scene with O’Hara. Looking at Ball’s black eye and torn gown, Arnaz could hardly envision her as the virginal ingenue of Too Many Girls. Later that evening, Arnaz and Ball were re-introduced. During this meeting, Ball had cleaned herself up and sported her own clothing and makeup. It was love at first sight for Ball and Arnaz and the rest, as they say, was history.

Lucille Ball and Desi Arnaz met during the filming of “Too Many Girls”

Anyway, back to Van. After Too Many Girls, he got more understudy work, including as Gene Kelly’s understudy in the Broadway play, Pal Joey. Kelly would soon be starring in his first Hollywood film, For Me and My Gal, with Judy Garland. Discouraged, Van was about to quit Hollywood when friend Lucille Ball took him to the famous Chasen’s restaurant to meet an MGM casting director. This meeting led to Van getting a screen test at Columbia and Warner Brothers. Columbia didn’t pan out, but Van scored a few roles with Warner Brothers. After his contract with Warner Brothers ended, Van was signed to MGM. MGM is where Van finally got a break and soon was appearing in films. In 1943, Van got his big break when he appeared in A Guy Named Joe with Spencer Tracy and Irene Dunne. He continued to appear in many quality films throughout the 1940s.

Van and Esther Williams in Easy to Wed.

In 1946, Van was re-teamed with friend Ball in Easy to Wed which also co-starred Esther Williams and Keenan Wynn. Through the remainder of the 1940s, Van continued to appear in many great MGM films. By 1950, Van was freelancing, which freed him up to appear in films in other studios. During the 1950s, Van also started appearing in shows on the burgeoning medium known as television. In 1955, Van was invited to appear in a guest spot as himself on his friends’ (Arnaz and Ball) sitcom, I Love Lucy. By 1955, I Love Lucy was a massive hit and big stars were willing to appear on their show for free just to get the chance to be part of the program.

Van appears during the Hollywood story-arc of I Love Lucy in the episode, “The Dancing Star.” Ricky Ricardo (Arnaz) has been offered a role as Don Juan in Hollywood. He along with wife, Lucy (Ball), and their best friends Fred and Ethel Mertz (William Frawley and Vivian Vance) all head to California. While in California, wacky Lucy has various run-ins with stars (William Holden, Hedda Hopper, John Wayne, Harpo Marx, Rock Hudson, Sheila MacRae, Eve Arden, and CORNEL WILDE IN THE PENTHOUSE), often with disastrous results. One such star who did not suffer at the hands of Lucy however, was Van Johnson.

In “The Dancing Star,” Lucy’s old frenemy, Carolyn Appleby (Doris Singleton) shows up unexpectedly to pay Lucy and Ethel a visit while she’s on her way to Hawaii to meet-up with husband Charlie. Carolyn says that she’s going to stop over for a couple days so that she can meet all the stars Lucy’s been hobnobbing with per the postcards Lucy’s been sending out to her friends in Hollywood. Obviously, Lucy didn’t expect her friends to show up wanting to be part of the action. As Lucy is panicking, Ethel tells her that Van Johnson is appearing in a show at their hotel, The Beverly Palms. Ethel spots Van sleeping next to the pool and tells Lucy to go down there and pretend that she’s talking to him. Ethel will then casually bring Carolyn up to the window, point out Lucy and Van and all will be well.

Lucy Ricardo begs Van Johnson to dance with her in “I Love Lucy”

The plan goes off, somewhat, except that Carolyn has forgotten her glasses. Apparently Carolyn Appleby must wear contact lenses and has lost them, because in her previous appearances on the series, she’s had no issues with her eyesight. However, when Carolyn is in California, she’s blind as a bat. Carolyn can only make out two red-headed blurs and just has to assume that that is Lucy and Van. Of course, Lucy can’t leave well enough alone and brags to Carolyn about all the other stars that were also down at the pool. She then further ups the ante by telling Carolyn that she’s throwing a big soiree tomorrow evening where tons of stars will be in attendance. Conveniently, Carolyn’s flight to Hawaii is supposed to depart tomorrow evening. Aw shucks.

And because it’s Lucy and she has to be the object of envy of The Wednesday Afternoon Fine Arts League (who usually meets on Tuesdays, never on Thursdays, but occasionally on Fridays), she tells Carolyn that she’s “chummy” with Van. Lucy’s fib is based on the fact that Carolyn can’t see and that Van’s partner is a tall red-headed woman. With Carolyn’s blurred vision, she won’t be able to tell that Van’s partner is not Lucy. However, Lucy’s “great” plan is foiled when Carolyn’s airline finds her glasses and returns them to Carolyn at the hotel. Desperate, Lucy approaches Van and begs him to dance with her. She finally gets him to agree when she flatters him by saying that she’s seen his show 14 times and knows it backwards and forwards. Ethel and Carolyn see Lucy dancing with Van and all is well.

(VAN JOHNSON in response to LUCY RICARDO’S constant proclamations of not having much time and that “she’s” going to be here any minute)

VAN JOHNSON: “Who’s going to be here any minute?”

LUCY RICARDO: “Carolyn Appleby! Who do you think?!”

Van Johnson and Lucille Ball (Lucy Ricardo) in “The Dancing Star,” I Love Lucy
Lucy Ricardo finally gets her chance to be in the show. Screenshot from CBS’ colorized version of “The Dancing Star”

Later that evening, Lucy gets her big chance: Van’s partner is sick and he needs someone to replace her last minute. Seeing that Lucy knows the routine, Van thinks that she’s the perfect choice. And with this set-up, we finally get to see Lucy Ricardo in one of her rare performances where she’s allowed to perform a dance number without purposeful or accidental mishaps. In the “How About You?” number, Lucy and Van perform a beautiful, simple song and dance number. Lucy looks beautiful in her feather-covered gown. She and Van are a sensation. Ricky watches his wife dance this wonderful number with a deep adoration. Ethel and Fred watch their friend, proudly. And Carolyn is overjoyed.

Wait? Carolyn?! Wasn’t she going to Hawaii?

Apparently, Carolyn has decided to put off her flight to Hawaii one more day to attend Lucy’s big Hollywood party. Yikes.

Cue the famous “Lucy Meets Harpo Marx” episode, the unofficial second part of “The Dancing Star.”

“Gotta little laryngitis, baby!”

