The “Take Two” Blogathon- High Society (1956)

On April 19th in 1956, Grace Kelly married Prince Rainier the sovereign ruler of Monaco. Grace had met Prince Rainier a little less than a year prior, in May of 1955. By saying “I do,” Grace gave up her successful, Oscar-winning Hollywood career and assumed her duties as Princess Grace of Monaco. She didn’t plan to give up her career after the wedding, but was pressured to do so by her new husband. As a result, the last film that Grace made was High Society, a musical remake of The Philadelphia Story.

Poor Celeste Holm, a fellow Oscar-winner to a cast full of Oscar-winners and she’s left off the poster.

The Philadelphia Story was released in 1940 and was the film that saved Katharine Hepburn’s career. In the original film, Hepburn plays Tracy Lord, an affluent young woman who is marrying for the second time to George Kittredge (John Howard). Tracy is part of the Philadelphia upper-crust. Her first husband, C.K. Dexter Haven (Cary Grant) re-enters her life after arranging for Spy Magazine to cover Tracy’s wedding. Two years prior, Tracy had divorced C.K. due to him not meeting the impossible standards that Tracy sets for her friends and family. She also thought he drank too much and her critical opinion of his drinking caused him to imbibe even more.

On the same day, Macaulay “Mike” Connor (James Stewart) and Elizabeth “Liz” Imbrie (Ruth Hussey) a reporter and photographer, respectively for Spy Magazine arrive at the Lord estate. They are planning on covering Tracy’s wedding for their magazine. Complications ensue when Mike starts falling in love with Tracy, much to Liz’s chagrin. Liz harbors an unrequited crush on Mike. Meanwhile, Tracy is irritated with her ex-husband, C.K.’s constant presence. However, he helps her to realize that she needs to relax and stop being so judgemental of the people in her life. She is not perfect herself, so it is unfair to hold others to such a high standard.

Frank Sinatra and Celeste Holm in High Society

In the musical remake of High Society, the action is moved from Philadelphia to Newport, Rhode Island. Grace Kelly assumes the role of Tracy and plays the role very well. She plays a haughty socialite just as well as Katharine Hepburn. Both women have a similar way of speaking, with a very pronounced mid-Atlantic accent. Interestingly enough, Grace herself is from Philadelphia and hails from the very same world depicted in The Philadelphia Story. However, I think I prefer the shift to the Newport locale. I love that the famous Newport Jazz Festival is used as a backdrop for High Society. The jazz music is also an excellent addition to the story, as Bing Crosby stars as C.K. Dexter Haven, Cary Grant’s role from the original film. Throughout the film, C.K. is busy organizing the festival, with Louis Armstrong and his band serving as the Greek chorus for the events in this film. C.K. also happens to live next door to the Lord estate, making his constant presence believable.

Not the planned wedding, but a good ending and we get to see Tracy’s gorgeous wedding dress! Let’s hope second time’s a charm for these crazy kids.

In High Society, it is Tracy’s father, Seth Lord, who has invited Spy Magazine to cover his daughter’s nuptials. The magazine has obtained some unflattering details about Seth’s various infidelities. Seth makes a bargain with Spy Magazine and allows them to send over a couple employees to cover the wedding. Mike Connor (Frank Sinatra) and Liz Imbrie (Celeste Holm), a reporter and photographer respectively, arrive and are invited to stay at the Lords’ home. The scene where Mike and Liz arrive plays out in a similar fashion in both High Society and The Philadelphia Story. Tracy resents their intrusion and carries out an elaborate farce, including speaking French with her little sister and having her sister make an entrance dancing en pointe and then performing a song while playing piano. For her part, Tracy acts like a complete ditz, figuring that she needs to fit the image that the tabloids have of her. For the record, I find Virginia Weidler’s “Dinah” really annoying in The Philadelphia Story and prefer Lydia Reed as little sister, “Caroline,” in High Society. Weidler is the more talented performer, but there’s just something about her that makes me want to smack her.

Liz and Mike admire one of Tracy’s millions of wedding gifts

What I love about High Society is that there are more scenes between Tracy and C.K., giving us an idea as to why they fell in love in the first place. The Philadelphia Story hints at that, such as when C.K. gifts Tracy a miniature replica of their yacht, “True Love,” that they sailed around in during their honeymoon. In High Society, not only does C.K. gift Tracy the miniature replica of the “True Love,” but we’re treated to a flashback sequence of C.K. and Tracy singing “True Love” on their boat. I love any singing scene that involves characters playing a small accordion. This was also a fun scene where we actually hear Grace singing with her own voice. Thank goodness they did not dub her with someone like Marni Nixon. Don’t get me wrong, Ms. Nixon was an excellent singer, but her voice is so out of place in so many of the films where it is heard (case in point, Natalie Wood’s voice in West Side Story and Audrey Hepburn’s in My Fair Lady).

Grace Kelly wears this amazing dress in High Society

I also love Grace Kelly’s costumes in this film. Her costumes are gorgeous, especially the blue chiffon dress with silver embroidery she wears during the party Tracy holds on the eve of her wedding. Katharine Hepburn’s dress in the same part of the film is incredible, but I think Grace has the edge. Grace also gets to wear a much better wedding dress during the film’s finale. I am not a fan of Katharine’s gown with the big girdle like thing across her waist. At the beginning of the film, Grace wears a simple beige blouse with beige slacks and red flats and she looks amazing. The woman could wear a stained sweatsuit and look fabulous.

One of the highlights of High Society is the duet between Frank Sinatra and Bing Crosby. This scene replaces the drunk scene between James Stewart and Cary Grant in The Philadelphia Story. The original scene is very funny, as Mike cannot stop hiccuping as he talks to C.K. However, with both Sinatra and Crosby in the cast, it is a no-brainer that a duet between the two men would have to take place. Sinatra and Crosby were often pitted against one another, with Sinatra being viewed as the crooner who would take the elder Crosby’s place. However, nothing could be further from the truth and the two men were lifelong friends. Their duet, “Well, Did You Evah!” is one of the highlights of the film.

Bing Crosby and Louis Armstrong duet in High Society

It would also be remiss of me to not mention the amazing Louis Armstrong. He and his band serve as the Greek chorus, setting the scene for the film and then commenting on the action throughout. He provides a fun presence to the action and of course, since he’s performing at the Newport Jazz Festival, which is being planned by C.K., we are treated to a wonderful performance by Louis and Bing Crosby. The two men perform “Now You Has Jazz” and it is amazing. I would have loved if Louis Armstrong and his band had been hired as the entertainment at Tracy’s party on the eve of her wedding.

Tracy and C.K. spar in front of Tracy’s fiance, drip George Kittredge.

The ending of High Society plays out exactly the same as it does in The Philadelphia Story, the dialogue is almost repeated word-for-word. However, for whatever reason I find Tracy and C.K.’s quick decision to remarry more believable in High Society, even if I’m not totally sure on the coupling of Grace Kelly and Bing Crosby. However, the two actors did date in real life, so I guess it is plausible!

While The Philadelphia Story is regarded as the “better” film, I have perhaps the controversial opinion that I find High Society more entertaining. I love the casts of both films equally. I do enjoy The Philadelphia Story, at one point owning four copies. However, given the choice between the two, I would watch High Society. The jazz music and more “fun” feel make the film for me. I love all the Bing and Sinatra performances. Louis Armstrong is amazing. Grace Kelly is gorgeous. I just love it. It was amazing to see High Society in the theater last year.

(Singing)
MIKE: Have you heard that Mimsie Starr
C.K. Oh, what now?
MIKE: She got pinched in the Astor bar
C.K. Sauced again, eh?
MIKE: She was stoned
C.K. Well, did you ever?

Frank Sinatra as “Mike Connor” and Bing Crosby as “C.K. Dexter Haven” performing “Did You Evah?” written by Cole Porter in High Society (1956).

Van Johnson Blogathon- Van’s Friendship with Lucille Ball and Desi Arnaz

On May 2, 1955, Van Johnson appeared as himself in “The Dancing Star,” an episode of I Love Lucy. I Love Lucy was the pioneering and now-iconic television sitcom starring his old friends, Lucille Ball and Desi Arnaz. In this episode, Lucy’s character, Lucy Ricardo, finally realizes her dream of show business success. Van Johnson is appearing in a show at the hotel where the Ricardos and Mertzes are staying while Ricky (Desi) makes his film debut. Van’s partner is sick and Lucy ends up getting the chance to fill in. In this episode, Lucy Ricardo is finally given the opportunity to perform in a musical number where she doesn’t screw it up, whether purposefully or inadvertently. For a more detailed synopsis about “The Dancing Star,” click here.

Van Johnson, front left, watches as Frances Langford rallies the co-eds at Pottawatomie College in Too Many Girls.

Van Johnson’s relationship with Lucille Ball and Desi Arnaz did not start with I Love Lucy. He actually made Desi’s acquaintance first back in 1939 on Broadway. Desi had recently arrived in New York City as part of Xavier Cugat’s touring orchestra. Previously, he’d lived in Miami after emigrating there from his birthplace of Santiago de Cuba, Cuba. Desi had been performing as part of the Siboney Septet. He was discovered by Cugat and hired as a singer and conga drum player. Desi’s natural charisma and talent as a showman led to him forming his own orchestra. He was discovered by director George Abbott who wanted to cast Desi as Manuelito, the Argentinian football player. Van was cast in the same play as a college student and also as an understudy for the three male leads. He later understudied Gene Kelly in the Broadway production of Pal Joey which eventually led to Kelly’s discovery and subsequent Hollywood stardom.

Desi Arnaz #24 top left and Van Johnson #41 bottom center, appeared together in the film adaptation of Too Many Girls.

In 1940, Van came out to Hollywood to appear in the film adaptation of Too Many Girls. Van’s role is very small. He has an uncredited role as a fellow college student and appears as part of the chorus in some of the musical numbers. Van is near Lucille Ball in the big celebratory conga number (led by Desi Arnaz and Ann Miller) at the end of the film when Pottawatomie wins the big game. Watch Lucy screw up the choreography, she very noticeably comes in early or late in every single one of the moves. However, Van’s role in Too Many Girls did not lead to any big breaks. Disenchanted, he was ready to return to New York and back to Broadway where he had experienced more success.

