Today Lucille Ball is widely regarded as a legend and the Queen of Comedy. Prior to her legend-making role as Lucy Ricardo in the pioneering sitcom I Love Lucy, Lucy was considered royalty in a less esteemed field–Queen of the ‘B’ movies. A ‘B’ movie does not necessarily mean that it is bad or lesser, it is just a film not given the prestige of A-list above the title type stars, the big directors, and the big budgets. During the studio era, films were often shown on a double bill. A newsreel, cartoon, and short film or serial would be shown first, followed by the B movie, and ending with the headliner, or an A film. B movies were also known as “programmers.”
Lucille Ball toiled away for a few years in uncredited and small bit roles at RKO before she was finally given a small supporting role in the A-list production, Stage Door (1937), starring Katharine Hepburn and Ginger Rogers. This film put Ball on the map and RKO started giving her leading roles in their B-list productions. Her first starring role was as Annabel Allison in The Affairs of Annabel (1938), co-starring Jack Oakie. In the film, Oakie plays Annabel’s agent who keeps getting her involved in one zany publicity scheme after another to promote her latest acting project. ‘Affairs’ was followed up by the sequel, Annabel Takes a Tour (1938). RKO originally intended to turn the Annabel films into a serial, but the project was aborted when Jack Oakie wanted more money.
After Annabel, Lucy starred in one B film after another, Go Chase Yourself (1938). In this film, Lucy plays the wife of a man who is mistaken for a bank robber and ends up in a high-speed police pursuit. In another film, The Next Time I Marry (1938), Lucy plays a woman who is set to inherit $20 million if she marries an American. She is in love however, with a Count from another country. Lucy meets an American man and convinces him to marry her. Eventually she ends up trapped in a trailer a la The Long Long Trailer (1954). In an excellent B film, Beauty for the Asking (1939), Lucy plays an entrepreneur who ends up inventing a new face cream after being dumped by her boyfriend, Patric Knowles. Lucy also appeared in another fantastic B-movie, Five Came Back. In this film, she plays a loose woman who ends up being a passenger on a plane that crashes in the jungle. After the plane is fixed, it is revealed that only 5/9 passengers can return home.
Lucy continued to appear in B films at RKO through the early 1940s. In fact, by the early 1940s, she had appeared in so many B movies, she earned the nickname, “Queen of the Bs.” One of the most pivotal B movies that she appeared in was Too Many Girls (1940), co-starring a young 23-year old Cuban named Desi Arnaz. Lucy and Desi met on set and it was love at first sight. She would later appear in the very charming A Girl, A Guy and A Gob (1941), co-starring a young and adorable (!) Edmond O’Brien, and George Murphy who plays a character named Coffee Cup. This is a great movie and I highly recommend it. Unfortunately, despite how awesome A Girl, A Guy and A Gob is, it was not a film that was going to elevate Lucy to A-list star status.
Despite appearing in dozens of starring roles by the early 1940s, Lucy had yet to get that one part that would change her career. There was no Morning Glory (1933; Katharine Hepburn’s first Oscar-winning role), or Of Human Bondage (1934; Bette Davis’ breakthrough part), or Captain Blood (1935; Errol Flynn’s breakthrough, star-making role) in her future. Lucy had proven herself a capable comedienne. She also had demonstrated excellent dramatic skills in films such as Dance Girl Dance (1940). This woman had “it.” She was gorgeous. She was talented. She had everything that any of her contemporaries had. So why couldn’t RKO make her a real star?
In 1943, Lucy left RKO and moved to MGM. Despite the move, she continued to appear in one film after another that really didn’t do much for her career. The biggest impact MGM made was dying her hair its signature shade of red. Later, she worked at a variety of different studios and made a lot of great films: Lured (1947), The Dark Corner (1946), Miss Grant Takes Richmond (1949); but nothing made her a star. It would take her CBS radio show, My Favorite Husband, where she portrayed the first incarnation of Lucy Ricardo (albeit with a different name, Liz Cooper) to finally give her the break she needed. The success of My Favorite Husband led to being offered a television show. And thanks to Lucy and Desi’s tenacity, that television show ended up being I Love Lucy–which finally gave her the break she wanted and deserved.
Fast forward to 1957, Lucy and Desi, now the owners of the highly successful Desilu Studios television production company, were able to purchase the failing RKO Studios–the very studio that couldn’t make Lucille Ball into a movie star. Thanks to the new medium of television, Lucille Ball, the former “Queen of the Bs” was now “The First Lady of Television” and the “Queen of Comedy.”
Allen Jenkins has one of those mugs and voices that is instantly recognizable the second he’s on screen and opens his mouth. He’s never the lead, or even the major second lead, but he’s always there to provide ample support. My first introduction to Allen Jenkins was in his numerous appearances on I Love Lucy, often as a police officer. His most memorable appearance was in a late second season episode, “Ricky and Fred Are TV Fans.” In this episode, Lucy and Ethel are upset about becoming boxing widows when Ricky and Fred settle in for the evening to watch “the big fight.” It is established that Ricky and Fred have spent a lot of evenings watching boxing on television and their wives are fed up with being ignored night after night. Lucy and Ethel decide to go down to the corner drug store and call Ricky on the phone. Lucy will disguise herself as one of her friends and ask Ricky to call Lucy to the phone, which should clue him in that Lucy and Ethel are gone. The plan doesn’t work however, as Ricky just answers the phone, calls Lucy to the phone, sets the receiver down, then returns to watching the fight. The entire crowd in the drug store is caught up in the fight, including Officer Jenkins (Allen Jenkins). Lucy unable to get the drugstore clerk’s attention (because he’s watching the fight on television), decides to make change for herself. The bell on the cash register gets Officer Jenkins’ attention and he accuses Lucy of trying to rob the drug store. Lucy and Ethel get away.
Later, Lucy and Ethel return to the Ricardos’ apartment only to see the phone still off the hook and Ricky and Fred still watching the fight–they didn’t even notice the women’s disappearance. Insulted, Lucy decides to climb up onto the roof to cut the electricity to the Ricardos’ apartment. It seems a little drastic, and she has no fear about being electrocuted, but that’s how Lucy works, she doesn’t screw around. Anyway, while Lucy and Ethel discuss which cord is running to the Ricardos’ apartment, Officer Jenkins finds them and brings them down to the precinct. Now at the police station, Officer Jenkins tells his superior, Officer Nelson (Frank Nelson), that he’s finally tracked down the infamous female robbers, “Pickpocket Pearl” and “Sticky Fingers Sal.” The women are identified based on their hair color. ‘Pearl’ is a blonde and ‘Sticky Fingers’ is a brunette, who must have dyed her hair red, deduces Officer Nelson.
LUCY: Dyed your hair. A lot you know. My hair is naturally red. Isn’t it Ethel? ETHEL: Look Lucy, let’s not add perjury to our other charges. LUCY: Well I might have expected something like that from you. Pick. Pocket. Pearl.
Lucille Ball as “Lucy Ricardo” and Vivian Vance as “Ethel Mertz” in “Ricky and Fred Are TV Fans” in I Love Lucy. Originally aired June 22, 1953.
Allen Jenkins went all the way back to 1939 with Lucille Ball when he appeared with her in the RKO film, Five Came Back. In the film, nine passengers board a flight from Los Angeles to Panama City. During the flight, the plane flies directly into an intense nighttime storm, which ends with the plane crashing into a rainforest. The passengers and crew survive. Eventually the plane is repaired, but can now only support the weight of five passengers. The passengers and crew must decide which five people will get to return home. Lucy plays Peggy Nolan, a woman with a shady past and Allen plays Pete, a gunman who is tasked with escorting the son of a gangster back home.
Eight years prior to Five Came Back, Allen had made his film debut in the 1931 short film, Straight and Narrow playing what else? An ex-convict. Allen played many unsavory characters throughout his career. He also appeared in many memorable pre-code films such as: Three on a Match (1932), Employees’ Entrance (1933), 42nd Street (1933), Blondie Johnson (1933), and Jimmy the Gent (1934). During the production code era, he played opposite big Warner Brothers stars like Errol Flynn (The Perfect Specimen (1937), Footsteps in the Dark (1941), and Dive Bomber (1941)) and Humphrey Bogart (Marked Woman (1938), Dead End (1937), and The Amazing Dr. Clitterhouse (1938) ).
Jenkins was born on April 9, 1900 in Staten Island, New York. Despite often being cast as the dimwitted thug or comic relief, Jenkins actually had a long pedigree when it came to show business training. His family earned their living in show business and he later trained at the reputable American Academy of Dramatic Arts. In the 1920s, Jenkins was working steadily on Broadway, even replacing Spencer Tracy in the play, “The Last Mile.” Jenkins’ turn in Tracy’s role is what led to Darryl F. Zanuck discovering him and bringing him out to Hollywood to work for Paramount Pictures. His first major role was reprising his Broadway role of “Frankie Wells” in the 1932 film adaptation of Blessed Event, starring Lee Tracy. This role led to Jenkins receiving steady work, often in gangster films throughout the 1930s and 1940s.
In Ball of Fire, Jenkins has a memorable role as the garbage man who rattles off one slang word after another, much to the bewilderment of the professors who are trying to write a comprehensive encyclopedia on American slang. He would later reprise his role in the film’s 1948 remake, A Song is Born.
