Tag Archives: 1950s

“The Classic Comfort Movie Blogathon”- “The Long, Long Trailer” (1954)

The Classic Comfort Movie Blogathon

Today is National Classic Movie Day.  In honor of this occasion, Classic Film and TV Cafe is hosting “The Classic Comfort Movie Blogathon.”  What better way to celebrate National Classic Movie Day by watching an old favorite film?

I discovered I Love Lucy and Lucille Ball on Nick at Nite in 1995.  From then on, I was hooked on all things Lucy.  When I discovered that she had a film career prior to I Love Lucy, I began looking for Lucy’s films on TCM.  One day, TCM was airing something titled The Long, Long Trailer (TLLT) that starred not only Lucy, but Desi Arnaz too! Lucy and Desi in the same film? I’m in!  From the first time I saw TLLT it quickly became my favorite film.  It is still my favorite film.  TLLT  also became one of my family’s favorite movies as well.  We regularly brought it camping to watch in our small camping trailer that we owned.  I have now probably seen TLLT  at least a hundred times–I am not exaggerating.  tllt

I absolutely love this movie.  It is hilarious, has memorable scenes and lines and is just so much fun to watch.  As someone who has gone camping almost her entire life (literally, I went camping for the first time when I was six-weeks old) many of Lucy and Desi’s adventures are relatable.  While we never stayed in trailer parks, we have dealt with the drama of backing it in, having the trailer collapse, trying to maneuver it in small areas and even dealing with it when it was slightly off-kilter.  Lucy’s physical comedy scenes are top-notch and Desi’s no slouch either.  My entire family can quote so many lines from this film and it’s to the point where I can almost recite the dialogue alongside the actor on-screen.  I never tire of this movie, no matter how many times I see it–it’s the definition of a comfort film.

TLLT  plays like a 90-minute Technicolor episode of I Love Lucy.  Lucy in TLLT might not be as big a schemer as Lucy Ricardo, but she is the one who goes through the ringer as the result of the ideas she has.  Desi’s character is a bit of a hybrid of Ricky Ricardo and Ethel Mertz as he willingly goes along with Lucy’s ideas, but is also the one that is the voice of reason.  Lucy and Desi’s character names in TLLT, Tacy and Nicky, even sound similar to their I Love Lucy characters, Lucy and Ricky.  Much of the humor of TLLT are the problems that Lucy and Desi experience.  These are problems that any naive novice trailer owner could encounter: getting stuck in the mud, not being able to park, trying to prepare dinner in a moving vehicle, driving on a narrow, treacherous mountain road–all things that could happen to the owner of a trailer.

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The trailer.  At the beginning of the film, Desi laments: “It’s a fine thing when you come home to your home and your home is gone!”

TLLT opens with Desi driving in a downpour, seemingly looking for someone or something.  He pulls into a trailer park and enters the lobby.  An older gentleman, Mr. Tewitt (Moroni Olsen), is sitting in the lobby.  As Desi begins to converse with Mr. Tewitt, we learn that he is looking for his wife, who along with his trailer, has gone missing.  Desi has spotted his trailer in this park.  Mr. Tewitt tells Desi that his wife is currently out looking at a trailer in the park–it is being sold by a young lady who has had a change in plans and needs to sell.  Desi puts two and two together and realizes that that young lady is his wife.  As Desi begins to tell Mr. Tewitt his story, the film segues into a flashback.

Soon-to-be-married Lucy and Desi are at home and Lucy is looking at a series of trailer brochures.  It seems that Desi has been offered a new position that will take him to different jobs all over the country.  It is not clear what Desi’s job is, but Lucy says: “If it (Desi’s job) isn’t a tunnel in Colorado, it’ll be a bridge in Alaska or a dam across the Pacific.”  Based on this, I am assuming that Desi works as some type of engineer.  Lucy, not wanting to spend her married life living out of suitcases and eating in random restaurants, suggests to Desi that they purchase a trailer.  They can travel from job to job and still have a home to return to.  Lucy promises to cook and clean and do everything needed to get Desi to agree.  With some reluctance, Desi agrees to go to the annual trailer show with Lucy to look at the “Bungalette” trailer that she has her eye on.

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Lucy and Desi look at the brochure for the “Bungalette” camper. Spacious on paper, a shoebox in person.

At the trailer show, Lucy and Desi locate the “Bungalette” and discover that the brochure was deceptive in how much space was available.  This trailer is tiny.  It’d be fine for camping, but not as a comfortable space to serve as a home for two adults. Desi is secretly happy that Lucy is disappointed.  Undeterred, Lucy keeps looking and soon spots “it” as Desi says.  “It” is a gorgeous yellow and chrome 36′ Redman “New Moon” trailer.   Lucy and Desi tour the trailer and agree that it’s gorgeous but must be expensive.  A salesman, seeing the opportunity to pounce, talks to Lucy and informs her that the trailer is $5345.  Of course, it can be paid in installments.  1/3 of the cost will need to be put down as a downpayment.  Lucy quickly calculates the downpayment to be roughly $1750 (actually $1763).  It seems that she and Desi’s budget for rent is $1800/year(!).  Lucy goes to work.

Before he knows it, Desi is signing paperwork and trading in his old car.  It seems a new car is needed to haul the trailer.  Lucy and Desi purchase a gorgeous pale yellow convertible to haul the gargantuan trailer.  Next, we’re treated to the hilarious scene of Desi at the auto shop getting the car fitted with new equipment to haul the trailer.  He has a hitch welded to the bumper, trailer brakes are installed and he’s given “block and tackle just in case.” His trunk is full of all kinds of “just in case” crap that the mechanic decides is necessary–though Desi isn’t briefed on the function of any of it. But, at least he has it, right?

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Desi and the overly chipper mechanic who reminds Desi that he now owns “40 feet of train!” and also ingrains the immortal phrase, “trailer brakes first!” into Desi’s brain.

After a terrifying first drive with the new trailer, Desi delivers the trailer to Lucy’s home where she and her girlfriends are stocking it with all of the wedding presents and other essentials.  This scene is utter pandemonium, culminating with a traumatized Desi cowering in the bedroom after a woman topples a pile of clothes hangers.  The chaotic scene is juxtaposed with a glimpse of Lucy and Desi’s fairly tranquil wedding reception.  After the reception, with the car and trailer packed, Lucy and Desi are on the road, ready to start their honeymoon!

On their wedding night, Lucy and Desi pull up to a seemingly nice, but noisy, trailer park.  The residents are all friendly, a little too friendly perhaps.  As Desi attempts to carry Lucy over the threshold, Mrs. Hittaway (Marjorie Main) sees them and for whatever reason assumes that Desi must be carrying Lucy because she’s injured.  I would think that Mrs. Hittaway would have seen Lucy walk up to the trailer, but apparently not.  Instead of telling the truth, Lucy and Desi concoct some story about Lucy twisting her ankle.  Mrs. Hittaway takes charge and devotes herself to administering aid to Lucy.  Mrs. Hittaway’s first order of business is getting some food into Lucy and Desi’s stomachs.  She orders husband Floyd the Barber (Howard McNear) to go get some food.

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The neighborhood welcome wagon

Word gets around the trailer park and soon Desi is hosting a neighborhood get together.  All the neighbors come over to gawk at the large trailer and also to socialize.  Poor Desi spends his evening washing dishes and serving soda to a bunch of people he doesn’t know (and honestly probably doesn’t even care to know.  They were only going to stay at the park overnight).  Lucy is passed out due to being slipped a sleeping pill by Mrs. Hittaway.  The wedding night is a bust.

The next day, eager to get out of the park, Lucy and Desi hightail it out of there and are back on the road.  The next day, the newlyweds decide that they want a private evening.  Lucy suggests that they pull off onto a remote road somewhere and camp.  Desi, not knowing any better agrees.  Soon they are driving on some bumpy, muddy logging road, and the trailer becomes stuck and lopsided.  Then of course, it starts raining.  Desi tries his best to level out the trailer.  Lucy attempts to make dinner.  She attempts to make eggs by rigging up some wire clothes hangers and forks to keep the pans in one place, but it doesn’t really work.  Lucy and Desi end up eating cheese and drinking wine for dinner.  Night time comes and Desi is fast asleep in his twin bed on the leaning side of the trailer.  Lucy has the twin bed at the top of the lean.  She tries to get into bed multiple times, falling out of bed each time.  At this point, one might ask, “why she doesn’t crawl into bed with her husband?”  To that, I say, “if she did that, then we wouldn’t be treated to the hilarity that ensues when the trailer collapses, the door opens, and out goes Lucy–straight into a six-foot deep mud puddle!

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(After Lucy falls out of the trailer and into the mud) DESI (half asleep): “What’s the matter honey? Can’t you sleep?

After her impromptu mud bath, morning comes.  Desi gets the trailer towed and cleaned up and soon he and Lucy are back out on the road! The next stop is Lucy’s Aunt Anastacia (Madge Blake) and Uncle Edgar’s (Walter Baldwin) home.  The newlyweds dream of a short visit where they don’t have to spend any money–or drive the trailer!  Desi and Lucy arrive with their trailer (40 feet of train, remember) much to the astonishment of the neighborhood.  After some obligatory introductions, Uncle Edgar nonchalantly tells Desi to back the trailer into the driveway.  “That way you have use of the car!” he says.  Apparently there are so many people living in the home that Lucy and Desi are still sleeping in their trailer.

