Classic Movie Day Blogathon- 6 Films, 6 Decades

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

1920s- The Freshman (1925)

Starring: Harold Lloyd & Jobyna Ralston

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

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


1930s- Alice Adams (1935)

Starring: Katharine Hepburn & Fred MacMurray

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

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

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


1940s- Gilda (1946)

Starring: Rita Hayworth & Glenn Ford

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

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

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


1950s- His Kind of Woman (1951)

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

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

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

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


1960s- Girl Happy (1965)

Starring: Elvis Presley & Shelley Fabares

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

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

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

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


1970s- The Muppet Movie (1979)

Starring: Kermit the Frog & Fozzie Bear

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

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

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

Classic Favorite TV Episode Blogathon- “Don’t Bug the Mosquitos” Gilligan’s Island

I know that I’m a couple weeks late with this one and missed the event. I also missed the Buster Keaton event. This was a very busy week/weekend for me and unfortunately, I wasn’t able to find the time to write this article. I had to prioritize some writing for my job (I write work procedures and other technical documentation) over my hobby writing. But I wanted to get caught up on this and my other blogathons–including finishing my Doris Day article on-time. I also have an article I want to write about an event going on amongst the Classic Film community on Twitter–PreCode April.

Rest in Peace Dawn Wells (1938-2020)

For the Favorite TV Show episode blogathon, I wanted to pay tribute to the late Dawn Wells. Wells passed away on December 30, 2020 from complications from COVID-19 (curse you COVID!) at the age of 82. Wells is best known as Mary Ann Summers, the young, perky Kansas farm girl castaway on Gilligan’s Island. Mary Ann was also my favorite castaway. At the beginning of the series, Mary Ann (along with The Professor) was relegated to the “And the Rest” part of the credits. Fortunately, at the behest of star, Bob Denver (Gilligan), Mary Ann and The Professor were added to the credits sequence in season two, where they remained until the end of the series. AUTHOR SIDENOTE: Seriously Gilligan’s Island theme song writers? You named 5/7 castaways by name, what’s two more castaways?

Anyway, as everyone recalls, almost every episode of Gilligan’s Island involved the castaways tying to get off the island. They often got their hopes up when a random celebrity/lookalike/character would show up on the allegedly uncharted island. Seriously, for an uncharted island, EVERYONE seemed to know where it was. I would imagine that the news of the SS Minnow’s passengers failing to return from their three-hour tour would have been Hawaiian news, if not national United States news. The passenger list includes a movie star, two multi-millionaires, and a prominent college professor. And if anything, the Skipper and Gilligan’s employer would be looking for them. And presumably, Mary Ann’s family and boyfriend, Horace Higgenbotham, would be looking for her. With all these random people coming across the uncharted island, why didn’t word get back to Hawaii?

But I digress. It’s Gilligan’s Island. It’s not supposed to make any sense. And don’t even get me started on that radio!

Mary Ann (Dawn Wells), Ginger (Tina Louise), and Mrs. Howell (Natalie Schaefer) are “The Honeybees.”

One such random visitor to find the uncharted island, were the Beatles-esque rock band, The Mosquitos. Apparently The Mosquitos traveled to the uncharted island to escape their fans and get some peace and quiet. Unfortunately, the island isn’t deserted like they’d hoped and they find more fans in the form of Gilligan and Mary Ann. The castaways then learn that The Mosquitos aren’t planning on leaving the island for a month. To try and force the band to leave sooner, the castaways work to make life stressful for the band, so that they’ll want to leave. The Mosquitos do leave… but merely move to the other side of the island. They’re quickly discovered by the castaways. The band then informs the gang that they’re not planning on leaving for two months.

In order to make sure that The Mosquitos don’t depart without them, the male castaways form their own band, The Gnats. They are terrible. Then, the women make their own band, The Honeybees. As is to be expected, a band featuring Ginger is much better, and Mary Ann and even Mrs. Howell (!) are adorable. The Mosquitos are charmed by the ladies. However, this plan backfires as The Mosquitos leave in a hurry and without the castaways, because they don’t want competition from The Honeybees.

Does this plot make sense? No not really. But it doesn’t matter. The Honeybees’ song, “You Need Us” is completely charming, from beginning to end. The girls look great. Ginger looks gorgeous and shows off her dancing ability. Mary Ann is adorable. Mrs. Howell is a great sport and is much better than Mr. Howell at dancing and singing.

We just won’t think about how the record player is powered, why the castaways have a record player, and why do they have so many records to play? Why do they have three matching Honeybees’ costumes? Or Mrs. Howell’s wig?

Home Sweet Home Blogathon- The Brady Bunch and Their Home at 4222 Clinton Way

Here’s the story of a lovely lady. Who was bringing up three very lovely girls. All of them had hair of gold, like their mother. The youngest one in curls.

It’s the story of a man named Brady, who was busy with three boys of his own. They were four men, living all together. Yet they were all alone.

Till the one day, when the lady met this fellow and they knew it was much more than a hunch. That this group must somehow form a family.

And that’s the way [they] became:

So goes the iconic opening theme song and credits sequence that not only introduces the characters, but also provides the audience with all the information they need to enjoy the show. I love The Brady Bunch. Yes, it can be corny at times and overly sappy, but for me, it treads the fine line between being charmingly sappy and obnoxiously saccharine (looking at you Full House) that purposely manipulates its audience. Yes, episodes of the Brady Bunch can have lessons, but more often than not, there are repeating motifs that “kids” of all ages (yes, adults too) can identify with. Some common motifs are: boys/men against girls/women, younger versus older, big-head syndrome, and puppy love. Despite what setbacks and challenges the characters may face, the audience knows that all will be resolved by the end of the episode.

The iconic Brady home–the second most photographed private residence in the country after the White House

Much of the action of the series unfolds inside the Brady residence at 4222 Clinton Way in an unnamed city. However, based on references made throughout the series, we can safely assume that the Bradys live somewhere in the sprawling Los Angeles area. It is also established that the oldest son, Greg Brady, is the “Casanova of Clinton Avenue.” The Brady Bunch’s house is a character in and of itself. Their house, both the exterior and interior is iconic. Even the layman Brady Bunch fan, even someone only remotely aware of the Brady Bunch’s existence, knows what the house looks like.

Mike Brady, the patriarch of the Brady clan, and an architect, designed the Brady’s home. Despite popular belief, they have more than one bathroom in the house. Aside from the kids’ famous Jack-and-Jill bathroom, Mike and Carol also have a bathroom in their master bedroom. Where else would Carol hang her purple shower curtain that Greg and “Raquel,” Coolidge High School’s goat mascot, rip down? Finally, I think it is safe to assume that Alice has her own bathroom attached to her bedroom. Based on the amount of Brady Bunch that I’ve watched (and it’s a lot), I believe that Alice’s room is behind the kitchen nearby the service porch.

The Brady house is well-designed and decorated. The multi-level home has a small foyer that brings guests into the Brady’s living room and dining room. The living room seems to be a more formal space as this is frequently where Mike entertains his clients, like Senor and Senorita Calderon, who later see Peter aka “Phil Packer” and Greg entertaining some girlfriends in a supposed X-rated manner at Marioni’s Pizza. This room is where Marcia entertains Davy Jones who stops by to bring Marcia a copy of his new album after he overhears her lamenting to his manager that she promised to get Davy to appear at her prom. The living room is also where Marcia meets her “dream of dreams,” Desi Arnaz Jr. The living room is not without its drama however, this is also the room where Peter accidentally breaks “mom’s favorite vase” with a basketball, despite mom having said: “don’t play ball in the house.” The living room is also where Marcia holds slumber parties until they’re disrupted by itching powder, and where kids hold their parties. It is at one of these parties when Peter learns that he does have a personality after all, and that personality is “lady killer.” This room is not without heartbreak however, aside from the sad demise of “mom’s favorite vase,” this is the room where Marcia starts bawling after the boys completely ignore her speech when she runs for Class President (against Greg).

The dining room: the scene of the infamous broken vase incident

Later, in the dining room, mom’s favorite vase endures yet another humiliation when it starts leaking all over the table after having been filled with water for some flowers. It seems that the kids’ glue job wasn’t up to snuff. The dining room also serves as the location for the kids’ house of cards contest that would determine whether the boys or the girls would receive Alice’s bounty of trading stamps. The boys wanted to use their stamps to buy a rowboat, and the girls wanted a sewing machine. In the end, Tiger runs into Greg, causing him to fall into the house of cards. The girls make good though and use the stamps to get a color television set. Presumably, this is the set that goes into the family room. Poor Alice, despite doting on the family day in and day out, never gets to eat dinner with the family. She finally gets to eat dinner with them when Mike announces that he will be making a gourmet dinner for the family. The dining room also features an entrance to the Brady’s backyard with the famous, low-maintenance (though we see Marcia cutting it with scissors in an episode) Astro-Turf lawn.

“The Man” aka Greg Brady eats breakfast in the kitchen while Carol and Mike chastise him for calling them by their first names.

The dining room is adjacent to the Brady’s kitchen. The Brady kitchen is iconic with its orange formica countertops and avocado green appliances. There is also an awesome double oven built into a brick column. There’s also a stovetop built into the counter. Over the years, much cooking goes on in the Brady kitchen, including, but not limited to: meatloaf, the girls’ horrible breakfast, pork chops and applesauce, strawberry preserves, Mike’s gourmet dinner, Marcia’s merit badge meal, spaghetti that tastes like metal when eaten with Marcia’s one-episode braces, Brady Kid lunch assembly line, Peter’s “Straw Split Fudge Short,” and countless other meals. This room is where Alice has the last apple, the last peach, and the last banana hidden. The tulip table and chairs (that I love, by the way) is where Marcia and Greg fight over Marcia’s date with Warren Mulaney and where Jan pretends to be an only child. This is where Mike, Carol and Alice sit over coffee at the table and discuss issues regarding the children. The kitchen also features an entrance to the backyard.