100 Years of Esther Williams Blogathon- “Million Dollar Mermaid” (1952)

August 8, 2021 marks the 100th birthday of MGM swimming superstar, Esther Williams. Williams’ remains one of the Golden Age of Hollywood’s best known musical stars, despite her stardom only lasting about a decade or so. I’ll admit that I used to not be a huge fan of Williams’. Not that I disliked her, but I thought she was stiff and somewhat bland. However, I think that I watched the wrong film as my introduction to Williams–Take Me Out to the Ballgame (1949). I had originally watched ‘Ballgame’ to see Gene Kelly and Frank Sinatra. In this film, Williams plays the owner of a baseball team who does not initially get along with Kelly. Her character in this film is somewhat a stick in the mud and we’re only treated to a shoehorned-in swimming scene.

However, as someone who likes to give everyone another chance, because honestly as a classic film fan, I want to like everyone and everything. Luckily, my second introduction to Esther Williams was in the biopic, Million Dollar Mermaid, one of Williams’ best-known films.

The real Annette Kellermann, modeling her innovative one-piece swimming costume

In Million Dollar Mermaid, Esther plays real-life Australian swimming star, Annette Kellermann. We’ll look past the fact that Esther does not even attempt an Australian accent. The film starts in the late 19th century with polio-stricken Annette expressing her desire to swim as a means to improve the strength in her legs and overall health. Her father, Frederick (Walter Pidgeon) runs a music conservatory. We’re then treated to a montage of the young Annette taking swimming lessons, and later winning competitions. The montage also serves as a means to advance the timeline. Finally, we see a grown Annette (Esther Williams) accepting her latest trophy in the regional championship.

Later, Frederick accepts a teaching position that will take he and his daughter to England. While on board the steamer, Annette meets American promoter James “Jimmy” Sullivan, who is taking a boxing kangaroo to England. Thinking that Annette’s swimming talents will net them more funds than the boxing kangaroo, Jimmy begins to schmooze Annette and talks her into allowing him to promote her skills. As a promotional stunt, Jimmy announces that Annette will make the six-mile swim across a body of water. Annette ups the ante and announces that she will swim for 26 miles. Word gets around about Annette’s swim. However, she is unable to complete the swim.

Esther Williams as Annette Kellermann sporting a fantastic gold sequined one-piece swimming costume

Determined to figure out a way to market Annette’s skills, Jimmy suggests that they go to New York City to perform in an aquatic show in the famed Hippodrome. However, the owner of the Hippodrome does not see Jimmy’s vision and he is unable to get the deal. Annette then tries to go for a swim in Boston, but her “scandalous” one-piece piece bathing suit (versus the baggy dress with bloomers bathing suit that was worn at the time). The beachgoers are irate at seeing Annette’s body and repeatedly declare their disgust with being able to see her legs and shoulders. Annette ends up being arrested and goes to trial for indecent exposure.

In court, Annette pleads her case, stating that the one-piece men’s racing suit that she wears is much more practical for swimming than the big baggy things that women at the time were expected to wear. Annette’s occupation as a competitive female swimmer was unusual for the time as well. In the trial, Annette pleads not guilty to the indecent exposure charge. However, she offers a compromise: She has augmented her short, one-piece bathing suit by adding leggings to the bottom, thus covering her legs. Her new bathing suit basically looks like a cross between footie pajamas and a leotard. The judge is convinced and all charges are dropped. Annette is permitted to wear her custom swimwear.

Annette and Jimmy’s aquatic show is given the greenlight and is a big success. As these films typically go, Annette begins to fall in love with Jimmy, leading to amazing dialogue like this:

(Annette has finished her show and is drying off. Jimmy enters and pulls her into an embrace)

ANNETTE: Please, I’m soaking wet

JIMMY: Good, maybe it’ll put the fire out

Esther Williams and Victor Mature in “Million Dollar Mermaid.”

And like how these films often go, Annette and Jimmy have a misunderstanding which causes their romance to fizzle out… at least temporarily. During her separation with Jimmy Annette’s star begins to get bigger and bigger as her Hippodrome shows get more extravagant. Busby Berkeley directed the large, insane and extravagant water sequence, complete with Esther being dropped 50-feet and then rising above the surface on a platform.

Esther Williams performs in Busby Berkeley’s water routine

After my lukewarm introduction to Esther in Take Me Out to the Ballgame, Million Dollar Mermaid proved to be a much better initiation into Esther Williams’ stardom and filmography. I’ve found that no matter how corny, contrived and/or formulaic Williams’ movies can be, they are first and foremost entertaining. I love the spectacle of her films. Her underwater ballet sequences are fascinating and Esther’s dives and stunts are also impressive. Now, I find myself enjoying Williams’ films–even yes, Take Me Out to the Ballgame.

Claudette Colbert June Star of the Month Blogathon–“The Palm Beach Story” (1942)

Claudette Colbert made a series of romantic comedies throughout her storied career. She is most well known for her Oscar-winning role in It Happened One Night (1934). She also made a series of romantic comedies with frequent co-star Fred MacMurray. However, my favorite film of Claudette’s is The Palm Beach Story, co-starring Joel McCrea and directed by Preston Sturges.

The Palm Beach Story starts off with a series of manic images showing a bride and groom racing to get to the church and random objects crashing around them. From the beginning scenes, we really have no idea what’s happening, only that Claudette Colbert and Joel McCrea marry at the end of the sequence and that the year of the marriage was 1937. Fast forward five years, 1942, and we meet Geraldine “Gerry” Jeffers (Colbert) who is dealing with back bills and possibly losing her apartment. I am unsure exactly what Tom Jeffers’ (McCrea) occupation is, but when we meet him in 1942, he is meeting with an investor about funding is idea to build an airport that is suspended over a city.

“I’m twice your age and only half as big, but I’m mighty handy.” -The Wienie King to Tom.

Meanwhile, back at the Jeffers’ apartment, Gerry is watching “The Wienie King” (aka the greatest character in the film) touring the apartment. The Jeffers owe back rent and their landlord is thisclose to evicting them. The Wienie King is hard of hearing, which makes his two scenes even funnier. He also makes sure everyone knows that he’s The Wienie King and that’s how he made his wealth:

THE WIENIE KING: I’m The Wienie King! Invented the Texas wienie. Lay off ’em, you’ll live longer

The Wienie King, “The Palm Beach Story” (1942)

Gerry ends up sharing her’s and Tom’s financial troubles and how they’re about to lose their home. The Wienie King, not interested in her apartment anyway, pulls a thick roll of bills out of his pocket and hands Gerry $700 ($11,560 in 2021 dollars). She accepts it and uses the money to pay their back bills and buy herself a new outfit. When Tom arrives home, Gerry lets him know that their financial troubles are alleviated for now. Tom is suspicious of The Wienie King’s financial gift and also his pride is wounded that another man had to pay his bills. Gerry then admits that she fully used her womanly wiles to get money from The Wienie King.