Desi, not having ever backed the trailer up, pulls out his useless user manual which advises him to “pull into an attractive trailer park, shop for food and start eating!” He finally finds the instructions on how to back the trailer in and gives it a-go.  He makes multiple attempts and fails.  He drives into yards, plants, crowds of people, and worst of all, Aunt Anastacia’s prized rose.  Mortified, Lucy yells at everyone to get back and shut up and she will direct Desi.  Lucy gets Desi lined up with the driveway and instructs him to back in.  He does a good job, until the carport is shredded due to the trailer being too tall.  Personally, I blame Uncle Edgar.  He’s the one who told Desi to back into the driveway.

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The hilarious scene with Desi trying to back in the trailer with everyone screaming at him. “Poor Grace” is looking on with amusement from the porch. This scene culminates with Desi driving over Aunt Anastacia’s prized roses. “My rose! My rose! You tore down my rose with your lousy stinking trailer!” Aunt Anastacia wails.

A few days later, Lucy and Desi leave their relatives and get back on the road.  Their next stops are uneventful.  They visit a nice, quiet trailer park and Lucy fixes a romantic meal.  It is at this point that we learn that Lucy has been canning fruits and vegetables in an effort to truly make her house a home.  We also find out that she’s been collecting rocks as souvenirs from different places they’ve been on their honeymoon.  These aren’t just little pebbles however, these are enormous rocks that probably each weigh 10-15 lbs.

The next day, Lucy wants to learn how to drive the trailer.  Desi reluctantly lets her take the wheel and soon regrets it.  Lucy drives much faster than he does, passes cars despite the solid yellow line, gets distracted by dresses in the windows… she’s all over the place.  Understandingly, Desi is a mess.  Lucy assures him that she’s only driving 35 miles per hour.  “I am sitting in the suicide seat” he says.  Desi’s backseat driving ends up reaching its peak when he makes a comment about women drivers and Lucy understandably gets mad and sits in the backseat, fuming.  Their fight continues onto their next stop that evening–a service station on the side of the highway.  Lucy and Desi fight about who sleeps in the living room, with Lucy winning.  Their fight ends when they hear some frightening highway sounds–in the form of sirens and gunshots.

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Lucy tries to cook dinner in the trailer while Desi drives. This is the end result.

When morning comes, Lucy tells Desi that she has a solution for alleviating some of the tension between them: she will cook dinner in the trailer while Desi drives.  Sounds like a great idea right? It’s not.  Not only is it illegal (something Lucy and Desi don’t find out until after the fact), but it’s impossible to cook in a moving trailer.  Lucy concocts an elaborate meal: ragout of beef, caesar salad, and angel food cake.  While Desi drives, Lucy discovers that everything rocks while the trailer is in motion.  Soon, she and her meal are being tossed every which way and Lucy discovers that this was a bad idea.  She tries to get Desi’s attention but between the noise of the road and the noise of his “Ragout of Beef” song, he doesn’t hear her.  She’s all over the place, her food is all over the place, the trailer is a disaster.

After stopping the trailer, Desi returns to find Lucy bruised and battered.  He takes her to the beauty salon to get cleaned up.  While in town, Desi speaks with a man who is interested in purchasing the trailer.  Thinking that this is a fantastic idea, Desi speaks with Lucy who is vehemently opposed to the idea.  Lucy ends up winning and it’s back on the road.

The last big stretch of their trip takes them up a very steep mountain–8,000 feet elevation.  The roads are very narrow and are almost completely vertical.  This is a very dangerous road for the trailer, but the detour will take them hundreds of miles out of their way.  I don’t know, after watching them complete the drive, I think I’d rather take the detour! Desi gets the trailer and car worked on and is advised by the mechanic to not take any extra unnecessary weight.  Lucy needs to get rid of her rocks and all her canned fruits and vegetables.  Desi tells Lucy of their weight restrictions and she is not happy.  While preparing the trailer, Lucy schemes with the manager of the trailer park (where they’re staying) and ends up determining that if the weight is distributed evenly across the trailer, then it should be fine.  She then lies to Desi about getting rid of everything.

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Lucy and Desi white knuckle it for the 8,000 ft ascent up the mountain

It’s time to start the big climb.  The trip is harrowing.  The car’s wheels spin in the dry gravel.  The trailer can’t make it around a big curve without Desi having to back-up (with half of the trailer hanging over the cliff!) in order to make the maneuver.  They encounter a fellow driver who has to basically drive his car into the rocky wall in order to let the trailer pass.  Desi passes him successfully, even though the trailer does scrape against the car while passing.  Lucy and Desi have an awkward conversation about a book that Lucy was reading, which ends up turning into a conversation “a beautiful actress who loved squirrels.”  I am thinking the “beautiful actress” is Elizabeth Taylor as Desi references Michael Wilding.

While the trailer makes its ascent, Lucy’s rocks and canning jars start coming out of their hiding places and moving toward one end of the trailer.  Lucy and Desi finally reach the top of the mountain.  They get out of the car for a well deserved breather when suddenly one side of the trailer collapses.  Desi opens the door and out falls one of Lucy’s rocks.  Livid, Desi starts tossing all of the rocks and jars off the side of the cliff.  We are then brought to the beginning of the film.

After Desi has finished recounting the entire story of how he ended up looking for Lucy and his trailer, he ends up finding Lucy in the trailer park.  She has sold the trailer to Mrs. Tewitt and is busy packing.  Desi returns to apologize, but cannot overcome his ego to do so.  Lucy cannot seem to find the words to apologize either.  He leaves.  It’s looking like curtains for Lucy and Desi’s marriage, until Lucy realizes that she doesn’t want Desi to leave and goes chasing after him.  Lucy and Desi apologize, embrace and return to the trailer.

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“I’m sorry!”

 

And they lived happily ever after.

 

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Favorite Performers: Kim Novak

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Kim Novak is someone who I discovered when I saw Picnic (1955) for the first time.  I had heard of her and knew what she looked like, but I had never actually seen any of her films until I saw Picnic.  She wasn’t my original draw to the film either.  I originally recorded it because I was a fan of co-star William Holden and I also love the overwrought melodramas of the 1950s.  My initial impression of Novak was that she was very pretty but she seemed somewhat stiff.  I began wondering if it was all style and no substance when it came to Novak.  However, as I kept watching her in Picnic, I noticed that she didn’t seem as stiff as she had in the opening scene.  I found myself warming up to her.

In Picnic, the crux of Novak’s character, Madge, is that she feels that she is only wanted and appreciated for her looks.  Her mother insists that Madge seal the deal with her rich upper crust boyfriend Alan, before her looks begin to fade.  Madge is 19, by the way.  Alan talks about and treats Madge like she’s a trophy on his arm.  Madge begins to resent everyone only focusing on her looks and not showing any regard for her wants, needs and desires.  Novak was very skilled in bringing the conflicted Madge to life.  On one hand, Madge doesn’t want to disappoint her mother; but on the other hand, she wants to live her own life and not skate by on her looks, even if that path looks uncertain.  Madge spends much of the film battling with her own wants and needs, versus those of her mother, boyfriend and the hot, mysterious, and exciting drifter William Holden.

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Kim Novak and William Holden dance in “Picnic”

After Picnic, I remember making a point of seeing Novak in some of her other films.  I saw Bell, Book and Candle co-starring James Stewart.  This film allowed the audience to see Novak as another type of character–a beautiful woman afraid to fall in love.  In this film, Novak plays a beautiful witch who lives in Greenwich Village in New York City.  Novak develops a crush on Stewart and ends up casting a love spell on him when she discovers he’s engaged to marry another woman.  The love spell causes Stewart to fall in love with Novak instead.  Soon Novak finds herself falling in love with Stewart and she’s faced with a choice to make: Fall in love with Stewart and lose her magical powers or keep her powers and let Stewart go.  Novak plays it cool in this film and is very adept at showing the progression of her character falling in love.  Despite being very beautiful and being labeled as one of the 1950s sex symbols of Hollywood, Novak’s characters are never overt in their sexuality, unlike someone like Marilyn Monroe.

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Kim Novak as “Madeline” in “Vertigo”

One of Novak’s most famous films is her turn in Alfred Hitchcock’s Vertigo.  Novak is cast as one of Hitchcock’s typical icy blondes, but she brings so much to her complicated, somewhat dual role.  In this film, Novak must portray the beautiful and tragic Madeline who Stewart meets and falls in love with.  Later, she portrays the small-town girl, Judy, who of course resembles Madeline, and agrees to allow Stewart to transform her into his lost love.  As Madeline, Novak plays the wispy blonde, who is so beautiful but with an underlying vulnerability.  As Judy, Novak plays a more average looking woman (more like a gorgeous woman wearing too much heavy makeup) from Kansas who is trying to make it in big city San Francisco.  She is brassier and more no-nonsense than Madeline. Of course there is more to the story than meets the eye and Novak was fascinating to watch.

Novak is a highly underrated actress who I believe wasn’t taken seriously because she was so beautiful.  In all her films, she brings charm and also an underlying vulnerability that makes her a joy to watch on screen.  Today, Kim Novak lives on a ranch in a small town in Southern Oregon.  It’s exciting to think that one of my favorite Classic Hollywood stars is still alive and thriving in a town only about 3.5 hours south of me.  Maybe someday, I’ll make it back down there and maybe run into Kim Novak on the street or something.  I can always hope!

My favorite Kim Novak films:

-Picnic (1955).  I already talked about this film above; but this film deals with a drifter (William Holden) who interrupts the tranquility in a small Kansas town.  Most of the action occurs at the town’s annual Labor Day picnic.  Novak portrays Madge, a beautiful nineteen year old woman who is dating Alan Benson (Cliff Robertson), one of the town’s most eligible bachelors.  Novak falls for Holden, much to the chagrin of Robertson and her mother (Betty Field).