Greg, Marcia and Jan relax in the family room

Through the saloon doors and passthrough of the kitchen is the Brady den. The den is where the family watch the latest sports game, movie, or family member(s) on television. This is where the kids “Can make the World A Whole Lot Brighter” with their Brady Six act. This is the room where Alice irons and listens to her soap opera. This is also the room where the kids, seated on the plaid couches, sometimes receive lectures. One such lecture they received involved the high phone bills they were racking up. To remedy the situation (or so he thought), Mike installed a payphone in the family room. This somewhat worked until Mike found himself without a phone and without a dime needing to take a call from an important client. In the den, Marcia practices her yoga for one of the dozen clubs she joins when she starts at Westdale High. The den has the most-used entrance to the Brady’s backyard.

Greg and Marcia do “yard work” on the Astro Turf in the backyard.

The backyard is where Bobby and Cindy try to break the record for longest time teeter-tottering. This is where the kids, sans Jan, practice for the potato sack race. This is where Mike and the kids refurbish and paint the “S.S. Brady” a row-boat too small for the whole family to enjoy. The backyard provides room for all the kids’ school pursuits, such as a working full-size dunking booth (you can’t say Mike and Carol don’t go all-in for their kids and their kids’ educations. Money and time are no object, apparently) Greg’s re-creation of the Pilgrims landing at Plymouth Rock, and where the family puts on “Snow White and the Seven Dwarfs” as a benefit to pay for a gift for Mrs. Whitfield, a beloved teacher who is retiring. Later, in The Brady Bunch Movie, we will again see Mrs. Whitfield who has returned to teaching, but has apparently fallen on hard times in the 1990s and is busted for stealing school supplies. The backyard is where Bobby receives his first kiss, courtesy of the potentially mumps-infested Millicent. The backyard is not completely full of mirth and whimsy however, It is also the where Jan, not wearing her glasses (they make her look “positively goofy” she says), crashes into Mike’s anniversary gift for Carol, Peter risks potential murder (via Alice) for getting mud all over the patio, Greg brings home his lemon of a car, Peter is nearly killed by a falling ladder, but pushed out of the way by Bobby (who is covered in green paint in the process), Greg loses the pull-up contest to Bobby and has to become his slave, Greg announces to his parents that he will not attend college and will instead focus on becoming “Johnny Bravo,” and finally, poor Tiger’s vacant dog-house still stands as a reminder that Tiger hasn’t been seen since Season 2.

My favorite iteration of the girls’ room. I love the wallpaper!

Above the backyard are the bedrooms. The girls’ room is the room that had the shutter Greg was painting before he dangerously climbs through the window from the ladder (that comes crashing down towards Peter’s head, before Bobby pushes him out of the way and is doused with green paint) to answer the phone. The girls’ room is where a lot of tears were shed: Marcia when she was removed as Juliet from her school’s rendition of “Romeo and Juliet,” Marcia when she has to get braces, Jan when she thinks she’s ugly, and poor Cindy when she endures frequent bullying by Buddy Hinton who mocks her for having a lisp. Buddy Hinton was such a loser, aside from being a bully, he’s obviously at least a 5th-6th grader picking on a 1st grader. But looking at his parents, especially his doormat of a mother, it’s no wonder. However, the girls’ room is also one of much happiness, this is where Marcia displays all her awards, where Jan finds her lost locket after looking for “The Little Bear” and where Cindy keeps her life savings (inside her doll’s head of course) that she happily contributes when the kids decide to form a singing group.

The most contentious room in the Brady home.

Adjacent to the girls’ bedroom, is the famous blue Jack-and-Jill bathroom. This room causes a lot of tension between the children, definitely fueling the misconception that it is the only bathroom in the house. The girls scatter their hair ribbons all over the place, much to the boys’ chagrin. Jan locks herself in the bathroom to scrub her freckles off with a lemon. Marcia tries to impress Cindy with her beauty routine only to have Cindy inquire about brushing her teeth with braces. Jan locks herself in the bathroom to try out the wig she purchased when she decides to change her whole look–“The New Jan Brady.” The drama over the bathroom reaches a boiling point in one episode, when Mike and Carol actually consider moving to a larger house with additional bathrooms. Thankfully, they reconsider after the kids proclaim their love for the house (and haunt it for good measure) when a potential buyer comes to look at the home.

The boys’ room. Bobby and Peter in the bunk beds, Greg in the single. Personally, I could do without the clown picture.

On the other side of the bathroom is the boys’ room. Peter and Bobby share a bunk bed with Greg in a single bed on the other side of the room. Unlike the girls’ room which was re-decorated at least three times, the boys’ room stayed pretty much the same (can’t lose those scary clown paintings), except when Greg moves into the attic. The boys’ room is pretty basic however. This is where Peter locks Bobby in the closet after he tires of being his slave. Greg croons “Clowns never laughed before, beanstalks never grew,” lyrics from a song he’d written during happier times before he was busted for smoking. Greg has a reality-check when he realizes that he may never be as great a pitcher as baseball great, Don Dysdale, whom he’d met earlier in the backyard. This is also where Bobby meets Joe Namath, who comes to visit the “ailing” Bobby after Cindy writes him a letter talking about her brother’s illness. This is the room where Greg wants to talk to Mike “man-to-man, not kid-to-man man-to-man but man-to-man man-to man.” This is where both Greg and Peter start shaving their one whisker.

Raquel and Alice in the hallway. Why is that chair there? It serves no purpose except to be in Raquel’s way!

The hallway isn’t that exciting except that it features Carol’s favorite feature: a walk-in linen closet, that she shows off briefly when giving an impromptu tour of her home to her fellow Westdale High PTA members. This closet is also located directly below Greg’s attic bedroom and the kids can hear all his secrets: such as him stashing “Raquel” in his bedroom. The hallway also has two random chairs that I don’t understand. Who is going to just sit in the hallway randomly? Get these out of here, Carol! These are taking up precious walking room.

Mike and Carol’s love nest. I really like their screen.

At another end of the hall, we have Mike and Carol’s master bedroom. This room was supposedly redecorated, when a decision was being made between striped or floral wallpaper. In the end though, they painted the room teal and it seemingly looked the same as it did before? I loved the floral architectural piece behind Mike and Carol’s bed. I also loved that this show actually featured parents who seemingly had a life and some romance outside of their six children. The more “romantic” side of their relationship is hinted to when the kids make Mike and Carol a “Do Not Disturb” sign for their bedroom. Mike and Carol’s closet, supposedly divided 50/50, but probably more 70/30 in Carol’s favor, is full of Carol’s frilly nightgowns, bags to match her shoes, and the different outfits she buys (skiing outfit for the mountains, bikini for the beach, cowboy outfit for the dude ranch, red flapper dress for the Charleston contest, country dress for the square dance). Nobody can accuse this woman for not dressing appropriately for the occasion.

Greg’s swingin’ bachelor pad in the attic. Personally, I think he should have incorporated some of the things from his first pad.
I mean, surely some of these things would work perfectly in Greg’s attic room? I think he needs some of the mood lighting and tapestries.

Upstairs, in the attic (that Mike must have somehow retrofitted from its 2′ height clearance in season 2 to being at least 7′ if not 9′ at the end of season 4), is Greg’s bedroom. Greg’s moving into the room was a contentious affair, with Marcia wanting the room as well, but ultimately Greg won out. His “bachelor pad” so to speak, is pretty sweet. Greg has a patchwork carpet, a larger bed, an old-time radio, a coat rack, a dartboard, a beaded curtain that separated a sink from his bedroom, and a globe! Greg’s room looks like what a kid might decorate his own room with if he had unlimited access to random stuff in his parents’ attic. I only wish Greg had incorporated some of the things from his previous bachelor’s pad in Mike’s den, such as the plastic flowers, the lava lamps and the mattress on the floor. The most exciting thing to happen in Greg’s attic room is when he stole Raquel the goat mascot from his rival, Coolidge High. Greg then tried to keep Raquel a secret, but everyone quickly found out.

The famous stairs served as the optimal space for promotional photos. From left to right: Cindy (Susan Olsen), Bobby (Mike Lookinland), Jan (Eve Plumb), Peter (Christopher Knight), Marcia (Maureen McCormick), Greg (Barry Williams), Alice (Ann B. Davis), Carol (Florence Henderson), and Mike (Robert Reed)

The famous Brady stairs were the focal point for many scenes. There are many moments with kids rushing excitedly up or down the stairs. Kids hid at the top of the stairs to spy, such as the kids spying on Marcia when she meets both Davy Jones and Desi Arnaz Jr. The Kids used the stairs to scare Alice when they send a “ghost” down a zipline to scare her when she walks in the door. Bobby slides down the stair railing in an episode. The Brady cast members regularly posed on the stairs, the kids in order by age, then the adults at the end. Then, of course, lest we forget, the stairs served as the vehicle in which Peter’s basketball traveled to take out mom’s favorite vase.

Oops! Marcia is about to spill correction fluid all over Mike’s architecture plans

At the base of the stairwell is Mike’s den. For the most part, this room remained quiet and professional (except when Greg redecorated it) as this is where Mike often worked when a deadline was looming, or when he had to re-create plans, such as when delivery boy, Greg, lost Mike’s plans after setting them down to peruse a car magazine. This room was strictly forboden to the kids, as Marcia learned when she spilled correction fluid all over the plans, during some horseplay with Jan and Cindy. Marcia was in the office writing her article for “Father of the Year.” Carol was really the only other person Mike allowed to be in the den while he was working. Alice came into the den to clean and talk to Mike and Carol. The kids only seemed to come into the den to seek some advice, like Jan did when she was stressed out about Marcia, Marcia, Marcia. Mike’s den is very classic in its decoration and lacks some of the more dated decor of the 1970s.

Ooh look at Alice’s luxurious view of the mop and bucket!

Behind the stairwell, I believe is Alice’s room. Her room isn’t seen often in the series, but she is seen emerging from somewhere behind the kitchen. As a live-in maid, and someone whom the Brady’s value enough to take to the Grand Canyon, Hawaii, Cincinnati, and camping at Mount Claymore, it seems reasonable that she would have her own bedroom and bathroom. In the episode where Alice sprains her ankle tripping on Bobby’s Chinese Checkers (lying on the floor of the dining room), we see her in bed reading a book, All My Loves. Alice’s bedroom seems to be off-limits to the kids, except when they see her packing up her bedroom. After Mike and Carol’s marriage, Alice feels that her job is redundant, because Mike won’t need her after marrying Carol. The family puts on an elaborate ruse to show Alice how much she is needed.