However, before Van left for New York City, he had lunch with Lucy at Los Angeles’ famed Chasen restaurant. She introduced him to MGM’s casting director who just happened to be sitting at a nearby table. This led to a series of screen tests at many of the big studios. He ended up scoring a $300/week ($5452/week in 2022) contract at Warner Brothers. Van made his debut as a leading man in 1942’s Murder in the Big House opposite Faye Emerson. Unfortunately for Van, this contract did not lead to big success at Warner Brothers and his contract was dropped after six months.

Irene Dunne, Spencer Tracy, and Van Johnson in A Guy Named Joe.

Eventually Van was signed to MGM where his friend, Lucille Ball, had recently signed with after leaving RKO. Van’s big break was in the 1943 film, A Guy Named Joe, which starred Spencer Tracy and Irene Dunne. During production, Van was in a car accident which left him with a metal plate in his forehead and numerous scars on his face. For most of his career, Van would hide his scars under heavy makeup. However, in 1954’s The Caine Mutiny, he opted to not wear the heavy makeup. His large forehead scar is prominently displayed in that film. MGM wanted to replace Van in A Guy Named Joe, but Tracy advocated for him. Thanks to Tracy, Van became a star after their film was a big success at the box office.

Van continued to appear in one hit film after another. In 1946, Van appeared with his friend Lucy in Easy to Wed, a remake of the 1936 hit, Libeled Lady. Van took on the role of Bill Chandler, which was played by William Powell in the original film. Keenan Wynn, Lucille Ball and Esther Williams take on the roles played by Spencer Tracy, Jean Harlow, and Myrna Loy, respectively. Bill Chandler is hired by Warren Haggerty (Wynn) to marry his girlfriend Gladys (Lucy) and then romance and woo Connie Allenbury (Williams), a socialite who is suing Warren’s newspaper for a large sum of money after they publish a false story about Connie being a homewrecker. To save the newspaper from financial ruin, Warren wants Gladys to charge Connie with alienation of affection after word gets about Connie’s romance with her husband, Bill. Curiously enough, perhaps in an instance of life imitating art, Keenan Wynn’s wife, Evie, married Van Johnson on THE DAY (!) of their divorce.

Van Johnson and Lucille Ball in Easy to Wed.

Easy to Wed is not nearly as good as Libeled Lady, but it is amusing. Lucille Ball is definitely the highlight and steps into Harlow’s shoes very well. Van asserts himself nicely as the straight man and is good at portraying the All-American young man. In the late 1940s and 1950s, Van continued to appear in films in every genre from war to film noir to musicals to comedy. At the time of his 1955 appearance in I Love Lucy, Van was at the height of his fame. In one of the episodes of I Love Lucy leading up to the big cross-country drive, Lucy asks her friend Marion Strong if she’d like Lucy to give a message to “the gang.” “The Gang” being Clark (Gable), Cary (Grant), or Van (Johnson), or Marlon (Brando)?” Later while the Ricardos are celebrating their wedding anniversary in Hollywood, Ricky name-drops Van and his wife Evie to a Hollywood newspaper about a (fake) party he’s throwing at the Mocambo. Van continued to appear in films and television. In 1968, he appeared in another film with Lucille Ball, Yours, Mine and Ours. Desilu had purchased the rights to the story in 1967, right before Lucy sold the studio to Paramount. Desilu had been founded in 1950 by Lucy and Desi. Desi retired in 1962 and sold his shares to Lucy.

Van Johnson, Henry Fonda, and Lucille Ball in Yours, Mine and Ours.

Van’s role in Yours, Mine and Ours is fun. He appears as Darrell Harrison, a fellow officer who works with and is friends with Frank Beardsley, played by Henry Fonda. Lucy appears as Helen North, a nurse who works in the dispensary at the base. Darrell thinks that Frank and Helen are perfect for one another, the only hitch being that Frank has 10 children and Helen has 8. To prove his point, he fixes Frank up with a young Hippie woman who is half Frank’s age and is very sexually aggressive. Frank is more modest and finds her sexual appetite off-putting. Darrell then fixes Helen up with a doctor who specializes in obstetrics and is at least half a foot shorter than she is. Darrell effortlessly brings the two characters together. For much of the rest of the film, he is used for comic relief and is delightful.

Van Johnson in Here’s Lucy in 1968.

Van continued to work with Lucy. He appeared as himself during the first season of her third sitcom, Here’s Lucy, in 1968. In the episode, Van plays himself and plays a Van Johnson doppelganger. In the episode, the Van Johnson doppelganger and Lucy (as Lucy Carter), talk about Yours, Mine and Ours. The fake Van Johnson, imitating the real Van Johnson, says that he loved working with the “kooky redhead.” Lucy Carter says that she thought that she (Lucille Ball) was much too young for Henry Fonda. Later, Lucy Carter compliments the real Van Johnson on his appearance in The Romance of Rosy Ridge, which was the film debut of Janet Leigh. Eventually, Lucy remarks that she was glad Van was court-martialed in The Caine Mutiny after he refuses to go along with her schemes.

Van and Lucy continued to appear in various specials together and remained friends. After Ball’s passing in 1989, Van continued to give interviews and appear in various documentaries and retrospectives about Lucy and Desi. He was one of the interviewees in PBS’ American Masters episode about Lucille Ball, “Finding Lucy.” It is apparent that Lucy, Desi, and Van all held each other in great esteem. It is obvious through their professional and personal collaborations and the way in which Van continued to talk about his friends long after their respective passings. Van Johnson passed away in 2008 and it is nice to think that he is now back with his friends.

“They (Lucille Ball and Desi Arnaz) were soulmates. They knew it. The whole world did.”

“I am the luckiest guy in the world. All my dreams came true. I was in a wonderful business and I met a lot of great people all over the world.”

Third Annual Esther Williams Blogathon–Dangerous When Wet (1953)

I first saw Dangerous When Wet last year when TCM featured Esther Williams during their annual Summer Under the Stars programming event. The entirety of August 8, 2021 was devoted to Esther in honor of her centennial. This was the first film that I’d seen that featured Fernando Lamas. Lamas is someone who I only knew about from his appearance as himself in an episode of The Lucy-Desi Comedy Hour, “Lucy Goes to Sun Valley.” I didn’t even know what films Lamas had appeared in and assumed he was just one of those stars who was big at the time (1958). I think that is a fair assessment. Today, if Lamas is known for anything, it’s for being the father of Renegade star Lorenzo Lamas and being married to Esther Williams.

I, however, remember Lamas for being hot hot, especially in his episode of The Lucy-Desi Comedy Hour and Dangerous When Wet!

While Dangerous When Wet was being cast, numerous leading men were suggested to partner with Esther. One of the qualities an Esther Williams-leading man needed to have was an ability to swim. Many of Esther’s leading men like Howard Keel or Peter Lawford weren’t the strongest of swimmers. To keep them afloat during filming, Esther would have to stealthily prop them up with her hand or foot while they swam. When Fernando Lamas was suggested for Dangerous When Wet, it was different. Lamas, however, was a champion swimmer from South America. Finally, Esther had a co-star who could keep up with her in the pool. She later said that it was a nice change to be paired up with someone who actually possessed real swimming ability. Lamas’ casting allowed for more rigorous swimming scenes to be included in the film. Esther must have enjoyed working with Lamas–the two would eventually marry and be together until Lamas’ passing in 1982.

Dangerous When Wet opens with the Higgins family marching out of their house while singing “I Got Out of the Bed on the Right Side” while they make their way to the nearby swimming hole for their morning ritual of calisthenics and swimming laps. Esther plays Katie, the daughter of “Ma” and “Pa” Higgins (Charlotte Greenwood and William Demarest). I recognized Greenwood from her appearances in two Betty Grable films, “Moon Over Miami” and “Down Argentine Way.” Demarest is probably best known as “Uncle Charlie” from My Three Sons, but to me, I know of him because he’s in every film ever made. Both Greenwood and Demarest have very small roles in this film. This opening number is very charming. We see Katie who is more interested in a book about dairy farming than she is in swimming. However, since it’s Esther Williams, she is swimming by the end of the scene.

Windy (Jack Carson) has his sights set on Katie (Esther Williams)

One day, traveling salesman Windy Weebe (Jack Carson) comes through town hawking his special elixir, Liquapep. Supposedly, Liquapep is a tonic that is supposed to make someone super peppy and fit. Windy is also instantly smitten with Katie. It also comes out that the Higgins family’s dairy farm is also in trouble. They need a bull to keep the farm running, however they cannot afford it. Because of his fondness for Katie and seeing a chance to promote Liquapep, Windy suggests that the family enter a contest to swim the English Channel. The cash prize would give the family enough money to buy the bull. Swimming the channel isn’t hard, it’s only 20 miles (more like 42 with the currents) across. No problem, right?

I can think of worst things than to be carried by Fernando Lamas

The Higgins family decides that Katie is the strongest swimmer in the family (obviously, because it’s Esther Williams) and their best chance to win the prize. Windy offers to coach her. One foggy afternoon, Windy loses sight of Katie during their practice. Katie becomes disoriented in the fog and but soon finds a rowboat, similar to Windy’s. She quickly discovers that the rowboat is not being captained by Windy, but rather by hot Frenchman, Andre Lanet (Fernando Lamas), a French champagne salesman. It seems that Andre is on his way back to his yacht. He also becomes smitten with Katie. Soon he finds herself in a love triangle between Andre and Windy. Gosh, who to pick?

Andre and Katie’s romance heats up as the impending swim across the Channel draws nearer.

This is a funny sequence when Esther is grabbed by an amorous octopus (voiced by Fernando Lamas)

Dangerous When Wet features a fantastic animated sequence between Esther Williams and Tom and Jerry. This is the second musical number I’ve seen with Tom and Jerry. Fans of classic movie musicals will remember that Gene Kelly danced with the duo in 1945’s Anchors Aweigh. Fernando Lamas has a funny appearance in the animated sequence as an amorous octopus. Fernando’s octopus performs a reprise of his “In My Wildest Dreams” number that he serenades Esther with earlier in the film. Fernando Lamas sings in this movie. I had no idea he was a singer and he does a great job!