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Kim Novak and her cat, Pyewacket in “Bell, Book and Candle.”

Bell, Book and Candle (1958).  Described above as well.  This film depicts the story of a beautiful witch (Novak) who casts a spell on a man (James Stewart) whom she’s been admiring from afar.  Soon, she must decide whether to fall in love with Stewart and give up her magical powers, or let Stewart go in order to retain her powers.

Vertigo (1958).  Mentioned briefly above.  This film is so complex that it would be hard to describe it and do it any justice.  This is a film that has to be watched and watched intently, not casually.  A couple weeks ago, I watched this film in the theater and was fascinated by how much of the film I had forgotten or hadn’t pieced together the pieces of the story.  Once I had the story figured out, I found it amazing and captivating.  In a nutshell, this film tells the story of a man, James Stewart, who falls in love with a mysterious blonde and loses her in a tragic accident.  He meets another woman, Kim Novak, who resembles his lost love.  Stewart goes to work transforming his new girl into the girl he lost.

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Howard Duff and Kim Novak in “Boys’ Night Out”

Boys’ Night Out (1962).  This 1962 comedy is silly and definitely not worthy of any sort of award, but I love it.  There’s just something about early 1960s comedies.  In this film, Novak plays a college student who rents an apartment from a group of men (James Garner, Tony Randall, Howard Morris and Howard Duff).  The men are all married, except for Garner.  The husbands are bored with their wives and their day-to-day routine and want to set up an apartment to have a fling.  They base their plan on the same tactics their boss uses to have his fling.  Novak rents the apartment not knowing of their plan to commit adultery and the men don’t know that Novak is pretending to romance them as a means to gather material for her college thesis on the sexual life of the middle class male. Hilarity ensues.

-Pushover (1954).  This is a really great noir and is Novak’s film debut.  Novak portrays the beautiful girlfriend of a man who robs a bank and both of them are now on the lam.  Fred MacMurray co-stars as an undercover cop who is tasked with setting up a stakeout in an apartment across the street from Novak’s.  While watching her, MacMurray ends up falling in love with Novak.  Soon Novak is trying to corrupt him to join her side and MacMurray is conflicted between his love for Novak and his duty to his job and the police department.

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Kim Novak and Fred MacMurray in “Pushover.”  She’s only 20 here!

Pal Joey (1957).  This is a musical starring Frank Sinatra, Rita Hayworth and Novak.  Sinatra portrays Joey, a singer and charmer who can make pretty much any woman fall for him.  The only problem is that he’s a complete cad.  Sinatra meets Novak, a chorus girl in one of his shows.  He genuinely seems to have real feelings for her. Sinatra dreams of opening his own nightclub but needs money.  He appeals to an old flame, Hayworth, who used to also work as a stripper.  She married a wealthy man and is now widowed.  Sinatra decides to romance Hayworth in order to convince her to give him money for his nightclub.  Throughout the film, Sinatra and Hayworth use each other and continues to romance Novak.  The love-triangle continues throughout the film until Sinatra is forced to make a decision.

 

The “Free For All” Blogathon–“Birds in Film”

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When you think of birds in the movies, this image probably comes to mind:

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Tippi Hedren in Alfred Hitchock’s “The Birds” (1963). Don’t even get me started on why they chose to run out of the school when the birds started congregating on the jungle gym.  Stay inside! I like to think that the birds attacked the children because they were singing that annoying song.

Alfred Hitchock’s 1963 masterpiece, The Birds, tells the story of Bodega Bay, a small town near San Francisco, California that is dealing with violent and random bird attacks.  Crows are inexplicably attacking people in their homes, in phone booths, outside, anywhere.  The film never explains why the birds are attacking.  Hitchock purposely eschewed the use of music in the film.  The only sounds we hear aside from dialogue and natural sounds from the actions in the film are the sounds of the birds crowing.  Each time the birds appear onscreen, we know that another attack is about to happen.  The film ends with no resolution.  In Bodega Bay, the birds are still out there and are to be feared.

In The Birds, there are two birds featured in the film who are not to be feared–the lovebirds that Rob Taylor wants to purchase from Tippi Hedren (who doesn’t actually work at the bird shop, but is shopping for a cage for her myna bird).  People who own lovebirds typically purchase them in pairs, as a pair of lovebirds will bond for life.  A solitary lovebird who doesn’t have a constant companion will be very sad.  Owners can own just one lovebird, but they should be prepared to spend a lot of time with their bird.  In The Birds, I believe that these lovebirds represent Taylor and Hedren’s characters.

Hedren’s character is a bit of a wild woman who somewhat lives in a gilded cage.  She’s basically a rich socialite with little regard for others.  Due to her behavior and attitude, she’s somewhat trapped by her lifestyle.  The only reason she goes to Bodega Bay initially, is to use the lovebirds as a means to pursue Taylor.  She’s rich and isn’t used to not getting what she wants.  Taylor makes it clear to Hedren in the pet shop that she’s not interested in people of her type.

Lovebirds may represent the antithesis to the other birds in the film.  Birds don’t have to be evil or be killers–they can be sweet, wonderful companions for humans and other birds.  The lovebirds in The Birds demonstrate that maybe humanity and nature can restore harmony soon.

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The lovebirds in “The Birds.” I believe these are “rosy-faced lovebirds.”

Aside from the birds in The Birds, there are other ways birds are represented in film:

COMPANIONS

  1. Iago the Scarlet Macaw parrot in Aladdin, while an evil bird, he is a wiseacre and says what’s on his mind regardless of whether he’s talking to his master, Jafar, or mocking the Sultan.
  2. Kevin in Up is a goofy bird and the comic relief of the film.  Kevin is a made-up tropical bird who helps Carl and Russell make it to Victoria Falls.  Kevin also provides the conflict of the film.  Famed aviator Charles Muntz has been looking for Kevin’s species for years.  Kevin is like many real birds in that when she (yes “she”) feels that someone is a friend, she will be kind and loyal.  However, if she senses someone is a threat, or that person was mean to her, she’ll be hostile and combative.  Also, like real birds, Kevin is very curious and gets into everything.
  3. Hedwig in the Harry Potter series is Harry Potter’s loyal owl.  She is a constant companion for Harry through all of his adventures. She would deliver Harry’s mail, but was also a faithful friend. Hedwig also demonstrated how smart and clever birds can be.
  4. Zazu in The Lion King.  Zazu is a hornbill who is not only Mufasa’s personal assistant and adviser, but he also takes care of Simba after Mufasa’s tragic death.  Zazu’s allegiance is partially out of duty to the kingdom, but I also feel that he feels a sense of loyalty to the deceased Mufasa.  Zazu also doesn’t want to see Scar in charge.
  5. Maleficent’s black crow, who I don’t believe has a name, is as evil as evil gets.  He keeps Maleficent informed on the goings on in the fairies’ cottage and is the first one to inform Maleficent of Princess Aurora’s location when he spies magic coming up through the fairies’ chimney.
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Iago from “Aladdin” (1992)

WISDOM

  1. Owl in Winnie the Pooh dispenses advise to Winnie the Pooh and the other residents of the Hundred Acre Woods.
  2. Scuttle in The Little Mermaid, while definitely not smart like Owl, he lives above the sea and regularly watches and interacts with the humans.  Mermaid Ariel, who desperately wants to live out of the sea meets up with Scuttle, often bringing objects from the ocean floor that she has found.  She asks Scuttle as to what the objects are.  While Scuttle is usually wrong (e.g. telling Ariel that a dinner fork is a “dinglehopper” and is used to comb her hair), he is very kind and tries to keep Ariel informed about what’s going on above the sea.
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“Owl” from “The Many Adventures of Winnie the Pooh”  (1977)

SYMBOLISM

  1. In The Maltese Falcon (1941) John Huston’s directorial debut and the first film noir, stars Humphrey Bogart as Sam Spade.  While investigating the murder of his partner, Miles Archer, Bogart gets involved with a cast of characters who not only have something to do with Archer’s death, but who are searching for the elusive Maltese Falcon statue.  This bejeweled statue has traveled the world and is apparently worth tens of thousands of dollars.  When the statue is finally found, it is determined to be a fake.  The criminals are angry and frustrated, but seek to continue looking for it.  While holding the fake statue, a detective asks Bogart, “Heavy? What is it?” Bogart says, “The, uh, stuff that dreams are made of.”  This faux bird represents the lack of loyalty the criminals displayed to one another during their journey.  A bird, when treated with love and kindness, can be a loyal and generous friend.  They’ll be by your side constantly and will give affection. They’ll also give you their dinner if you don’t pay attention, they want to make sure you eat.  The criminals are so shady in this film, that they don’t deserve to succeed at the end.
  2. There is much bird imagery in Psycho.  It is mostly used in the scene between Norman (Anthony Perkins) and Marion (Janet Leigh) in the motel office. The birds in these scenes foreshadow Norman’s psyche and Marion’s eventual fate. Norman has a variety of stuffed birds: everything from the predator hawk to a small songbird.  Norman mentions to Marion Crane (his eventual victim) that one of his hobbies is “stuffing things” i.e. taxidermy.  This foreshadows the fact that he’s been perhaps practicing his taxidermy skills elsewhere, like on his mother’s corpse, for example (granted she is a skeleton, but he’s been preserving her).  The birds are creepy as there are a lot of them. One could argue that the different types of birds are representative of the  characters in the film.  There is an owl and hawk, two predator birds, that are featured prominently on the wall.  Norman’s mother is a predator, her personality has completely consumed Norman’s.  There are also some small songbirds who represent Marion.  These birds would be consumed in no second flat by a predator, just like it doesn’t take long for Marion’s demise at the Bates Motel.  Birds are very fragile, just like Norman Bates’ psyche.  Women are often presented as fragile and delicate, in which a bird could represent Marion.  Norman even tells Marion that she “eats like a bird” as she picks at the bread on her sandwich.  Birds actually eat a lot, a fact which Norman even mentions to Marion.  There is so much going on in this scene that it would probably warrant its own blog entry.
  3. Birds can also represent a variety of other themes: freedom, the feeling of being trapped, evil, arrogance, and mischievousness.
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Norman Bates’ office in the Bates Motel in “Psycho” (1960)