Carol is about to find her mangled earring at the bottom of the washing machine in the service porch.

Just off of Alice’s bedroom is the laundry room, or service porch. No doubt Alice’s room suffered water damage when Bobby decided to wash his suit (dirty after rescuing “Pandora,” a cat owned by the world’s worst child actress) with an entire box of Safe detergent. Speaking of Safe, the service porch must be where Carol is storing the 2000 boxes of Safe they received as payment for the commercial they filmed. The service porch isn’t seen much, but it does serve as the opulent entrance to Alice’s bedroom!

The Brady home is iconic. For fans like me, every room of the house featured some memorable moment. We experience these moments as if we also lived in the home with the family. As an oldest child (though definitely not of six), I always identified with Marcia and Greg. They were my favorite of the kids. I also could identify with the third oldest, Peter, to an extent. I loved that the kids weren’t overly goody goody like Wally and Beaver in Leave it to Beaver, and I liked that the parents were portrayed as intelligent people with lives independent of their children. Carol, while she didn’t work outside the home (though she’s a relator in A Very Brady Christmas made-for-TV movie), was shown as being part of different clubs and charities. She also had hobbies like embroidery and sculpture. I felt like the kids were well-rounded and realistic. They didn’t have annoying catchphrases like kids on 90s sitcoms had. Even if their problems were solved in 30 minutes, so what? Who wants to watch Marcia’s over-inflated ego over playing Juliet play out over multiple episodes? I would welcome an extension of the Family Night Frolics. Or any of the episodes where the kids sing. “Good Time Music,” indeed.

The Brady Bunch has always been one of my absolute favorite shows. It’s right up there with I Love Lucy and The Mary Tyler Moore Show. I have seen every episode, multiple times. I own the entire series on DVD and I have the two satire films: The Brady Bunch Movie and A Very Brady Sequel. It’s quotable, I can recognize the episodes within seconds, I love their clothes (well most of them), and I really love their house. I would live in that house today, orange formica and all. Long live The Brady Bunch!

And remember: “Mom always said, don’t play ball in the house!”

Double Feature: Where the Boys Are (1960) & Shag (1989)

I always love to come up with ideas for Double Features. I like to pair double features with common actors, directors, genres, themes–something that ties the two films together.

Left to Right: Page Hannah, Bridget Fonda, Phoebe Cates, Annabeth Gish in “Shag”

TCM recently aired Shag (1989) as part of their “Women in Film” series. I’d heard of this film, but didn’t know anything about it. Being a native of the Pacific Northwest, I didn’t know that “Shag” was a dance style, native to South Carolina. After watching this film, I can say that Shag is like a polite form of dirty dancing. Lol.

Left to Right: Paula Prentiss, Dolores Hart, Yvette Mimieux, and Connie Francis in “Where the Boys Are” (1960)

After having read the synopsis of Shag, I determined that it sounded very similar to Where the Boys Are (1960), one of my favorite teen beach movies. Both films are a coming of age story for four young women traveling to the beach for vacation where they learn about love and sex. In this blog entry, I’m going to compare and contrast the two films and try to draw parallels between the two.

SETTING: 1960s American South. Where the Boys Are is contemporary 1960 America in Fort Lauderdale, FL. The southern setting isn’t as explicit as these are girls traveling south from a snowy, Northern climate. Shag takes place in 1963 in Myrtle Beach, SC. The southern culture is highly emphasized with the accents, focus on propriety, and other symbols of the South.

PLOT: The plots are similar. In both films, a group of young women are traveling to a more “fun” environment for spring break. The girls in ‘Boys’ are about a year or two older than the women in Shag. They are 19 and already in college. In Shag, the ladies are high school seniors, putting them at 17-18 years old. The ladies in ‘Boys’ are on vacation for two weeks, so they have more time to explore the beach…and the boys. There is more time for the girls in ‘Boys’ to establish a relationship with the opposite sex so that their infatuation and “love” kind of makes sense. In Shag, the ladies are on a long weekend trip and are already proclaiming their love for these boys whom they’ve just met. The girls pack a lot of action into the three days of their trip.

‘Boys’ is a little more serious, as there are no wild parties, love triangles, or dance contests. Their humorous scene at the nightclub is probably the equivalent to the wild party in Shag. Both films feature the idea of sex and whether it is okay to have sex outside of marriage. Characters in both films present opposing viewpoints on the subject. Characters in both films also have sex, but it is presented in very different environments with varying levels of consent.

However, in both films, their respective vacations prove to be pivotal experiences in their lives which will inevitably shape them for years to come.

CHARACTERS:

Merritt (Dolores Hart) ‘Boys’ & Carson (Phoebe Cates) Shag

Dolores Hart (Merritt) in “Where the Boys Are”

Merritt is nearly suspended from her college for scandalizing the professor in her “Courtship & Marriage” course by offering her support for sex before marriage or “backseat bingo” as she calls it. She talks a big game about sexual freedom and not necessarily following the expected life plan for women. However, as the movie continues, it becomes apparent that Merritt might be all talk.

Phoebe Cates (Carson) in “Shag.”

Carson, on the other hand, isn’t prissy or uptight, per se, she’s more concerned about doing what’s right according to society’s expectations for young women in 1963. She’s engaged to be married (I know, a high schooler engaged, but hey it happened in “Boy Meets World”) to Harley (Tyrone Power Jr.). Harley is kind of dull or as Melaina says: “A square with corners” which doesn’t really make any sense, because the very essence of a square are corners, otherwise it’d be a circle, but we get the point. Harley is dull with a capital D. However, he’s the son of a tobacco executive, so he’s loaded. Marrying Harley would ensure that Carson would be financially stable.

Harley is comparable to Merritt’s beau, Ryder Smith (George Hamilton), as he is also rich and could provide Merritt with everything she’d ever need. Ryder seems to be a little more hip than Harley however.

Melanie (Yvette Mimieux) in ‘Boys’ & Melaina (Bridget Fonda) in Shag

Yvette Mimieux (Melanie) in “Where the Boys Are”

Melanie is Merritt’s classmate at college and has been listening to Merritt preach about pre-marital sex. She is inexperienced, but willing (to put it mildly). Merritt is Melanie’s closest friend and confidant. Melanie gets into trouble when she lets her dream of hooking up with a “Yale-ie” cloud her better judgement. Believing that a boy from Yale is somehow a better catch and that she’d somehow end up with an amazing boyfriend (maybe even husband), she realizes too late that he’s only after what she seems to be after, but isn’t really.

Bridget Fonda (Melaina) in “Shag”

Melaina (Bridget Fonda) is the stereotypical promiscuous (a la Ariel in “Footloose”) preacher’s daughter. She wants nothing more than to leave their dinky town of Spartanburg, SC and move to Hollywood. Melaina is a little more wordly and experienced than Melanie, but her brazen behavior gets her into a bad situation. Melaina ultimately has her sights set on Jimmy Valentine, a local wannabe Elvis celebrity, who has connections to Hollywood that Melaina could use. When she realizes that Jimmy’s agent is the one with the REAL connections, she kicks Jimmy to the curb.

Tuggle (Paula Prentiss) in ‘Boys’ and Luanne (Page Hannah) in Shag

Paula Prentiss (Tuggle) and Jim Hutton (TV) in “Where the Boys Are”

Tuggle makes it very clear that she’s a proper girl who does not want to have sex outside of marriage. She says she’ll remain chaste even if she has to have the local blacksmith weld her a belt. She wants to fulfill her destined female role: being married and having children. She is easily able to resist the charms of TV (Jim Hutton) and keeps him at arm’s length.

Page Hannah (Luanne) & Bridget Fonda (Melaina) in “Shag.” Look at Luanne’s amazing glasses!

Luanne is also very prim and proper, but not so prim and proper that she’s not above lying to her parents about her and her friend’s plans for the weekend. She convinces Melaina to ditch her bikini and pseudo-strip tease (i.e. “Modern Ballet” as Melaina calls it) routine for the beauty pageant and recite Scarlett O’Hara’s famous monologue from Gone With the Wind instead. Luanne is so worried about getting caught that she’s prepared a very lengthy web of lies to cover her tracks.

However, Luanne is not above getting herself a boyfriend, even if it’s her friend’s. Thus becoming part of two interlocking love triangles.

Angie (Connie Francis) in ‘Boys’ & Caroline aka “Pudge” (Annabeth Gish) in Shag

Connie Francis (Angie) in “Where the Boys Are”

Angie is not fat by any means (and she’s not, look at her tiny waist), but she’s curvier than her friends. She’s not ugly by any means either, but she doesn’t instantly catch the boys’ attention. Angie says that she doesn’t even have to bother lying to her parents about anything, because they just assume that she’s fine and staying out of trouble. Angie ends up attracting a young musician (Frank Gorshin), who is nice, but dense.

Annabeth Gish (Pudge) in “Shag”

“Pudge” is very pretty but was an overweight teen, hence the nickname. She’s recently lost the weight, but she’s still not as svelte as her friends. It doesn’t help that they persist in calling her “Pudge.” Even Luanne’s parents refer to her as “Pudge.” So obviously this is a nickname that Caroline’s had for quite some time. Anyway, despite her weight loss, Caroline is self-conscious about her size and finds it hard to believe that anyone would be interested in her romantically.

Caroline meets a local Myrtle Beach boy, Chip. He is very nice to her and even knows how to do the Shag dance, but he friendzones her–which is a huge blow to her self esteem. Caroline and Chip also participate in one of my favorite movie themes– The dance contest.

I just like this poster, I had to work it in somehow.

I love 1950s-1960s teen beach movies and Where the Boys Are definitely fits the bill. It has a great cast, great setting, humorous situations, poignant situations, and it doesn’t rely on cheesy cliches. Shag, while not a 1950s-1960s teen beach movie, per se, it takes place in the 60s, so it is a more modern look at that subgenre. There aren’t really many beach scenes, but there is an amusement park scene and a dancing at the drive-thru on rollerskates scene, so what more could you want? There are also two love triangles that interlock, which I also love. And, Shag features one of my favorite teen comedy tropes: The wild forbidden teenage party featuring total destruction of the house by strangers, jungle juice, and awkward situations.