There is a funny scene where Andre gifts Katie a tiny white and red polka dot bikini. She jokes about how small it is before going into her room to try it on. She breaks the fourth wall as she pulls a shade down to shield the audience’s prying eyes. We never do see what Katie looks like in that bikini. I’m sure she looked great. Later, Katie wears a great one-piece bathing suit that is made of black lace. This is the suit she wears during the swimming duet between herself and Andre. The duet takes place after Katie get a little tipsy drinking Liquipep on a picnic with Andre. To sober her up, Andre invites Katie for a nighttime swim.

Katie relaxes in an intertube during a romantic night time swim, but is soon in for a rude surprise.

The swimming duet is really fun to watch as Esther and Fernando are really swimming and going for it. Fernando did not like it when Esther would swim faster than he did, so even in the film, he’s trying to swim faster than her. The duo perform laps and swim the backstroke while flirting with each other and falling more and more in love. Katie and Andre’s love for one another is never more evident than it is in the climactic race scene at the end of the film. The end scene was based on a real-life event that happened when Johnny “Tarzan” Weissmuller dived into the water to help his student, Florence Chadwick (the first woman to swim across the English Channel), complete her race when she started to falter. Weissmuller was also Esther’s Aquacade swimming partner before she started appearing in films.

I very much enjoyed Dangerous When Wet. It’s one of my favorite Esther Williams films and Fernando Lamas strips to his skivvies at the end and I’m here for that scene. I also just discovered that my DVD has a flaw it in that causes the film to permanently pause right before the Tom and Jerry number. This is unacceptable and I’m shopping for a replacement copy.

Tom and Jerry swim with Esther Williams

Singin’ in the Rain Blogathon- Songs of Singin’ in the Rain

Singin’ in the Rain is celebrating its 70th Anniversary this year. It is widely considered to be one of the best (if not the best) musicals of all time. I have seen this movie a million times. I’ve seen it in the theater multiple times. I own the huge box set. I love this movie. While it might be a cliche answer, considering its popularity, Singin’ in the Rain is my favorite musical. At the time the film came out however, it wasn’t thought to be anything special. It did turn a profit, but nothing remarkable. Even the origin of the film came from humble beginnings.

Don and Kathy eventually star in “Singin in the Rain” for Monumental Pictures

Arthur Freed, head of the “Freed Unit” and in charge of MGM’s musicals, wanted to develop a film based around the catalog of songs written by himself and composer Nacio Herb Brown. The only original songs written in 1952 for Singin’ in the Rain, were “Moses Supposes” and “Make ‘Em Laugh.” It is pretty clear however, that “Make ‘Em Laugh” is a rip-off of Cole Porter’s “Be a Clown.” There’s a pretty funny anecdote involving Freed showing Porter around the set during the production of Singin’ in the Rain. The cast and crew were rehearsing Donald O’Connor’s memorable “Make ‘Em Laugh” routine. Cole Porter heard the music and said “isn’t that ‘Be a Clown?'” Freed distracted Porter from the song before answering.

Gene Kelly performs the title song, “Singin’ in the Rain.”

The most memorable song in Singin’ in the Rain is the title song, “Singin’ in the Rain,” featuring Gene Kelly’s character, Don Lockwood, doing what else? Singing in the rain. Kelly’s song and dance in the rain is iconic and one of the most indelible scenes of Classic Hollywood cinema. In the musical number, Don is overjoyed after coming up with a plan to save his movie career and falling in love with Kathy Selden, played by the adorable and hugely talented Debbie Reynolds. There are some urban legends surrounding Kelly’s performance of the big title song dance number. One urban legend is that the water is actually milk, with the idea that milk would be more visible on screen. Co-Director Stanley Donen (Kelly was the other director), debunked this myth. One story that is true however, is that Gene Kelly was suffering from a horrible fever during production of his big dance number. It’s amazing that he was able to perform it so well and effortlessly, despite being so sick.

Gene Kelly, Debbie Reynolds and Donald O’Connor sing “Good Morning” in Singin’ in the Rain.

“Singin’ in the Rain” was first heard in 1929, in the film Hollywood Revue of 1929. The song was performed by Cliff Edwards, who is best remembered now as the voice of Jiminy Cricket in Disney’s Pinocchio. Edwards is seen wearing a raincoat and hat, while warbling this song in the rain. It was a big hit in its day, but Gene Kelly definitely added some life to the song in 1952. Another song from Singin’ in the Rain that was recycled, was “Good Morning.” In the 1952 film, Debbie Reynolds, Donald O’Connor, and Gene Kelly sing the song after they realize that it’s past midnight after a disastrous film premiere. This song leads into Cosmo’s (O’Connor) brainstorm–turning Don and Lina Lamont’s (Jean Hagen) film, The Dueling Cavalier, into a musical. Judy Garland was heard singing “Good Morning” in her 1939 film with Mickey Rooney, Babes in Arms.

Donald O’Connor and Gene Kelly harass the poor elocution teacher in “Moses Supposes.”

After it is decided to transition The Dueling Cavalier into a musical, Don and Lina are ordered to attend elocution classes. Miss Lina “And I Can Stan’ it!” Lamont definitely needs all the help she can get. Don, on the other hand, speaks fine, but is forced to go through these classes as well. We see him learning how to pronounce his “A” vowel sounds and say tongue twisters like “Chester chooses chestnuts, cheddar cheese with chewy chives. He chews them and he chooses them. He chooses them and he chews them, those chestnuts, cheddar cheese and chives in cheery charming chunks.” Cosmo shows up he and Don and end up singing “Moses Supposes” with a lot of rhymes. This number is used as a showcase for Gene Kelly and Donald O’Connor, but you cannot help but feel sorry for the poor elocution teacher. “Moses Supposes” was one of the original songs written for the film.

Debbie Reynolds is front and center in “All I Do is Dream of You” in this adorable number.

After dropping Don Lockwood off at a Hollywood party, Kathy Selden (Reynolds) makes her big splash in Singin’ in the Rain with her adorable performance in “All I Do is Dream of You.” Kathy and a chorus line of girls are seen in cute pink outfits while doing the Charleston amidst a storm of confetti. Don is instantly smitten with her, and so is my husband. My husband finds Debbie absolutely adorable in this number. My favorite part of “All I Do is Dream of You” is when Debbie so effortlessly removes a piece of confetti from her face. Whether that was scripted, I don’t know, but she made it look so easy. What an amazing lead role film debut for Debbie. She was so talented. “All I Do is Dream of You” can be heard as an instrumental song in the Marx Brothers’ A Night at the Opera.

After Kathy sings “All I Do is Dream of You,” she unfortunately ends up hitting Lina in the face with a pie that she intended for Don. She runs out of the party in embarrassment. Lina reciprocates by having her fired. Don looks in vain for Kathy, but doesn’t have any luck. Eventually, Cosmo ends up performing a very acrobatic rendition of “Make ‘Em Laugh” in an attempt to cheer Don up. Let’s face it, this song is “Be a Clown.” There is no mistaking that. However, for all intents and purposes, it’s “Make ‘Em Laugh” in Singin in the Rain. Donald O’Connor’s solo dance is absolutely fantastic. I don’t know any other dancer(s), except for maybe The Nicholas Brothers, who could have performed the acrobatics required of this dance number. O’Connor is amazing.

If there’s one thing I love, it’s a random fashion show inserted into a film.

One of my absolute favorite things in a Classic Hollywood film is the random fashion show. Singin’ in the Rain does not disappoint and features a fashion show in the middle of the film during the “Beautiful Girl” montage. This section of the film is kind of random. My husband doesn’t like it because he feels like it is disjointed from the rest of the film. Me on the other hand, enjoy it because it features a fashion show and this section also serves as a way to get Don back with Kathy when we discover that Kathy is now working as a chorus girl in this musical number on an unnamed film. Singin’ in the Rain very effortlessly segues from the musical interlude to the story involving Kathy and Don. The other purpose that this section serves is that it shows how Monument Studios has had to adapt in face of the burgeoning technology of “talking pictures.” Now they’re producing musicals–a genre that wouldn’t have been possible during the silent era.

The “Beautiful Girl” montage opens with a mash-up of “I’ve Got a Feelin’ You’re Foolin,” “The Wedding of the Painted Doll,” and “Should I?” Images of flappers, women dressed as toy soldiers, and a man with a megaphone are seen. “I’ve Got a Feelin’ You’re Foolin'” debuted in 1936 in Broadway Melody of 1936. “The Wedding of the Painted Doll” was heard in another ‘Broadway Melody’ film, Broadway Melody of 1929. Finally “Should I?” was heard in Lord Byron of Broadway in 1930. The montage transitions into a man singing “Beautiful Girl” which was heard in the film Stage Mother in 1933. Kathy Selden is one of the chorus girls in the “Beautiful Girl” number. This scene then switches into an amazing fashion show–one of my favorite random fashion shows in film.

Cyd Charisse and Gene Kelly in my favorite number from Singin’ in the Rain.

The ‘Broadway Melody’ films provided a lot of music to Singin’ in the Rain. In the big closing number, Broadway Melody is presented as the imagination of Cosmo Brown and Don Lockwood as they pitch the revamped version of The Dueling Cavalier to Monument Pictures Studio head, RF Simpson (Millard Mitchell). The big “Broadway Melody” number was featured in Broadway Melody of 1929 along with “The Wedding of the Painted Doll.” “Broadway Rhythm” was also featured in 1936, in Broadway Melody of 1936, along with “I’ve Got a Feelin’ You’re Foolin’.” I love this part of the film. Cyd Charisse as the flapper in that green, fringed dress is gorgeous. She and Gene together are sizzling hot. This is one of the sexier dance numbers during the Golden Age of Hollywood. I love the music. Charisse is seen later wearing a white version of the same dress and later, a white dress with her own hair, and an enormous, flowing white veil. This is a very dramatic number set to an original song, the “Broadway Ballet,” composed by Nacio Herb Brown. This number is fantastic and I love it.

In the Classic Hollywood era, it is easy to find costumes and songs recycled from other previous films. If you have a great costume, or a great piece of music, why not re-use it? Singin’ in the Rain is proof that you don’t have to develop an entire catalog of new songs if you have songs that will suit the purposes of the film. However, the caveat to this is that you have to have writers that are talented. Props have to be given to the writing team of Adolph Green and Betty Comden. They were given a stack of songs and told to write a story using these songs, and boy did they deliver!

LINA: I’m a shimmering, glowing star in the cinema firmament.