Other favorite birds of mine:

  1. Donald Duck.  Look for him in Donald Duck in Mathmagic Land (1959).  Perhaps the only good math-related movie ever made.
  2. Daffy Duck.  His “Duck Amuck” (1953) cartoon is hilarious.
  3. Woodstock from Peanuts.  He doesn’t do much except be Snoopy’s companion, but he has his moments.
  4. Roadrunner.  He says so much by saying so little “beep beep” which roughly translates to “ha ha” when said to Wile E. Coyote after successfully evading yet another trap. Why does Wile E. Coyote want to eat him so much anyway? I doubt he’s got that much meat on him.
  5. Piper from the Pixar short.  This bird is just so cute!
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Piper from Piper (2016) Pixar’s short film. Look at his face!

This post was inspired by my bird, Buddy, a yellow-sided green cheek conure:

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Buddy the bird, enjoying some mango!

The Small Screen Blogathon–“I Love Lucy”

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Picture it: Salem, Oregon, 1995.  A beautiful peasant girl turns on her parents’ 15″ black and white tube TV.  She comes across a show on something called Nick at Nite.  She is instantly transfixed by the action on the screen.  A redhead (we’ll have to take the characters’ word for it, it’s black and white after all), her Cuban bandleader husband, and their two friends were involved in some wacky scheme.  The next day, the girl tuned into Nick-at-Nite again and watched another episode of this hilarious show about a woman whose only dream in life, it seems, is to be in show business, much to her husband’s chagrin. The show was I Love Lucy, and the beautiful peasant girl, was me, minus the peasant part–just tapping into my inner Sophia Petrillo.

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I Love Lucy is rightfully considered one of the best, if not the best (which “best” is obviously subjective) television show in history.  The show was groundbreaking, almost literally, and created the blueprint for all situational comedies to come.  Every show, from The Dick Van Dyke Show, to The Mary Tyler Moore Show, to Cheers to Friends are indebted to I Love Lucy for inventing the situation comedy and engineering the way in which to perform in front of a live audience.

In 1950, CBS approached Lucille Ball with an offer to move her popular radio show, My Favorite Husband, to the new burgeoning medium of television.  CBS wanted Ball, her co-star Richard Denning and the other cast members to make the move with her.  However, Ball had other ideas.  At this time, Ball had been married to her husband, bandleader Desi Arnaz for ten years.  The couple’s marriage was faltering.  Much of the strain on their marriage was caused by their differing schedules.  Ball was in Hollywood filming her radio show and Arnaz was on the road, touring with his band.  Ball, seeing an opportunity to work with her husband and keep him home, told CBS that she was interested in the offer, but only if Arnaz could star as her husband.  CBS balked, thinking that the American public would not accept that their star, Lucille Ball, was married to a Cuban.  Of course, CBS was completely wrong, but to prove it, Ball and Arnaz concocted a vaudeville routine and took their act on the road.  People across the country loved them and soon CBS had to relent and give Ball and Arnaz the go-ahead.

In March of 1951, Ball and Arnaz filmed their pilot.  It was filmed in kineoscope.  Kineoscope was a method of filming a live performance.  A camera lens would be focused on a video screen, which would record the performance as it was being recorded.  This footage would later be re-broadcast to other markets.  Typically shows were filmed in New York, as this is where a majority of the population lived in the late 1940s-early 1950s.  If you have ever seen a YouTube video where someone has made a video of a movie, show, concert, etc. playing on their TV,  you know that the sound is muffled and tinny and the picture is blurry.  This is exactly what it was like to watch a kineoscope show if you didn’t live near New York.

To see a couple examples of Kineoscope, go to You Tube and search for: “I Love Lucy Pilot,” and “Lucille Ball and Desi Arnaz on The Ed Wynn Show.”

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Lucille Ball and Desi Arnaz on the “I Love Lucy” Pilot

Above is a screenshot from the I Love Lucy pilot episode.  Ball wears a housecoat and big baggy pants for much of the episode because she was pregnant with Lucie Arnaz.  The Ricardos live in a completely different apartment and the Mertzes haven’t been created yet.  I Love Lucy episode #6, “The Audition” is essentially a re-do of the pilot.  In the pilot episode, Ricky schemes with his agent, Jerry.  In the I Love Lucy episode, Jerry’s lines are given to Fred Mertz.  The pilot episode was a success and Ball and Arnaz were given the green light to start their series.

To produce their series, Ball and Arnaz formed Desilu Productions.  Arnaz was president and Ball was vice-president.  They hired the writers from Ball’s radio show, My Favorite Husband. Many of the crew members they hired were acquaintances from Ball’s radio program and from Ball and Arnaz’ movie and music careers, respectively.  For the Mertzes, they originally wanted Bea Benederet (Betty Rubble in The Flintstones and Kate Bradley in Petticoat Junction) and Gale Gordon (Mr. Mooney in The Lucy Show and Harry Carter in Here’s Lucy).  However, Benederet was under contract to The Burns and Allen Show and Gordon was on Our Miss Brooks.

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William Frawley and Vivian Vance as Fred and Ethel Mertz

One day, William Frawley, an old acquaintance of Ball’s from her movie days, called Ball and asked if there was room for him on her show.  Leery of his reputation as a hard-drinker, Arnaz and Ball met with him and decided he was perfect.  Ball later said: “William Frawley was ‘Fred Mertz,’ period.” Frawley was cast on the condition that he always show up to work sober.  He would be fired on the spot if he ever showed up to work intoxicated.  During all six seasons of I Love Lucy and the three seasons of The Lucy-Desi Comedy Hour, Frawley kept his promise.

Casting Ethel Mertz turned out to be more of a chore.  Ball originally wanted to throw the job to her old friend, Barbara Pepper (Mrs. Ziffel on Green Acres), but CBS said no.  Much like Frawley, Pepper had a drinking problem too, but hers was much more severe.  Then I Love Lucy director Marc Daniels (who directed the first season) suggested an actress he worked with in New York, Vivian Vance.  Vance had a successful Broadway career and had spent twenty years on stage acting in various plays until re-locating to Hollywood in the late-1940s.  She appeared in a couple films, but by 1951, she was still relatively unknown outside of the Broadway circle.  She just happened to be appearing in a revival of Voice of a Turtle in La Jolla, California.  Arnaz and head writer, Jess Oppenheimer, drove down to see Vance and hired her on the spot. Vance was reluctant to give up her stage career for the unknown medium of television, but friend Daniels convinced her it’d be her big break–and it was.

With all the pieces put in place, it was time to start producing I Love Lucy.  Desilu purchased two soundstages and tore down the dividing wall to create one large room that could hold four separate stages.  The Ricardos’ living room was the larger, permanent stage.  The Ricardos’ bedroom was typically in the smaller stage to the left and the kitchen was the small stage to the right.  The other stage would often be the Tropicana.  The walls of the small stages had wheels that allowed them to move around.  Oftentimes, when a scene with a large amount of action was filmed, the walls of the set would be rolled in front of the Ricardos’ living room set.  Case in point, there is a blooper in the famous Vitameatavegamin episode (#30 “Lucy Does a TV Commercial”).  When Lucy comes staggering out of her dressing room (plastered on Vitameatavegamin, alcohol 23%) and the stage hands are searching for Ricky, you can see the Ricardos’ living room between the Vitameatavegamin set and Ricky’s set where he performs.

CBS wanted Arnaz and Ball to use the cheaper kineoscope and to film their show in New York.  Arnaz and Ball informed CBS that not only did they plan on remaining in Los Angeles, but they also wanted to film their program on 35mm film, the same film used by the motion picture studios.  They wanted the whole country to see their program clearly, not just the East Coast and they wanted to have copies of their program–figuring that if it bombed, at least they’d come away with some “home movies” for their children. CBS complained initially about the increased cost of the film, but Arnaz, the shrewd negotiator he was, offered to deduct $1000/week from his and Lucy’s salaries in exchange for the right to use film and the rights to their show. CBS, figuring that this whole thing will never work, agreed.

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The “I Love Lucy” set.  This is an early season 1-2 episode based on the floral love seat in the living room.

Arnaz knew that Ball performed best in front of a live audience.  To accommodate a live audience, Arnaz had to equip his soundstage with bleachers.  He was also required by the fire marshall to bring the building up to code by adding bathrooms and other modifications required of a facility that is going to hold large groups of people.  In order to ensure that the cameras didn’t block the audience’s view of the action, Arnaz, along with Academy Award winning cinematographer, Karl Freund, devised the three camera technique.  This camera, nicknamed “the three-headed monster,” would film the action from three angles.  Then after production, the editors would splice together the footage to create the final show. This technique is still in use today.