GARBAGE MAN: I could use a bundle of scratch right now on account of I met me a mouse last week. PROFESSOR ODDLY: Mouse? GARBAGE MAN: What a pair of gams. A little in, a little out, and a little more out. PROFESSOR BERTRAM POTTS: I am still completely mystified. GARBAGE MAN: Well, with this dish on me hands and them giving away 25 smackaroos on that quizzola. PROFESSOR BERTRAM POTTS: Smackaroos? PROFESSOR ODDLY: Smackaroos? What are smackaroos? GARBAGE MAN: A smackaroo is a… PROFESSOR BERTRAM POTTS: No such word exists. GARBAGE MAN: Oh, it don’t, huh? A smackaroo is a dollar, pal. PROFESSOR BERTRAM POTTS: Well, the accepted vulgarism for a dollar is a buck. GARBAGE MAN: The accepted vulgarism for a smackaroo is a dollar. That goes for a banger, a fish, a buck, or a rug. PROFESSOR BERTRAM POTTS: Well, what about the mouse? GARBAGE MAN: The mouse is a dish. That’s what I need the moolah for. PROFESSOR ODDLY: Moolah? GARBAGE MAN: Yeah. The dough. We’ll be stepping. Me and the smooch, I mean the dish. I mean the mouse. You know, hit the jiggles for a little drum boogie.
Allen Jenkins as “Garbage Man,” Richard Hadyn as “Professor Oddly” and Gary Cooper as “Professor Bertram Potts” in “Ball of Fire” (1941).
One of Jenkins’ last film roles was as the elevator operator who takes pity on the perpetually hungover Thelma Ritter in Pillow Talk (1959). Later, he moved to television, where he often played cops, or characters in blue-collared jobs. Aside from I Love Lucy, Jenkins also appeared in Adam 12, Bewitched, Batman, and The Man From U.N.C.L.E. He also made frequent appearances on Red Skelton’s show, The Red Skelton Hour, and also had a role in the 1950s sitcom, Hey Jeannie! (1956-1957). He is also remembered for voicing Officer Dribble on the cartoon series, Top Cat (1961-1962).
Allen Jenkins passed away on July 20, 1974 from lung cancer at the age of 74.
HUNK: Maybe I’m wrong. We all make mistakes, boss. That’s why they put the rubber on the ends of pencils.
Allen Jenkins as “Hunk” to Humphrey Bogart in Dead End, 1937.
I ‘m coming in hot with a last minute entry for Classic Film and TV Corner’s “Discovering Classic Cinema Blogathon.” I actually saw this blogathon announced awhile back and forgot to enter it. Oops. This is also my first opportunity to type something substantial using my new laptop that my husband got me for Christmas! Woohoo. My introduction to classic film didn’t come via the usual routes. I’m not old enough to have seen any of these movies in the theater during their original run. The first movie I saw in the theater was Disney’s The Little Mermaid at the age of 5 in 1989. Apparently I saw a re-release of The Aristocats in 1987 when I was 3, but according to my mom it did not go well and I did not see the whole movie. Lol. I traumatized my parents enough that it was 2 years before I went back. Having grown up in Salem, OR during the mid-to-late 80s through the early 00s, there wasn’t really any opportunity to see the classics in repertory theaters, as Salem doesn’t have any. While I did watch the annual TV viewings of The Wizard of Oz, and had secretly seen Psycho and The Birds despite my mom not wanting my sister and I to see them (my dad rented them while she was out of town), these did not ignite my love of classic cinema.
One evening in 1994, 10-year old me was flipping channels and came across Nickelodeon’s evening programming, something called “Nick-at-Nite.” For the record, 90s Nick-at-Nite was one of the greatest things ever and I really wish it would come back, but I digress. Anyway, I was instantly sucked in by the colorful graphics, catchy jingles and fun animation that once graced the evening Nickelodeon block. A voiceover came on screen and announced that a show called I Love Lucy was coming up on the schedule. I honestly do not recall if I’d ever seen or heard of I Love Lucy prior to this moment, but I do know that it was not something I watched regularly. The now-familiar I Love Lucy theme song started, the hearts on satin appeared with the cast’s names: Lucille Ball, Desi Arnaz, Vivian Vance, and William Frawley. I still remember the first episode I saw, “L.A. at Last!” with William Holden guest starring. At that moment, I had no idea who the cast members were, let alone William Holden.
I was instantly transfixed by Lucy’s antics. In “L.A. at Last!,” Lucy decides that she and the Mertzes need to find the “celebrity watering hole,” where the stars all gather at the same place, thus saving Lucy time in having to track them down one-by-one. Bobby the Bellboy suggests that the group visit Hollywood’s famed Brown Derby restaurant–a well known hotspot for celebrities. As an aside, I will forever be sad that I cannot go to the Brown Derby, nor can I go to 99% of the famous Hollywood nightclubs of the 30s-50s. No Ciro’s or The Mocambo for me. Anyway, while at the Brown Derby, Lucy, Ethel and Fred are spotting celebrities left and right. We hear multiple celebrities paged to the telephone: Cary Grant, Gregory Peck, Walter Pidgeon, Ava Gardner. Lucy and the Mertzes see each and every one of them (offscreen) get up for the phone. Ethel also manages to offend Eve Arden in the neighboring booth by asking her to identify a caricature of herself as either Judy Holliday or Shelley Winters. Lucy for her part, is in awe of Ethel. “You touched her!” Lucy says, much to Ethel’s dismay at her faux pas.
Then, big star William Holden sits down in the booth next to Lucy and the Mertzes. Ethel is immediately starstruck and gets Lucy’s attention. Lucy catches a glimpse of Holden in the booth and is swooning. Being the creeper that she is, Lucy can’t stop staring at Holden, making him very uncomfortable in the process. Lucy’s encounter with Holden at the Brown Derby culminates with her tripping the waiter and causing him to dump a cream pie all over Holden’s head. Later, Holden meets Ricky at MGM and offers to give him a ride home to his Beverly Palms Hotel suite. When Ricky tells Lucy he’s brought a big star home with him, Lucy is overjoyed, until Ricky reveals the big star’s identity. Frantic, Lucy puts on a ridiculous disguise which includes large black cat eye glasses, a scarf to hide her hair, and a big putty nose. The scene that follows is hands down the funniest moment of the entire series (in my opinion). The look on William Holden and Desi Arnaz’ faces when Lucy turns around after “fixing” her putty nose is hysterical. How lucky was I to have this be the first episode of I Love Lucy that I ever saw?
I was hooked on I Love Lucy from then on, watching it at 8:00pm every night–except on Saturdays, I Love Lucy started at 10:00pm. On “Whole Lotta Lucy” Saturdays, Nick-at-Nite showed two episodes of I Love Lucy, followed by an episode of The Lucy-Desi Comedy Hour. Every episode of The Lucy-Desi Comedy Hour featured a different guest star. With the exception of Fred MacMurray, I didn’t know who any of the guest stars were. I also knewvery few of the I Love Lucy guest stars, with the exception of John Wayne, Orson Welles, and Bob Hope. As a kid, I always figured that these were people who “were famous at the time.” Lol.
Anyway, my family and I were also avid library goers, spending approximately one Sunday afternoon a month perusing the stacks. Now fully obsessed with I Love Lucy and Lucille Ball, I checked out each and every book about her in the library. I read multiple biographies about her, Desi, Vivian Vance, and anything I Love Lucy-adjacent. From these books, I learned that Lucille Ball had a fairly extensive film career and discovered that my library had a large selection of “The Lucille Ball Signature Collection” VHS movies. I watched each and every one. At the same time, my parents’ cable package had just acquired a new channel, the recently launched TCM. Every Sunday, I would find the new TV guide supplement in the newspaper and comb through it, looking to see if any Lucille Ball films or documentaries were scheduled that week. I’d always check PBS, A&E’s Biography program, TCM and AMC (when it showed old films).
From Lucille Ball’s film career, I was introduced to a myriad of different stars who quickly became favorites of mine. Through Lucy’s film, DuBarry Was a Lady, I learned about Gene Kelly. Because of my interest in Gene, I watched Singin’ in the Rain and The Pirate. ‘Rain’ introduced me to Debbie Reynolds and ‘Pirate’ introduced me to Judy Garland, who I was aware of through The Wizard of Oz, but hadn’t seen her in anything else prior. Through Judy, I learned about Fred Astaire (Easter Parade), which led me to Ginger Rogers. Rogers I’d seen before as she’d appeared with Lucy and Katharine Hepburn in Stage Door, which I’d borrowed from the library. From Stage Door, I recognized Eve Arden from the episode of I Love Lucy I’d seen. I continued on this path of constant discoveries and am still on the path somewhat, except that I’m more familiar with all the actors and know that the ones who appeared as guest stars on I Love Lucy weren’t just people who were famous at the time of I Love Lucy’s production era.
Cornel Wilde is no longer known as “Cornel Wilde is in the penthouse!” (I Love Lucy, “The Star Upstairs”). He’s a co-star in the excellent Leave Her to Heaven with Gene Tierney and he’s great in The Big Combo, his film being promoted on his episode of I Love Lucy. Charles Boyer isn’t just “LUCY! I love you, rawrrrrr” ((I Love Lucy, “Lucy Meets Charles Boyer”). He’s Ingrid Bergman’s terrifying husband in Gaslight, or the man who woos Olivia de Havilland in Hold Back the Dawn. Boyer is the man who arranges to meet Irene Dunne at the top of the Empire State Building in Love Affair. Unbelievably, I also didn’t know anything that William Holden did aside from being hilarious in I Love Lucy. I finally saw him in Sunset Boulevard and was blown away. After having seen him in so many films now, I can definitely say that Holden was a bona fide superstar.
From reading all the library books about Lucille Ball and her film career, I learned that she made it a point to hire her friends from the movies when she had an opportunity to do so. The film friend of hers who benefitted the most from this is of course, William Frawley, who is now a legend in his own right for playing the irascible Fred Mertz on I Love Lucy. Having seen a good amount of classic films now, Frawley is everywhere. He plays Errol Flynn’s boxing promoter, Billy Delaney, in Gentleman Jim. He also plays a cop in Flynn’s Footsteps in the Dark, and Deanna Durbin’s Lady on a Train. He is also in the perennial Christmas classic, Miracle on 34th Street. Frawley had called up Lucy’s husband and Desilu Production president, Desi Arnaz, and asked for the job of Fred Mertz. CBS was hesitant to take a risk on the alcoholic Frawley, but Lucy and Desi prevailed and Frawley is now a television legend.