TOM: Oh, is that so? He just–seven hundred dollars? Just like that?

GERRY: Just like that.

TOM: I mean, sex didn’t even enter into it?

GERRY: Oh, but of course it did, darling. I don’t think he’d have given it to me if I had hair like excelsior and little short legs like an alligator. Sex always has something to do with it, dear…you have no idea what a long-legged woman can do without doing anything.

Joel McCrea (Tom) and Claudette Colbert (Gerry) in “The Palm Beach Story” (1942)

The next day, Gerry packs her bags and leaves Tom. She believes that she and Tom are better off separately and they’re just holding each other back. She plans to take a train from New York to Palm Beach, FL. She ends up getting onto a train with the craziest passengers I’ve seen in a movie. Gerry ends up onboard with “The Ale and Quail Club,” a boisterous hunting (and drinking) club led by William Demarest (aka Uncle Charlie in “My Three Sons” and Ann-Margret’s father in “Viva Las Vegas”). The Ale and Quail Club is absolutely insane. Every member is drunk and partying heavily. They are even having a shooting contest IN THE TRAIN. When the members meet Gerry, they declare her their mascot. Eventually, the noise gets to be too much for Gerry. She borrows a pair of pajamas from one of the members and tries to sleep. The party then gets really out of hand, and Gerry leaves, not wanting to get caught in the crossfire.

The Ale and Quail Club is insane.

The Ale and Quail Club traincar, now riddled with bullets and missing all of its windows, is disconnected from the rest of the train and abandoned. Gerry finds an empty upper berth and crawls in, while standing on millionaire John D. Hackensacker III’s (Rudy Vallee) face, breaking his glasses in his eyes (yikes). But Hackensacker doesn’t mind and quickly takes a shine to Gerry. The next day, Gerry fashions herself the greatest dress made from men’s pajamas and a Pullman blanket. She and Hackensacker order two .75 ($12.39 in 2021) breakfasts.

Has anyone ever looked so stylish in men’s pajamas and a train blanket?

When Gerry and Hackensacker finally arrive in Palm Beach, Hackensacker offers to buy Gerry some clothing due to Gerry’s suitcase disappearing. Gerry accepts, thinking that he’ll buy her an outfit. Hackensacker has other ideas. We are next treated to a Pretty Woman-esque (once she goes to the store with Richard Gere’s credit card) montage with Claudette modeling one fancy dress after another. Close-ups of Hackensacker painstakingly marking each and every purchase in his small notebook are also amazing. Who knows what the final bill ends up being, but I’m sure it’s in the tens of thousands. Gerry and Hackensacker then go out on his yacht.

Meanwhile, Tom has arrived in Palm Beach and somehow knows that Gerry is at the yacht club. He’s waiting for her on the dock. Also arriving on a yacht is Hackensacker’s sister, Princess Maud Centimillia (Mary Astor). Her companion is her latest protegee, Toto, who barely speaks English and really has no idea what is going on. However, once the Princess spots Tom, she drops Toto–who unfortunately doesn’t understand that the Princess has no interest in him. He keeps showing up and the Princess sends him away. When Gerry introduces Tom to Hackensacker, she introduces him as her brother, “Captain McGlue,” much to Tom’s chagrin.

PRINCESS CENTIMILLIA: Who is McGlue?

GERRY: There is no McGlue.

PRINCESS CENTIMILLIA: Well thank heavens for something. That name!

Mary Astor (Princess Centimillia) and Claudette Colbert (Gerry) in “The Palm Beach Story.”

Soon, Hackensacker falls in love with Gerry. The Princess falls in love with “Captain McGlue” (Tom). And Tom and Gerry wonder if their marriage is worth saving.

This movie is absolutely hilarious especially “Captain McGlue” and Princess Centimillia. Joel McCrea is such an underrated star in Hollywood. He was adept at delivering lines with a dry, sarcastic humor. Such as in The More the Merrier when Charles Coburn asks McCrea what he does for a living. McCrea asks Coburn what his occupation is. Coburn says: “retired millionaire.” McCrea then answers Coburn’s occupation question by saying, “Same.” I love the scene of Rudy Vallee serenading Claudette Colbert with “Goodnight Sweetheart.” Every scene with the Princess’ protegee, Toto, is hilarious.

I know that Sullivan’s Travels and The Lady Eve are more revered as director Preston Sturges’ best film; but for me, The Palm Beach Story is his best. This film is perfect from start to finish.

Captain McGlue/Tom (Joel McCrea), Princess Centimillia (Mary Astor), John D. Hackensacker III (Rudy Vallee), and Gerry (Claudette Colbert)

Swashbuckbucklaton Blogathon- “The Sea Hawk” (1940)

Errol Flynn is synonymous with the Classic Hollywood swashbuckler. While many other stars (Tyrone Power, John Barrymore, Douglas Fairbanks Sr., Burt Lancaster, Basil Rathbone, to name a few) made swashbucklers, it was Flynn who is the most recognized of the genre. It could be argued as well that Fairbanks Sr., was also a well known swashbuckler, though his career was in silent film. In 1935, Flynn picked up where Fairbanks Sr., left off when he was cast in the titular role in the star-making Captain Blood.

Flora Robson as Elizabeth I and Errol Flynn as Captain Geoffrey Thorpe in “The Sea Hawk”

By 1940, Flynn was a major star, having appeared in his most iconic role, Robin Hood, in The Adventures of Robin Hood. Flynn would begin the new decade with another iconic role, that of Captain Geoffrey Thorpe in The Sea Hawk. In this film, Flynn plays the British captain of “The Sea Hawks,” a group of British pirates or “privateers.” Thorpe and his men operate on behalf of Elizabeth I (Flora Robson), Queen of England. Elizabeth I is concerned that the Spanish are preparing to invade England with the armada they are building. And Elizabeth isn’t wrong. Spain’s King, Phillip II, has designs on conquering England. He sends Don Alvarez (Claude Rains) as his representative to speak with Elizabeth I and soothe her worries–even though obviously he does want to conquer England.