The very first episode of I Love Lucy, that aired, was actually the second episode filmed.  Episode #2, “The Girls Want to Go to a Nightclub” is the first of many “versus” episodes.  In this case, it’s the men versus the women.  Lucy and Ethel want to go to a nightclub for the Mertzes’ anniversary and Fred and Ricky want to go to the fights.  Lucy and Ethel declare that they will find their own dates who will take them to the club.  Ricky informs Lucy that he and Fred will do the same.  Enlisting the help of an old friend, Lucy gets herself and Ethel set up as Ricky and Fred’s blind dates.  Except, the girls aren’t just coming as themselves, they show up dressed as hillbillies.  This is the first of many episodes where Lucy tries to pull a fast one on Ricky.  Arnaz made it clear to the writers from day one that while Lucy can play tricks on Ricky, he didn’t want Ricky to look like an idiot.  Ricky either needed to be in on the joke from the beginning or figure it out before Lucy succeeded.  In the case of this episode, Lucy blows her cover by offering to go grab cigarettes for everyone, stating that she knew where they were.  Ricky tells Lucy he knows it’s her and Ethel, they make up and all is well–except that the men end up at the fights with the ladies dressed to the nines.  Let’s just hope that a compromise was reached and maybe they went to the fights and the nightclub that evening.

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“Lucy Goes to the Hospital”

I Love Lucy was a success and was at the top of the ratings 4/6 years it was on television.  In 1953, Ball found out she was pregnant (with Desi Arnaz Jr.) and she, along with Arnaz, thought it was the end of the program.  However, it was decided that Lucy Ricardo would be pregnant too.  Desilu hired a priest, rabbi and minister to read the scripts and highlight any objectionable content.  All three religious leaders could not find any issues.  CBS allowed Ball and Arnaz to go ahead with their plan and Lucy Ricardo was set to have a baby.  The only stipulation being that the word “pregnant” could not be used on the show.  They had to opt for the funnier ‘spectin coming from Ricky.  Words and phrases like “infanticipating” and “having a baby” were used instead.  The episode where Lucy gives birth to Little Ricky was the highest rated episode of any television show (at that point) and even got a higher rating than Dwight Eisenhower’s inauguration that took place the following day after Little Ricky was born. During this time, Arnaz invented the re-run by re-airing old episodes of I Love Lucy.  He wanted to give Lucy time to recover.  To make the episodes “fresh,” he and Frawley and Vance filmed new flashback scenes to introduce the episodes.  When these repeats garnered the same or higher ratings than the original airing, it was decided to forgo the new flashback footage and just re-air the episodes as-is.

I Love Lucy enjoyed huge success during its original six year run, winning multiple Emmy Awards and achieving high ratings.  It ended its run #1 in the ratings.  However, I Love Lucy has achieved even greater success in the decades since.  It is estimated that I Love Lucy has never been off the air since its debut in 1951.  Ball’s face is one of the most widely recognized faces in the world.  There are new generations of fans discovering I Love Lucy each and every day.  It is truly an indelible part of pop culture and television history.

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My Top 5 Favorite Episodes of I Love Lucy:

1) Episode #114, “L.A. at Last!”

The Ricardos and Mertzes finally make it to Hollywood.  After checking into their hotel at the Beverly Palms Hotel, Lucy and the Mertzes are on the prowl for movie stars.  They decide to go to “the watering hole,” aka The Brown Derby for lunch and celebrity spotting.  Ethel manages to embarrass herself in front of Eve Arden and Lucy ends up embarrassing herself in front of William Holden.  The true gem of this episode is later, when Ricky, newly employed at MGM, meets Holden.  Holden offers to give him a ride to his hotel.  Ricky, unknowing about what transpired at the Brown Derby earlier that day, asks Holden if he’d mind coming in to meet Lucy.  Lucy, understandably freaked out, but forced into meeting Holden, tries to disguise herself with a scarf, glasses and fake putty nose.  The funniest part of the entire episode is the look on William Holden and Desi Arnaz’ faces when Lucy turns around after having re-shaped her nose.

2) Episode #147, “Lucy Gets a Paris Gown”

In Paris, Lucy makes it known to Ricky that she wants a Jacques Marcell dress.  Ricky, not wanting to pay the huge price tag, says no.  Lucy, not willing to give up, stages a convincing hunger strike in protest of Ricky’s decision.  Ricky, feeling bad for Lucy, buys her the dress, but then discovers that Ethel has been sneaking food to her.  The dress is returned and Lucy is fuming. To appease Lucy and “cure” her of her desire for high-end French fashion (which Ricky and Fred think is ridiculous), they find some potato sacks, a horse’s feedbag and a champagne bucket and have two Parisian original gowns designed and created: one for Lucy and one for Ethel.  The funniest part of this episode is when Lucy and Ethel realize that they’ve been duped and attempt to hide under a tablecloth, that they apparently steal from the restaurant as they run away.

3) Episode #81, “The Charm School”

After an upsetting party where Lucy and Ethel feel ignored by their husbands, especially when the date of another guest attracts all their attention, Lucy and Ethel decide that their husbands are bored with them.  Lucy finds out that the woman who came to her party the night prior had just finished a course at “Phoebe Emerson’s Charm School.” Lucy and Ethel sign up and are put through a charm regiment that involves learning to walk, speak and dress like a charming lady.  The time comes for the big reveal and Ricky and Fred are speechless.  The funniest part of this episode is when Lucy opens the door to let glammed-up Ethel in.  As she opens the door, there’s Ethel leaning against the door frame, dressed in a one-strapped, skintight, leopard print dress with a cool snake-like thing around her arm.

4) Episode #23, “Fred and Ethel Fight”

The Mertzes are fighting (because Ethel said that Fred’s mother “looked like a weasel,” to which I say: “Fred’s mother is still alive?”) and Lucy decides to invite each one over for dinner without the other one knowing.  She lets Ricky in on the plan.  Ricky works with Lucy trying to get Fred and Ethel back together, but during course of conversation, he and Lucy end up getting in a fight.  Now it’s Ethel and Fred’s turn to try and get Ricky and Lucy back together! The climax of the episode is when Ricky stages a fake fire in the apartment, so that he can “save” Lucy and be a hero.  The funniest part of this episode is when Lucy wants to pretend like she was hit by a bus and has Ethel help her put on casts and a metal arm brace thing and then Ricky stages the fake fire which Lucy doesn’t know is fake.  Lucy freaks out trying to grab things, casually tossing them out her 4th story window.  She grabs some dresses and her huge jug of henna rinse. Then she makes a rope with a bedsheet and ties it around herself, but neglects to tie the other end to anything.

5) Episode #122 “The Star Upstairs”

Lucy discovers that she has met 99 movie stars and wants to meet one more so she can have an even hundred.  She reads a blind item in the paper that a big star is staying in the penthouse of a local hotel for some rest and relaxation.  Lucy instantly jumps to the conclusion that the star is in her hotel, and after pressing the bellboy for details, her assumption is confirmed–Cornel Wilde is staying in the penthouse right above the Ricardos’ hotel room! Lucy blackmails the bellboy into letting her borrow his outfit so she can deliver the paper.  That scheme fails wholeheartedly.  In the next attempt, Lucy hides under the bellboy’s cart.  Through the course of events, Wilde ends up thinking that Bobby is a really talented ventriloquist who can throw his voice across the room.  The scheme comes off well, but Lucy ends up being left behind in Wilde’s room.  Desperate to get out, she attempts to climb down the balcony using a makeshift rope that she crafts out of a beach towel.  The funniest part of the entire episode is Ethel trying to distract Ricky from seeing Lucy’s legs dangling from the balcony.

Favorite Performers: Gene Kelly

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Even with the scar, Gene is pretty cute!

Today marks the 22nd anniversary of Gene Kelly’s passing at the age of 83.  I remember hearing of his death in the sixth grade and feeling so sad.  I was a few months shy of twelve at the time.  I had just discovered Nick at Nite the year prior and had just discovered Gene Kelly by way of his appearance with Lucille Ball in DuBarry Was a Lady (1943). While ‘DuBarry’ wasn’t his best film, I liked Gene.  He just had that je ne sois quoi about him.  After seeing him with Lucy, I was hooked.  I religiously checked the TCM listings (then in its infancy) for Gene’s movies and tried to set the VCR to record them.  With each recording, I’d cross my fingers hoping that I’d set up the recording correctly and that the tape wouldn’t run out before my recording was complete.  Between TCM and the ever reliable Hollywood Video, I managed to see a few of Gene’s films.  When I heard that he had died, I remember watching Singin’ in the Rain (1952) and The Pirate (1948) with my friend who also loved him.

While I love Fred Astaire, I would never compare him with Gene.  Honestly, they’re like apples and oranges.  Sure, they’re both dancers and both men, but that’s pretty much where the similarities end.  In the end though, I think I have to give Gene the edge–if only because I love the fabulous elaborate dance numbers he put together in his films.  Astaire, to his credit, did do some pretty fantastic numbers in his post-Ginger Rogers films.  However, Astaire never put together such productions like the ballet in An American in Paris (1951) and the “Broadway Melody” number in Singin’ in the Rain–two of my favorite numbers of any musical ever made.   Gene was a pioneer and an innovator not only in musicals but in the world of film itself.

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Fred Astaire and Gene Kelly in “Ziegfeld Follies (1945)”  Two fantastic, yet very different dancers.