I find myself pointing out I Love Lucy characters in various classic films. Elizabeth Patterson who played Mrs. Trumbull is everywhere in classic film. She makes a memorable appearance as Fred MacMurray’s Aunt Emma in Remember the Night. Charles Lane is another character who pops up everywhere He appears as Lucy’s typing instructor in Miss Grant Takes Richmond (also co-starring William Holden). He also appears in uncredited roles in a million excellent pre-code films such as: Blonde Crazy, Employees’ Entrance, 42nd Street, Golddiggers of 1933, She Had to Say Yes, and Blondie Johnson. He made multiple appearances in I Love Lucy: the expectant father (I always say “nine girls” when I see him in a movie), the passport office clerk, the man conducting auditions in the episode where Lucy has to tell the truth for 24 hours, and he plays the Ricardos business manager, Mr. Hickox. Allen Jenkins, has a memorable role in an episode of I Love Lucy playing a police officer who apprehends “Sticky Fingers Sal” and “Pickpocket Pearl” (Lucy and Ethel). Jenkins was almost a mainstay in Warner Brothers films, playing the sidekick to the male lead. He’s in Dive Bomber, Footsteps in the Dark, The Perfect Specimen, all with Errol Flynn. He also supports Humphrey Bogart in Dead End, Racket Busters, and the horribly named The Amazing Dr. Clitterhouse. I even spotted Mr. Martinelli, owner of the pizza restaurant where Lucy works for one episode, as the villain in Marked Woman with Bogart and Bette Davis!
To this day, I Love Lucy and Lucille Ball are still my favorites. I also love Classic Film and I just love how well my favorite television show and my favorite era of filmmaking are so closely intertwined.
TERRY RANDALL: I see that, in addition to your other charms, you have that insolence generated by an inferior upbringing. JEAN MAITLAND: Hmm! Fancy clothes, fancy language and everything! TERRY: Unfortunately, I learned to speak English correctly. JEAN: That won’t be much of use to you here. We all talk pig latin.
Katharine Hepburn as “Terry Randall” and Ginger Rogers as “Jean Maitland” in Stage Door (1937)
This is just one example of the snappy dialogue present in the 1937 RKO classic, Stage Door. MGM’s 1939 classic, The Women, is held-up as the ultimate women’s picture, mostly because of the all-female cast and it’s spectacular script full of witty one liners and innuendo. While The Women is great, I much prefer Stage Door, despite including men in the cast in addition to the spectacular female cast. The cast is more appealing to me, the story is more interesting and frankly, the film is shorter which makes it a lot more compelling. It is my opinion that The Women runs a little long and could stand some editing. But I digress. This blog entry is not about The Women, it is about Stage Door.
Stage Door, directed by Gregory La Cava, was released on October 8, 1937. As a big Lucille Ball fan, this film is notable for being Lucy’s big break and was her first decent supporting role in an A-list production–and you can’t get much more A-list than co-starring in a film with Katharine Hepburn and Ginger Rogers. In addition to Lucille Ball, this film also features Eve Arden and a 14 (!) year old Ann Miller. It is hard to believe that Ann is only a child in this film, she carries herself as a much older woman and more than holds her own dancing alongside Rogers in the film. Arden is awesome because she spends much of the film with a cat wrapped around her shoulders. Gail Patrick (playing a similar character to her “Cornelia” in My Man Godfrey) and Andrea Leeds also lend support as other women in the boarding house. Adolphe Menjou co-stars as producer Anthony Powell who is acquainted with the young women at the club and to whom the women look to for roles in upcoming productions. Look for a young Jack Carson as Judy’s lumberjack beau, Mr. Milbanks.
Stage Door starts with a raucous, chaotic scene inside the Footlights Club all-female boarding house. The inhabitants of the boarding house are all aspiring Broadway performers, mostly acting, but some dancing as well. Because it’s the Great Depression and because breaking into Broadway is definitely not a sure thing, the women are struggling to survive and make ends meet. One of the boarders, Linda Shaw (Patrick) doesn’t seem to be starving, and it’s implied that she’s a kept woman–often being “kept” by Powell. We see Jean Maitland (Rogers) and Linda arguing over Linda’s borrowing Jean’s stockings without asking. Then, Judy Canfield (Ball) is observed asking Jean if she’d like to double date. Eve (Arden) walks around with a cat draped around her shoulders. The boarding house maid, Hattie (Phyllis Kennedy), contributes to the cacophony by poorly warbling some indistinguishable tune. An aging experienced actress, Ann Luther (Constance Collier), dispenses advice. Later she’ll guide Terry in her performance in her big break.
The noisy scene comes to a halt when a new boarder, Terry Randall (Hepburn), enters the Footlights Club looking for accomodations. It is apparent from the get-go that Terry is not in the same destitute situation as the other women in the club. She has money. She is interested in pursuing theater as a lark, not because she has a passion for the performing arts. Her obvious advantage makes her an instant adversary to the other women, especially Jean. According to Stage Door, Kay Hamilton (Leeds) is the best actress in the club. Kay is desperate to land the lead in Powell’s upcoming play, Enchanted April. Despite being the Footlights Club’s best actress, I find Andrea Leeds to be the weakest part of the film. I think her scenes are too saccharine and frankly, Kay comes off as pathetic. I can see why Terry is getting roles over her.
The main conflict of Stage Door comes when Terry breaks the status quo and barges into Powell’s office to demand to know why he refuses to see any of her fellow colleagues, despite their trying day after day to audition. Terry eventually ends up winning the coveted role in Enchanted April, making her the persona non grata at the Footlights Club. Hepburn’s solo scene at the end of the film when she recites the famous “the calla lilies are in bloom again…” speech is heart wrenching and one of the highlights of an otherwise dialogue-heavy film. Hepburn and Rogers are fantastic as the sparring roommates, a situation not too far removed from real life. Apparently, Katharine Hepburn and Ginger Rogers did not get along. I would probably chalk it up to personality differences and probably a professional rivalry at RKO. Lucille Ball and Eve Arden are fantastic as the sarcastic roommates and it’s easy to see why the two women eventually became huge stars.
I love the ending of this film. After a very tragic and tense third act, Terry gives the performance of her life. Much of her performance is inspired by her friendship with Kay and how much Terry knew that Kay wanted the role. While dialogue indicates that Terry is not delivering the correct dialogue for her opening monologue, it is forgiven because she is properly evoking the mood the author intended. Terry demonstrates that she is intuitive and is an actress. At the behest of Ann, Terry goes on stage despite being distraught–“the show must go on,” as we all know. Terry is forgiven by her roommates, presumably because of her heart-wrenching performance in Enchanted April. She finally wins approval of her roommates who no longer see her as someone who is just slumming it in their boarding house as a form of entertainment. Terry has demonstrated that she has the passion and skill to be an actress on the stage. At the end of the film, Terry is shown throwing out sarcastic barbs alongside her former foe, Jean. A new starry-eyed boarder moves into the boarding house and Terry is right alongside the other women, ready to welcome the newbie into the fold.
Despite the presence of the hugely talented cast, the star of this film is the dialogue. It must have been quite a undertaking for the cast to remember all their lines.
(After Terry has spoken at length and eloquently about Shakespeare) EVE: Well, I don’t like to gossip, but that new gal seems to have an awful crush on Shakespeare! SUSAN: I wouldn’t be surprised if they got married! MARY LOU: Oh, you’re foolin’! Shakespeare is dead! SUSAN: No! MARY LOU: Well, if he’s the same one who wrote ‘Hamlet,’ he is! EVE: Never heard of it. MARY LOU: Well, certainly you must have heard of “Hamlet” ! EVE: Well, I meet so many people.
Eve Arden as “Eve,” Peggy O’Donnell as “Susan,” Margaret Early as “Mary Lou” in Stage Door (1937)
JEAN MAITLAND: (yelling) OH LINDA! LINDA SHAW: Maybe if you spoke a little LOUDER next time, everyone in the whole HOUSE could hear you. JEAN: Oh I’m sorry, I forgot you’re old and deaf.
Ginger Rogers as “Jean Maitland” and Gail Patrick as “Linda Shaw” in Stage Door (1937)
JEAN MAITLAND: Do you mind if I ask a personal question? TERRY RANDALL: Another one? JEAN: Are those trunks full of bodies? TERRY: Just those, but I don’t intend to unpack them.
Ginger Rogers as “Jean Maitland” and Katharine Hepburn as “Terry Randall” in Stage Door (1937)
JEAN MAITLAND: In some ways, you’re not such a bad egg. TERRY RANDALL: As eggs go, I probably have my points.
Ginger Rogers as “Jean Maitland” and Katharine Hepburn as “Terry Randall” in Stage Door (1937)
KAY HAMILTON: It’s (her birthday cake) so beautiful, I hate to cut it. JUDY CANFIELD: It’s one of Hattie’s cakes. Maybe you can’t cut it. HATTIE: I resent that! LINDA SHAW: Be careful you don’t drop it on your foot. ANN LUTHER: Girls, I have the most wonderful news! JUDY: Maybe the house is on fire.
Andrea Leeds as “Kay Hamilton,” Lucille Ball as “Judy Canfield,” Phyllis Kennedy as “Hattie,” Gail Patrick as “Linda Shaw,” and Constance Collier as “Ann Luther,” in Stage Door (1937).