Don Alvarez and his niece, Dona Maria (Brenda Marshall) board one of the Spanish ships and are soon captured by Thorpe and his fellow Sea Hawks. The Sea Hawks rob Don Alvarez and Dona Maria of their riches. But of course, since this is an Errol Flynn movie, he quickly falls for Dona Maria and returns her jewels. However, this capture of Don Alvarez and Dona Maria does not sit well with Elizabeth I and she scolds Thorpe for potentially endangering the peace between England and Spain. Thorpe then suggests that they capture a Spanish treasure fleet that is returning from the Americas. Elizabeth I is wary, but allows them to continue. However, one of Elizabeth I’s ministers, Lord Wolfingham (Henry Daniell) doesn’t believe Thorpe and starts to investigate where the Sea Hawks are truly headed.

The makeup department went to town making Errol Flynn look like hell for the slave scenes.

This is a really great movie. I would argue that Brenda Marshall is a little weak as Flynn’s leading lady in this film. While she’s fine and is pretty, Marshall always comes across as a little bland to me. I much prefer Flynn with a leading lady with a stronger personality, like Olivia de Havilland, Alexis Smith, or Ann Sheridan. I always love Claude Rains. He’s amazing in any film he appears in. Flora Robson’s Elizabeth I, for me is a standout. As much as I love my queen, Bette Davis, I prefer Robson’s portrayal of The Virgin Queen. Davis’ interpretation of Elizabeth I in The Private Lives of Elizabeth and Essex (also co-starring Flynn) is excellent, but she’s so fidgety and not subtle in her portrayal.

Flynn and the best actor in the entire film.

My favorite part of the film is the part when Flynn and the Sea Hawks are captured and forced to work as slaves on the galley. This entire scene is preceded by a sepia tone segment that was reused footage from a 1924 version of The Sea Hawk. I *would* say that I love this scene because I love the suspense and the men planning their escape… but I’d be lying. I really love this scene because, even though he looks a little rough around the edges, Flynn plays the whole scene in just a pair of raggy shorts 😉

The real star of the film however, is Thorpe’s monkey, played by Flynn’s real life pet monkey. In my opinion, every film is improved by an actor monkey–especially a monkey wearing a costume.

Spring CMBA Hidden Classics Blogathon- A Girl, A Guy and A Gob (1942)

It’s not a secret that I love Lucille Ball. She’s been my favorite actress since I discovered her on her now iconic sitcom, I Love Lucy, playing the titular character, Lucy Ricardo. I Love Lucy not only made Lucille Ball a household name, it also forever cemented her identity as “Lucy.” Mention “Lucy” to almost anyone (at least those worth associating with) and Lucy Ricardo comes to mind. I was roughly 10-11 years old (circa 1994-1995) when I discovered Lucy and I Love Lucy. I began to borrow books about I Love Lucy and Lucille Ball during my family’s monthly trips to the library. As an 11-year old, I was able to read the biographies in the adult section, making it very easy to learn about my new favorite actress. In 1996, Lucy’s autobiography was published–7 years after her death. Apparently her daughter found her mother’s manuscript while going through her things and went forward with having them published. I may have been the only 12-year old who desperately wanted Lucille Ball’s autobiography.

Throughout my trips to the library and reading books about Lucille Ball, I learned about the movie career she had prior to finding stardom on television. Lucy appeared in over 70 movies prior to switching gears to the small screen. Her film career began in 1933 when she came to Hollywood to appear as a slave girl in Eddie Cantor’s Roman Scandals. Not one to turn down any offer of paid work, figuring that every job offered her the chance to learn and hone her craft, Lucy appeared in at least a couple dozen uncredited roles before building up her momentum enough to score small, speaking roles. By 1937, Lucy scored a juicy part in the A-list ensemble drama, Stage Door, co-starring Katharine Hepburn and Ginger Rogers. In 1938, Lucy was offered her first starring role in The Affairs of Annabel. Lucy plays Annabel Allison, an actress forced to carry out insane publicity schemes by her agent, played by Jack Oakie.

At the library, I managed to borrow every single Lucille Ball VHS that my library had. I was lucky in that my library seemed to have a large amount of the films in the “Lucille Ball Signature Collection.” This collection is how I saw many of Lucy’s movies, including the aforementioned The Affairs of Annabel, The Big Street, Dance Girl Dance, Too Many Girls, Seven Days Leave, and others. TCM had just come on the scene as well and I scoured the TV Guide (insert in newspaper, not the magazine) to review the upcoming week of programming. Any Lucille Ball movies were circled and set up to record on the VCR. Throughout my years of recording and watching Lucille Ball’s films, there was one film that I’d always wanted to watch and it seemed to elude me for years: A Girl, A Guy and A Gob.

Mercifully, TCM finally saved the day and aired A Girl, A Guy and A Gob at a time when I was able to see it. Then, Warner Archive went above and beyond and released the film on DVD. I have since built up a very decent sized collection of Lucille Ball’s films. Anyway, I digress.

Back to A Girl, A Guy and A Gob

In this film, Lucy plays Dorothy ‘Dot’ Duncan, a young woman who has recently began work as a secretary to Stephen Merrick (Edmond O’Brien) a shipping magnate. Dot is obviously the “Girl” in the title. Stephen is the “Guy.” Playing the “Gob” is George Murphy. Murphy plays Claudius J. Cupp aka “Coffee Cup.” When I first watched this film, I had no idea what or who a “Gob” was. I learned that the term “Gob” refers to a sailor. Coffee Cup is a sailor in the United States Navy and it is established that he loves being in the Navy and regularly signs on for new missions after the previous one ends. It is also obvious that Dot and Coffee Cup have been together for quite some time, but I get the sense that Dot tires of waiting for Coffee Cup to settle down and somewhat resents being expected to stand idly by and wait for him to return over and over again.

Edmond O’Brien, Lucille Ball, and George Murphy in “A Girl, A Guy, and A Gob.”

The film opens with Dot and her family settling down to watch a play from inside a box seat at the theater. This is a big deal for the Duncan Family. It’s Mr. and Mrs. Duncan’s anniversary and their children have (seemingly) purchased box seats at the theater as a gift. Meanwhile, out in the lobby, Stephen and his horrible fiancee Cecilia and her equally horrible mother are impatiently waiting for Stephen to locate their tickets. Stephen’s tickets are for their box seat, the seats where he, Cecilia and her mother sit every night at the theater. Dot figures out that her brother “Pigeon,” didn’t actually buy these seats. In reality, he gambled away the ticket money (that Dot gave him) and just happened to find Stephen’s tickets. Dot and Stephen get into an argument that ends with Stephen, Cecilia and her mother having to sit in ::gasp:: the regular section of the theater. After Dot realizes how her brother happened to come away with the box seat tickets, she is embarrassed and leaves but not before accidentally dropping her purse (with a giant “D” monogram) on Stephen’s head.