Gene was born in Pittsburgh in 1912.  As a child, he was reluctantly enrolled in dance classes with his brothers.  Gene dreamed of playing shortstop for the Pittsburgh Pirates baseball team–not being a world renowned movie star, dancer, choreographer and director.  At some point, Gene had a change of heart and gave up on his dream of being a professional baseball player.  Lucky for us, he decided to dedicate himself to dancing. By the early 1930s, Gene was a teacher at his own dancing school. By the late 1930s, Gene had established a very successful dance studio and decided to move to New York City to find work as a choreographer.  He didn’t find much success during his first stint in New York.  By 1940, he was back in his hometown starring in and choreographing local theater productions.  It was in one of these productions where he was discovered and given a larger part.  That part led to an even larger part in a bigger production and so on.

By 1940, Gene was back in New York appearing on Broadway in Pal Joey–a play which was later made into a 1957 film starring Frank Sinatra, Rita Hayworth and Kim Novak. During Gene’s appearance in Pal Joey, he was approached by Hollywood mogul David O.Selznick for a Hollywood contract.  By the time Gene made his film debut in 1942 in For Me and My Gal with Judy Garland, Selznick had sold Gene’s contract to MGM.  During the next couple of years, Gene appeared in a few dramatic films and even appeared in a musical with Lucille Ball who had recently signed with MGM after a long stint at RKO as “The Queen of the Bs.”

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Gene Kelly, Lucille Ball, Red Skelton, Virginia O’Brien, Tommy Dorsey, Rags Ragland and Zero Mostrel in “DuBarry Was a Lady.”

Gene’s big big break was when he was loaned to Columbia to appear with Rita Hayworth in Cover Girl (1944).  It was this film where he finally started to show glimpses of what he would achieve later.  One of the best dance numbers in this film is when Gene dances with his own reflection.  For the next decade or so, Gene appeared in a remarkable series of films that gradually built upon one another and showcased the innovative film and storytelling techniques and dance routines that Gene would become known for.  Gene was lucky to come around at just the right time–the Golden Era of the Hollywood musical from the mid-1940s through the mid to late 1950s.

By the late 1950s, the public’s tastes had changed and intense dramas and issue driven films were more popular.  The musicals of the 1960s and beyond definitely have a different feel about them and feel gritty and grim–which is a definite contrast to the glamorous and sparkly looks of their predecessors.  By this point in his career, Gene had mostly retired from dancing and turned into a director.  One his biggest films was 1969’s Hello, Dolly! which was nominated for seven Academy Awards, winning three. In 1980, Gene returned to the big screen in the musical Xanadu.

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Gene Kelly and Olivia Newton-John in that cinematic classic, “Xanadu.”

Despite its reputation as one of those “so bad, its good” movies, I love Xanadu.  It has everything you’d want in a film: Gene Kelly, Gene Kelly roller skating, Gene Kelly playing the clarinet, Olivia Newton-John singing catchy 80s pop songs, a big roller skating dance number, flashbacks, Greek Gods, magic, neon… This film has everything.  When asked about why he made this film, Gene stated that the film had a great concept, it just didn’t quite turn out.  I think it turned out great.  This is truly one of the gems from 1980.  After Xanadu, Gene was pretty much retired and spent the remainder of his life making the award show circuits (picking up a Cecil B. DeMille award in 1981, Kennedy Center Honors in 1982, AFI Lifetime Achievement Award in 1985, and a Lifetime Achievement Award from the Screen Actors Guild in 1989, just to name a few of the honors he received).  By the late 1980s-early 1990s, Gene’s health steadily declined until his passing in 1996.

My favorite Gene Kelly movies:

Words and Music (1948),”Slaughter on Tenth Avenue.” Gene and Vera-Ellen only appeared in a segment of this musical biopic starring Mickey Rooney and Tom Drake, however, they are definitely the highlight.  “Slaughter on Tenth Avenue” is definitely a sexy number, a trait that is unusual in the goody two shoes MGM movies of the 1940s.  Vera-Ellen’s character is killed and she dies on the staircase, on her back, right in front of the camera.  All we see of Vera-Ellen’s character is her chest and legs.  This number also has great music that I really like.

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Gene Kelly and Vera-Ellen in “Slaughter on Tenth Avenue” in “Words and Music.”

On the Town (1949). This film is the final film that Gene made with Frank Sinatra and I feel that it is their best.  I like Anchors Aweigh but cannot stand Kathryn Grayson, so that film pales a little bit in comparison with ‘Town.’  I thought Gene had a great rapport with not only Frank but love interest Vera-Ellen.  My favorite number in this film is actually the “Prehistoric Man” number that mainly features Ann Miller, but Gene provides some amusing backup.  However, for Gene’s best number in this film, that honor would have to go to “A Day in New York” where all his co-stars, save for Vera-Ellen (who had ballet training, which non of the actor cast members had).  Vera-Ellen and Gene make a great duo–which is interesting because I don’t typically think of Gene as being part of a dancing team.


An American in Paris
.  This film is widely considered Gene’s masterpiece and won the 1951 Oscar for Best Picture over the likes of A Streetcar Named Desire and A Place in the Sun.  While I like ‘Desire,’ and ‘Sun,’ give me ‘Paris,’ any day.  This film is so much fun and such a delight to both the eyes and ears that it makes an enjoyable experience each time I see it.  The best number in this film is of course the seventeen minute ballet at the end of the film.  This was a huge gamble for Kelly, director Vincente Minnelli and producer Arthur Freed.  Not only was the ballet expensive to produce, but it was unknown whether the audience would respond to it.  Well the audience did and the film was a huge hit, winning six Oscars, including the aforementioned “Best Picture” Oscar.  Gene was also given an Honorary Oscar for his versatility and achievement in choreography on film. My favorite part of the entire ballet is the Toulouse Lautrec part.  Could anyone else but Gene Kelly wear a flesh colored leotard?

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Gene Kelly’s flesh colored leotard in the Toulouse Lautrec part of the ballet in “An American in Paris.”  I’m not going to lie, this gif was the whole reason for this post.

Singin’ in the Rain.  This is probably Gene’s best known film and honestly, it is probably the best musical ever made.  I love this movie.  From the amazing cast (Gene, Donald O’Connor, Debbie Reynolds, Jean Hagen) to the great music, fun storyline, great costumes, everything.  This film is almost perfect.  The only thing marring this fabulous film, in my opinion, is the fact that Debbie Reynolds’ character has three different singing voices.  O’Connor is hilarious and has his amazing “Make ‘Em Laugh” dance routine.  Has there ever been a dance that looked so physically exhausting? Jean Hagen is hilarious as Lina Lamont, Gene’s delusional co-star and Hollywood-manufactured love interest.  Lina has a horrendous voice that is fine in silent film (because obviously you can’t hear her), but in a talkie… ugh.  And Debbie is just adorable as Gene’s love interest and the studio’s new discovery, threatening to supplant Lina’s status as top female star at the studio.  Pretty much every number in this film is fantastic, but my favorite would be the “Broadway Melody” number toward the end of the film.  It is colorful, has great dancing, a storyline, and fun music.  My favorite part of it is the part where Gene dances with Cyd Charisse, who is wearing a fringed and beaded green flapper dress.  The music is fantastic and Gene and Cyd just sizzle on screen.  This is one of the sexier musical numbers during the production code era.  The best part is when Gene lifts Cyd up with just one arm.

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The most famous moment in Gene Kelly’s entire career, singing (and dancing) the title song from “Singin in the Rain”

Other favorite Gene Kelly films:

Summer Stock (1950). “Get Happy” is probably one of the best numbers in Judy Garland’s career.  On the flipside, “Heavenly Music” is probably one of the absolute worst numbers in Gene’s career.  I loathe that number.  The only good part is when the dogs run out on stage.

The Pirate.  This film failed at the box office in 1948, but it’s a great film.  Perhaps it was ahead of its time.  Gene has all kinds of great athletic numbers, including one where he dons shorty shorts and dances with fire.  Judy is great and looks gorgeous and there is a fantastic number at the end where Gene dances with the amazing Nicholas Brothers.  They sing “Be a Clown” which suspiciously sounds like “Make ‘Em Laugh” from Singin’ in the Rain.  Cole Porter’s “Be a Clown” came before Nacio Herb Brown and Arthur Freed’s “Make ‘Em Laugh.”  However, both The Pirate and Singin’ in the Rain were produced by Arthur Freed. Hmm…

-Les Girls (1957).  Gene dances with Mitzi Gaynor in a fantastic number called “Why Am I So Gone (About That Gal?).”  Mitzi looks great and she and Gene have a great dancing chemistry.

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Gene Kelly and Shirley MacLaine spoofing the big 1940s musicals in “What a Way to Go!”

What a Way to Go! (1964) This film stars Shirley MacLaine as an inadvertent black widow who just wants to live a simple life, free of material possessions.  The present day part of the film features her telling the story of how she met and married each of her husbands and how money led her husband to his eventual death–the kicker being that it was Shirley who in trying to help her husband’s psyche, ends up leading him to riches.  With each death, Shirley inherited her husband’s fortune.  She’s worth millions upon millions of dollars and just wants to give it all away.  She’s sent to a psychologist (Robert Cummings) because who wouldn’t want all that money? In this film, Gene plays Shirley’s fourth husband, Pinky Benson.

When Shirley meets Gene, he is working as a two-bit clown in a small club. His act is lame and nobody in the club pays attention to him.  She feels sorry for Gene because he’s a very nice man and she senses that underneath the clown getup, he does have some talent.  One night, Gene is running late and doesn’t have time to put on the clown costume.  She convinces him to go out without the costume and just perform his act.  Well, Gene’s simple soft-shoe routine is a sensation and soon he’s off to Hollywood.  We are then treated to a send up of the big flashy MGM musicals as Shirley describes her life with Gene to the psychologist (each of her stories about her different husbands is a spoof of a different genre of film).  Shirley is up to the task of dancing with Gene and they do a really great and funny number together.  Gene’s character eventually becomes a huge, egotistical star who lives in an all-pink mansion (his character’s name is “Pinky” after all), and by all-pink, I mean ALL-PINK.  He eventually meets his fate when he is crushed to death by a stampede of adoring fans.