I highly recommend both Where the Boys Are and Shag. Both are guaranteed to be a fun time and a nice respite from the weariness of the day to day drudgery of life.

Ingrid Bergman Blogathon- “Cactus Flower” (1969)

August 29 marks the 105th birthday of Ingrid Bergman. It is also the 38th anniversary of Ingrid’s passing. Miss Bergman’s life came full circle with her birth in Sweden and her death in London at the age of 67 from breast cancer.

Ingrid is best known for her career in the Golden Age of Hollywood. Of course, she will always be remembered as Ilsa Lund, the woman who broke Humphrey Bogart’s heart in Casablanca. But Ingrid appeared in so many other classic films: Gaslight (Which won Ingrid the first of 3 Oscars), Notorious, For Whom the Bell Tolls, Anastasia (Her second Oscar win), Joan of Arc, The Bells of St. Mary’s, Intermezzo, Spellbound, and Dr. Jekyll and Mr. Hyde.

However, one of my favorite roles of hers occurs well after the Golden Age, in an era where her peers were appearing in horror films or had segued to television. In the 1960s and 1970s, Ingrid was still scoring quality parts in quality film productions. She won her third Oscar in 1975 for Murder on the Orient Express. My favorite part of hers during this period however, is her co-starring part as Stephanie Dickinson in Cactus Flower (1969).

Walter Matthau and Goldie Hawn in “Cactus Flower.”

Cactus Flower today is primarily known as the film that won Goldie Hawn her Oscar. However, it is my opinion that her storyline and even star Walter Matthau’s storyline is very much on the peripheral of the main focus of Cactus Flower. Ingrid’s Stephanie undergoes a metamorphosis from Matthau’s stuffy, prickly nurse to a vivacious free spirit. Her transformation is represented by the bloom on the cactus that rests on her desk.

In Cactus Flower, Matthau plays Dr. Julian Winston, a dentist in New York City. His nurse, Stephanie Dickinson is Swedish and very serious with no room for nonsense. Dr. Winston and Stephanie, despite having an employer to employee relationship, act very much like an old married couple. From the way that Stephanie feeds Dr. Winston and takes care of him, it is obvious that she cares about him and her job very much.

Ingrid Bergman admires the bloom on her cactus–which symbolizes her evolution from rigid, serious to vivacious and fun-loving.

Stephanie has many great moments trading barbs with one of Dr. Winston’s patients, Harvey Greenfield (Jack Weston), whose constant come-ons are tiresome to Stephanie (I don’t blame her, yuck!). He seems to think because she’s Swedish that she would be somehow be susceptible to his lame pick-up lines and gross attempts to flirt with her.

HARVEY: I was reading the other day, a dentist in New Jersey has topless nurses.

STEPHANIE: I didn’t know you were interested in reading.

(Trying to pretend that he’s got a girl he’ll be spending the night with, thus can’t have an early morning dentist appointment)
HARVEY: We’re both asleep at 7am. I’m sorry I hope I haven’t shocked you.
STEPHANIE: No, but it must be a terrible shock for her.

The beginning conflict is that Dr. Winston is carrying on an affair with a woman at least half his age (if not more), 21-year old Toni Simmons (Goldie Hawn). At the start of the film, she is trying to commit suicide via gas inhalation, but she is saved by her neighbor (and someone closer to her own age), writer Igor Sullivan (Rick Lenz). Igor resuscitates her via mouth-to-mouth and his rescue evolves into a makeout session when Toni regains consciousness. This is foreshadowing that perhaps Toni is better suited for a partner closer to her own age.

It turns out that Toni was trying to commit suicide because she was stood up by her lover, Dr. Winston. Dr. Winston has lied to Toni the entire time, saying that he had a wife and three children. He is actually single. Toni despises lying. Knowing this, and flattered that she’d commit suicide over him, Dr. Winston proposes to Toni. Toni accepts, but on the condition that she is able to meet Dr. Winston’s wife and confirm that she is okay with the divorce.

Obviously, Dr. Winston is in a spot. He asks Stephanie to pretend to be his wife. Understandably, she is reluctant to go along with such a farce, but ultimately agrees. It is here where we get the sense that Stephanie may have a “thing” for Dr. Winston and it is also at the point in the film when we finally get to Stephanie’s story–the main story, in my opinion. Dr. Winston’s relationship with Toni and Toni’s budding relationship with Igor is very much in the background. It is really inconsequential compared to Stephanie’s story.

Jack Weston and Ingrid Bergman. Despite her smile, Ingrid is having to fight back the urge to murder Jack while she pretends to be his girlfriend. Eww! He’s touching her shoulder!

While participating in Dr. Winston’s ridiculous charade posing as his wife, Stephanie discovers a new found confidence, that she didn’t have before. She buys a beautiful aquamarine crystal-encrusted gown and accepts an invitation from one of Dr. Winston’s patients, Senor Sanchez, to attend a ball with him. Later, she invites Senor Sanchez to the same club she attended prior. Toni, Dr. Winston, and Igor all happen to be at the club as well.

Igor and Stephanie hit it off and have a fun evening dancing with one another. Toni and Dr. Winston are seething and very jealous. Both are jealous of Igor’s attentiveness to Stephanie. Igor and Stephanie end up spending the entire evening partying till dawn, knocking back Mexican Missiles (which she says is a gin and tonic, with tequila subbed for the tonic, blech!) with one another and another group of people (not seen).

It is at this point when Dr. Winston and Toni’s relationship is at a crossroads. Stephanie is no longer content to sit back as Dr. Winston’s assistant and devote her life to being a caretaker to her nephews. She has a newfound life, confidence and vivaciousness not seen prior. Dr. Winston sees Stephanie in an entirely different light. Suddenly, 21-year old Toni and her generation gap and immaturity suddenly doesn’t look so hot.

Goldie Hawn, Rick Lenz and Ingrid Bergman perform the new dance craze: The Dentist. Look at Ingrid’s amazing dress! That color!

Ingrid Bergman is absolutely fantastic in this role and her evolution is remarkable and believable. It was fun to see her in a comedy, especially a 1960s comedy. She always seems to play such serious roles and it is fun to see her in something light hearted. Ingrid was in her 50s in this film and she looks gorgeous. Her blue ball gown is amazing and looks fantastic on her. And who can forget her patented dance move, “The Dentist” ?

In Memoriam: Dame Olivia de Havilland 1916-2020

Olivia, looking amazing

Just a few weeks ago, I participated in the Olivia de Havilland blogathon, celebrating her 104th birthday on July 1. In that post, I discussed her nine films with her most frequent co-star, the gorgeous Errol Flynn. It brings me great sadness to have to write a memorial post about Olivia. Last weekend, she passed away in her sleep of natural causes in her Paris townhouse at the age of 104.

While this news is not unexpected, I cannot help but feel sorrow over Olivia’s passing. She was the last surviving major Hollywood star from the golden age. When I was growing up in the mid-80s through early-00s, many of the classic Hollywood stars were still alive. Some were even still working! While I am too young to remember the passings of Fred Astaire and Rita Hayworth in 1987 (I was in preschool then), and thank god I wasn’t aware of Lucille Ball at the age of 5 when she passed in 1989 (if that had happened just a few years later, or even now, I would have been devastated). I remember being in middle school when Gene Kelly, Ginger Rogers, Robert Mitchum, and James Stewart passed.

Olivia and sister Joan Fontaine

People like Katharine Hepburn and Bob Hope were old when I was born, they were still old throughout all of my formative years. When they both died within a month of one another, I was sad as they were enduring symbols of old Hollywood, immortal as far as I was concerned. Kirk Douglas was always there. Doris Day was too. Joan Fontaine seemed like she would last forever. Shirley Temple was just a child! Surely she would be around forever. Then, there was my queen, Olivia de Havilland.

Now, they’re all gone.

It is moments like this when people start making lists of people from the Golden Age who are still alive. I cannot bring myself to make such a list. To me, that seems like bad luck. It seems like chronicling those who are blessed with longevity is just asking to have a hex placed on them. So I will refrain.

Olivia, looking fierce

Olivia de Havilland’s death represents the final door closing on the Golden Era. She was the last tangible link to this amazing period of filmmaking where everything was in its infancy, numerous techniques, camera angles, acting styles, etc. were pioneered every day during this period of great innovation. Olivia de Havilland was a woman who could recall working with people like: my boyfriend Errol Flynn, Montgomery Clift, Clark Gable, Vivien Leigh, the amazing Hattie McDaniel, James Cagney, Rita Hayworth, Rosalind Russell, Dick Powell, Charles Boyer, Bette Davis… legendary Hollywood personalities who had long since passed.

Olivia had an infamous feud with her sister, Joan Fontaine. It’s a shame that the two ladies could not get along and share their respective good fortunes with one another, but that isn’t anyone’s business but Olivia and Joan’s. What was the feud about? Who knows? Both ladies must have had their reasons.

Can you imagine if What Ever Happened to Baby Jane? had been made with Olivia and Joan instead?

Olivia was also not afraid to put herself on the line to speak out about perceived injustices both she and her peers faced. In 1943, Olivia sued Warner Brothers for violating California Labor Codes. During the early days of the studio system, contract players were signed to seven-year contracts. The studios viewed actors as employees, they were no different than the cameraman, the set designer, the electricians, or the propmen. The actors would be assigned to specific projects and were expected to fulfill their end of the contract and make the film.

L to R: Hattie McDaniel, Olivia, Vivien Leigh in “Gone with the Wind.”

However, many of the performers believed that they should have a say over their projects–especially if their appearance in a film was proven to make money for the studio. Many actors, such as Bette Davis, were trying to hone their craft and also take on challenging parts. These performers didn’t want to hurt their box office clout and essentially, their marketability by taking on crappy parts. The studios believed that they were allowed to suspend actors for refusing parts. Then, after the film was completed with a different actor, the length of the production time would be added to the actor’s existing contract.