The next day, Dot shows up for a secretary opening at the Herrick and Martin shipping company, unaware that the “Herrick” in the company’s name is Stephen Herrick whom she’d hit with her purse at the theater the night prior. Stephen recognizes Dot’s purse (with the very obvious “D” monogram) and identifies her as the woman from the theater. They get off to a poor start, obviously. Later that day, Coffee Cup shows up, home from another Navy “hitch” (as he calls them). Coffee Cup and Dot take a walk and Coffee Cup spots his friend Eddie, a fellow sailor who has a shtick where he bets onlookers that he can stretch himself and grow four inches. Coffee Cup and Eddie gather a crowd in front of a pet store, much to the owner’s (Franklin Pangborn) chagrin. Stephen happens to walk by, Dot spots him, and borrows five dollars from him to bet on Eddie. The contest ends in a brawl and Stephen ends up being knocked out.

When Stephen awakens, he finds himself lying on the couch in Dot’s family’s apartment. The scene is so chaotic with people dropping in, Mrs. Duncan delivers the neighbors baby and delivers the results of the bet that the family had over the weight of the new Liebowitz baby (#9). The scene is so boisterous, but full of so much love, Stephen finds himself captivated. Stephen has a date with Cecilia, but ends up dancing the night away with Coffee Cup and Dot at the Danceland Dance Hall. Cecilia ends up spending the night all dressed up, but with nowhere to go. Whoops. Cecilia is the typical fiancee of the lead–boring, snobby, a real stick in the mud.

Heartthrob (?) Edmond O’Brien and Lucille Ball

Throughout the remainder of the film, Stephen and Dot find themselves growing closer and closer together. Dot finds herself less enthusiastic about a future with Coffee Cup, despite admirably trying to carry on with him, because he is genuinely a nice guy. However, it is easy to see that a life with him may lack the stability that Dot may need. I get the idea she isn’t crazy about Coffee Cup leaving all the time. He’s also very much about having a good time, all the time and can be irresponsible. Stephen is a nice guy, but is also professional and runs a company. Stephen also realizes that a life with Cecilia would be stodgy and miserable. It is obvious that Cecilia is with Stephen for the material goods that he can provide and presumably the boost to her social class that he provides. Stephen also finds Dot’s spontaneity exciting and makes his day-to-day routine more fun.

Henry Travers who seems to be in everything, plays Stephen’s business partner, Abel Martin. Martin, who obviously dislikes Cecilia and sees through her true intentions, plays matchmaker in this film. He casually tries to convince Stephen that Dot is the woman for him and throughout the remainder of the film, he insinuates himself into their social group to try and get Stephen and Dot together.

This is such a fun and entertaining film. I love movies with love triangles. I love seeing such a young Edmond O’Brien. This was his third film. Dare I say that I thought O’Brien was somewhat cute in this film? George Murphy is always personable and of course Lucille Ball was fabulous. Harold Lloyd produced this film and his brand of physical humor is present throughout. Lucille Ball was able to show off both her skill for acting and physical humor. It isn’t often that we get to see O’Brien in a light-hearted film as he primarily made a lot of more intense films like White Heat and The Killers. George Murphy is affable and great. It’s easy to see how his enthusiasm and zest for life would make him the ideal candidate to join the boisterous Duncan family. However, this is Ball and O’Brien’s film and they convince me of their budding romance.

If you’re looking for a fun, light-hearted romantic comedy, I wholly recommend A Girl, A Guy, and A Gob.

Why was everyone kissing the bride a custom back then? I wouldn’t want to be kissed by all these random people. Ick.

Classic Movie Day Blogathon- 6 Films, 6 Decades

May 16th is upon us again. It’s National Classic Movie Day. Though honestly, I’m sure for many of us, EVERYDAY is National Classic Movie Day. For this year’s event, Classic Film and TV Cafe has asked us to list six favorite films, each from a different decade–starting with the 1920s through the 1970s. We were also given another option of the 1930s-1980s, but since my husband I have been trying to watch more silent films, I’m going to take the original challenge. To ease ourselves into silent films, we’ve started with the classic comedians–an obvious and easy jumping off point. Good comedy is universal and timeless. Since I’ve written about a lot of my favorite films over the years and have a tendency to be verbose and not wanting to bore everyone with yet another dissertation detailing my love for The Long Long Trailer, I’m going to try and change things up a bit by selecting some favorites that I don’t *think* I’ve talked about yet.

1920s- The Freshman (1925)

Starring: Harold Lloyd & Jobyna Ralston

Plot: Lloyd stars as “Harold Lamb,” an incoming freshman who is eager to begin his studies at Tate University. He has saved up quite a tidy sum, $485 ($7400 in 2021 dollars), to use as spending money while enrolled in college. While on the train, Harold meets Peggy (Ralston) and the two are smitten with one another. While at Tate, Harold decides that the best way to fit in is to emulate his favorite movie star, known as “The College Hero” in a series of films. Upon introducing himself to a potential friend, Harold performs The College Hero’s jig and adopting the nickname, “Speedy.” However, unbeknownst to Harold, his attempts to be cool and fit in make him the object of everyone’s jokes, especially the college bully. The students’ laughter makes Harold think that he’s fitting in and he’s unaware that he is the school laughing stock. His only true friend in the film is Peggy, his landlady’s daughter. Harold ends up trying out for the football team, but his obvious lack of athleticism does not impress the coach. The star football player, wanting to continue to make fun of Harold, convinces the coach to hire Harold as the waterboy, hereby making Harold think that he’s made the team. The star football player’s ruse may end up haunting him and the team later.

My Favorite Part: My favorite part of this film is when Harold is at the Fall Frolic in an unfinished suit. His tailor has all the pieces of the suit attached with some very loose stitches. Harold opts to wear the suit while the tailor hides behind a curtain, hoping to casually finishing sewing Harold’s suit. While Harold tries to partake in the Fall Frolic activities, his suit starts falling apart.