KELLY, GENE

 

 

Favorite Performer: Ann Blyth

One of the best things about watching classic film is discovering new favorite performers.  Sure, there are the well-known legends of classic film: Humphrey Bogart, Cary Grant, Katharine Hepburn, Bette Davis, Judy Garland, etc. and I love many of them too and can completely see how and why these men and women have endured decades after their last film; but there are a whole crop of other actors in these films that deserve to be just as well known.  Many of my favorite performers were steadily working actors and were even stars in their day, but over the years, they’ve been all but forgotten.  Thankfully, through vehicles like TCM, the internet, the TCM/Fathom classic film events and other film revivals all over the country, these actors are once again getting their day in the sun.  It is my hope that through TCM and the classic film events that these actors will once again be in the limelight.   Often for me, it is the films with the big name that leads me to discovering these other performers, many of whom are just as good as the big name to whom they’re lending support, or even sharing a star billing with them!

One such performer who was a star in her day and whom deserves more recognition is Ann Blyth.

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Ann Blyth, 1940s

My first exposure to Ann Blyth was her star-making turn as the daughter-from-hell, Veda Pierce in the 1945 classic, Mildred Pierce.  ‘Mildred,’ starred Joan Crawford as the title character, a recently divorced mother who is determined to give her spoiled teenage daughter, Veda, everything she wants.  This film was a comeback vehicle for Crawford whose contract at MGM had been terminated two years prior, after eighteen years with the studio.  In 1945, Crawford signed with Warner Brothers and immediately embarked upon a string of hit films, mostly in the melodrama genre, where her career thrived for the next decade or so.  As an aside, frankly, I prefer this short period of Crawford’s career.  I’ve never been a huge fan of Crawford, but I absolutely love Crawford during her Warner Brothers era–plus I really love melodramas.  But I digress…

Back to Ann Blyth.

Prior to ‘Mildred,’ Blyth was under contract with Universal, mostly appearing in musicals that took advantage of her singing talent.  She was paired often with Donald O’Connor as Universal hoped that they could replicate the success of MGM’s Mickey Rooney and Judy Garland musicals that were popular a few years prior.  The Blyth/O’Connor musicals were successful enough, but Blyth’s star skyrocketed after she was loaned out to Warner Brothers to appear in ‘Mildred.’ Blyth was cast after Shirley Temple, Virginia Weidler, Bonita Granville, and Martha Vickers were considered.  Frankly, the idea of Shirley Temple slapping Joan Crawford sounds intriguing.  I believe Granville could also have done a pretty good job as she played a horrible child in 1936’s These Three.  But after seeing Blyth’s performance (and having seen it multiple times as Mildred Pierce is one of my favorite movies of all time), it’s hard to imagine anyone else in the part.

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Veda tells Mildred what she really thinks about her in Mildred Pierce

Blyth’s portrayal of Veda, I believe, is one of the all-time most “femme-fataly” of all femme fatales in noir.  On the surface, she looks harmless.  She’s got a sweet face and a very nice sounding voice.  However, under the surface, there lies one of the most shallow, despicable characters in classic film.  Veda is brazen and unapologetic about what she wants and what she’s willing to do to get what she wants.  In some ways, I find that admirable, because she knows what she wants and she doesn’t care what she has to do to get it.  On the other hand, the way she goes about it is questionable.  Veda can show moments of kindness and sympathy, but one has to wonder how genuine it is when the next scene has her saying/doing something awful to Mildred.  My favorite moment of the entire film is Blyth’s “f-you” speech to mother, Mildred, which culminates with Mildred ripping up Veda’s windfall (in form of a check that Veda received after some mild extortion), Veda slapping Mildred, and Mildred kicking Veda out of the house.

VEDA (to MILDRED): “With this money, I can get away from you. From you and your chickens and your pies and your kitchens and everything that smells of grease. I can get away from this shack with its cheap furniture. And this town and its dollar days, and its women that wear uniforms and its men who wear overalls. You think just because you made a little money, you can get a new hairdo and some expensive clothes and turn yourself into a lady. But you can’t. Because you’ll never be anything but a common frump whose father lived over a grocery store and whose mother took in washing. With this money, I can get away from every rotten, stinking thing that makes me think of this place or you!”

Damn.  I’ll have to say that Veda deserves everything she gets in this film.  Her monologue above pretty much sums up Veda’s entire character.  There is nothing redeeming about Veda.  Mildred does everything for her, even jumping into the incredibly difficult restaurant industry, and despite after much success, really has nothing to show for it at the conclusion of the film.

After ‘Mildred,’ Blyth appeared in a variety of different film genres.  One such film was 1948’s Mr. Peabody and the Mermaid with William Powell.  This fantasy film is a lot of fun.  Powell portrays a middle-aged psychiatrist, Arthur Peabody,  who is experiencing a bit of a midlife crisis when it occurs to him that his fiftieth birthday is quickly approaching (we’ll look past the fact that Powell already looks 50 and then some).  While on vacation, Peabody hears some singing coming from a distant island.  Taking his fishing boat, Peabody travels to the island and discovers the source of the singing.  It’s a mermaid, Lenore, played by Blyth.

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Ann Blyth and William Powell in Mr. Peabody and the Mermaid

While Lenore is mute and does not speak, she does sing.  Throughout the rest of the film, Peabody spends a lot of time with Lenore.  Lenore is mischievous and charming which Peabody finds exciting as it is pulling him out of the rut he feels he is in.  Lenore is also young and likes Peabody, which he also finds exciting as a man nearing fifty.  Peabody even ends up teaching Lenore how to kiss.   Much of the film involves Peabody trying to hide Lenore, first in the bathtub of his hotel room and later in the insanely large fish pond at the hotel.  Other characters in the film, overhearing snippets of Peabody’s conversations with Lenore and seeing Lenore’s face (not her mermaid body obviously) immediately think he’s having an affair.

While Blyth has no lines in ‘Peabody,’ she is completely enchanting as the mermaid.  Between her beautiful face and her gorgeous singing voice, it’s no wonder that Peabody is instantly smitten.

Blyth’s Hollywood career wasn’t incredibly long, though longer than some.  Over the course of thirteen years (1944-1957), she appeared in about thirty or so films.  While I believe Mildred Pierce represents the apex of her career, Blyth makes an impact in every films of hers that I’ve seen.  In addition to the two films I mentioned above, I also recommend Blyth’s last film, The Helen Morgan Story.  Despite her voice being inexplicably dubbed, Blyth’s performance as tragic torch singer, Helen Morgan, is excellent.  She portrays a woman who was at the top of her career, only to lose it to alcohol addiction.  While this may not be the best biopic, Blyth shines in a performance that was different than the many musicals that she made prior to this film.

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Ann Blyth Today

Today Blyth lives near San Diego, California.  At 89 years old, she still answers her fan mail and is known to journey up to Los Angeles occasionally to appear at film related festivals.  In 2013, Blyth appeared at the TCM Film Festival to be interviewed by late TCM host, Robert Osborne.  In this interview, she showed that she still had the charm and lovely demeanor that she showcased in all those films decades prior.  Fortunately, the real Ann Blyth is nothing like her best known role, Veda Pierce.

 

 

National Classic Movie Day–Top 5 Favorite Actors

So sorry I missed my last two advertised Blogathon events.  Frankly, I’ve been really busy at work and at the time I signed up for the events, I wasn’t anticipating how busy we’d be.  Inventory Control in the warehouse has been crazy and everyone (myself included) have been working mandatory 10-hr shifts + OT on Saturdays.  We’re halfway through the month, so if I can get through May, I should have more time to dedicate to writing.  I did not want to miss National Classic Movie Day.  This year, we’ve been asked to discuss our Top Five Favorite Actors, which believe me, is was quite an arduous task just to narrow down my favorites.

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Without further ado…

1954 photo of actor Errol Flynn.
Errol and I have the same sunglasses!

My boyfriend, Errol Flynn.  He’s the whole package: unbelievably attractive, charming, athletic, gifted, great accent, tall, he’s got everything.  Aside from his physical attributes, Flynn is a highly underrated actor.  One of Warner Brothers top stars of the 1930s-1940s, Flynn provided a nice alternative to the gangster and “weepy” films that also permeated the movie landscape at the same.  Though dozens of actors have tried, nobody can top Flynn’s portrayal of the legendary Sherwood Forest outlaw, Robin Hood in The Adventures of Robin Hood.  Flynn was born to steal from the rich and give to the poor.   He is one of the few male performers who completely steals the viewer’s gaze (or maybe the female viewer, lol) from the female lead.  Who even notices “her” when he’s on the screen? Did I mention that he’s super cute? And that accent! ::swoon::

Best Known FilmsThe Adventures of Robin Hood, Captain Blood, The Sea Hawk, Dodge City and They Died With Their Boots On.

My Favorite Films: Gentleman Jim, Uncertain Glory, The Sisters, The Adventures of Robin Hood, Never Say Goodbye and Footsteps in the Dark.