EVE: I’ll never put my trust in males again TERRY RANDALL: What happened to Eve? JEAN MAITLAND: She’s brokenhearted. Henry’s in a cat hospital. TERRY: An accident? JEAN: He just had a litter of kittens. TERRY: Well that’s easy to solve. Change his name to Henrietta.
Eve Arden as “Eve,” Katharine Hepburn as “Terry Randall,” Ginger Rogers as “Jean Maitland,” in Stage Door (1937).
TERRY RANDALL (in her play): The calla lilies are in bloom again. Such a strange flower, suitable to any occasion. I carried them on my wedding day and now I place them here in memory of something that has died.
Katharine Hepburn as “Terry Randall” in Stage Door (1937)
On Monday, June 7, 1937, Spencer Tracy made a very short diary entry– “Jean Harlow died. Grand girl.” Harlow’s tragic death at the young age of 26 devastated the entire MGM company. One MGM writer was quoted later saying, “The day Baby (Harlow’s nickname) died…there wasn’t a sound in the commissary for three hours.” Harlow’s fiance, William Powell, was devastated. He was in the middle of filming his latest film, Double Wedding, with frequent co-star Myrna Loy. Loy was also good friends with Harlow. The two stars asked for time to grieve and production was temporarily halted. Even after completing the film, both Powell and Loy felt like they hadn’t turned in their best performances. Clark Gable and Una Merkel were also good friends of Harlow’s and had been with her during her final days. Both Gable and Merkel appeared with Harlow in what turned out to be her final film, Saratoga (1937).
Unfortunately, Harlow’s passing at such a young age and rumors about her cause of death have overshadowed her legacy. A rumor persists that her death was caused by poisoning from the peroxide she used to achieve her trademark platinum blonde look. The truth is that Harlow unfortunately was not in the best of health throughout her short life. When she was 15, she contracted scarlet fever and it is thought that the illness permanently damaged her kidneys. Harlow also suffered bouts of meningitis, polio, and pneumonia during her youth. Healthwise, the poor girl was a mess.
Watching Harlow on the silver screen however, one would never know that she suffered from so many various ailments. On-screen, Harlow’s beauty and effervescent personality are on full display. Her trademark platinum blonde hair lights up the screen. Unfortunately, Harlow’s hair suffered greatly from the treatment given to achieve this look. Harlow’s hairdressers came up with a concoction of hydrogen peroxide, sodium hypochlorite bleach, ammonia, and Lux soap flakes. Yikes. Last time I checked, one was not supposed to mix bleach and ammonia together. But this is what Harlow endured to be a star. However, her hair also started to fall out. Towards the end of her life, Harlow had given up the harsh peroxide treatment and returned to her natural hair color or wore wigs.
Despite all the issues the platinum blonde hair caused Harlow, it led to her breakthrough film, aptly titled, Platinum Blonde (1931). Prior to this role, she had appeared in small roles, usually as the floozy, but she did have a good role in James Cagney’s breakthrough film, The Public Enemy (1931). In Harlow’s earliest films, she’s not particularly good. It’s very obvious that she isn’t experienced in acting. However, she just has that je ne sais quoi, aka “that certain something,” aka “the ‘it’ factor,” aka “star quality.” In 1932, Harlow finally hit her stride and became a bona fide star when she appeared in Red-Headed Woman.
In Red-Headed Woman, Harlow plays Lillian ‘Lil’ Andrews, a young woman who lives in a small town in Ohio, in a home literally on the wrong side of the tracks. She desperately wants to improve her social standing and will stop at nothing, and I mean nothing, to do so. Curiously enough, in this film which is widely seen as Harlow’s star making role, her character dyes her platinum hair red. In my opinion, Harlow actually looks better with the darker hair. As Lil, Harlow sizzles on screen. There is a scene where she changes her top and for a brief second, the side of her right breast is visible. There’s another scene where Lil asks a store clerk if the dress she’s interested in is sheer and the clerk says that yes it is. That’s all Lil needs to hear and she gladly wears it. Throughout the film, Lil shamelessly seduces married men, older rich men, anyone who can move her to the other side of the tracks.
LIL: “Listen Sally, I made up my mind a long time ago, I’m not gonna spend my whole life on the wrong side of the railroad tracks.”
SALLY: “Well, I hope you don’t get hit by a train while you’re crossing over.”
Jean Harlow as “Lil” and Una Merkel as “Sally” in “Red-Headed Woman” (1932)
1932 was a big year for Harlow, after Red-Headed Woman, Harlow’s star status further solidified with the release of Red Dust, co-starring Harlow’s friend and frequent co-star, Clark Gable. Red Dust is mostly remembered today for Harlow’s famous scene where her character bathes nude in a rain barrel. However, Harlow’s performance in Red Dust is so much more than that one short scene. In this film, Harlow plays a prostitute, Vantine, who stumbles upon Gable’s rubber plantation in Vietnam. She’s on the run. Why, exactly? We don’t know, but we can assume that her occupation probably has something to do with it. While on the plantation, Harlow and Gable crackle and sizzle on screen. Their chemistry is off the charts, even in a ridiculous scene where they discuss their preferred type of blue cheese.
VANTINE [bathing in the rain barrel]: “What’s the matter? Afraid I’ll shock the duchess? Don’t you suppose she’s ever seen a French postcard?”
DENNIS: “You’ll let those curtains down if it’s the last bath you’ll ever take!”
Jean Harlow as “Vantine” and Clark Gable as “Dennis” in “Red Dust” (1932)
Harlow’s best roles were during the pre-code era, when her sexuality and sensual nature were allowed to be on display. 1933 was a banner year for Harlow as well, as she was re-teamed with Gable in Hold Your Man, and appeared as part of the all-star cast in Dinner at Eight. She has a particularly memorable scene with Marie Dressler, a fellow MGM star who couldn’t be more different than Harlow. She also appeared in Bombshell, playing a fictionalized version of Clara Bow. An argument could be made however, that Harlow was also playing a fictionalized version of herself. The success of Bombshell led to Harlow being declared a “blonde bombshell.”
KITTY: “I was reading a book the other day.”
CARLOTTA: “Reading a book?!”
KITTY: “Yes. It’s about civilization or something. A nutty kind of book. Do you know that the guy says that machinery is going to take the place of every profession?”
CARLOTTA: “Oh, my dear, that’s something you never need worry about.”
Jean Harlow as “Kitty” and Marie Dressler as “Carlotta” in “Dinner at Eight” (1933)
After the production code went into effect in mid-1934, Harlow’s on-screen image was toned down. She was still the brassy blonde, but she was no longer the sexpot. She didn’t slink around in silk bias cut gowns where it was very obvious she wasn’t wearing underwear. While she might have still been going commando under her costumes, the Harlow-character was now a different type of woman. In The Girl From Missouri, made in 1934 after the production code went into effect, had a storyline similar to Red-Headed Woman. Harlow’s character, Eadie, lives in Kansas City and desperately wants to leave her home, complete with an abusive stepfather, behind. She decides to move to New York City to search for a millionaire. If The Girl From Missouri had come out earlier, Harlow’s character would have probably acted more brazenly in pursuit of her millionaire. The production code version of this film features a tamer, more common rom-com plot.
TR: “You want to scratch me off your list. I’m not a ladies’ man.”
EADIE: “Oh, Mr. Paige. Don’t be such a pessimist.”
Franchot Tone as “TR” and Jean Harlow as “Eadie” in “The Girl From Missouri” (1934).
Both The Girl From Missouri and 1936’s Libeled Lady, feature a common production code Jean Harlow character, the sassy girl who is a bit gaudy and unsophisticated, but has charm in spades. Libeled Lady is the first film Harlow made where she does not sport her trademark platinum blonde hair. By this point, the harsh peroxide and bleach had led to Harlow’s hair resembling straw. It eventually started to fall out in clumps. Alarmed at her hair loss, Harlow understandably ceased the bleach treatments and reverted to her own hair color, or she would wear wigs. In addition to Harlow, Libeled Lady features three of MGM’s other big stars: Spencer Tracy, William Powell, and Myrna Loy.
WARREN: “Gladys, do you want me to kill myself?”
GLADYS: “Did you change your insurance?”
Spencer Tracy as “Warren” and Jean Harlow as “Gladys” in “Libeled Lady” (1936).
In 1934, Harlow and Powell started dating. At some point they became engaged, but did not marry before Harlow’s death. Powell had gifted Harlow an enormous star sapphire ring and was truly devoted to her. Had Harlow not died so young, it’s interesting to think about whether Harlow and Powell would have married. Would their marriage have lasted? Sadly, we’ll never know because by the beginning of 1937, it was the beginning of the end for Harlow. She was cast in the film Saratoga again with Gable. She would not complete the film. In March, she developed sepsis after having her wisdom teeth extracted. After a brief hospitalization, she resumed filming.
In May, Harlow complained of symptoms–fatigue, nausea, fluid retention and abdominal pain, but sadly the studio doctor didn’t seem to think there were any issues (Really, doc?). He diagnosed her with a gallbladder infection and the flu. Whether Harlow’s life would have been prolonged or even saved were she diagnosed correctly, is hard to say. It is apparent though that she was already suffering from kidney failure and with dialysis not being a thing and antibiotics still in their infancy, most likely Harlow was doomed. At the end of May, she filmed a scene in which her character is suffering from a fever. Harlow did not need to act to do this scene. She was very very ill and had to lean against Gable for support. William Powell was called to escort Harlow home. She never returned to the set.
On the evening of June 6, 1937, Harlow slipped into a coma. She died the next morning just after 11:30am.