1930s- Alice Adams (1935)

Starring: Katharine Hepburn & Fred MacMurray

Plot: Hepburn stars as the titular Alice Adams, a young woman from the “wrong side of the tracks,” at least from Alice’s perception. In reality, there’s nothing wrong with the Adams’ home. It is a nice, clean home. It’s not fancy, but it’s functional and well-maintained. However, it is obvious that the Adamses are unhappy with their lot in life. Mr. Adams (Fred Stone) is an invalid and works as a clerk at Mr. Lamb’s (Charley Grapewin) glue factory. Mr. Lamb as been very nice and patient with Mr. Adams and his illness. However, Mrs. Adams (Ann Shoemaker) is frustrated with her husband’s lack of motivation or ambition to do anything to improve their financial situation. Alice’s brother, Walter (Frank Albertson), is a gambling addict and is unable to hold down a job. He also fraternizes with African-Americans, which at the time, was seen as unseemly (and embarrassing) behavior.

Alice is invited to a dance hosted by a wealthy peer of hers, Mildred Palmer (Evelyn Venable). Alice tries to put on airs, despite being escorted by her brother and carrying a bouquet of violets that she harvested outside. In an attempt to prove herself worthy of attending this party, she tries to impress her peers with haughty behavior and conversation, but they are not impressed and she is essentially shunned. While at the dance, she meets the wealthy Arthur Russell (MacMurray) who sees through her shtick but is nonetheless charmed. He makes it known that he wishes to see her more often and Alice, worried that he won’t be interested in her if he knew her true social standing (though he already does), tries to continue her charade.

My Favorite Part: The family dinner is hilarious and heartbreaking all at once. Alice invites Arthur to have dinner with her family. Alice hires a maid, Malena (Hattie McDaniel), to keep up the charade. Despite being blistering hot outside, the entire family dresses in formal attire. Alice plans this absurd (and very hot and heavy) meal made up of fancy delicacies, but Malena’s poor cooking skills are not up to par with the food Alice wants to serve. Malena provides the comic relief of the dinner with her unimpressed facial expressions and genuinely uncouth behavior. Poor Alice is collapsing emotionally with each and everything that goes wrong. Arthur, bless his heart, stoically carries on despite the disastrous evening.


1940s- Gilda (1946)

Starring: Rita Hayworth & Glenn Ford

Plot: Johnny Farrell (Ford) is an American gambler, newly arrived to Buenos Aires, Argentina. When the film opens, Johnny is hustling some gangsters outside during a game of craps. Johnny wins a large sum of money using loaded dice. When the gangsters discover Johnny’s ruse they are about to beat him up when Ballin Mundson (George Macready), a stranger, steps in and rescues Johnny. Ballin owns a fancy casino and brings Johnny there, but warns him not to cheat. However, once a cheater, always a cheater and Johnny is caught cheating at blackjack. After Ballin catches him cheating again, Johnny convinces him to give him a job and soon becomes the manager.

One day, Ballin comes back from a trip announcing that he’s taken a new wife, despite having only known her for a day. He takes Johnny to meet his new wife, Gilda (Hayworth), and Johnny is shocked. The smile on Gilda’s face quickly fades. It is obvious that these two know each other and have a past. What kind of past remains to be seen. Ballin assigns Johnny to be Gilda’s keeper of sorts. Gilda and Johnny have a very intense love/hate relationship. Gilda at one point says to Johnny: “I hate you so much, that I would destroy myself to take you down with me.” However, in spite of how much they say they hate each other, they’re also always about 5 minutes away from jumping into the sack with one another. To irritate Johnny and get his goat, Gilda begins cavorting with various men at all hours of the evening. Johnny has to keep intervening out of loyalty to Ballin. However, at some point, the tension between Gilda and Johnny begins to take over and they’re unable to contain themselves. Ballin observes his manager and wife’s lust for each other and takes matters into his own hands.

My Favorite Part: My absolute favorite part is Gilda’s floor-length sequin coat. But plot wise, the classic “Put the Blame on Mame” song is definitely a highlight. I also really love the scenes at Carnival. Gilda’s gaucho outfit is amazing.


1950s- His Kind of Woman (1951)

Starring: Robert Mitchum, Jane Russell, Vincent Price & Raymond Burr

Plot: Robert Mitchum plays Dan Millner, a professional gambler. At the beginning of the film, he is very much down on his luck. One night, after being ambushed by a group of thugs, he is brought to one of the more senior thugs and is offered a “too good to be true” job. For $50k, Dan has to spend a year in Mexico. Figuring that there’s got to be a catch, but also figuring that he has nothing to lose, Dan accepts a $5k advance and takes a chartered flight to the isolated Morro’s Lodge in Mexico. While on his flight, Dan meets Lenore Brent (Russell). Lenore very matter-of-factly tells Dan that she has a million dollars. Dan is attracted to her but disappointed to learn that she’s involved with another guest at the resort, famous actor Mark Cardigan (Price). While milling around the resort, Dan overhears two guests: Martin Kraft and a man by the name of Thompson (Jim “Thurston Howell III” Backus) discussing a plot that Dan suspects is related to the $50k he was offered. The two men give Dan $10k hush money and tell him that someone will be arriving soon to go over the plan with him.

Around the same time, an undercover agent from the United States Immigration and Naturalization Service shows up stating that underworld boss, Nick Ferraro (Raymond Burr) is scheming to try and get back into the US. Four years prior, he’d been deported to Italy. At this point, as far as I can tell, Ferraro is planning a “Face/Off” situation where he and Dan, supposedly of similar height and build, will literally switch faces. It seems that Martin Kraft is a plastic surgeon, who is armed with some sort of anesthesia that will allow him to perform the face switching procedure. At some point, Dan is kidnapped and under duress on Ferraro’s boat and it becomes up to Mark Cardigan to head an expedition to save Dan.

My Favorite Part: The entire scene involving Mark Cardigan heading up the rescue mission. Vincent Price’s hamminess makes the scene and it wouldn’t have been anywhere near as interesting or funny without Price. Price brings some much wanted levity to the film, especially while Robert Mitchum faces the idea of having to literally have his face ripped off and switched with Raymond Burr’s. I love the scene where Mark valiantly boards a small boat, only to have it sink immediately because it’s overloaded. I love the hilarious super long (and I imagine, heavy, especially water-logged) cape that he wears while he mans the (larger) rescue boat.


1960s- Girl Happy (1965)

Starring: Elvis Presley & Shelley Fabares

Plot: Elvis plays Rusty Wells, a nightclub singer (duh) who along with the other three members of his quartet have just ended their gig at a nightclub in Chicago. They plan to travel to Fort Lauderdale, Florida for Spring Break before moving onto their next job. However, the nightclub owner, “Big Frank,” messes up their plans when he extends their contract and they have to cancel their trip.