Jean Hagen as “Lina Lamont” in Singin in the Rain (1952)

No! No! No!
Yes! Yes! Yes!
No! No! Nooooooooooo!

The Disaster Blogathon- “On the Beach” (1959)

Gregory Peck was vehemently against nuclear war and believed strongly that atomic weapons should not have been used against Japan during World War II. Peck’s strong beliefs were one of the main reasons why he agreed to appear in On the Beach. Even in the 1980s, when President Ronald Reagan revealed his defense missile system, Peck did not hesitate to voice his opposition. He made it a point during his lifetime to advocate against the use of nuclear weapons.

The opening title card of “On the Beach.”

On the Beach is a film that demonstrates the devastation that nuclear weaponry can cause–even to those who weren’t the main targets. The folks depicted in this film are collateral damage, innocent bystanders, if you will. These people were just living their lives until World War III broke out in 1964. During this war, nuclear weapons were used, leading to the Northern Hemisphere being destroyed due to radiation. All the survivors fled to the Southern Hemisphere, mainly Australia, where the area was still habitable. Life seems to be going well for awhile, until it is discovered that the radiation is slowly making its way to Australia.

Gregory Peck portrays Captain Dwight Towers, an American who operates the USS Sawfish submarine. The USS Sawfish was submerged during the initial radiation fallout and emerges in Melbourne, Australia. Dwight begins to ingratiate himself into the Melbourne community. He quickly meets and befriends Royal Australian Navy Lieutenant Peter Holmes (Anthony Perkins). He and his wife are trying to make a life for themselves in Melbourne with their newborn daughter, Jennifer. Dwight also meets the world weary, cynical, but romantic Moira Davidson (Ava Gardner). Dwight is quick to tell Moira that he’s married and has a son, but he is harboring a secret. Moira and Dwight attend a party where her ex-beau, scientist Julian Osborn (Fred Astaire), is drunkenly holding court.

Peter Holmes (Anthony Perkins) and his wife Mary (Donna Anderson) react to Julian Osborn’s (Fred Astaire) doomsday proclamation that they’re all going to die soon.

Up until the party, the film has an uncomfortable vibe. There is something going on in the community, something causing anxiety, fear, and worry. However, up until this point, nothing is explicitly said. Then a drunken Julian blurts out the bad news: the radiation is slowly creeping up on Melbourne and its citizens will be dead within months–there’s nothing that can be done. Everyone is doomed. Melbourne is one of the last places in the world where humanity can survive. This is an end of the world scenario. Humanity will cease to exist. As one can imagine, Julian’s doom and gloom outburst kills the party. Moira is drunk. Julian is obviously drunk. She explains to Dwight that they’re collectively known as the town drunks.

JULIAN: “Who would have ever believed that human beings would be stupid enough to blow themselves off the face of the Earth?”

Fred Astaire as “Julian Osborn” in On the Beach (1959)

Peter’s wife, Mary (Donna Anderson), understandably has a hard time coping and accepting the news. She is in denial and keeps trying to go about her day as if she had many more ahead of her. Peter on the other hand, is more pragmatic and manages to get a doctor to give him and his family (including his newborn) a lethal amount of sleeping pills so that they can commit suicide rather than face sickness from radiation poisoning. If this film wasn’t bleak enough, the idea that two parents would have to administer a lethal dose of pills to murder their baby is pretty dark. This is not a silly disaster film.

Fred Astaire, Gregory Peck and Ava Gardner in “On the Beach.”

Eventually, there’s a glimmer of hope when a faint signal is detected off the coast of San Francisco in the United States. Dwight, Peter, Julian, and the crew of the USS Sawfish embark on a journey to see if there is life somewhere else–another world that they and their loved ones can relocate to and thrive. However, the hope was just that, a glimmer. As the film wears on, the characters in the film begin to accept their fate and start being proactive to make the process as painless as possible.

This is a very bleak and depressing film. There are no funny monsters. No outrageous natural disasters. This is a man-made problem that could very well happen–which makes it more terrifying. Every character deals with their inevitable fate in their own way. However, the scene between Mary and Peter, when Mary finally accepts what is going to happen, especially what is going to happen to their newborn baby, is absolutely heartbreaking. It might be the saddest scene in the film which is saying a lot because this film is just one sad, painful scene after another. The action in this film is very relatable in anyone’s life. While it might not be the threat of nuclear annihilation, the idea that one person’s or a group of people’s actions could completely ruin or end (!) another person or people’s lives is a very real thing that can happen. It happens everywhere, everyday.

Gregory Peck and Ava Gardner dance the night away.

One scene that I enjoyed was the very bittersweet, romantic, yet mournful rendition of “Waltzing Matilda” juxtaposed with a scene of Moira and Dwight engaged in a deep, passionate kiss, while the camera twirls around them. In other films, this scene would be a sign of joy, of romance–not in On the Beach. The characters and the audience know that there will not be many more moments like this in Moira and Dwight’s future.

MOIRA: “There isn’t time. No time to love…nothing to remember…nothing worth remembering.”

Ava Gardner as “Moira Davidson” in On the Beach (1959)

Gregory Peck plays one of his usual stoic, strong characters who has to guide everyone through the film and provide support. However, his character’s personal trauma lends a layer of vulnerability, and hope, even if bittersweet. Anthony Perkins also plays one of his usual nervous characters; but in this film his character is just sad. He is trying to do his job, but it’s easy to see that his heart isn’t entirely in it, as he knows what fate awaits his family. The real revelations in this film were the performances of Fred Astaire and Ava Gardner.

Fred Astaire delivers a tortured performance.

On the Beach was Fred Astaire’s first foray into dramatic acting. This film is not a typical Fred Astaire vehicle. He doesn’t sing. He doesn’t tap. He doesn’t wear tails. The Fred Astaire in this film is bitter, reflective, angry, and tired. This is a tortured man. He’s tired of being blamed for the nuclear war because he’s a scientist. He regrets having helped design and build these atomic weapons. Throughout the entire film, Astaire’s character drinks excessively and chain-smokes. You haven’t lived until you’ve heard Fred Astaire call someone “an ass.”

JULIAN: “The war started when people accepted the idiotic principle that peace could be maintained by arranging to defend themselves with weapons they couldn’t possibly use without committing suicide.”

Fred Astaire as “Julian Osborn” in On the Beach (1959)
Ava Gardner’s performance was fantastic in this film.

Ava Gardner’s performance in On the Beach was also fantastic. This is a cynical woman. She’s upset (as anyone would be, presumably) that she is going to die. And soon! She has so much life that she hasn’t lived yet. She’s not in denial about the radiation poisoning. She knows that it’s inevitable. However, in the meantime, she’s going to live it up. When Ava’s character, Moira, meets Gregory Peck’s Dwight, she falls in love with him. However, things are complicated at first when he says that he is married and has children. She doesn’t want to live out her last days as a homewrecker. However, when she learns the truth, she’s even more conflicted. Moira and Dwight though are the film’s great love affair. Both realize that if they’re going to die, they may as well go out on a high note. It’s bittersweet that Moira and Dwight have both finally found happiness, even if it will ultimately be short-lived.

I recommend On the Beach to anyone who wants to watch four great performances while also watching one of the most depressing films that I’ve ever seen. What makes this film even more depressing is that its premise is not inconceivable. While the film is fictional, nuclear weapons and radiation is very real. What would we do? How would we handle it?

MOIRA: “When a dentist is drilling your tooth, what do you think about? The nicest thing or sex or what?”
DWIGHT: “Fishing. Trout Fishing–in a clean mountain stream.”

CMBA Spring Blogathon, “Fun in the Sun”–Sandra Dee

Sandra Dee in “Gidget”

If there was ever someone that I would associate with summer, it would be Sandra Dee as Francie “Gidget” Lawrence in Gidget. Gidget is the film that served as the catalyst for one of my personal favorite subgenres–the teen beach movie. While some teen beach movies like Frankie Avalon and Annette Funicello’s Beach Party movies can be pretty silly, formulaic, and ridiculous (though I enjoy them), others such as Gidget and Where the Boys Are (1960) strike a nice balance between silly and more serious topics. At its core, Gidget is a coming-of-age story about a young girl on the cusp of adulthood, learning about life and love during the pivotal summer between her junior and senior year of high school.

At the start of Gidget, we meet 17-year old Francie. She along with her friends (including a pre-Batgirl Yvonne Craig), are going on a “man hunt” at the beach. Francie’s friends pressure her to go along with them, stating that she doesn’t want to go into her senior year still a virgin (obviously they aren’t explicit in this point). The girls try hard to attract the boys, resorting to strutting around in bathing suits (including Craig’s horribly unflattering white bikini complete with granny panty bottoms), and tossing a ball around (which looks pretty dull to me, btw) while “accidentally” overthrowing it in the boys’ direction. For their part, the boys are watching the girls’ antics more as amusement than being seduced by them. They even laugh at poor Francie, who 1) is obviously less buxom than her friends; and 2) is clumsy and seemingly more childlike. Francie is only half-heartedly participating, as she is more interested in snorkeling than doing dumb things to attract the surfer boys.

James Darren, Sandra Dee, and Cliff Robertson in “Gidget”

Eventually, Francie insinuates herself into the group of surfer boys. She is immediately crushing on a college boy, Moondoggie (James Darren). She teaches herself how to surf and soon is just one of the “guys” in the surf gang. The boys bestow Francie with a new nickname, “Gidget.” Gidget is a portmanteau of “girl” and “midget.” While I don’t know if that’s entirely the most flattering nickname, it does demonstrate that the boys have accepted Gidget into their group. Moondoggie is charmed by Gidget’s innocence and sweet demeanor and becomes protective over her. Eventually Moondoggie asks Gidget to wear his college pin–essentially asking her to be his girlfriend. At the end of the film, Gidget’s friends are still single and Gidget has been pinned, solely because she chose to be herself and let her relationship with Moondoggie evolve naturally. Her friends on the other hand, were trying too hard and were unsuccessful. And while I think it’s safe to say that Gidget and her friends are all still virgins at the end, Gidget is the one who has ultimately prevailed in the “man hunt” and she’ll be entering her senior year as the girlfriend to a college man.