In 1943, Olivia reached the end of her 7-year contract at Warner Brothers. She was then informed that she owed them an additional 6 months time to make up for the parts she refused. Olivia sued Warner Brothers to be released from her contract and won the lawsuit! Warner Brothers tried to appeal, but lost. The California Superior Court upheld the “seven-year contract” labor ruling and named this law the “de Havilland Law,” a law that is still in place today. Even sister Joan Fontaine gave Olivia kudos stating “Hollywood owes Olivia a great deal.”

Of course, Warner Brothers, being petty, managed to get Olivia blacklisted in Hollywood for two years.

In 1945, Olivia signed a two-picture deal with Paramount. She immediately went to work on To Each Her Own.

She won the Best Actress Oscar.

Olivia as Catherine Sloper in “The Heiress.”

In 1949, Olivia made The Heiress with Montgomery Clift. I just watched this film the other day. I’d seen it once prior, but didn’t really remember much about it, except for the ending. Olivia’s performance in this film is nothing but fantastic. Her transformation from meek, proper, shy Catherine to a cynical, bitter, hardened woman is nothing short of remarkable. Not only does Olivia’s portrayal change, but her entire look, her voice, the way she carries herself, everything changes. I absolutely loved it.

Olivia won a second Best Actress Oscar for her performance in The Heiress.

In the 1950s, Olivia moved to Paris, married, had two children, and continued her film career and started appearing in the theater and on television. Her career continued until 1988 when she retired. From then on, Olivia stayed active appearing in various career and film retrospectives. As the last surviving major cast member (since 1967, with the death of Vivien Leigh) of Gone With the Wind, Olivia served as an ambassador for that film. She also received numerous accolades and honors, including being appointed Dame Commander of the Order of the British Empire by Queen Elizabeth II.

Goodbye Olivia. We will miss you.

I will miss Olivia immensely. Knowing that she was still alive, healthy, and active was such a consolation–the Golden Age of Hollywood was alive and well. Now, another piece of it is gone. However, Olivia has achieved immortality. Her films, along with everyone else’s, will live on forever.

We’ll always have Paris.

Current Kick- Edmond O’Brien

Full disclosure, I’ve been known to be on simultaneous kicks at a time. Some are short-lived, others go on for awhile. Last year, I was on an Edmond O’Brien kick and watched a ton of his films. Then, I briefly moved onto a Burt Lancaster kick. Then, I moved onto Robert Ryan. More recently, I was obsessed with Ralph Meeker, then I moved onto Joel McCrea.

The Ida Lupino-directed film noir that ignited my first Edmond O’Brien kick

With my recent purchase during the Kino Lorber Summer sale (still going on, through August 3), I may have reignited my Edmond O’Brien kick. during the Kino sale, I purchased the Ida Lupino Filmmakers 4-movie set for $29.95 (regular retail price $79.98). In this collection, there are two O’Brien films: The Hitch-Hiker and The Bigamist, both from 1953. I’ve seen both films and they are excellent. Not everyone can make you sympathize with a man who knowingly commits bigamy, but O’Brien manages to do so.

Edmond O’Brien

I don’t know what it is about Edmond O’Brien that I like. He’s nowhere near Errol Flynn when it comes to looks and charm. He doesn’t have extraordinary dancing ability like Fred Astaire and Gene Kelly. He isn’t an amazing singer like Judy Garland. He isn’t adorable like Sandra Dee (ridiculous comparison, I know). Perhaps it has something to do with his everyman persona (displayed to perfection in 1949’s D.O.A.). Whatever it is, O’Brien is definitely underrated and deserves to be better known.

The Hitch-Hiker definitely served as the catalyst to my kick. From there, I pretty much watched a different O’Brien film each night for weeks. Prior to seeing The Hitch-Hiker, I’d seen O’Brien in A Girl, A Guy, and A Gob (1941). And the only reason I watched that film was because it stars my girl, Lucille Ball. I didn’t think much of him in this film, only that I thought he was more attractive than George Murphy and I wanted Lucy to end up with him. I recently just watched this film again–okay, I watched it today–and I just love him. I think I may embark on another O’Brien kick.

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

A Girl, A Guy and A Gob (produced by Harold Lloyd) stars Lucille Ball, George Murphy and Edmond O’Brien. Lucy plays Dorothy ‘Dot’ Duncan, a secretary who hails from an eccentric family. One night, Dot treats her parents to an anniversary present–box seats at the opera. However, her box seats actually belong to the affluent Stephen Herrick (O’Brien), his fiancee and her mother. It seems that Stephen accidentally dropped his tickets and Dot’s brother (who was sent to the box office by Dot) picked them up. He fails to tell Dot how he obtained the box seats, he let her pretend that these were the seats he’d purchased with the money she gave him.

Stephen and his guests are understandably upset by the guests sitting in their seats. However, not wanting to make a scene or be conspicuous, Stephen drops the matter and relinquishes the seats to Dot and her family. Stephen’s fiancee, Cecilia, is furious.

The next day, Stephen discovers that his secretary, Miss Comstock, has eloped with her fiance and has quit her job. Dot enters the room and is introduced to Stephen as his new secretary. He is furious and tries to fire her, but Dot pleads her case and explains the previous night’s ticket mishap. Stephen agrees to put the night behind him and agrees to hire her as his secretary.

Stephen soon finds himself enamored of Dot and charmed by her eccentric friends and family. He also meets Dot’s beau, “Coffee Cup” (George Murphy) a sailor who returns to town after his latest stint in the Navy. He makes it known that he is planning on settling down and marrying Dot.

The only person on this poster who looks like themselves is Lucy. Supposedly though, George Murphy is the sailor on the left and Edmond O’Brien is the businessman on the right. This poster looks like they used the same man to represent both male leads.

One day, Stephen awakens to find himself lying, trouser-less, in the Duncan’s living room. It seems that he was knocked out in the fracas in front of the pet shop after getting involved in the brawl that erupted after Coffee Cup bet onlookers $5/a piece that his friend Eddie couldn’t make himself grow 4-inches. Eddie’s talent for faking elongation and the money-making con that ensues is a running gag throughout the film.

Stephen finds himself completely charmed by Dot and her family and later accompanies her and Coffee Cup to a dance hall. He completely loses all sense of time and congas the night away, much to the chagrin of his fiancee, with whom he had a date. Oops! It’s okay though, because she sucks anyway.

One of my favorite motifs: The love triangle

As the film progresses, Stephen and Dot find their feelings for one another growing, all while Coffee Cup blissfully plans a life together for himself and Dot. This film features one of my favorite themes: the love triangle. It is obvious that Dot more than likely needs a man who is a little more serious and a little more dependable. Coffee Cup seems a bit flakey and truly loves the Navy. Whether or not he would truly be happy on land is questionable.

I actually thought that Edmond O’Brien was very attractive in this film. This is only his second film, he was only 26 when it was made. Unfortunately, bad habits led to him aging prematurely and affected his health. He had a heart attack at 45. He won the 1954 Best Supporting Actor Academy Award for his performance in The Barefoot Contessa (which I haven’t watched yet. It’s on my DVR though).

Edmond O’Brien films that I’ve watched and recommend:

A Girl, A Guy, and A Gob (1941)

The Killers (1946)

A Double Life (1947)

Another Part of the Forest (1948)

White Heat (1949)

D.O.A. (1949)

Backfire (1950)

The Hitch-Hiker (1953)

The Bigamist (1953)

Birdman of Alcatraz (1962)

I’ll probably end up re-watching all of these and hopefully more.

6 From the 60s Blogathon

 

May 16th is National Classic Movie Day. And what would be better to watch during these trying times than a classic film? This year, the Classic Film & TV Cafe’s annual blogathon is devoted to the 1960s. All participants have been asked to list their favorite films of this decade.

The 1960s are an interesting time for classic film as the Production Code and Studio System were all but gone. Sandra Dee, 50s/60s teen queen, was Universal Studios’ last contract star. Most of the classic film stars of the studio system were either retired, and unfortunately, many were deceased. Some of the younger stars of that era, e.g. Doris Day and Lauren Bacall, to name a couple, were still active, but even then their stars were waning. The 1960s brought a new crop of stars: Robert Redford, Paul Newman, Steve McQueen, Faye Dunaway, to name a few. Some child stars, like Natalie Wood, had successfully transitioned out of juvenile roles and into ones for adults.

This year, the Classic Film & TV Cafe has asked bloggers to name their six favorite films of the 1960s.

Without further ado:

Psycho (1960)

This is a great poster

I’m sure everyone is familiar with this film. The violent shower scene where Janet Leigh meets her demise is iconic. Norman Bates’ name is synonymous with “mommy issues.” The fictional Bates Motel is infamous. I love Alfred Hitchcock’s Psycho. This is probably my second favorite Hitchcock film after Rear Window. I am not a big horror movie fan, but this film is more psychological than slasher and in true Hitchcock fashion, there are even some funny, albeit, macabre parts as well.

Janet Leigh stars as Marion Crane, a secretary for a local real estate company in Phoenix. On a Friday afternoon, she meets with her boyfriend, Sam Loomis (John Gavin), for a quickie during lunch. Their rendezvous is complicated when Sam announces that he cannot marry Marion because of debts he incurred after divorcing his first wife. Marion, disappointed, returns to work. When she arrives, her employer is in the middle of settling a large real estate deal. The client ends up giving Marion’s boss $40,000 cash as a down payment. Marion, seeing an opportunity to solve Sam’s money woes, so that they can marry, feigns a headache. Her boss, not wanting such a large sum of cash in the office over the weekend, asks Marion to deposit the cash on her way home. Marion absconds with the money instead and drives to California where Sam lives.

While enroute, there’s a fantastic scene (with Bernard Hermann’s amazing score) where Marion is driving and she imagines her boss’ conversation after he discovers that she’s stolen the money. Marion trades in her vehicle after a weird encounter with a police officer who keeps questioning her when she acts odd and suspicious after he wakes her up from a roadside nap. During a heavy rainstorm, Marion comes across a motel off the beaten path– The Bates Motel. The proprietor, Norman Bates (Anthony Perkins), is a little odd, but seems harmless.