Harlow’s death is tragic. Who knows what she could have done had she lived a long life? I would have loved to have seen Harlow continue with her more natural appearance. She would get rid of the pencil-thin high arched eyebrows. I could see her with longer hair. I would have loved to have seen Harlow in a film noir. Let’s hope that when she reached her 40s in the 1950s, that she didn’t adopt the awful poodle cut that so many of her peers did and aged them 15-20 years in the process. Perhaps in the 1950s, Harlow could have worked with a young actress who idolized her–Marilyn Monroe. Monroe worshipped Harlow as a child and tried to emulate her, complete with the platinum blonde hair.
I love Jean Harlow. She is a legend. While Harlow continues to end up on lists of stars who died tragically young, her legacy is so much more. Harlow is the original blonde bombshell. She established the blueprint for the sassy, sometimes brassy, va va voom blonde who inevitably will win the heart of the leading man of the film. After Harlow’s breakthrough in Platinum Blonde, many other platinum blonde starlets popped up: Alice Faye, Ida Lupino, Bette Davis, Joan Blondell, Ginger Rogers, even Joan Crawford sported the look for awhile! But only Harlow persists as the ultimate platinum blonde. Marilyn Monroe might share the platinum blonde mantel, but Harlow is the original.
Believe it or not, this was my second Greta Garbo film. My first was only a few weeks prior when I watched Mata Hari (1931). I’d seen clips of Garbo before and I just didn’t “get” her. Every clip of her, she seemed to be playing the same person–Greta Garbo. But then, I saw Mata Hari. While that wasn’t the greatest film, Garbo was fantastic. I “got” her. You couldn’t take your eyes off this woman. Even if she wasn’t the central part of the scene, I still watched her. When she wasn’t on-screen, I wanted her to come back. Where was Greta? Anyway, I decided to follow up Mata Hari with Queen Christina.
Queen Christina was a film that I’d heard about, mostly in the context of the androgynous nature of Garbo’s titular Queen Christina, the kiss Christina gives her lady-in-waiting, and the very scandalous scene between Garbo and John Gilbert in their mountain hotel room. But this film was so much more. I loved this movie, it was fantastic. I loved this movie so much that I actually bought the Greta Garbo Signature Collection box set on Amazon, just so I could own Queen Christina and see more of Garbo’s work. Not only did this box set come with all of Garbo’s biggest “talkie” films, it also came with her silents as well. I look forward to seeing more Garbo.
Queen Christina, 1933 Starring: Greta Garbo, John Gilbert, Lewis Stone, C. Aubrey Smith, Reginald Owen Director: Rouben Mamoulian Studio: MGM
SYNOPSIS: At the beginning of the film, we witness King Gustavus Adolphus of Sweden killed in battle during the mid-17th century. His six year old daughter, Christina, ascends the throne. Presumably, the adult members of Christina’s court act as ruling monarchy until Christina is old enough to understand her responsibility to her country. Fast forward a couple decades and a now grown Christina (Garbo) is a beloved ruler of Sweden. Her subjects adore her and respect her devotion to her country. She very much strives for peace for Sweden, and is happy when the Thirty Years’ War comes to an end.
However, like so many of these movies go, the men of Christina’s court are concerned that Christina does not appear to be in a hurry to marry and produce an heir. Despite Christina’s accomplishments and power in Sweden, she apparently isn’t anyone until she’s produced an heir. Presumably Christina is pushing 30 which heightens the anxiety surrounding her lack of husband and children. Christina however, doesn’t agree that she needs to marry, and she especially does not want to marry the suitor her court picked out. I don’t blame her, her male advisors want her to marry the heroic Karl Gustav…who is also her cousin. Christina is not interested in Karl, and there’s a funny part later in the film where she sees a photo of Karl. She laughs and says “is that what he looks like?” in a mocking tone. Obviously Christina and Karl are not well acquainted despite being cousins.
Christina’s attitude toward marrying changes though when she meets a Spanish Envoy by the name of Antonio (Gilbert). One day, after tiring of her restrictive life, Christina decides to sneak out of her castle and take a relaxing horse ride to a neighboring town. However, it starts snowing and she seeks refuge in a small inn. Because Christina is dressed in masculine attire, the innkeeper assumes that Christina is a man. He gives Christina the last room at the inn. When Antonio shows up also looking for lodging, the innkeeper appeals to Christina, aka “the man” to whom he rented the last room. When Christina sees Antonio she agrees. Even the chambermaid is flirting with Christina, thinking she’s an attractive man. Antonio feels uncomfortable looking at Christina as he feels attracted to a person whom he thinks is a man. When Christina starts to change out of her clothing to get ready for bed, Antonio is realized to discover that he’s crushing on a woman, not a man.
Christina and Antonio’s lust for one another cannot be contained and it can be assumed what they do that evening. The next morning, Antonio is informed that the snowfall will cause them to be snowed in for a few more days. Devastated (::wink:: ::wink::) Antonio and Christina continue their tryst. There’s a funny scene afterwards, presumably post-coital, where they feed each other fruit. Christina walks around the room caressing bedposts, still in ecstasy. Throughout their sexy evening, Christina never lets on that she’s Queen of Sweden.
MY THOUGHTS: I absolutely loved this movie. Garbo is absolutely gorgeous. Even when she’s supposedly being mistaken for a man, she’s absolutely breathtaking. I loved the costumes in this movie. I also hadn’t seen John Gilbert in a film and I can see why Garbo was smitten with him. He was adorable in this movie and I also learned that that rumor that his talkie career bombed because of his voice was not true at all. Gilbert’s voice was fine. I would hands down watch this movie again and I’m happy that I own it.
I followed up The Public Enemy with another James Cagney/Joan Blondell feature. These two make a good pairing. This was also a very entertaining film–and it made one thing clear, Joan Blondell knew how to slap!
Blonde Crazy, 1931 Starring: James Cagney, Joan Blondell, Louis Calhern, Ray Milland, Guy Kibbee Director: Roy Del Ruth Studio: Warner Brothers
SYNOPSIS: At the beginning of Blonde Crazy, we meet Bert Harris (Cagney), a bellboy who works at a midwestern hotel. One day, a young woman, Anne Roberts (Blondell) applies for a job at the hotel as a chambermaid. Bert takes an instant liking to Anne, and after some finangling, he scores her the job. Anne excels at her work as the chambermaid, but between Bert’s constant advances, and the other creepy male patrons of the hotel, she learns that there is more expected of her than just bringing more towels. This is where we see Blondell show off her considerable slapping skills.
After one particular heinous encounter with a wealthy patron, A. Rupert Johnson (Kibbee), which culminated in him groping Anne. Because he has taken a fancy to Anne and because he is a con artist, Bert suggests to Anne that they get back at Johnson by scamming him. They can extort money out of him and pay him back for harassing Anne. Anne is reluctant at first, but ultimately goes along with the plan. She and Johnson go out on a date. Bert pays a pal to pretend to be a cop and “catch” Johnson and Anne in a compromising position. In an effort to protect his reputation and keep from going to jail, Johnson pays the cop $5,000. The $5,000 goes to Bert and Anne, which they split 50/50.
Anne and Bert decide to move to the more glamorous New York City, where they live the high life. One evening, they meet Dan Barker (Calhern) and his date. After getting to talking, Dan takes a liking to Bert and offers to cut him in on his counterfeiting scheme. All Dan needs is a $5,000 investment from Bert. Bert ends up giving Dan his and Anne’s money. Meanwhile, Anne has fallen in love with Bert, but is turned off by his constant desire to scam people instead of earning money legitimately. She ends up meeting and falling in love with an Englishman, Joe Reynolds (Milland).
MY THOUGHTS: I loved this movie. It was fun to see Cagney playing such a wacky character, though his “Honnnnnn-ey” catchphrase got a little tiring after a while. This was a very precode precode. There is a pretty sexy scene of Blondell bathing. And there was a funny scene of Cagney looking for money in Blondell’s bra. The scene culminates with him putting her bra over his eyes like a big pair of lacy glasses. This was a very funny film and I liked the plot with Cagney and Calhern. Milland was kind of dull, but his character was needed for the third act of the film.
I started off this year’s #PreCodeApril event on Twitter with one of the all-time great pre-code films, The Public Enemy (1931). This film is also one of the premier gangster films, and is the film that made James Cagney a star. It was also one of Jean Harlow’s first big parts. With all the hype surrounding the film and its massive starpower, it is amazing that it has eluded me until now. Of course, I knew about the famous grapefruit scene between Cagney and Mae Clarke. I just hadn’t seen the scene within the context of the film.
The Public Enemy, 1931 Starring: James Cagney, Jean Harlow, Edward Woods, Joan Blondell, Mae Clarke Director: William A. Wellman Studio: Warner Brothers
SYNOPSIS: The Public Enemy takes place over about a twenty year (give or take) span of time. At the beginning of the film, it’s the early 1900s. We meet our main characters, Tom Powers (Cagney) and his best friend, Matt Doyle (Woods), as children living in Chicago. The two boys are troublemakers and are seen engaging in petty theft around town. They work for a gangster named “Putty Nose.” Putty Nose has the boys steal small items, then he pays them for the items. Putty presumably then sells them for a higher price to someone else. Putty Nose then invites the boys to participate in a robbery at a fur warehouse. The heist goes awry when Tom is startled by a stuffed bear and shoots at it. His gunshot alerts the police to their presence, who end up shooting one of the members of Putty’s gang. Tom and Matt gun the police officer down. When the boys go to Putty for help, they discover that he’s left town. This incident establishes a grudge that Tom carries with him to adulthood.
Time passes and the two boys grow up. By 1920, with Prohibition in full swing, Tom and Matt are enlisted by a bootlegger to help distribute his illicit liquor. Tom and Matt are living the high life as bootleggers. They eventually get girlfriends, Kitty (Clarke) and Mamie (Blondell). Tom and Kitty quickly tire of one another. Their relationship reaches its bitter end (literally) when Tom pushes a grapefruit half into Kitty’s face. Eventually Tom meets another woman, Gwen (Harlow), who admits that she’s been with a lot of men. As time passes, Tom’s illicit activity and relationships with other noted members of the underground makes him the target of a rival gang.