Sandra Dee’s dark brown eyes were one of her biggest assets

Dee was perfect casting for the wide-eyed, somewhat awkward Gidget. Her large, dark brown eyes conveyed so much vulnerability and innocence. While Dee might not have been outwardly glamorous or sexy, a la peers like Tuesday Weld or Ann-Margret, she very much fits the girl next door aesthetic. She seems approachable and someone with whom you can easily identify. However, Dee’s innocent persona also led to her being labeled as virginal and a goody goody, thanks to a popular tune from Grease (1978), in which bad girl Rizzo croons, “Look at me, I’m Sandra Dee.”

Look at me, I’m Sandra Dee
Lousy with virginity
Won’t go to bed, ’til I’m legally wed
I can’t, I’m Sandra Dee.”

Stockard Channing as “Rizzo” in Grease (1978)

However, these lyrics aren’t fair to Dee. Much like the older Doris Day who was also similarly labeled as “virginal,” she regularly stepped out of this persona. Even in Gidget, Gidget laments to her mother that she’s still “pure as the driven snow” after her attempt to hook up with Moondoggie at the luau aka “the orgy” fails–though they do kiss, for what it’s worth. I found it interesting that Gidget would openly lament her virginity with her mother, because really, who wants to discuss that with their mom? In 1963, four years after Gidget, audiences would see Dee again lament to her parents that she was still a virgin, in the very sunny Take Her, She’s Mine.

Sandra Dee in “Take Her She’s Mine.”

Take Her, She’s Mine co-stars Dee with James Stewart, who by this time had transitioned into my personal favorite era in his career, “the fussy dad period.” Stewart plays Dee’s father, Frank, who laments that his daughter, Mollie (Dee), has grown up and become “a dish.” We see Mollie strutting her stuff in a bikini, preparing to dive into the family pool in front of her co-ed group of friends. The film then segues into the main plot–Mollie is going away for college and Frank becomes concerned about the perceived “grown-up” activities that she’s getting herself involved in.

Mollie attends two different colleges in Take Her, She’s Mine. At the beginning of the film, she’s taken to the airport where she’s flying across the country to the East Coast where she’s starting college. College seemingly starts well for Mollie, except that she’s still a virgin after being at college for a few weeks. She laments her lack of “action” to her parents in a letter home. Because it’s 1962-1963, Mollie gets heavily involved in activism–participating in sit-ins, protests, and other activities which get her arrested more than once. Mollie ends up being expelled from the college, presumably because of her grades. She spends her summer at home, working on her true passion, painting. We see “the dish” Mollie, out in the sun, decked out in her bikini and sun hat, painting an abstract depiction of her family’s home. Mollie’s art talents ultimately lead to her being granted a scholarship to study art in Paris. There is an amusing scene where Mollie interviews with the representative from the college while in her bikini.

Sandra Dee is a dish in “Take Her, She’s Mine”

Again, Mollie is off to college, this time to Paris. While in Paris, Mollie falls in love with a hunky Parisian, Henri. Frank is highly concerned about his daughter’s relationship with a Frenchman. However, Mollie and Henri make a cute couple. We see Mollie on the banks of the Seine River, working on her painting while Henri looks on. Henri and Mollie are genuinely in love. In this relationship, it is unknown how far their relationship has gone, but it is easy to imagine that they could have already consummated their relationship, seeing that they have a few makeout sessions. They marry by the end of the film, so it’s safe to say that Mollie is “all grown-up” at the end.

While Take Her, She’s Mine might not feature the sun in the same way that Gidget does, in this film, Dee has such a bright, sunny personality and vivacious demeanor, that it’s easy to see why father Stewart would be so nervous. In this film, Dee is a little more mature than she was four years prior in Gidget. By 1963, Dee was 21 years old, and had been married to Bobby Darin for 3 years and was mother to a 2-year old child. She’s a little less vulnerable in this film, she seems more worldly, more confident. This film serves as a coming-of-age story for both Mollie and Frank, as Mollie learns how to live as an adult in the world and Frank learns how to let his daughter live her life and make her own decisions. Mollie can’t always be protected by Frank and Frank won’t always be there to protect Mollie.

Both Gidget and Take Her, She’s Mine feature Dee as a young woman who wants to grow up and sees losing her virginity as a sign that she’s grown. In both of these films, neither of Dee’s characters seem all that concerned about the possible repercussions of losing her virginity. While there doesn’t need to be a punishment, of course, both Gidget and Mollie see the loss of her virginity in a more positive light, a rite of passage. However, during the same year that Dee played the innocent Gidget, she also played another young woman dealing with sex, another character named Molly in A Summer Place.

Sandra Dee and Troy Donahue in “A Summer Place.”

A Summer Place is an amazing film. I love it for the sheer melodrama. This film has everything. The crux of the film though, is the relationship between Molly and Johnny (Troy Donahue), two teenagers who fall in love. Molly, bless her heart, comes from two very different parents–the easygoing and progressive Ken (Richard Egan), and the puritanical shrew, Helen (Constance Ford). Ken is realistic that his daughter is growing up and it is inevitable that she’ll start having sexual feelings. Helen on the other hand, wants to obscure her daughter’s growing figure with restrictive undergarments. She is obsessed with protecting her daughter’s virtue and even goes as far as to force her to submit to a humiliating physical examination. Johnny and Molly spend the night together (chastely) on an island after their row boat capsizes. Helen is convinced that they obviously had sex. She enlists her doctor to inspect Molly, presumably to ensure her hymen is still intact.

If the humiliating and incredibly invasive physical examination weren’t enough, Helen is constantly on everyone’s case about the teenagers’ burgeoning relationship and obsessive assertions that they’re sleeping together. Molly and Johnny are very much in love and struggle to be together in spite of Helen’s interference. Eventually, they do have sex and Molly ends up pregnant. And while it’s definitely not fair that Molly is punished for engaging in premarital sex, it definitely lends to the drama. Molly has to deal with the shame of being an unmarried, pregnant teenage mother–a shame instilled in her by her mother and society. Eventually, Molly and Johnny marry, saving Molly the stigma of being an unwed mother, and also giving her baby a name.

Sandra Dee’s amazing hat with built-in sunglasses in “A Summer Place.” I’ll never miss a chance to post this photo.

In A Summer Place, Dee’s deep brown eyes give her this vulnerability. She’s a little more worldly than Gidget, but not quite as mature as Mollie in Take Her, She’s Mine. Dee’s Molly in A Summer Place, wants to explore these new sexual feelings, but has to live in an environment where sex is both treated as a sin and as a natural human urge. Molly is conflicted, she wants to act on these feelings with Johnny, a boy whom she loves. But she also doesn’t want to have to deal with her mother who has drilled it into her that sex is bad. The summer setting in this film only adds to the conflict. For whatever reason, summer seems to be the perfect setting for a love story–the beautiful sunshine, the beautiful ocean setting, all in all a very romantic setting. Add in the teenage hormones and two beautiful teenagers, and you have the perfect setting for an intense melodrama.

Between Gidget, A Summer Place, and Take Her She’s Mine, Sandra Dee’s virginal status runs the gamut between wanting to lose her virginity as a rite of passage to still wanting to lose her virginity, but because she’s an adult. In between, Dee deals with the physical and social repercussions of actually acting upon losing her virginity. For an actress seemingly synonymous with being virginal, Dee spent a lot of summers preoccupied with sex.

Molly’s loving mother in “A Summer Place”

National Classic Movie Day! Four Favorite Film Noir

Tomorrow, May 16, is National Classic Movie Day. Even though for me, everyday is National Classic Movie Day, tomorrow is “official.” It would be wonderful if the spotlight on classic film brings about a new crop of fans. While classic films still seem to be a bit of a niche interest, at least on Twitter, it feels like new classic film fans are made every day. I have always loved classic film, and it makes up about 90% of my “new” movie viewing. After all, on TCM’s Private Screening series, Lauren Bacall was quoted as saying, “It’s not an old movie if you haven’t seen it.”

This year, the wonderful host at the Classic Film and TV Cafe, has asked bloggers to discuss four of their favorite film noir. Along with musicals, pre-code, and melodrama (“weepies” if you will), if there’s another type of movie I love, it’s film noir. While many film noir may have a formulaic plot, it is the combination of actors, director, cinematography, music, editing, etc. that can set one movie apart from another. It is always so satisfying to discover a “new” film noir, or any classic film really, and be surprised by a plot twist or ending. Narrowing my list down to four will be difficult; but I will try. I definitely have dozens of film noir that I absolutely love.

In no particular order:

#1 Detour (1945)
Starring: Tom Neal and Ann Savage
Director: Edgar G. Ulmer
Studio: PRC Pictures

Synopsis: The film opens with Al Roberts (Neal) hitchhiking. He ends up at a diner in Reno where he drowns his sorrows in a cup of coffee. It is obvious that something is bothering Al. Al’s disturbed mental state becomes further evident when another customer plays a song on the jukebox that reminds Al of his former life in New York City–a life that while not great, must have been better than whatever he is going through now. Al’s voiceover serves as the device that brings the audience back to the beginning of Al’s story.

In New York City, Al worked at a nightclub playing piano. He laments wasting his talents playing in a shabby club; however he puts up with it because he’s in love with the club’s singer, Sue Harvey (Claudia Drake). One evening, she announces that she’s quitting her job and moving to Hollywood to try and make it in Hollywood. Al is depressed about Sue’s departure and eventually decides to drive to California to propose to her. However, not having any money, Al has to resort to hitchhiking across the country.

While in Arizona, Al meets Charles Haskell, a bookie on his way to Los Angeles. On their way to the City of Angels, Haskell ends up dying. Not knowing what to do, Al ends up taking Haskell’s identification and car and continues his trip. After crossing over the California border, Al stops for gas. It is at the gas station when he meets the amazing Vera (Savage). At this point, Vera’s in charge and Al’s just along for the ride.

Why I Love Detour: I love Detour purely because of Ann Savage’s performance. Her performance is absolutely amazing. I love how she is onto Al from the get-go and she will make sure to take advantage of him every opportunity she gets. Al is complete mincemeat after Vera gets done with him. Another reason I love this film is because we really don’t know Al’s story. Is he truly innocent of all the events in the film? Or is he just trying to convince himself that he is? For a film that is barely over an hour long, it is a trip from start to finish. There is not a wasted moment. This film is also very low budget which I think adds to the entire aesthetic and feel to the movie.