The infamous shower scene

Unfortunately, Marion is never seen again.

The remainder of the film deals with her sister, Lila (Vera Miles), Sam, and Detective Arbogast (Martin Balsam), trying to find out what happened to Marion. It becomes clear to all involved that Norman has a weird relationship with his mother. Lila and Arbogast decide that Mrs. Bates might hold the key to the whole mystery.

This might be the creepiest scene in the entire movie.

***SPOILER*** These are my favorite scenes:

  1. Marion’s infamous shower scene
  2. Lila tapping on the shoulder of “Mrs. Bates” and having the chair spin around only to see a skeleton wearing a wig.
  3. “Mrs. Bates” stabbing Arbogast and him falling down the stairs.
  4. Norman Bates’ reveal as “Mrs. Bates” That scene is funny, if anything.
  5. The last scene featuring a close-up of Norman Bates’ face with “Mrs. Bates” providing the internal monologue. “He wouldn’t hurt a fly.”

Cape Fear (1962)

Not particularly a flattering depiction of Mitchum.

I saw this film for the first time a couple years ago. Prior to that, my only experience with Cape Fear was the Simpsons parody with Sideshow Bob assuming the Robert Mitchum role. I saw Scorsese’s 1991 remake last year and while it was okay, I preferred the original. Scorsese’s version was too graphic and gross. I liked the subtlety of the original. Cape Fear, in my opinion, is very progressive for 1962. It might be one of the first sexual thrillers. This film is terrifying and Robert Mitchum deserves all the credit for imbuing the film with the creepy and uncomfortable atmosphere present through the entire film. In Scorsese’s 1991 remake, Robert DeNiro assumes Mitchum’s role, and in my opinion, Mitchum was much more effective. DeNiro was just creepy, gross, and a complete psychopath. Mitchum, on the other hand, was creepy, but also possessed that dreamy quality (which also makes him excel in romantic roles). He was believable as a man who could charm a potential victim into spending time with him–only for her to realize his true character when it was too late. DeNiro is just a creep from the start.

The original Cape Fear takes place in contemporary 1962 Georgia. Max Cady (Robert Mitchum), has just been released from prison. He has just completed an 8-year stint after being convicted of rape. What’s interesting in this film is that Max’s crime is never explicitly stated, but is implied. After leaving prison, Max travels to the hometown of Sam Bowden (Gregory Peck), a lawyer who assisted in delivering the eyewitness testimony that sealed Max’s case and got him convicted and incarcerated. Max is determined to get revenge on Sam. He promptly discovers where he lives. The remainder of the film deals with Max stalking both Sam and his family. It gets even worse when Max sets his sights on Sam’s 14-year old daughter, Nancy.

There is a terrifying scene between Max and a woman he picks up at a bar, Diane Taylor (Barrie Chase). This scene is made even more disturbing in the 1991 Scorsese version.

Creep? or Dreamboat?

The highlight (and scariest part) of the film is the famous houseboat scene–parodied perfectly on The Simpsons. Sam’s family heads to their houseboat in Cape Fear, North Carolina, in an effort to lure Max. The scene between Max and Sam’s wife, Peggy (Polly Bergen) on the houseboat is so disturbing– it just gives me the willies thinking about it.

This film is fantastic and highly worth watching. I recommend watching it in the dark to get the full effect. In fact, I may watch this movie tonight in honor of National Classic Film Day.


Yours, Mine, and Ours (1968)

Full disclosure: I love The Brady Bunch. I can watch it all day long and I never tire of it. However, other family sitcoms, e.g. Full House, I can only take an episode or two at a time. Both sitcoms have overly sappy moments, both can be saccharine at times, there are lessons to be learned in each episode… so what’s the difference between the two shows? I have no idea, except the The Brady Bunch is superior.

“The Brady Bunch” was greenlit by ABC due to the success of “Yours, Mine and Ours.”

In 1968, when Sherwood Schwartz was looking for a new project, he came across a newspaper column offering the statistic that 30% of marriages involve children from a previous marriage. He created a pilot for a series involving Mike Brady, a widower with three children, falling in love with and marrying Carol Martin, a divorcee with three children. Due to objections from the network, Carol’s marital status was made more ambiguous. Schwartz presented his pilot to all the major networks. Each network liked the project, but requested multiple changes. Then, two films about mixed families premiered– With Six You Get Eggroll (Doris Day & Brian Keith), and Yours, Mine and Ours (Lucille Ball & Henry Fonda), the latter film turning a major profit. The success of ‘Yours,’ served as the impetus for one network, ABC, to take a chance and greenlight The Brady Bunch.

Yours, Mine and Ours is based on the true story of Frank Beardsley and Helen North, two widowers who, between the two of them, have enough children to play an entire baseball game–defense and offense. They meet and marry and then try to unite their families and manage their massive household. Lucille Ball’s production company, Desilu, purchased the rights to Helen Beardsley’s (nee North) autobiography, Who Gets the Drumstick? Ball enlisted her I Love Lucy writing dream team, Bob Carroll Jr., and Madelyn Pugh to write the screenplay. Ball, of course, would play the role of Helen North. She enlisted her friend (and former beau), Henry Fonda, to play her husband, Frank Beardsley.

Gotta love 1960s colors and artwork.

Frank works in the Navy and has recently left his post on the USS Enterprise. He has taken on a new role (one that presumably keeps him at home) working as a project officer. One day, at the commissary, he meets Helen North, a nurse on the base. They have a friendly, cordial meeting. But nothing comes of it. Later, Frank and Helen reunite when Frank has to bring 12-year old daughter Louise in for an exam. Frank and Helen hit it off and decide to go out on a date. The trouble? Frank and Helen are both single parents to a large number of children. Frank has 10 children, Helen has 8.

While on the date (at a VERY crowded club), there’s a funny scene where Helen practices nonchalantly telling Frank about her 8 children. Since she’s practicing out-loud, the men around her think that she’s coming onto them. Later, there is another funny scene where her fake eyelashes (courtesy of her daughters) keep falling off and later her pinned up slip falls down (her girls also shortened her dress, making her slip too long).

Van Johnson, Henry Fonda, Lucille Ball, and Lucille Ball’s fake eyelash drinking Irish Coffees in a very crowded club.

Finally, the truth comes out when Frank and Helen make their respective broods known to one another. After some funny scenes with the children including a manic Lucille Ball crying/drunk scene, and a near break-up, Helen and Frank marry and then work on combining their respective households–but not without help from Frank’s buddy, Darrel (Van Johnson).

My favorite scene is when Frank is doling out bedroom and bathroom assignments. Each bedroom is assigned a letter. The bathrooms are assigned a color. The children are assigned a number, based on their position within the group of children. There’s a funny quote when one of the younger children (11/18) walks down the hallway, repeating the mantra over and over: “I’m 11, red, A.” For the record, in my house, I’m 1, red, A. My husband is 2, red, A. My sister/boarder, is 3, red, B.

Dr. Tom Bosley is on the scene to tend to a sick Phillip during a blackout. The amazing room and bathroom assignment charts are in the background.

I’m not usually a big fan of children-centric movies/shows or actors (which probably makes my love of The Brady Bunch and Yours, Mine and Ours, even more bewildering)–but both The Brady Bunch and Yours, Mine and Ours are free of the annoying, precocious child with a catch phrase–so that’s probably why I like them. For the record: My favorite Brady kid is Marcia (close second: Greg), and my favorite Yours, Mine and Ours child is Phillip (perhaps the Jan Brady of the Beardsley household), close second: Veronica)

For the record, these are the children in their order of rank:

  1. Mike
  2. Rusty
  3. Greg
  4. Rosemary
  5. Colleen
  6. Nick
  7. Janette
  8. Louise
  9. Susan
  10. Tommy
  11. Jean
  12. Phillip
  13. Veronica
  14. Mary
  15. Gerald
  16. Germaine
  17. Teresa
  18. Joan

Gidget Goes Hawaiian (1961)

I really wish movie posters were still fun like this.

I know that this is not the best movie in the world. It’s not even the best of the Gidget franchise. However, I love this movie. It’s so ridiculous in the best possible way. First of all, we’re supposed to believe that this is a continuation of 1959’s Gidget–just look past the fact that Deborah Walley (Gidget in Gidget Goes Hawaiian) looks absolutely nothing like Sandra Dee (the original Gidget in Gidget). The sequel even went as far as to film “flashbacks” of scenes from the first film, with Walley wearing some of Dee’s costumes! Gidget’s parents in the second film–Carl Reiner as Russ and Jeff Donnell as Dorothy, are completely different. Arthur O’Connell and Mary LaRoche assumed the roles in the Dee film. In the first film, only the surfer boys refer to Gidget by her nickname. Gidget’s parents refer to her by another nickname, “Francie,” based on her real name: Frances. In the second film, everyone calls Gidget by her nickname. The one constant in both films? And really the only constant that even matters? James Darren’s Jeff “Moondoggie” Matthews.

In Gidget Goes Hawaiian, Gidget and Jeff are still together. At the end of the first film, Gidget turns 17 and is entering her senior year of high school. Jeff is a college student, who is on summer break and planning to return to school in the fall. We can assume that Jeff is either a year or two older than Gidget. In Gidget Goes Hawaiian, the timeline is a little fuzzy. Presumably, this is a year or so after Gidget, based on the fact that Jeff is on summer vacation, returning to college again in the fall. At this point, Gidget is presumably at least 18, and perhaps Jeff is 20-21 (He’s still in college in 1963’s Gidget Goes to Rome. Super senior? Pursuing a MA?) He gives Gidget his pin at the beginning of the film, something that he did at the end of the Dee film. Is this a continuity error? I’m not sure. I choose to believe that perhaps Jeff got another pin and is giving it to Gidget. I really don’t know. Regardless, in Gidget’s world, Jeff has just proposed marriage, and they’re basically engaged now.

“Flashback” to the scene in the first “Gidget” film where Gidget (Deborah Walley) and Moondoggie (James Darren) first meet and become acquainted. Sandra Dee appeared in the original scene.