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Alan Hale and Errol Flynn in Gentleman Jim.  ‘Jim’ is a great Errol eye candy film by the way… you know, if that’s what you’re into 😉

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The Star Who Introduced Me to Classic Film: Lucille Ball.  In 1995, when I was in the sixth grade, I discovered Nick at Nite.  How I ended up on the channel, I don’t know and I don’t care.  The first show I watched was I Love Lucy.  I was immediately hooked.  I thought this show was hilarious.  Then, I ended up falling in love with the shows that came on after I Love Lucy, like The Mary Tyler Moore Show, I Dream of Jeannie, Bewitched, The Dick Van Dyke Show, The Brady Bunch and The Munsters.  But ‘Lucy,’ was always my favorite.  On weekdays, I made sure to have all my homework and such completed, so that I was ready to go at 8pm to watch “my shows” uninterrupted.  On Saturdays, Nick at Nite had the “Whole Lotta Lucy Saturday” which was my favorite day, because you got to watch two episodes of I Love Lucy and an episode of The Lucy-Desi Comedy Hour.

From my love of Lucy and my natural curiosity, I started borrowing books about Lucille Ball and I Love Lucy from the library.  It was from these books that I learned that Lucy had been a movie actress prior to being on I Love Lucy.  Soon, I needed to watch all the Lucy movies that I could get my hands on.  Lucille Ball appeared in dozens of films before hitting it big in radio and television–she could never seem to find her niche in film.  At this same time, TCM was in its infancy and soon I was scouring the TV Guide (remember the paper TV Guide that used to come in the Sunday newspaper?) looking at TCM’s schedule to see what Lucille Ball films were airing.  I would rig up the VCR and cross my fingers that 1) The recording actually worked; and 2) The tape didn’t run out!

From my exposure to Lucille Ball on TCM, I was exposed to other actors which led me to learning about other actors and so on.  I discovered Katharine Hepburn and Ginger Rogers through Stage Door (which also featured Lucy); I discovered Gene Kelly through Du Barry Was a Lady (featuring, you guessed it, Lucy).  From Gene Kelly, I discovered other favorites like Ann Miller and Cyd Charisse.  I Love Lucy started me down the glorious wormhole that is classic film.  I never tire of classic film.  I never tire of Lucille Ball; and I never tire of I Love Lucy.

Best Known Films: Stage Door, The Long Long Trailer, Yours Mine and Ours, Mame and The Big Street.

My Favorite Films: The Long Long Trailer (My #1 favorite film of all time), Stage Door, The Affairs of Annabel, Miss Grant Takes Richmond, Five Came Back, Next Time I Marry and Beauty For the Asking.

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My spirit twin, Lucy Ricardo

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Judy looks longingly at “the boy next door” Tom Drake, in Meet Me in St. Louis.  I don’t blame her, he’s cute!

The Star to Whom I Just Want to Give a Big Hug: Judy Garland.  Poor Judy.  She had such a sad, tragic life.  She had a lot of problems that unfortunately affected her work.  However, you would never know of her problems from watching her on screen.  She is so charming and such a joy to watch.  She was a very unique performer.  She wears her emotions on her sleeve.  As an audience member, you feel every feeling she’s emoting on screen. She’s very underrated as an actress and only appeared in a handful of films where she didn’t sing.  One of her greatest performances is as Esther Blodgett/Vicki Lester in A Star is Born.  Frankly, as much as I like Grace Kelly, Garland was robbed of the Best Actress Oscar in 1955.  Her performance is brilliant and also features one of her greatest musical performances, the torch song, “The Man Who Got Away.”

I find it tragic that MGM (allegedly) treated her so poorly when she was under contract.  Louis B. Mayer referred to her as “[his] little hunchback” and frequently made unkind comments about her appearance.  As a teenager, Judy was often cast as the less attractive buddy to the male star.  This is most evident in her films with Mickey Rooney.  Judy was Mickey’s friend, but she was never the object of his affections.  It didn’t help that Judy competed with the likes of Lana Turner and Ava Gardner who were all her peers when she was at MGM.  I think Judy was very pretty.  She had a unique beauty.   Frankly, I find Judy prettier than Lana Turner, only because Turner seems to have a bit of a generic blonde starlet look about her.  Judy is her prettiest in Meet Me in St. Louis and Easter Parade.

Judy’s performances and songs often have an underlying sadness about them and that’s why I want to give her a hug.

Best Known Films: The Wizard of Oz, A Star is Born, Meet Me in St. Louis, Easter Parade, and the Mickey Rooney films (Babes in Arms, Girl Crazy, Babes on Broadway and Strike Up the Band).

My Favorite Films: Meet Me in St. Louis, Easter Parade, The Clock, The Pirate, The Harvey Girls, Summer Stock and Presenting Lily Mars

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Perhaps Judy’s greatest number: “Get Happy,” from Summer Stock

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“Dignity, always, dignity.” From Singin’ in the Rain

Star Who I Could Watch Dance ALL DAY LONG: Gene Kelly.  I love Gene Kelly.  I love Fred Astaire too, but I love Gene Kelly and would venture to give him a slight edge over Astaire.  I would never compare the two men as dancers, as they have two completely different styles, but in terms of films, I love Gene’s films just a wee bit more.  I have found that some people are not fans of Gene’s because they find him too hammy or what not.  I don’t.  I find his smile endearing and also enjoy the massive musical numbers he puts on.  The ballet in An American in Paris is exquisite and a real joy to watch.  The Broadway Melody in Singin’ in the Rain is amazing.  Gene’s greatest on-screen moment may be his performance of the title song from Singin’ in the Rain.  Gene’s joy and enthusiasm is contagious in this number.  I defy anyone to watch it and not instantly feel happier.  If it doesn’t move you, then you’re made of stone and I don’t know if I want to watch movies with you anymore.

Each of Gene’s movies are so innovative and so different from one another.  They really are a work of art and demonstrates how much Gene loves dancing and showcasing the artistry of dance.  His films, like On the Town, An American in Paris and Singin’ in the Rain, elevated the musical film as an art form.  One of his greatest contributions to the musical is forming the plot around the music and dancing so that it makes sense within the context of the film.  Many opponents of musicals dislike them because they find the musical interludes random and they cannot suspend their disbelief.  I’ve found that Gene’s musicals (and many of Astaire’s as well) so beautifully incorporate the music and dance into the film and the dance numbers seem natural and not random at all.

I remember when he died.  I was in the seventh grade and so sad– I watched Singin’ in the Rain in his honor.

Best Known Films: Singin’ in the Rain, An American in Paris, Brigadoon, On the Town, Anchors Aweigh, For Me and My Gal

My Favorite Films: Singin’ in the Rain, An American in Paris, On the Town, The Pirate, Summer Stock, What a Way to Go!, Cover Girl, Xanadu

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My favorite moment of the ballet from An American in Paris

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“Fasten your seat belts, it’s gonna be a bumpy night.” All About Eve

Actor Who I’d be Terrified of, but Also Fascinated By: Bette Davis.  I love Bette Davis.  She is amazing.  She seems like she would have been completely intimidating in person, but also a joy to listen to.  She is compelling in her 1971 Dick Cavett interview (I highly recommend watching it on You Tube or Hulu if you have a chance).  I could listen to her recollect about her life and career all day.

Bette Davis has an interesting career trajectory.  She started out with small parts in a variety of pre-code films.  Many of these films are not good, but she has a few early films here and there that show that Bette had that certain something.  Her big break was Of Human Bondage in 1934.  Many felt that Bette was robbed of the Oscar for her performance in that film, and that her 1935 Oscar win for Dangerous was a consolation prize for having lost to Claudette Colbert the year prior.  Bette had to fight for good roles at Warner Brothers, which was very male driven.  She was on suspension many times, which paid off in the end, when she finally became Warner Brothers’ top female star.  The tides turned for Bette in 1938 when she won her second Oscar for Jezebel.  From then on, through the end of the 1940s, Bette churned out one hit film after another.  By the end of the 1940s, Bette’s star was waning. She left Warner Brothers after filming ended on the hilarious (albeit, unintentionally, I think) Beyond the Forest. She had a bit of a comeback with the amazing All About Eve, however this didn’t end up materializing with any other huge parts. By the 1960s, her career had segued into “psycho-biddy horror films” (as they’re known). I for one, really enjoyed her small role as an elderly aunt in 1976’s Burnt Offerings.

I love Bette because she really gives her all in her roles–she sacrifices glamour in name of the character.  In The Private Lives of Elizabeth and Essex, Bette had no qualms about playing a 60 year old Queen Elizabeth I to Errol Flynn’s 30 year old Lord Essex.  She shaved her hairline to mimic the real Elizabeth I’s balding and studied very hard in an attempt to play the Queen as true to life as possible.  In Mr. Skeffington and Now, Voyager, Bette allows herself to appear very unattractive as it fits within the confines of the plot.  In ‘Skeffington,’ Bette’s character is very vain and goes through great lengths to maintain her appearance.  After a bout of diphtheria, Bette’s character’s looks are ruined and she must cope.  In Now, Voyager, Bette appears as a frumpy, overweight, bushy eyebrow-ed spinster who undergoes a makeover which changes her life.  Even when Bette is completely bonkers, like in What Ever Happened to Baby Jane?, she commits.  “Go big or go home” seems to be her motto.

Best Known Films: Jezebel, Now Voyager, Mr. Skeffington, All About Eve, What Ever Happened to Baby Jane?, Dark Victory

My Favorite Films: Now Voyager, All About Eve, Mr. Skeffington, What Ever Happened to Baby Jane?, The Sisters, Three on a Match, June Bride, The Letter, Little Foxes and Beyond the Forest.

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If you ever get a chance to see Beyond the Forest, do it.  Bette is hilarious.  She is the queen of camp.