If you are not familiar with Tom Neal, I highly recommend reading about him. He was 1/3 of the infamous love triangle involving girlfriend Barbara Payton and her fiance, actor Franchot Tone. Despite her relationship with Tone, Payton and Neal carried on their affair for months in the early 1950s. It came to an end briefly when Payton became engaged to Tone, but then she quickly resumed her affair with Neal. It all came to a head on September 14, 1951 when Neal and Tone got into an altercation over Payton. To say that Tone lost the fight would be a gross understatement. Neal pulverized Tone. Tone suffered a smashed cheekbone, a broken nose, and a concussion which resulted in his hospitalization. Despite this, Tone inexplicably still married Payton. Their union lasted a whole 53 days when Payton left Tone for Neal.

I feel like knowing this drama surrounding Tom Neal really lends to his performance as the unreliable narrator, Al Roberts, in Detour. I also really wish we had a prequel just about Vera. I would love to know about her life leading up to the events of Detour.

My queen, Ann Savage, and Tom Neal in Detour

Favorite Quote:

VERA: “Say, who do you think you’re talking to… a hick? Listen mister, I’ve been around, and I know a wrong guy when I see one. What’d you do, kiss him with a wrench?


#2 The Locket (1946)
Starring: Laraine Day, Brian Aherne, Robert Mitchum, Gene Raymond
Director: John Brahm
Studio: RKO

Synopsis: The Locket is a film with a very interesting flashback within a flashback within a flashback narrative structure. The film starts with a wedding. Nancy (Day) is set to marry her second husband, John Willis (Raymond). Before the ceremony starts, Dr. Harry Blair (Aherne) arrives at the Willis home, requesting to speak with John. John acquiesces and the two men retire to another room. Alone, Harry tells John that he is Nancy’s first husband. He warns John that his bride is a kleptomaniac, murderer, and chronic liar. She has never been punished for any of her crimes.

The film then segues into a flashback featuring Nancy as a child. As a child, Nancy lived with her mother in the Willis estate. Her mother worked as a maid for the Willis family. Nancy’s best friend, Karen Willis, has a birthday party one afternoon, and her snooty mother does not invite the “low class” Nancy. Karen, feeling bad for Nancy, opts to gift her a locket. Mrs. Willis is outraged, stating that the locket was expensive and it wasn’t Karen’s place to give it away. Mrs. Willis takes the locket back. Later, the locket goes missing and Nancy is accused of its theft. Insulted, Nancy’s mother sticks up for her daughter. This leads to Mrs. Willis firing Nancy’s mother. She and Nancy move out. This incident is a formative event in Nancy’s life. From here on out, she steals anything she wants, rationalizing that it doesn’t matter because she’ll be blamed regardless.

Subsequent flashbacks involve Nancy’s relationship with an artist, Norman Clyde, and her marriage to Harry, and the events leading up to her wedding to John.

Why I love The Locket. This film has such an unusual narrative structure. I’ve read complaints about the complicated plot, but I like it. It’s such a unique film and I love seeing Laraine Day as an absolute sociopath. I love the ending scene. I felt that this film was adept at showing how childhood trauma can affect a person well into adulthood. I also love the vibe of this movie. What’s also fascinating about this film is that Nancy is set to marry into the Willis family–the very same family that treated her so horribly when she was a child and were the root cause of her childhood trauma. It’s never explained in the film whether this was a calculated movie on Nancy’s part, or just a coincidence. It’s another interesting layer to the film’s plot line.

This screenshot perfectly captures the character of Nancy

Favorite Quote:

NANCY: How could I ever have liked you, Norman? Arrogant, suspicious, neurotic…
NORMAN: It isn’t neurotic to be jealous.
NANCY: It’s worse than neurotic to be jealous of a dead man.


#3 Odds Against Tomorrow (1959)
Starring: Harry Belafonte, Robert Ryan, Ed Begley Sr., Shelley Winters, Gloria Grahame
Director: Robert Wise
Studio: United Artists

Synopsis: Burke (Begley Sr.) is a former policeman who was fired from his job when he refused to cooperate with state crime investigators. Desperate for money and wanting to stick it to his former employers, Burke comes up with a plan to rob a bank upstate (New York). If pulled off successfully, Burke stands to make a mint. To help him, he recruits ex-con and racist, Earle Slater (Ryan). Burke promises Slater $50,000 if he helps pull off the heist. Slater’s incentive for helping is his pride. He is unemployed and living with his girlfriend, Lorry (Winters). Lorry works as a waitress and is supporting herself and Slater financially. Living in the same apartment building as Slater and Lorry is Helen (Grahame), who tempts Slater in to a tryst while his girlfriend is out. Finally, in addition to Slater, Burke recruits Johnny Ingram (Belafonte), an African-American jazz musician who is also in hock to bookies for about $7,000. Despite being an all-around decent man, Ingram is desperate for money. It is explained that his wife divorced him and he lost custody of his daughter due to his gambling. Burke, Ingram and Slater work out the details for the heist. They work through every detail. However, threatening to undermine the entire venture is Slater’s absolute contempt and bigoted attitude toward Ingram.

Why I Love Odds Against Tomorrow: This film has an amazing message without being preachy. The ending is absolutely fantastic, I don’t want to say too much more about it, at the risk of ruining it. But it is well worth the 95-minute investment to get to this point. I also love the on-location cinematography. The grittiness of the New York City streets works perfectly with this very gritty film. Robert Ryan’s performance as the disgusting racist Earle Slater is fantastic. You absolutely despise him throughout the entire film. He is such a worm–even Shelley Winters (who plays a disgusting racist in A Patch of Blue) doesn’t deserve him. Gloria Grahame’s part isn’t really consequential to the overall plot, but she’s always a nice on-screen presence in a film noir. Harry Belafonte was fantastic in this film. I wish he’d made more movies. I especially love the cool jazz song that he performs. This film has an overall cool jazz score as well.

Robert Ryan, Ed Begley Sr., and Harry Belafonte during the COVID pandemic–err, pulling off the heist in Odds Against Tomorrow.

Favorite Quote:

SLATER: What you doin’ with such a big ol’ dog in New York?

BURKE: Never had a wife


#4 Jeopardy (1953)
Starring: Barbara Stanwyck, Barry Sullivan, Ralph Meeker
Director: John Sturges
Studio: MGM

Synopsis: Doug (Sullivan) and Helen Stilwin (Stanwyck) and their son Bobby, are on a road trip driving to Baja California, Mexico. They are planning on traveling to a remote fishing spot on the coastline and will camp while there. Shortly after arriving, Bobby decides to venture out onto a derelict jetty that juts out into the water. His foot becomes caught in some of the planks and Doug rescues him. While walking back to the beach, the jetty collapses, causing the wood piling to fall on Doug’s leg. Making matters worse is that the tide is starting to come in. Doug will drown if he can’t free his leg. Helen and Bobby try a variety of tactics, including a car jack, to free Doug, but to no avail. Estimating that he has about four hours before the tide fully comes in, Doug sends Helen into town for some rope and/or help.

Helen leaves in the car, leaving Bobby and Doug on the beach. Helen finds the gas station that she and Doug passed earlier and tries to get help or a rope. She manages to get some rope. She also comes across a hunky man, Lawson (Meeker). She explains her predicament and he gets into the car. Thinking that he’s accompanying her to offer to help Doug, she has no qualms about letting this stranger, albeit a hunky stranger, into her vehicle. It quickly becomes clear that Lawson is a dangerous escaped convict and he’s using Helen as a means to escape. At one point during their “trip,” Helen tells Lawson that she’s willing to do anything to save Doug.

Why I Love Jeopardy: First off, Ralph Meeker is hot hot in this movie. I wouldn’t have blamed Barbara Stanwyck for one second if she’d abandoned Barry Sullivan to run off with Meeker. This isn’t as well known a film noir title, but it is well worth a watch. Stanwyck always plays the tough as nails woman so well. I actually really like Barry Sullivan, especially in film noir. He’s fantastic in Suspense (1946) and Tension (1949). Ralph Meeker is excellent in this film. I can’t describe what it is that I find so appealing about Meeker. He has this primal quality about him and he always sounds like such a thug when he talks. I loved him in Kiss Me Deadly (1955).

Barbara Stanwyck and Ralph Meeker in “Jeopardy.”

Favorite Quote:

HELEN: I’ll do anything to save my husband…anything!


10 Honorable Mentions (I know this is cheating, lol):

  • The Hitch-Hiker (1953) Edmond O’Brien, Frank Lovejoy, William Talman. Dir. Ida Lupino
  • DOA (1950) Edmond O’Brien, Pamela Britton. Dir. Rudolph Mate
  • Angel Face (1952) Jean Simmons, Robert Mitchum, Mona Freeman. Dir. Otto Preminger
  • Phantom Lady (1944) Ella Raines, Franchot Tone, Elisha Cook Jr. Dir. Robert Siodmak
  • The Spiral Staircase (1946) Dorothy McGuire, George Brent, Ethel Barrymore. Dir. Robert Siodmak
  • Lured (1947) Lucille Ball, George Sanders, Charles Coburn. Dir. Douglas Sirk
  • Deadline, USA (1952) Humphrey Bogart, Ethel Barrymore, Kim Hunter. Dir. Robert Brooks
  • In a Lonely Place (1950) Humphrey Bogart, Gloria Grahame, Frank Lovejoy. Dir. Nicholas Ray
  • Too Late for Tears (1949) Lizabeth Scott, Dan Duryea, Arthur Kennedy. Dir. Byron Haskin
  • Cry Danger (1951) Dick Powell, Rhonda Fleming, Richard Erdman. Dir. Robert Parrish

William Holden Blogathon–“Force of Arms” (1951)

April 17th will mark the 104th anniversary of William Holden’s birth. Holden is someone who I first became acquainted with when he appeared as himself on my personal favorite episode of I Love Lucy, and perhaps the best episode (imo)–“L.A. at Last!” or “Hollywood at Last!” as it’s also known. Holden’s episode is hysterical. The expression on his face when Lucy turns around after “fixing” her putty nose (“The California sun certainly makes your skin soft,” Lucy says) is hilarious and still makes me laugh no matter how many times I’ve seen it. Throughout the rest of the Ricardo and Mertz’s trip in California and even later in the series, multiple celebrities make reference to Holden and his having warned them about Lucy’s antics. For whatever reason, the idea that William Holden was running around Hollywood warning people like John Wayne about Lucy Ricardo is hilarious. I Love Lucy and William Holden also brought about one of my favorite quotes from the series:

MAN (to ETHEL): Pardon me. Are you sitting on John Wayne?