At the same time, Big Frank’s 18-year old college-aged daughter, Valerie (Fabares), is also planning on traveling to Fort Lauderdale for spring break. Despite his daughter’s legal adult status, Big Frank is terrified at the idea of letting his daughter travel so far away with just her friends in tow. Rusty sees his boss’ worry, and still wanting to go to Florida, comes up with the brilliant idea of offering to chaperone Valerie. Big Frank likes the idea and offers to bankroll Rusty and his friends’ trip. While in Fort Lauderdale, Rusty struggles with keeping an Italian playboy from lusting after Valerie and maintaining a semblance of a relationship with a “good time girl” (i.e. loose girl) Deena (Mary Ann Mobley). Rusty has to keep bailing on Deena when duty calls and she quickly grows tired of him. But because it’s an Elvis movie and he has to find himself in some sort of love triangle, Deena continues to maintain an interest in Rusty throughout the entire film.

And because this is an Elvis movie and because it’s a tried and true plot with one party being hired to chaperone or hang out with (or what have you) the other. You know that they’ll fall in love and you know that the person being chaperoned will find out. Despite the formulaic Elvis movies and plotlines, I still love it. His movies are fluffy, but they’re fun. And sometimes a fun movie is all that is needed.

My Favorite Part: I love the part when Elvis dresses up in Nina Talbot’s dress to escape from Officer Jackie Coogan’s jail. Elvis had dug a large hole and burrowed himself into the jail cell so that he could save Valerie and the other women.


1970s- The Muppet Movie (1979)

Starring: Kermit the Frog & Fozzie Bear

Plot: The film opens with all of the Muppets sitting together in an auditorium, waiting to watch their film. This film shows how all the Muppets met. We meet Kermit the Frog sitting in a boat in a pond, singing “Rainbow Connection” while strumming his banjo. A talent agent (Dom Deluise) who just happens to be at the same pond, hears Kermit’s song and says that he could be a Hollywood star. I mean obviously, it’s a singing frog playing the banjo! What more could anyone want? Kermit loves the idea of making millions of people happy and sets off for Hollywood. Along the way, he meets a terrible (but awesome) stand-up comedian, Fozzie Bear. Kermit invites Fozzie to Hollywood and the two set off in Fozzie’s Studebaker. This brings about my favorite quote from the film, “A frog and a bear, seeing America.”

Along the way, Kermit and Fozzie meet Dr. Teeth and the Electric Mayhem (which includes Animal), the band’s manager, Scooter, Gonzo and his girlfriend (Camilla the Chicken), Sweetums, Miss Piggy, Rowlf, Bunsen Honeydew, and Beaker. There are a million of celebrity cameos: James Coburn, Madeline Kahn, Telly Savalas, Milton Berle, Bob Hope, Steve Martin, Mel Brooks, Cloris Leachman, and perhaps the greatest cameo of them all… ORSON WELLES.

My Favorite Part: This entire film is hilarious. But I really love the part where Kermit the Frog and Miss Peggy go out for a romantic dinner. They are greeted by a snarky and rude waiter (Steve Martin) who wears shorty shorts, offers them a straw for their bottle-capped Idaho champagne (after offering to let them smell the bottlecap, of course).

Buster Keaton Blogathon- “The General” (1926)

This is super late. I’m not even going to pretend that it’s even vaguely on-time. I ended up being busy this weekend and didn’t have time to write the post. But I wanted to write about this film regardless of whether or not it was part of an event. As a native Oregonian, I’m always interested in seeing films that were filmed in Oregon, especially classic films in Oregon. Oregon doesn’t seem to be a filming hot spot. It’s especially fun to see things that were around at the time of the film’s production that are still around today.

Buster Keaton’s The General was one of Keaton’s pet projects as he was a big fan of trains and had read the William Pittenger’s (former Union Army soldier) 1863 memoir, The Great Locomotive Chase. In his book, Pittenger describes the events of the 1862 “Great Locomotive Chase” which was a military raid that occurred in Georgia during the Civil War. Keaton wanted to bring the story of the Great Locomotive Chase to the silver screen, but of course wanted to tell the story using his patented brand of comedy. He wanted to rent the actual General locomotive that was used in the real chase, but the owners denied his request upon hearing that his envisioned film was a comedy. In the story, Keaton also changed the perspective of the story by presenting the Confederates in a positive light. Obviously, these days that decision would probably be quite controversial.

The next step was to find a suitable filming location. Keaton’s location manager ended up discovering Cottage Grove, OR a small town about 30 minutes south of Eugene, 2.5 hours south of Portland. Near Cottage Grove, there was an old-fashioned railroad already intact which was perfect for The General. The crew also discovered that the local railway–Oregon, Pacific and Eastern Railway owned two Civil War-era vintage trains. They purchased a third locomotive to serve as the “Texas,” solely to use in a planned trainwreck scene. With the location and needed trains in place, production was underway.

The General is simply a story about Johnnie Gray (Keaton), the Western & Atlantic train engineer. He operates the locomotive, “The General.” He is visiting his fiancee, Annabelle Lee (Marion Mack) in Marietta, GA when the Civil War breaks out. To impress his fiancee’s father, he tries to enlist in the Confederate Army but is denied because his occupation as a train engineer is too valuable to risk his death in the war. He accepts this reasoning and tries to walk away but in the process, he is spotted by Annabelle’s father and brother who assume that he is uninterested in joining the war. Upset about her husband-to-be’s supposed lack of patriotism, Annabelle tells Johnnie that she will not marry him unless he joins the Confederacy.

A year passes and Johnnie continues his work as the engineer of The General. One day, Annabelle boards the train with Johnnie’s General guiding the way. Annabelle’s father is ill and she is traveling to see him. Shortly after boarding, the train is hijacked by the Union Army spies and they end up stealing not only the train, but The General too. After giving chase, Johnnie ends up manning another locomotive, the Texas. Much of the remainder of the film involves Johnnie trying to not only save Annabel, but also The General as well.

Buster Keaton actually counted out individual grains of gunpowder to achieve the desired cannon effect!

There are many very impressive scenes, including the famous scene of The Texas driving onto a burning bridge and collapsing into the water below. There’s another very dangerous stunt that Keaton pulls off which involves him dislodging a railroad tie while a train quickly approaches. There’s another amazing (but dangerous) stunt where Keaton sits on the coupling rod on the wheel of the train while it is moving. Keaton had a lot of fearlessness and nerve when performing his stunts and they’re fascinating to watch. He was in a league of his own when it came to physical stunts.