After an idyllic summer of surfing, bonfires on the beach and romantic dates, Gidget and Jeff reach their last two weeks of vacation together, before Jeff has to leave for school. Then Gidget’s dad drops a bombshell–he’s booked a two-week trip to Hawaii for the family. Most people would be ecstatic at this news, but not Gidget. She’s devastated, as two weeks is all she and Jeff have left together until he leaves for school. Her father is understandably both upset and bewildered at Gidget’s unhappiness. Gidget tries to get sympathy from Jeff, and he tells her that this trip is an opportunity of a lifetime (because it is) and that she’d be nuts not to go. Gidget, because she’s bonkers, takes Jeff’s encouragement as a sign that he’s indifferent to her leaving or not, gets mad, and breaks up with him. Meanwhile, Gidget’s parents have decided to turn their family trip into a romantic trip and cancel Gidget’s adjoining room. Gidget then announces that she’s coming on the trip after all, and her parents scramble to re-book her room. Her adjoining room is gone, but they’re able to book her a single room down the hall. Gidget and her family are on their way to Hawaii.

Gidget and new frenemy Abby. Back when you might want to talk to your seat neighbor on a plane.

While on the plane, Gidget and her parents become acquainted with another family on board–Monty (Eddie Foy, Jr.) and Mitzi (Peggy Cass) Stewart and their daughter Abby (Vicki Trickett). Abby and Gidget are the same age. While seated on the plane together, Gidget and Abby get to talking. Gidget bares her soul to Abby about Jeff and how lost she is without him. The whole group is staying at the same Hawaiian hotel together. While at the hotel, Gidget and Abby meet Eddie Horner (Michael Callan), a dancer who is appearing at the hotel. The girls, Eddie and his friends all spend time together during the trip.

Deborah Walley and that dreamboat, James Darren

Gidget is miserable during the beginning of the trip. She just sits and mopes in the hotel, refusing to take in the sights of Hawaii. Her parents are understandably concerned. Gidget’s dad arranges to have Jeff fly to Hawaii as a surprise for Gidget. Between Gidget’s moping and Jeff’s arrival in Hawaii, she comes out of her shell and quickly wins over Eddie and the guys. Abby is jealous of Gidget’s popularity and appeal to the boys and quickly resents her.

I really like this film because it’s fun and has amusing moments. I do feel bad for Deborah Walley–only because I feel the costume team did her a real disservice. Gidget is presumably at least 18, but is dressed like she’s 12. Walley is not chubby by any means, but her tight, short waisted, twee dresses greatly undermine her figure. She looks best in her swimwear and when Gidget imagines that she’s a streetwalker. I also don’t know what’s up with the half up, half down hairstyle she sports–it’s not appealing. But I’ve seen it on other women during the early 60s, so I’ll assume that it was the style.


Where the Boys Are (1960)

If there’s one thing I love, it’s teen beach movies. I love all of them: Gidget, Beach Party, everything. One of the best films of this genre is Where the Boys Are. This film has more in common with the coming of age story in Gidget (1959) and less with the wackniess of the Frankie and Annette Beach Party movies. Much like Gidget, this film is progressive in its discussion of not only teenage sexuality, but the sexuality of young, unmarried, women. Where the Boys Are tells the story of four young college women (Freshmen) who travel to Fort Lauderdale, FL for a two week spring vacation.

A great movie poster!

Merritt Andrews (Dolores Hart) is a young woman who talks a good game when it comes to young women being free to date, makeout and have sex (aka “backseat bingo”) with whomever she wants. This progressive attitude of course scandalizes the professor of the “Courtship and Marriage” class. It is obvious that the four main characters in the film attend an all-female university. Merritt’s outspoken views have her kept under close watch by the school’s dean. At the conclusion of the school day, Merritt and her friends Melanie Tolman (Yvette Mimimeux), Tuggle Carpenter (Paula Prentiss), and Angie NoLastName (Connie Francis) set off for Fort Lauderdale.

While on the road, the girls come across TV Thompson (Jim Hutton) who is looking to hitch a ride to Florida. After being impressed by his height and shoe size, Tuggle (who stands 5’10.5 and desperately seeks a taller man) invites him into the car. They arrive in Florida and check into their apartment. As the events of the film unfold, it becomes apparent that each girl has a different viewpoint when it comes to sex.

From left to right: Paula Prentiss (Tuggle), Dolores Hart (Merritt), Yvette Mimieux (Melanie), Connie Francis (Angie)

MERRITT: Outspoken advocate of pre-marital sex. Talks a good game, but might not be as experienced and confident as she lets on. She meets Ryder Smith (George Hamilton), a senior at Brown University. He’s wealthy and his intelligence is on-par with Merritt’s. It becomes clear that he probably actually has the experience that Merritt talks about and it seems that he may have been led on by her at first.

TUGGLE: Strives to become a wife and mother “the chaste way,” she says. Tuggle believes that her height and build has her destined to become the mother to multiple children. She is more traditional and doesn’t particularly share Merritt’s opinion about sex. She wants to meet a man, marry and then have sex after marriage. TV ends up becoming her beau throughout the film and at first seems to be upset about her wanting to be a “good girl.” However, TV seems like a good guy.

MELANIE: She’s insecure about her lack of experience and takes Merritt’s outspoken views to heart. Her main goal while in Florida is to meet a “Yale-ie” and lose her virginity. Unfortunately for Melanie, she might be dealt the worst hand in this film. She meets a couple Yale-ies in the film.

ANGIE: Angie is your classic tomboy. She’s a pretty girl, but isn’t tall like Tuggle, or blonde like Melanie and Merritt. She’s short and brunette and a little curvier than the other girls. Angie is the captain of her school’s field hockey team. Nobody worries what Angie is doing on vacation or while at school. It is implied that everyone just assumes that Angie won’t have to worry about pressure to have premarital sex. The one asset Angie does have is that she has a killer voice. Her voice attracts the attention of Basil (Frank Gorshin) a didactic jazz musician.

This film has some very funny scenes such as at the club when the gang watches Lola Fandango (Barbara Nichols) perform an Esther Williams-esque underwater number; and when Angie and Merritt attempt to save money by ordering hot water (and dipping in their own contraband tea bag) at a restaurant. I also love the scenes showing the mob at the beach and in their hotel room (the girls end up sharing their 2-bed room with 7 other girls). There are also some very serious scenes as well as some sweet ones.

This is an excellent film for anyone who loves coming of age stories, teen beach movies, or movies with killer title theme songs.

Paula Prentiss and Jim Hutton, MGM’s Amazon dream team of the early 60s.

Valley of the Dolls (1967)

Last but not least, one of my other favorite films of the 1960s is the cult classic, Valley of the Dolls. This film is so ridiculous in all the best ways possible. Prior to watching this film, I was unaware that “dolls” was a term for pills. I always thought that the “dolls” in the title referred to the women in the film. Oh how I was wrong.

This is a great poster!

This movie is amazing. Everyone in this film has a million problems. The most sane person is probably Susan Hayward’s Helen Lawson, and even she’s a piece of work. Based on Jacqueline Susann’s 1966 novel of the same name, this film tells the story of Anne Welles (Barbara Parkins) a recent college graduate who takes a job as a secretary at a theatrical agency. Their number one client is Helen Lawson–an aging, and cutthroat Broadway star. Helen is appearing in a new show, which is featuring a young ingenue, Neely O’Hara (Patty Duke). Neely is very talented and Helen fears that Neely will overshadow her performance. In an effort to get Neely to quit the show, Helen orders for all of Neely’s best scenes, including her big musical number, cut. The ruse works and Neely is out. Anne is immediately disheartened with show-biz after witnessing Helen’s cruel behavior toward Neely, but is convinced by her employer to not quit and stay with the company.

The ladies of Valley of the Dolls. From left to right: Barbara Parkins (Anne), Sharon Tate (Jennifer), Patty Duke (Neely O’Hara)

Anne and Neely befriend another young woman, Jennifer North (Sharon Tate). Jennifer is gorgeous, but her talent is limited. Neely’s agent at the theatrical agency (which employs Anne) lands her an appearance on a telethon, which leads to a nightclub gig, and so-on. The audience is treated to an amazing 1960s montage of Neely’s rise to success. Neely is offered a Hollywood contract and off she goes. Unfortunately, the pressure of the business and instant success gets the best of Neely and soon she’s a glorious, alcoholic, doll-addicted disaster. In all honesty, Neely’s complete collapse and self-destruction is the highlight of the film. I know it’s campy, over-the-top, and absolutely absurd, but I love it. Neely O’Hara was my hero in this film. One particular highlight is when a drunk, drugged out of her gourd Neely goes to a bar. She plays her own song on the jukebox and plays the “don’t you know who I am?” card. Nobody knows who she is because she’s a shell of her former self.

My hero, Neely O’Hara (Patty Duke)

Unfortunately, the other two ladies, Anne and Jennifer, don’t fare much better, though Anne’s plight lasts all of 5 minutes. I wish she’d self-destructed a little bit more.

The absolute best part of the entire film is the showdown between Neely and Helen. It is amazing and one of my all-time favorite movie scenes. I absolutely love this movie from start to finish. It is worthy of its status as one of the all-time best campy, cult films. Lee Grant has an appearance as the sister to Jennifer’s beau. Dionne Warwick sings the very melancholy theme song.

Now I want to watch this movie. Valley of the Dolls / Cape Fear double feature? Is that weird?

Clearing the DVR & Current Kick: Ralph Meeker- “Something Wild (1961).”

Ralph Meeker in “Something Wild” (1961)

When deciding what movie to watch, I often find myself deciding upon a film based on a specific actor, a specific director, certain genre… whatever I happen to be obsessed with at the moment. It’s probably because of these kicks that many of the classic era’s biggest classics, e.g. Gone With the Wind have not yet made it to my DVD/Blu Ray player. Anyway, right now, I’ve been watching and seeking out Ralph Meeker.