ETHEL: Who, me? No!

MAN: Are you positive?

LUCY: Positive. She’s sitting on Bill Holden. She’s president of the Bill Holden Fan Club, and once a year she comes here to sit on his signature.

“Lucy Visits Graumans,” I Love Lucy. Season 5, Ep. 1. Originally aired October 3, 1955
William Holden’s face in this scene is one of the all-time funniest parts of the entire series. I will never miss an opportunity to post this screen grab.

Anyway, my point in saying all of this was that for the longest time, I was only aware of William Holden by his appearance on my favorite show, and the constant references to him in the episodes leading up to and after his episode aired. I’d never seen one of his films before. I only knew him from I Love Lucy. Having not heard much about him, in comparison to the *big* Hollywood stars like Humphrey Bogart, Bette Davis, Cary Grant, etc. I figured he was one of those stars who was big in their time, such as Tennessee Ernie Ford, who made multiple appearances on I Love Lucy.

Oh how I was wrong.

After becoming fully obsessed with I Love Lucy as a middle schooler, I learned that Lucille Ball had appeared in a film with Holden–Miss Grant Takes Richmond. I borrowed the VHS from the library and watched it. I found that film pretty funny, especially Lucy’s role, but didn’t find anything remarkable about Holden. In the film, he played a character very similar to how Holden portrayed himself on I Love Lucy. Some time passed before I saw Holden in another film. He didn’t jump out to me as someone whose films I just had to watch.

William Holden and Nancy Olson in their first appearance together in Sunset Boulevard.

Then I saw Sunset Boulevard.

My opinion on William Holden did a complete 180. In ‘Sunset,’ Holden was cynical, sarcastic, romantic, conniving, weary, compassionate, etc. etc. His performance in this film was so fantastic that I was hooked. Soon I ended up watching a lot of Holden movies: The Country Girl (the film he was promoting on I Love Lucy), Sabrina, Picnic, The Moon is Blue, Apartment for Peggy, Paris When it Sizzles, Network, Born Yesterday, Executive Suite… But one film that I watched that I really loved was Force of Arms, which premiered in 1951.

(Woo! Finally I made it to the entire point of this whole post.)

Nancy Olson as Eleanor “Ellie” MacKay and William Holden as Joe “Pete” Peterson in “Force of Arms.”

Force of Arms reunites William Holden with his ‘Sunset’ co-star, Nancy Olson. This was the third film out of four films that they starred in together. One part of ‘Sunset’ that I really enjoy is the relationship between Holden and Olson’s characters. Holden’s cynical yet romantic Joe Gillis does not get off to a good start when he first meets Olson’s Betty Schaefer. Joe, a screenwriter, and Betty, a script reader both work for Paramount Pictures. Joe walks into the office of a producer just to overhear Betty harshly criticizing Joe’s script. Later the two reunite at a New Years Eve party, and start working together on a new screenplay after Betty pitches some ideas to Joe as to how they can salvage his story. Throughout much of the film, Joe meets in secret with Betty while his employer (and perhaps keeper), Norma Desmond, sleeps. Joe and Betty have a cute relationship. They laugh, they share stories, they appreciate each other’s intelligence, and eventually they fall in love. And while things don’t work out for Holden and Olson’s characters in ‘Sunset,’ they fare much better in Force of Arms.

You cannot help but root for these crazy kids to make it.

Force of Arms takes place during World War II in Italy. Holden plays another character named Joe, this time Lieutenant Joe “Pete” Peterson who is part of the American 36th Infantry Division. After a hard fought battle in San Pietro, Joe and his division are given five days’ rest in a small Italian town. One evening, while walking through a cemetery, Joe meets WAC Lieutenant Eleanor “Ellie” MacKay (Olson). Joe tries to better make Ellie’s acquaintance, but is rebuffed because she is in no mood to be picked up while in a cemetery. Later, Joe and Ellie are reunited when he and his friend go to the post office to see if they’d received any correspondence from back home. It turns out that Ellie works at the post office. Earlier in the day, Joe had received a promotion from sergeant to lieutenant, and Ellie offers to buy him a celebratory drink. He accepts.

Joe and Ellie begin to spend more and more time together and grow closer as the movie progresses. However, despite how much Joe wants to be with Ellie, she keeps him at arm’s length as she’s afraid to fall in love again. It seems that she was previously engaged to another soldier and was deeply in love, but then he was killed in the war. She is too scared to fall in love as she doesn’t want to experience heartbreak again. However, her mind is changed when Joe’s leave is cut short. Not wanting to lose him, she agrees to marry him when he returns on his next leave.

I read some criticisms online about how the love story seems to be contrived and shoehorned into the plot in place of some more battle or war scenes. But I don’t care about that. Make love, not war!

The film then transitions into a bunch of battle scenes which usually don’t interest me. I love World War II era movies (or in this film’s case, films that take place during the war), but I am more interested in the homefront aspect–or if it directly involves the war aspect, there needs to be another storyline interwoven with the battle scenes. Thankfully, Force of Arms has a romance that is intermingled between the gunfire and carnage. Despite being involved in the very serious situation that is war, Joe remains determined to see Ellie again. Even after falling into a deep depression after the death of a friend and not wanting to see anyone, even Ellie, we know that true love will prevail–Ellie and Joe will be together again. Otherwise, what was the point of this movie?

Nancy Olson was the perfect person for the part of Ellie. Her cherubic face, her sweet demeanor. She is what brings hope to Holden’s bitter, cynical Joe. Were a harsher woman cast, Joan Crawford, for example, or Ida Lupino, I don’t think this film would be nearly as heart wrenching. Ellie is the perfect compliment for Joe. She can provide sympathy and warmth to an angry man. Ellie represents hope and happiness for Joe. No matter how nasty he acts towards her, she remains in love with him. Ellie is what keeps Joe from giving up all hope. She makes him want to live. When Ellie receives some shocking news about Joe, she is in disbelief. She cannot believe what she is being told. Ellie’s anguish is palpable.

This scene could have easily become overly dramatic and ridiculous; but it didn’t.

William Holden plays the type of character he became best known for in this film. Joe is a handsome everyman, who is just angry at himself, angry at the world. However, despite his bitterness, he never once becomes mopey. Never is Joe mean. He isn’t an unbearable person. He’s just disappointed. Upset. Depressed. Tired. Despite how cynical and jaded Joe is, there’s always this glimmer of hope. He knows that things can get better. Joe just needs some luck or an opportunity. Holden always manages to bring a charm and vulnerability to his roles. You can’t hate Joe. You can’t hate Holden.

While this might not be the greatest World War II-set romantic drama ever made, I loved this film when I first saw it. But I’m always a sucker for a genuinely romantic film, free of most of the typical plot contrivances that malign the romance genre.

JOE: You mean you were a civilian once?
ELLIE: Oh, if you consider schoolteachers civilians.
JOE: You honest?
ELLIE: Mm-hmm
JOE: Well. And me without an apple!

Doris Day Centennial Blogathon- “Julie” (1956)

Doris Day would have turned 100 today. For years, I thought for sure she was going to make it, so I was very sad when she passed away in 2019 at the age of 97. Doris seemed eternal–one of the last remaining major figures of the Golden Age of Hollywood. Her sunny persona and girl next door looks I think led to her being unfairly labeled as “virginal” or goody goody. I even had this same perception of her until I actually started watching her films. Yes, she does have some sugary sweet roles, but those are only a tiny part of her overall body of work. One such departure from this image is Doris’ turn as the titular character in Julie, produced in 1956.

For years, when shopping the Warner Archive 4/$44 DVD sale, I would see Julie listed among the list of titles for purchase. Warner Archive for the most part, uses the original poster art for their film cover. The poster asks the question: What happened to Julie on her honeymoon? After seeing this film listed again and again during the sales, I just had to know: what did happen to Julie on her honeymoon? Eventually I purchased the movie to find out the answer. To put it simply, what happens to Julie on her honeymoon is that her husband tries to kill her.

Julie opens with a particularly haunting title track, with Doris singing the melody. Back-up singers continue to sing “Julie” in an eerie manner. Julie is an uncomfortable, tension-filled film noir–one of Doris’ few forays into this genre or style of filmmaking. The film opens with Julie (Doris, obviously) and her new husband Lyle (Louis Jourdan) arguing. The widowed Julie has just remarried the handsome and talented concert pianist Lyle, after her first husband commits suicide due to financial issues. The newlyweds had been attending a function at the country club when they got into a heated argument. Upset, Julie climbs into her car and drives off; but before she can get away, Lyle climbs into her car and continues the argument.

Doris and her bonkers husband, Louis Jourdan

To say that their marriage is not getting off to a good start would be an understatement. Lyle obviously has a screw loose which is indicative right off the bat when he slides over on the bench seat of the car and places his foot over Julie’s, causing her to continue to accelerate on the highway. She is careening all over the highway, nearly driving off the cliff on multiple occasions while trying to negotiate California’s curvy coastline. As Julie screams for him to stop and to not kill them both, Lyle finally relents by letting his foot off Julie’s, seizing control of the steering wheel, and bringing the car to a stop. Understandably, Julie is a complete wreck.

One of the few times that Doris is seen smoking on-screen in one of her films

Lyle continues to show himself for the abusive monster that he is, manipulating Julie into forgiving him for his actions. He says that he only did what he did out of love and that he needs her to help him get over his extreme jealousy. Lyle is a creep and things do not get better for Julie. Meanwhile, Julie has been speaking with her first husband’s cousin, Cliff (Barry Sullivan). Cliff is not convinced that his brother committed suicide, and if he had, it wouldn’t have been due to financial issues as Cliff had offered his brother money. Hearing this, Lyle at first plays it cool and actually seems sympathetic, but that soon goes by the wayside. He grows tired of repeatedly hearing Julie wonder outloud what could have triggered her husband’s suicide and tells her to leave her marriage to him in the past.

Doris takes control of the plane in the cockpit

Lyle continues to stalk Julie and Cliff throughout the film and eventually Cliff asks Julie, what if her husband hadn’t committed suicide? After all, Lyle was staying at their home when her husband died. The film culminates with a somewhat unbelievable scene in which flight attendant Julie is forced to take control of the plane’s cockpit to save the lives of the passengers onboard.