MY THOUGHTS: This was such an amazing film. At first I wasn’t sure what to think of it, I was just anticipating the grapefruit scene. But Cagney was mesmerizing on screen. Apparently, he was supposed to have the supporting role as Matt Doyle, with Edward Woods in the leading role as Tom. However, when the first day’s rushes came back, director William A. Wellman realized what charisma and starpower Cagney had and switched his and Woods’ roles. And while Woods may have been the loser in the deal, the world is richer for Wellman’s insight. Cagney is fantastic in this film and with a less interesting lead (read: Woods), the film might have been average at best. Cagney elevates the material. The ending was truly gruesome. I was not expecting it. Joan Blondell was excellent, even in her small role. She and Cagney make a delightful team. Harlow had flashes of what made her a big star, but it is obvious that she is still very early in her career. Having watched a few of Harlow’s pre-codes, she really comes to her own a year later in 1932 with Red-Headed Woman and Red Dust.
As much as I love Bette Davis (she’s my second favorite after Lucille Ball), I do not watch The Private Lives of Elizabeth and Essex for her. I watch for my man, Errol Flynn (portrays Lord Essex, obviously). Davis’ preparation for the role as England’s Queen Elizabeth I is legendary. To accurately portray the 60-something year old monarch (despite only being 31), Davis shaved back her hairline to mimic Elizabeth I’s reported hair loss. She even shaved off her eyebrows! Which Davis later admitted was a mistake, as her eyebrows didn’t grow back properly. Forever after the film, she had to pencil in her eyebrows. Davis performed a lot of research for her role, and came up with many of Elizabeth I’s quirks and mannerisms herself based off her studies. One such quirk that Davis inserted into the film was Elizabeth’s propensity to fidget with her beads or other things. It’s the fidgeting that drives me crazy. It’s very distracting. It’s the one thing that turns me off of this film.
‘Elizabeth and Essex’ got off to a very rocky start. Davis wanted Sir Laurence Olivier to appear as Lord Essex. However, he was unavailable. Instead Warner Brothers cast their big star, Errol Flynn, to appear alongside Davis. The film’s high production costs led to the decision to cast Flynn as the studio hoped to not only recoup their budget, but to make a profit as well (obviously). Davis was very unhappy about the decision and did not make a secret of her dissatisfaction with her co-star. She treated Flynn very poorly and didn’t hold back when criticizing his acting ability. In his (fantastic) autobiography, My Wicked, Wicked Ways, Flynn recalls their first dress rehearsal of the scene in which Essex makes his entrance into the film to answer to Elizabeth I re: his latest military defeat (and she slaps him across the face). Essex has to make a long walk, through the middle of the English court, towards Elizabeth I who is seated on her throne.
“Finally, they called the first real rehearsal, and I must say, that as Bette assumed her place on the throne, dressed as Elizabeth, with great big square jewels on her hands, and on her wrists big heavy bracelets, she was living the part. She was Queen Elizabeth. I started the walk down through the English court. The cameras were grinding, the extras were gazing at me or at the throne, and I reached the Queen…Then all of a sudden, I felt as if I had been hit by a railroad locomotive. She had lifted one of her hands, heavy with those Elizabethan rings, and Joe Louis himself couldn’t give a right hook better than Bette hooked me with. My jaw went out. I felt a click behind my ear and I saw all these comets, shooting stars, all in one flash. It didn’t knock me to the ground. She had given me that little dainty hand, laden with about a pound of costume jewelry, right across the ear. I felt as if I were deaf.”
Errol Flynn in My Wicked Wicked Ways (1959).
The tense situation on the set did not improve from there. In his book, Flynn acknowledges that Bette was a great actress; but it’s safe to say that they were never going to be bosom buddies. Flynn also asserts that Bette’s animosity towards him is due to his turning down her advances. Whether this is true or not, is hard to say. Either way, Flynn and Bette never worked together again after ‘Elizabeth and Essex.’ There is a famous anecdote about Bette and friend (and ‘Elizabeth and Essex’ co-star) Olivia de Havilland. Decades after the filming of ‘Elizabeth and Essex’ and even Flynn’s passing in 1959, Bette and Olivia attended a viewing of ‘Elizabeth and Essex.’ Bette was quoted as saying about Flynn: “I was wrong, wrong wrong. Flynn was brilliant.”
The basic plot of ‘Elizabeth and Essex’ is that Queen Elizabeth I is having an affair with the much younger, Lord Essex. While she is in love with Essex, Elizabeth fears that his intentions are not entirely honorable. She is afraid that the much younger Essex, will use his youth, popularity, and influence to take over her throne. Her vanity worries continue throughout the film. Essex maintains that he is in love with Elizabeth, but at the same time he knows that there is no heir to her throne. It is hard to ascertain whether his motives are genuine, or if he just wants to insinuate himself into the accession line for the British throne. Elizabeth, I think, is in love with Essex, but struggles between her love for him and her duty to the English people. Meanwhile, Elizabeth’s lady-in-waiting, Penelope (de Havilland), also lusts for Essex and uses her position to try and drive a wedge between Elizabeth and Essex.
Now onto the real point of this blogathon–the costumes. Obviously, Elizabeth’s costumes are the highlight of the film. Famed costume designer, Orry-Kelly, designed all the costumes for ‘Elizabeth and Essex.’ Elizabeth’s gowns were very extravagant and apparently weighed about sixty pounds. Poor Bette Davis regularly lost 2-3 lbs daily just from sweating under the heavy lights during film production. Bette wears an array of Elizabethan gowns. I’ll admit that I am not familiar with the actual terminology for the different parts of an Elizabethan gown. For the purposes of this blog, I googled “Elizabethan gown” to try and learn the correct names for the different components.
Many of Bette’s gowns are what’s known as a “French gown” which is a dress with a square neckline, tight bodice, and a full skirt. Bette had to be put into a corset everyday in order to present the proper silhouette for her Elizabethan garb. According to some of the articles I read, buxom women would need to wear a corset in order for the gown to fit properly. Less-endowed women could get away with just some boning placed in the bodice of the gown. Bette no doubt had a bosom, thus the corset. Elizabethan gowns were outfitted with a device called a “Spanish Farthingale” which was essentially a hoop skirt, as to give the dress the correct Elizabethan look. Then, there was the “bumroll” (lol) which was a padded device that women wore around their hips to make the skirt pop out more. There is no doubt that Bette is also wearing a similar device to achieve the right aesthetic.
Then, there is another type of skirt, whether it is a petticoat, or something called a “kirtle” that will be a decorative skirt that will cover the spanish farthingale. Then, if that weren’t enough, FINALLY, the dress is put on. Bette’s costumes also include decorative elements, like the ruffs, which provide the more well known Elizabethan touches, like the big ruffled cuffs and high ruffled stiff collars. There were also ruffled collars that just went around the neck, but didn’t stick up half a foot from the neck. The kirtle is the contrasting part of the skirt that is visible. After this many different layers, which didn’t even include any sort of underwear or stockings that Bette might be wearing, no wonder the costume weighed 60 lbs.
Many of Bette’s gowns in the film follow this same silhouette, but the gowns themselves all different from one another. The gowns are made of varying fabrics (brocade, silk, velvet to name a few) and colors. Her gowns are festooned with a variety of different decorative elements, like beading, lace, jewelry, flowers, and embroidery. Orry-Kelly would also change up the gowns by adding bunched sleeves, or extra ruffles, or what have you. Elizabeth’s costumes are very beautiful and elaborate. They truly are the highlight of the film.
Flynn’s costumes however, while not as elaborate, are still beautiful. Very few men could get away with tights and still look cool. But as Flynn proved in both The Adventures of Robin Hood and again in ‘Private Lives,’ is that he looks amazing in everything. Honestly, I pay more attention to Flynn than I do to Bette when I watch this film. When Flynn makes his grand entrance into the film as the defeated Lord Essex, he is dressed in a beautiful navy blue with gold trim doublet, with brown and gold breeches, brown tights, and knee-high brown boots. Nobody wore knee-high boots as beautifully as the 6’2″ Flynn. He is also wearing a black and gold breastplate with a red sash draped diagonally across it. And of course, because this film takes place during the Elizabethan era, he has on a tall, ruffed collar. For the sake of propriety, we will assume that Flynn’s Lord Essex is not outfitted with the codpiece that was custom during Elizabethan times.
Flynn’s costumes follow a similar template, though the components are changed up based on the action of the scene. Obviously, he is not always dressed in battle armor, except when appropriate. There is another scene where Essex is dressed in a teal outfit, and he’s wearing a gold garter or some sort of decorative element around his leg, under the knee. He also wears a variety of short and long capes in this film. Flynn’s costumes are also adorned with a variety of embellishments, and the type of fabrics are changed up. While Elizabeth wears a lot of bright, bold colors, Essex for the most part is dressed in more neutrals, like dark blue, brown, and teal.
Olivia de Havilland’s Lady Penelope and Elizabeth’s other ladies in waiting, including chanteuse, Mistress Margaret Radcliffe (Nanette Fabray), wear costumes similar to Elizabeth I, but they are less ornate, less busy. Lady Penelope in particular wears quite low-cut costumes and overall appears sexier (as sexy as one can be in Elizabethan garb) than Elizabeth I. This was probably a purposeful choice as Lady Penelope is presented as a foe for Elizabeth I. She has the hots for Essex and seems like a more logical partner for him than the aging monarch.