The General, while maybe not my favorite Keaton film, is very funny and had a lot of amazing scenes. And while there aren’t really any scenes of Cottage Grove or neighboring Oregon locales that I recognize, I love knowing that Buster Keaton was here in 1926 filming one of his classic films–a classic film that Orson “Citizen Kane” Welles declared “perhaps the greatest film ever made.” The town of Cottage Grove very much embraces their place in Buster Keaton history and in 2002, painted a mural of Keaton in The General, on the side of the former Cottage Grove Hotel in the historic downtown district. The mural is due to be refurbished this year. There’s also a cafe called “Buster’s Main Street Cafe” that (I believe) is housed in the building that the mural is painted on.

As a native Oregonian, I am proud to have had The General filmed in my state.

The Buster Keaton mural in Cottage Grove, OR

Doris Day Blogathon- “On Moonlight Bay” & “By the Light of the Silvery Moon”

Doris’ amazing shirt!

Doris Day would have celebrated her 99th birthday on April 3, 2021. Miss Day passed away almost two years ago on May 13, 2019 at the age of 97. Up until the day she passed away, Doris had devoted the last half of her life to animal welfare–forming multiple non-profit organizations whose intent was to support both animals and other like-minded organizations. Through Doris’ non-profits, she also protected animals’ well-being through her Spay and Neuter program, and support at other legislation aimed to give animals the respect and dignity they deserve when facing illnesses and injuries that could potentially prolong their suffering and pain. With all that I’ve read about Doris and from what I’ve seen of her in interviews, I’m sure that she’s most proud of her animal welfare work and is what she’d like to be her legacy.

For major classic film fans like myself and others, Doris Day will forever be known for her pretty, perky girl next door persona, which later evolved into the persona of a sophisticated career woman. She ended her career playing mother roles. However, in all of these roles, no matter the setting, Doris Day was always a cute, personable woman with a gorgeous singing voice and effortless charm. She, much like the younger Sandra Dee, ended up being saddled with a reputation for being virginal–which really doesn’t make sense considering that she often played a mother toward the end of her career. This “virgin” label is often used as some sort of an insult, as if to discount Day’s work as being trivial or fluff. To this I say, what’s wrong with fluff?

I like fluff.

We’ll just ignore the fact that Doris doesn’t look anything like the poster in the actual film!

In a pair of my favorite fluffy films, On Moonlight Bay (1951) and its sequel, By the Light of the Silvery Moon (1953), Day plays eighteen-year old, Marjorie Winfield. We’ll look past the fact that Doris was 29 and 31 in the two films. Day’s youthfulness and effervescent personality more than makes her believable as an eighteen-year old. She was also paired up with frequent co-star, Gordon MacRae, who is adorable in both films. On Moonlight Bay starts the Winfield Family’s story in the mid-1910s. The Winfields have just moved into a larger home in a more affluent neighborhood in their small Indiana town. Marjorie has recently graduated high school and since she’s not getting any younger, her father, George (Leon Ames), is eager to have her meet a suitor and marry. Much to his chagrin however, Marjorie is a tomboy and would rather play baseball than wear dresses and look for a suitable husband.

Lucky for Marjorie however, she soon meets neighbor Bill Sherman (MacRae), an Indiana University student. He is at home while on a break from school. Marjorie is smitten with him and soon is all about being a proper young woman, wearing dresses and the like. At first George is overjoyed, but soon is dismayed when Bill shares his unconventional thoughts regarding marriage and finances. Bill’s thoughts on finances is especially upsetting since George makes his living as a banker. Marjorie’s mother, Alice (Rosemary DeCamp), likes Bill as does Marjorie’s precocious younger brother, Wesley (Billy Gray). The Winfield’s maid, Stella (Mary Wickes), is too busy dealing with Wesley’s hijinks to be concerned about Marjorie and Bill’s relationship.

At some point, George tries to fix Marjorie up with his idea of a suitable suitor, Hubert, but Hubert is lame and dull. Nobody except George likes him. Marjorie reluctantly follows along, but Wesley has no qualms about making his opinions on Hubert known. By the end of the film, the US has entered WWI and Bill leaves to fight in the war. In the sequel, By the Light of the Silvery Moon, it is 1918. WWI is over and Bill returns to his small Indiana town to pick things up with Marjorie. Thankfully, Marjorie has been waiting for Bill and the two resume their relationship.

The woman in this poster doesn’t even look like Doris!

Marjorie and Bill’s relationship really hits its stride. Except, the now nineteen/twenty-year old Marjorie is ready to marry Bill. However, Bill is reluctant to commit to Marjorie, because he has yet to find a good job. He does not want to marry Marjorie if he is not gainfully employed. Of course, because every movie needs to find a reason for the romantic couple to break up so that they can triumphantly reunite towards the end, Marjorie and Bill breakup over his not wanting to marry Marjorie. They are reunited thanks to one of Wesley’s schemes, which involves Bill disguising himself (with a fake mustache, of course) as a horse and carriage driver. There’s also an odd subplot involving the family thinking that father George is having an affair. Wesley also has a fantasy sequence where he’s a detective. Those sequences are fine, but honestly this film is all about Doris Day and Gordon MacRae.

On Moonlight Bay and By the Light of the Silvery Moon never seem to be mentioned among Day’s more well known titles like Pillow Talk, Lover Come Back, Send Me No Flowers, The Man Who Knew Too Much, Calamity Jane, Love Me or Leave Me, etc. This pair of films deserve to be mentioned along Doris’ other wonderful films. Both films capture Doris’ wonderful girl next door persona, she’s cute as a button and it’s easy to see why Gordon would be so enamored by her. She is so cheery and charming. As is Gordon. Why that guy wasn’t a bigger star is beyond me. These films are very much in the same vein as Meet Me in St. Louis (even with the same dad), but they are different enough to not be considered a knock-off. I don’t even usually like child actors, but Billy Gray is able to imbue his character Wesley, with enough charm and personality that he comes off as funny, rather than obnoxious. At no point is Wesley cloying, or trying to manipulate the audience into feeling affection toward him. He is legitimately funny and sweet towards his sister in the film.

Aren’t they adorable? Doris Day and Gordon MacRae from the ending of “By the Light of the Silvery Moon”