I discovered Ralph Meeker as the antagonist in Jeopardy (1953) with Barbara Stanwyck and Barry Sullivan. In Jeopardy, Stanwyck plays a woman who is racing against time (and the tide) to try and find help for her husband played by Sullivan. Sullivan ends up becoming trapped under a wooden piling when he tries to save his and Stanwyck’s son from being seriously injured on a collapsing, dilapidated jetty. Sullivan cannot free his leg, and neither Stanwyck nor their young son are strong enough to move the piling. To make matters worse, the tide is coming in. If Sullivan isn’t saved soon, he will drown.

Ralph Meeker and Barbara Stanwyck in “Jeopardy” (1953)

Stanwyck leaves Sullivan at the beach in search of someone who can help. She comes across Lawson, played by Meeker, a man who seemingly wants to help her and her husband. However, it is revealed that Lawson is an escaped convict and basically uses Stanwyck as a way to escape the police. Meeker’s Lawson is terrifying, but also really hot, in that dangerous kind of way. He’s the type of dangerous that only seems sexy in the movies–in real life, you’d be scared to death and calling 911.

Anyway, after seeing Jeopardy, I started seeking out more Ralph Meeker films. Unfortunately Meeker seems like he had more success on television and on the stage than in film; but he does have a good sized filmography to keep me going for awhile.

One such film that I watched recently was Something Wild (1961) starring Meeker and Carroll Baker. This is a film that I’d seen on the Criterion shelves often, but had never seen it. I’d actually recorded it on TCM back when Baker was honored one day during TCM’s Summer Under the Stars. After getting on my Ralph Meeker kick, I was ready to watch this film. I’d also heard that this film was somewhat bleak and stressful at times. It seemed like a film that you’d have to be in the mood for and one that you’d watch at night.

Anyway, I loved Something Wild. I thought it was a fantastic film. In this movie, Baker plays Mary Ann, a college student who is attacked and raped by an unknown assailant. Normally, I do not like films that feature rape. Fortunately however, the rape scene was not graphic and the director chose to use specific close-ups and shots to get the idea across as to what was happening, but did not actually show anything. Anyway, Mary Ann is understandably traumatized and terrified.

Mary Ann tries to get her life back together and put her trauma behind her. She even goes as far as to destroy every piece of clothing that she was wearing the night she was attacked. Mary Ann doesn’t tell her mother or stepfather what happened. I get the sense that she felt shame, embarrassment and also was traumatized to the point that she just wanted to put it past her. While trying to ride the subway to get to school, Mary Ann faints when a large mob of people rush on and squeeze her into other people. Her PTSD would affect her later when her co-workers do the same thing to her and she has to go home and vomit. The police end up bringing Mary Ann home, much to the horror of her prim and proper mother. Mary Ann’s mother, instead of asking why the police are bringing her home, chooses instead to go on a tirade about what the neighbors will think. It’s obvious that if Mary Ann were to reveal to her mother the true source of her anxiety, her mother would make it about herself and make Mary Ann feel even worse.

Mary Ann ends up leaving home (without telling her mother or anyone else, causing her to be a “Missing Person” for much of the film) and finds a gross apartment in a tenement for $5/week. Her neighbor is Jean Stapleton (aka Edith Bunker) whose constant drinking and carousing with men brings Mary Ann much stress. Mary Ann’s job at the five and dime isn’t much better, as her co-worker, Doris Roberts (grandma from “Everybody Loves Raymond”) is very abrasive and gossips behind Mary Ann’s back about her aloofness and quiet nature.

Carroll Baker and Ralph Meeker in “Something Wild.”

One day, Mary Ann decides to end everything and prepares to jump off a bridge. She is saved right before jumping by Mike (played by Meeker), a mechanic. Mike takes Mary Ann to his home so that she can relax and rest. Mike’s home isn’t much better than Mary Ann’s. It’s sparsely decorated with only the basic essentials. Mary Ann at first is hesitant to go to Mike’s home (because duh, he’s a stranger), but acquiesces when he assures her that he’ll be at work all day. Mike at first seems like a sweet man, but it becomes clear that he’s troubled when he arrives home from the bar completely trashed. He’s so drunk that he can barely walk. He sees Mary Ann and tries to force himself on her. She is able to fight him off and he passes out. She spends the rest of the evening understandably terrified.

For most of the remainder of the film, Mike will not allow Mary Ann to leave. He is able to lock the door from the inside and outside and always has the key on his person. At the beginning, one might think that Mike’s just keeping her inside so that he can make sure she won’t harm herself. However, it becomes apparent that Mike has other motives for keeping Mary Ann at his house. As the audience, I should be upset and turned off that Mike is holding Mary Ann hostage; but it becomes clear that this man is troubled. He is lonely. No, he shouldn’t be keeping her hostage, but he is afraid of being alone. He doesn’t want to be alone.

Both Ralph Meeker and Carroll Baker bring a lot of emotion and complexity to their portrayals of their characters. Meeker is a troubled man, who seemingly only wants someone to love and take care of him. Baker is trying to overcome emotional trauma caused by a stranger, and is basically forced to trust a strange man that he won’t bring her harm. I really enjoyed this film and would watch it again. I loved the gritty setting, the great music and the performances of Meeker and Baker.

Reel Infatuation Blogathon- Greg Brady, “The Brady Bunch”

Reel Infatuation 2019

I’ve been on a bit of a ‘Brady Bunch’ kick lately.  I don’t know why I’m saying “lately,” I’ve been on a ‘Brady Bunch’ kick for probably 20-25 years now.  I used to watch it back in the day when it aired on TBS.  I remember when it moved to Nick at Nite back in 1998, I was so excited.  Along with I Love Lucy and The Mary Tyler Moore ShowThe Brady Bunch became one of my “must-see” shows every evening.

greg
Greg in the beginning of the series.

I always thought that Greg Brady (and to some extent, Peter as well) was kind of cute which is why I selected him for this year’s “Reel Infatuation” Blogathon. The Greg and Marcia-centric episodes were always my favorite, mainly because as the oldest child, they’re the characters who I identified with the most.  The episodes centered around Greg are some of the funniest ones in the series, especially one of my favorites, “Getting Greg’s Goat.”

Greg has always been my favorite Brady.  He’s attractive (nice eyes!), a great singer, an athlete, a photographer and he “fits the suit.” He’s a bit of a ladies’ man (he isn’t called “The Casanova of Clinton Avenue” for nothing) even though he can be a bit blinded by the opposite sex.  When he was the head of the committee to select the head cheerleader, contender Jennifer Nichols attempted to use “Greggy” for his vote.  In this instance, Greg demonstrated that he had character by not being swayed by his hormones or by nepotism (sister Marcia was a contender as well).  He selected Pat Conway, the contestant whom he felt did the best.  In another demonstration of character, when he finds himself running against sister Marcia for Student Body President, Greg fires his campaign manager when he announces his intent to spread false rumors about Marcia.

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Greg in the final season.

I find Greg’s self-confidence attractive, such as when he thinks he’ll be the next Don Drysdale or when he thinks he’s written the next hit song (“We Can Make the World a Whole Lot Brighter”).  He’s musically inclined and has performed on local television multiple times.  His talent did not go unnoticed.  While singing “You’ve Got to be in Love (to Love a Love Song),” Greg was discovered by music agent Tammy Cutler.  She was planning to groom him into the next pop star, under the moniker “Johnny Bravo.”  After hearing his sweetened up vocals, Greg demonstrated that he had pride when he declined the offer of a contract, as he did not want to be a sell-out.  However, he showed a questionable understanding of the legalities of a contract, as merely ripping up a contract does NOT relieve you of legal obligation.

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Greg’s groovy threads

Greg also demonstrates a great sense of fashion.  I loved his “man” outfit which consisted of a fringe vest, a blue shirt with a floral print, glasses with green-tinted lenses, headband, and striped pants.  He also sports a great suede fringe jacket when they record “Time to Change” at Mr. Dimsdale’s record studio.  I even loved his plaid pants in “Adios, Johnny Bravo.”

Greg did have some questionable hairstyles at times.  As an 8th-9th grader, he wore his hair short on the sides and back, longer on top.  Frankly, this is the style I prefer, but Greg was a bit young.  As he matured, his hair took on a questionable look and texture.  There is a period where he is decidedly older, his hair longer, but it is this weird straight-ish mop on his head.  I read that Greg’s portrayer, Barry Williams, experimented with a chemical straightener and it did not go well.  I’ll assume that this is the period of Greg’s awful hair.  I don’t know what happened in Hawaii, but the Brady men’s hair did not fare well.  The men went over to the Island State with straight hair and returned with permed hair.  There was also a period where Greg seemed to be attempting to grow a ‘fro.  I was not into this era either.  By the end of the series, he’s got his hair under control and is rocking some great sideburns.  This is the Greg I like the best.

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One of Greg’s faults is his sometimes sexist attitudes.

Since nobody is infallible, Greg did have his faults.  He seemed to regress into “men are superior than women” attitude on occasion.  Such as when the Brady men took their new female family members on their first camping trip.  The gang fails to catch fish for dinner.  Greg and his brothers attribute the lack of fish to their sisters’ lack of fishing ability.  Thankfully, the women thought ahead and packed fried chicken and cold cuts.  Who can forget Greg’s immortal words, “That’s sissy food!” He also gets into a battle of the sexes when the boys and girls argue over the use of the trading stamps and the clubhouse.  Then there was the time when Marcia wanted to be in Greg’s Frontier Scout troop.  Despite his efforts to prove that men were superior in the wild than women, he failed.  Finally, in a last ditch attempt to assert men’s dominance, he resorted to challenging Marcia in a driving contest.  Perhaps he’ll reconsider his stance as he irons Marcia’s clothes for the next year.

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Despite having questionable hair at times, I still think Greg Brady is pretty hip! *Yes, I know that the orange hair was an accident in the last episode of the series.

Despite his bravado, I still find Greg to be pretty groovy.  He sings, he plays guitar, he surfs, he plays football, baseball and basketball.  I love that he sticks up for his siblings while also providing guidance and advice.  Finally, Greg was able to escape from Vincent Price’s clutches while imprisoned.  If that doesn’t make someone great, I don’t know what does!

If anyone doesn’t like Greg Brady or The Brady Bunch for that matter, all I can do is quote the great Greg Brady: “Kids.  What do they know about life?”