This is a wonderful film, in spite of Bette Davis’ constant fidgeting with her beads or whatever else is in her hands. There is no doubt watching this film that she studied and worked very hard to play Elizabeth I. In fact, she might have prepared a little too much as this performance seems a little more rigid than other performances of Bette’s that I’ve seen. Flynn of course is Errol Flynn. He is a great hero and a great lover. It is logical that Elizabeth and Penelope would both be in love with him. It is also logical that he’d use his good looks, popularity and influence to worm his way into Elizabeth’s confidence, so that she’d let her guard down as he keeps his eye on the prize (i.e. her throne). It doesn’t even matter that Flynn didn’t even attempt to not sound Australian. Flynn looks hot in his costumes. That’s all that matters to me. Poor Olivia de Havilland, was cast in this film right after finishing filming her role as Melanie in Gone With the Wind. Someone of her stature is wasted in the small part as Lady Penelope. However, it is nice to see her play a bad girl, a conniving type.
2021 is (finally) coming to a close. While the year wasn’t so hot as a whole, except for my fabulous trip to Southern California in October, it was another year of discovering new favorite films. One of the best thing about being a fan of film, especially classic film, is that you never run out of “new” movies to see. As Lauren Bacall says in an episode of Private Screenings with Robert Osborne, “It’s not an old movie, if you haven’t seen it,” and I couldn’t agree more. There is an entire world of movies to discover, a world of films just waiting to become someone’s favorite.
Without further adieu, in no particular order, here are some of my new favorites that I watched for the first time in 2021:
#1 Road House (1948) This was a fabulous film noir that I watched right at the start of the new year. It is the final volume in the Fox Film Noir DVD series (I own the entire collection). I decided to take a look at it, because I’m a big fan of Ida Lupino. In addition to Lupino, it also starred Cornel Wilde, Richard Widmark, and Celeste Holm. At first, it seems like Ida is going to be the femme fatale, but it is soon revealed that she is a woman who will not be made a pawn in the games of the men, Wilde and Widmark. Even though she was originally brought into the Road House by Widmark to be another of his fly by night floozies, she refuses to be used and becomes a big star and later saves the day. In a time when every woman who wasn’t Judy Garland or Doris Day was dubbed, Ida uses her own voice to warble out “One for my Baby (And One More For the Road)” and it was fabulous.
#2 Mrs. Miniver (1942). I know. This is a big Oscar winner. A major classic of the studio era, but I hadn’t seen it yet. I absolutely loved this movie and actually bought the blu-ray literally right after watching it. That’s how much I loved it. Greer Garson won an Oscar playing the titular Mrs. Miniver and infamously delivered the longest acceptance speech, a record which still stands today. Long-winded speech or not, Garson deserved her award. In Mrs. Miniver, Garson portrays a very stoic woman and mother who stays strong and protects her family even directly in the line of fire during the German invasion of Britain. She puts humanity above all else, even when directly threatened by an injured German pilot. The scene with Mrs. Miniver and her husband and children hiding in the shelter while bombs fall all around them is heartbreaking. This family does not know what they’ll find when they emerge, or whether their house will still be standing. Despite everything, Mrs. Miniver remains a calm influence even in the middle of a tumultuous event, like a World War. I cannot say enough good things about this film, it was fantastic.
#3 Girl Happy (1965). Like the esteemed Mrs. Miniver, this Elvis movie is another film that I purchased immediately after watching it. I loved it. For years, with the exception of Viva Las Vegas (my favorite Elvis movie), I wrote off Elvis’ movies as pure fluff, and not fluffy in a good way, and many of Elvis’ movies are ridiculous, like Girl Happy, but if you can suspend disbelief and just go along with whatever plot is presented, I’ve found that many of Elvis’ movies are enjoyable diversions. In Girl Happy, Elvis plays a musician (a premise setting up lots of opportunities for Elvis to sing) who, along with his band, is hired by his boss to indirectly chaperone his 18-year old daughter, Shelley Fabares. Shelley is traveling to Florida for Spring Break and her overprotective father is worried. Elvis happily agrees, because he gets an all expenses paid trip to Florida. Like how most movies with this plot go (see Too Many Girls), Elvis starts to fall in love with the girl whom he’s chaperoning, and the girl discovers that he was hired to watch her and gets upset. Regardless, this movie was charming, fun, and I loved it.
#4 History is Made at Night (1937) This was a movie that I’d never even heard of until I heard that Criterion was restoring it and releasing it as part of their esteemed (at least among the boutique label community) line of films. I first watched it on the Criterion Channel and must have seen a pre-restoration print, because it was pretty rough. After watching it, I couldn’t believe that I’d never heard of it. It had one of my faves, Jean Arthur! And Charles “LUCY! RAWWWR” Boyer. How has this movie been hiding from me this entire time? In this movie, Jean Arthur plays Irene, a woman who leaves her husband, Bruce, (Colin Clive) after he falsely accuses her of having an affair. To prevent the divorce from being finalized, Bruce tries to manipulate a situation to frame Irene for infidelity. He hires his chauffeur to pretend to be Irene’s lover, so that a private detective walks in and catches them in a compromising position. While this is taking place, Paul (Charles Boyer) is walking by Irene’s window. He overhears the ruckus and comes to Irene’s rescue, pretending to be an armed burglar. It’s a weird set-up, but ultimately leads to a beautiful love story with an ending that I was not expecting.
#5 Naked Alibi (1954). This was another film noir that I’d never heard of until I was reading Sterling Hayden’s filmography and discovered that he’d made a film with one of my faves, Gloria Grahame. Fortunately, my library had this film available and I was able to borrow it. This was a great movie. Hayden plays a police chief who tails a suspect, Willis, to Mexico. Willis is suspected to be the mastermind behind a series of crimes in the small town from which he and Hayden hail. While in a border town on the Mexican border, Hayden meets Grahame, a singer with whom he becomes smitten. Unfortunately, Grahame is the girlfriend of Willis, despite the shoddy treatment she receives from him. Hayden and Grahame’s connection with one another continues to grow until the very end of the film. This was a wonderful film and I thought that Gloria Grahame looked absolutely gorgeous.
#6 Dead End (1937). Despite the appearance of the Dead End Kids, whom I cannot stand (I don’t get their appeal), I thought this was a great movie. This film is a story about social classes and the privileges that are afforded to those of a higher social standing. The neighborhood in the film is a “dead end” both figuratively and literally. The rich live in high rise apartments that overlook the slums and tenements. Those who are not privileged to live in the high rises literally have the rich looking down upon them. If you have the misfortune to be born into the slums, it is all you can do to get out. Some try to do so honorably, like Dave (Joel McCrea), who dreams of making a career as an architect. However, he can’t just seem to book the right gig, so he has to survive by doing odd jobs. Others, like Drina (Sylvia Sidney) have slightly less honorable means to get out of the tenement, she wants to marry a rich man. Then, there are those like Hugh “Baby Face” Martin (Humphrey Bogart), who did manage to get out of the slums, but he did so by becoming a big-time mobster. The Dead End Kids represent the next generation who most likely will remain in the slums, unless they can somehow be guided into making a better life for themselves. Marjorie Main has a heartbreaking role as Baby Face’s mother. Claire Trevor is fantastic as Baby Face’s old girlfriend, who was never able to get out of the slums.
#7 Klute (1971) This was the first film in Alan J. Pakula’s “Paranoia Trilogy,” which unfortunately I watched all out of order. I don’t think the films in the trilogy have anything to do with one another, so I think I’m okay. Anyway, there’s just something about the 1970s thrillers that I find fascinating. There’s a grittiness, a seediness, combined with the earth tones aesthetic that I just love watching. Anyway, in this film, Jane Fonda gives an Oscar-winning performance as Bree Daniels, a prostitute who aids police detective, John Klute, in investigating a murder. After finding an obscene letter addressed to Bree in the murder victim’s office, Klute rents an apartment in Bree’s building and begins tracing her. Concurrently, Bree is working as a freelance call girl to support herself while she tries to make it as a model/actress. Bree is also trying to find meaning in her life through sessions with a psychiatrist. This was such a fantastic movie and I was on the edge of my seat waiting to find out who was responsible for the murder.
#8 Thunder on the Hill (1951) I am a big fan of Ann Blyth and this was a film of hers that I hadn’t heard of until I purchased Kino Lorber’s Film Noir: The Dark Side of Cinema box sets. Thunder on the Hill, by the way, is on the second collection in the series. In this film, Blyth plays Valerie, a young woman convicted of murder and sentenced to be hanged. However, on her way to the gallows, Valerie and the police officers accompanying her, are forced to spend the night in the hospital ward of a convent due to massive flooding. Running the hospital ward is Sister Mary (Claudette Colbert), a woman who is also battling with her own mental troubles involving her sister’s suicide. Valerie is understandably combative and angry, but confides to Sister Mary that she is innocent of the crime of which she was convicted. Sister Mary, who has been warned in the past about meddling in other people’s affairs, is convinced of Valerie’s innocence and sets to save her before she is executed. This was such a wonderful film. It was interesting to see Blyth in such a different role than that of Veda in Mildred Pierce or the mermaid in Mr. Peabody and the Mermaid. I loved the suspense of the story and the cinematography was gorgeous. I am also a big fan of Douglas Sirk, so this film fit the bill.