Overall, Julie is a very tense and interesting film. Louis Jourdan is terrifying. I like him much more in this film than I did in Gigi. What I find the scariest about Jourdan is that is portrayal of a jealous, hot-tempered spouse is that his portrayal is not too far off the mark. I could completely see someone acting in the way that he does in this film. Doris also found this movie nerve-wracking to make as the behavior of Jourdan was reminiscent of the abusive treatment she received at the hands of her first and second husbands. What I find fascinating about Jourdan and Doris’ performances in this film is that off-screen, they were friends and neighbors! I also like Barry Sullivan. He is never flashy, but he’s good and I find him interesting. He’s great in noir.

Doris and Barry Sullivan with the gorgeous Central California Coastline in the background

I wish that Doris had made more noir and grittier fare, because she was good in these types of roles. A year prior to Julie, Doris made Love Me or Leave Me where she played the real life Ruth Etting, a singer and dime-a-dance girl who just wants to make it in show business. She has to deal with her abusive manager/lover, James Cagney, who uses his position to make or break her career as a means to control her. Just before making Julie, Doris had appeared as a distraught mother whose son is kidnapped in Alfred Hitchcock’s 1956 remake of his 1934 film, The Man Who Knew Too Much. This role was also a departure for Doris who had to spend much of the film frantically looking for her child, but it did bring us her signature song, “Que Sera Sera.” In 1960, Doris would make her last dramatic film, Midnight Lace, where she plays a woman being terrorized on the telephone.

While Julie may not be the greatest film noir, nor is it even the best Doris Day film, it demonstrates that Doris Day was more than just a lightweight romantic lead and singer. She is excellent as a young woman who marries the wrong man, but has to keep her cool to survive. Later, it’s her calm demeanor that is needed to save the lives of dozens of passengers. If there was one thing that Doris Day was always good at, in every role she had, was being a calming presence on screen. Que Sera Sera. Whatever will be, will be.

Making “Julie” is when Doris Day was introduced to Carmel, California. Carmel is a beautiful coastal community on the Monterey Peninsula on California’s Central Coast. Day lived in this gorgeous yellow home from her retirement in the 1970s until her death in 2019.

Lucy and Desi (2022)

I lived and died by I Love Lucy on Nick at Nite’s Block Party Summer in the 90s.

It’s no secret on my blog that I love Lucy. I love Desi too. I discovered Lucy and Desi in 1994 or 1995, when I was 10 or 11 years old. One evening, I stumbled upon I Love Lucy on Nick at Nite and was hooked. From then on, I had to watch “my show.” I made sure to have my homework done by 8pm, so I could watch ‘Lucy.’ On Saturdays, at 10pm, I watched Nick at Nite’s “Whole Lotta Lucy Saturday” with 2(!) episodes of I Love Lucy and The Lucy-Desi Comedy Hour. Nick at Nite’s “Block Party Summer” was even more exciting, because I Love Lucy always got a day–4 whole hours of I Love Lucy!

Growing up, my family also went to the library every month. I started checking out books about Lucille Ball, Desi Arnaz, I Love Lucy, and everything I Love Lucy-adjacent. Through these books, I learned about Lucille Ball’s movie career. I discovered that my library had a good selection of Lucille Ball’s films on VHS! I checked out every single one. It was through I Love Lucy and Lucille Ball that I developed my knowledge and love of classic film.

A scene from my favorite episode of “I Love Lucy.” William Holden’s face in this scene is one of the funniest scenes in the entire run of the show.

Lucille Ball and Desi Arnaz have always held a special place in my heart. I Love Lucy is my absolute favorite show of all time. I have seen every episode dozens of times and never tire of it. I own the entire series on DVD. I own at least a dozen books about it. I saw the I Love Lucy colorized special in the theater. I have a dozen Lucy Ricardo Barbie Dolls. I have almost every Lucille Ball movie that’s available on DVD/Blu Ray. Lucy, Desi, and I Love Lucy is very important to me. I find it fascinating that an interest in Lucy and Desi seems to have revitalized in 2021. It’s very curious. Not that I’m unhappy about it, but why? Was the catalyst the 70th anniversary of the debut of I Love Lucy? In the past six months (give or take), we’ve had: A new Lucille Ball doll, Lucille Ball “Let’s Talk to Lucy” radio show/podcast on Sirius XM, TCM’s excellent Lucy podcast (highly recommended), and both a movie and documentary about Lucy and Desi. I hope more content is on the docket.

I don’t want to give “Being the Ricardos” a photo, so here is a picture of the ACTUAL Ricardos instead.

When I heard about Aaron Sorkin’s plan to dramatize a week in Lucy and Desi’s life, I was instantly turned off. For the record, I have not seen Being the Ricardos, nor do I plan to watch it. I saw Sorkin being interviewed on TCM, and I’m not even convinced that he’s ever seen an episode of I Love Lucy. I read about what the film is about, and he doesn’t even portray the correct episode being filmed when Lucy’s Communist allegations broke. They are filming a season 1 episode when this whole incident went down at the end of season 2/beginning of season 3. I’m not convinced about the casting of Lucy and Desi. I vehemently disagree with a quote by Sorkin stating that I Love Lucy isn’t a show that we’d find funny with a 21st century lens. I don’t know what planet Sorkin lives on, but I Love Lucy is still very popular.

Aside from the inaccuracies portrayed in Being the Ricardos, I do not want to see Lucy and Desi’s personal problems dramatized. I read Lucy’s memoir. I read Desi’s memoir. I have seen countless documentaries. I’ve read countless books. Lucy and Desi’s marital issues are well documented. Lucy and Desi fighting, Lucy and Desi divorcing, Desi’s drinking, Desi’s infidelity… these are not the things I want to think about when I think about Lucy and Desi. I want to think about the adorable couple I see in I Love Lucy. I want to think about the honeymooning couple in my favorite movie of all time: The Long, Long Trailer. I want to think about the photos of the ecstatic newlyweds after their 1940 elopement. Lucy and Desi are far more interesting than their divorce.

Thankfully, Amy Poehler came to the rescue with her new documentary, Lucy and Desi, that is currently streaming on Amazon Prime. I’m always game for a good documentary. However, because I’ve read/watched so much about Lucy and Desi, finding new programs and books that don’t simply rehash the same old stories again and again are hard to find. And while Lucy and Desi does cover some familiar ground, Poehler put a unique spin on sharing Lucy and Desi’s story. Following the same storytelling style present in TCM’s Lucy podcast, Poehler has archival audio clips of Lucille Ball, Desi Arnaz, and people close to Lucy and Desi telling the story. While there are some actual interviews featured by people like Lucie Arnaz, Carol Burnett, and my fave, Charo, much of the story is told by Lucy and Desi themselves. I also love how clips of I Love Lucy were used to tie pieces of Lucy and Desi’s story together. Poehler actually managed to find audio, video and photos that I’d never seen before! That was the absolute best part of watching this documentary.

I liked the narrative structure of the documentary. The events in the story unfold chronologically, with Lucy’s childhood, move to New York City as a teenager, and eventual opportunity to come to Hollywood being the key events of her life. Lucy and Desi, of course mentions the tragic accident that changed the course of Lucy and her family’s lives and how that incident motivated Lucy’s work ethic. Lucy’s family was financially devastated by the accident and Lucy was determined to never be in that situation again. It was interesting that the documentary did not mention Lucy’s bout with rheumatism, which derailed her life for two years in the late 1920s. Desi’s childhood of course was a riches to rags story, with his comfortable life ruined by the overthrowing of the Cuban government in 1933. Desi’s life story cannot be portrayed without mentioning this horrible event that completely ruined Desi and his family’s lives. It is asserted in the documentary that this was a formative event in Desi’s life and that it perhaps was the root cause of Desi’s personal problems later on in his life.

Lucy and Desi’s married life is depicted with countless home movies showing two people in love. The controversy over their interracial marriage is touched upon, but it’s obvious from the home movies that race was the furthest thing from Lucy and Desi’s minds. And of course, race again is a major player in the discussion regarding the genesis of I Love Lucy and how it almost didn’t happen because CBS didn’t think Americans would find Lucy and Desi’s marriage believable. Of course, CBS was wrong. Lucy and Desi were a sensation and I Love Lucy was and continues to be a massive hit. A bittersweet moment in the documentary is when Lucie Arnaz mentions that I Love Lucy only exists because Lucy and Desi wanted to be together, and they weren’t able to achieve that. The success of the show and their studio, Desilu, is partially what drove the couple apart.

I liked that Poehler didn’t opt to dwell on the latter part of Lucy and Desi’s lives. She mentions that both remarried and spends a little bit of time on Lucille Ball as President of Desilu, but really not much else is said. We don’t care about Gary Morton, Lucille Ball’s second husband. The documentary even says as much. We don’t care about Desi’s second wife, Edith Mack Hirsch. What we do care about is the fact that Lucy and Desi stayed in love after their divorce. They stayed friends. Lucy and Desi are known for having a very amicable divorce. They never fell out of love with one another. This is definitely proven by the ending scene showing Lucy being honored at the Kennedy Center.

The one thing I always hate about documentaries about my absolute favorite stars (almost all of whom are long deceased) is that the documentary has to mention their death. I can’t even watch my Errol Flynn documentary, because I love him so much I don’t want to be reminded of his death. Yes, I know logically, they have passed. I am not in denial about the fact. However, I want to think of Lucy and Desi (and Errol) as always being alive. And while Amy Poehler does devote some content of the documentary to Desi’s passing, it is included as a way to conclude their love story. Even then, we are treated to a very moving (and heartwrenching) epilogue to their story–Lucy and Desi’s love for one another never waned, even after death, Desi still loved Lucy.

I can take some solace in knowing that even if it was just for 2.5 short years, I was alive at the same time as Lucy and Desi, two people who have brought me almost three decades of happiness. Even during difficult days, I Love Lucy can always make me laugh.

I can highly recommend Amy Poehler’s Lucy and Desi documentary. I can only hope that it becomes available on Blu Ray.

“I Love Lucy,” episode “Redecorating.”
RICKY: “Lucy! What have you done with the windows?!”
I don’t know why, but that quote from Ricky always makes me laugh.