#9 King Creole (1958) A second Elvis film on the list? Yes! I watched a lot of Elvis movies this year according to LetterBoxd, so it was bound to happen. This was an excellent film. It was much higher brow fare than Elvis would be offered once he returned from his stint in the army. In this movie, Elvis plays super senior Danny, who has failed high school once and looks like he’ll fail it again due to his behavior. He is offered a chance to graduate if he agrees to take night classes, but Danny turns it down, much to the chagrin of his father, Dean Jagger. There is drama between Danny and his father, in that Jagger lost his job as a pharmacist after his wife died. The family is forced to leave their nice home outside of New Orleans for a much more modest flat in the French Quarter. To help make ends meet, Danny was working before and after school. Now with school out of the way, Danny starts working at a club. As how most Elvis movies go, he is coerced into singing and is offered a job performing at the club, much to the chagrin of the club’s main act. Danny is soon a sensation. Eventually his connection with the local gangs threaten to affect his family, his relationship with a young woman named Nellie (Dolores Hart), and his life. This was such a great movie with a stellar cast. Aside from Elvis, Dean Jagger and Dolores Hart, Carolyn Jones, Walter Matthau, Vic Morrow, and Paul Stewart also star in this film… and it was directed by none other than Michael Curtiz!
#10 Private Lives (1931) This was a fabulous pre-code starring Norma Shearer and Robert Montgomery. In this film, Shearer and Montgomery play Amanda and Elyot, two ex-spouses who end up staying at the same hotel while honeymooning with their new respective spouses. Both honeymoons are NOT going well. Amanda and her new husband Victor (Reginald Denny) are already fighting due to Victor’s incessant need to talk about Elyot. Because yes, let’s talk about your new bride’s ex-husband on your honeymoon. Great idea, Victor. Elyot is dealing with the same thing from his new wife, Sybil (Una Merkel) who won’t stop asking about Amanda. Eventually, Amanda and Elyot find each other and begin to reminisce about “the old times.” They end up leaving the hotel together and head to a new place in St. Moritz. This was a fabulous pre-code that had plenty of racy moments. I am not as big a fan of Shearer in her production code movies like The Women, but I love her in pre-code. She and Montgomery also make a great pairing. Poor Una Merkel is wasted in her role, but she is wonderful in her scenes.
#11 Hold Back the Dawn (1941) This was an amazing movie. One that I’d always wanted to see but it seemed like it was never on TCM–then finally it was and the movie was everything I’d hoped it would be. In this film, Charles Boyer stars as Georges Iscovescu, a Romanian immigrant who is stuck in a Mexican border town. Per immigration laws, he is looking at up to an eight year wait to obtain a quota number for entry in the United States. Georges then runs into an old flame, Anita Dixon (Paulette Goddard), an Australian who married a US citizen purely to obtain US citizenship. As soon as she could, she divorced the man and retained her citizenship status. Anita suggests that Georges do the same thing, then he and she could be free to start a new life together in New York. Georges immediately goes to work and spots Emmy Brown (Olivia de Havilland), a California school teacher whose bus has broken down. The bus is set to be repaired shortly, but Georges manipulates the situation (by “losing” a vital piece of the bus’s machinery) and forces Emmy and her class to stay overnight. This gives Georges enough time to woo Emmy and they are married after a whirlwind romance. However, Georges is required to wait in Mexico a few weeks before he can join Emmy in California. Emmy returns unexpectedly and Georges takes her on a trip (under the guise of a honeymoon, but in reality he is trying to hide from an immigration officer who is looking for con artists like Georges and Anita). Georges’ plans are complicated when he finds himself falling in love with Emmy. This was such an amazing film. Even though we’re supposed to dislike Georges, it’s hard to do because it’s Charles-freaking-Boyer. It’s easy to see why Emmy falls for him. I love true, legitimate romantic films (with no contrived plot points), and this is one of the best that I’ve seen.
#12 Gaslight (1944) Another Charles Boyer film! Third one on the list! Surprisingly Boyer was not on my top 10 actors watched in 2021, per Letterboxd. This was an amazing film. I don’t know how I went so long without seeing it. This is the film that gave the name to a form of psychological abuse, where one partner mentally manipulates another into thinking that they’re losing their mind. In this film, Boyer plays Gregory Anton, a pianist who marries Alice Alquist (Ingrid Bergman), a famous opera singer. Gregory works as Alice’s accompanist. At first, Gregory seems sweet, he convinces Alice that they move into her deceased aunt’s old home #9 Thornton Square in London, seemingly under the guise that Alice loved her aunt so much and that her aunt would want her home to be lived in. However, Gregory has ulterior motives which are revealed throughout the film. To keep Alice from catching onto Gregory’s motives, he gaslights her by manipulating situations and then making her think she caused them. Alice begins to think she’s going insane. And while she begins to question Gregory’s actions, he’s gotten her mind so messed up that she can’t convince herself that she’s right. A young, 17-year old Angela Lansbury makes her film debut as Nancy, a tart of a maid who takes pleasure in observing Gregory’s manipulation of Alice. Nancy even plays along to exacerbate the situation. Ingrid Bergman’s performance was a tour-de-force and she deserved every piece of the Oscar that she received.
#13 I Want to Live! (1958) If there are two things I love, it’s classic film and true crime. I Want to Live! has both. This film is a biopic of Barbara Graham, a prostitute who was executed in California in 1955 for her part in the murder of a wealthy widow. Susan Hayward gives an Oscar-winning performance as the doomed woman who at the beginning of the film, works as a prostitute who is arrested for soliciting sex across state lines. She then receives jail time after providing a false alibi to two friends who committed crimes. Despite her growing rap sheet, Barbara continues to “make a living” by committing petty crimes and turning tricks. Eventually, she hits the big time when she gets a job working with a big time thief, Emmett Perkins. Her job is to lure men into his illegal gambling parlor. Meanwhile, her husband has a drug addiction and is unemployed–leaving Barbara as the breadwinner. Eventually Perkins ends up becoming involved with criminals, John Santo and Bruce King. Barbara returns to Perkins’ establishment which is soon raided by the police. Barbara surrenders to the police for her involvement in the gambling ring, but soon learns that she is being accused in being complicit with Santo and King’s murder of a wealthy widow. Barbara tries to give her alibi, saying that she was home with her husband and son, but her husband has skipped town. Unless he can be found, Barbara is toast. This was such an amazing film. I know that there was controversy regarding how Barbara Graham was portrayed in the film, versus the real life events. I can’t comment on that; but what I can say is that real facts or not, this was a great movie.
#14 Suspense (1946) I went into this film noir not knowing entirely what to expect. It starred Barry Sullivan whom I like and Albert Dekker who always turns in a good performance. Sullivan and Dekker’s co-star was British figure skater, Belita. Often when athletes are put into films, especially athletes whose sport is exploited on screen, the results can vary drastically–especially if the athlete has limited acting talent. Sometimes this is good, such as the case with Johnny Weissmuller in the Tarzan series. Other times, it can be limiting like is the case with Belita in another film of hers that I’ve seen. However, in this film, I was pleasantly surprised. I’m not saying Belita was amazing; but she was asked to play a figure skater, and Belita delivers on that front. In this film, Sullivan plays schemer, Joe Morgan, a newcomer to New York City who ends up taking a job at a theater as a peanut vendor. Belita plays the star performer, figure skater, Roberta. Albert Dekker plays Leonard, the owner of the theater and Roberta’s husband. Joe ends up suggesting a new act for Roberta, which revitalizes the show–as a reward he is made a manager. When Leonard leaves for a business trip, he puts Joe in charge. Joe and Roberta end up striking up a romance which Leonard soon discovers. This was a fantastic film. I actually was in suspense and couldn’t wait to see what would happen next.
#15 The China Syndrome (1979) This was another 1970s thriller that I watched which I really enjoyed. In this film, Jane Fonda plays television reporter, Kimberly Wells, who keeps getting stuck with the fluff stories during the local news segments. There is chauvinism present at the station, as it is thought that she couldn’t possibly handle a serious story. Her cameraman is the hot-tempered Richard Adams (Michael Douglas). One day, Kimberly and Richard end up getting a plum gig: doing a report from the Ventana, CA nuclear power plant. While visiting, they witness a malfunction in the nuclear power plant turbine operation and emergency shutdown protocol. Richard, despite being asked not to film, covertly records the entire incident. The incident is played off as not a big deal, but it becomes clear that the plant was thisclose to a meltdown. Jack Lemmon gives a fantastic performance as Jack Godell, the supervisor of the plant. Wilford Brimley was also excellent as the long-time employee, Ted Spindler, who battles with knowing what is right and his resentment over being passed up for promotion opportunities. I loved this movie. This isn’t normally my type of thing, but as a fan of 1970s thrillers and Fonda and Lemmon, I gave it a try. I’m glad I did. I was captivated from beginning to end and I especially loved Lemmon’s performance in the second half of this movie.
A Cry in the Night (1956). Raymond Burr, Natalie Wood, Edmond O’Brien.
Jane Fonda in Five Acts (2018). A fabulous documentary on HBO Max.
The Caine Mutiny (1954). Humphrey Bogart, Fred MacMurray, Van Johnson, Jose Ferrer.
Once a Thief (1965). Alain Delon, Ann-Margret, Van Heflin.
Walk on the Wild Side (1962). Laurence Harvey, Jane Fonda, Barbara Stanwyck, Anne Baxter, Capucine.
Moonrise (1948). Dane Clark, Lloyd Bridges, Gail Patrick.
The Glass Wall (1953). Vittorio Gassman, Gloria Grahame.
The Big Combo (1955). Richard Conte, Cornel Wilde, Jean Wallace.
Muppets Haunted Mansion (2021) The Great Gonzo, Pepe, Will Arnett.
Die Hard (1988) Bruce Willis, Bonnie Bedelia, Reginald VelJohnson.
Confession (1937) Kay Francis, Basil Rathbone, Ian Hunter.
Three Days of the Condor (1975) Robert Redford, Faye Dunaway, Max Von Sydow, Cliff Robertson.
I’ll Cry Tomorrow (1955) Susan Hayward, Richard Conte, Eddie Albert.
Possessed (1947) Joan Crawford, Van Heflin, Raymond Massey