I ‘m coming in hot with a last minute entry for Classic Film and TV Corner’s “Discovering Classic Cinema Blogathon.” I actually saw this blogathon announced awhile back and forgot to enter it. Oops. This is also my first opportunity to type something substantial using my new laptop that my husband got me for Christmas! Woohoo. My introduction to classic film didn’t come via the usual routes. I’m not old enough to have seen any of these movies in the theater during their original run. The first movie I saw in the theater was Disney’s The Little Mermaid at the age of 5 in 1989. Apparently I saw a re-release of The Aristocats in 1987 when I was 3, but according to my mom it did not go well and I did not see the whole movie. Lol. I traumatized my parents enough that it was 2 years before I went back. Having grown up in Salem, OR during the mid-to-late 80s through the early 00s, there wasn’t really any opportunity to see the classics in repertory theaters, as Salem doesn’t have any. While I did watch the annual TV viewings of The Wizard of Oz, and had secretly seen Psycho and The Birds despite my mom not wanting my sister and I to see them (my dad rented them while she was out of town), these did not ignite my love of classic cinema.
I miss 90s Nick at Nite!
One evening in 1994, 10-year old me was flipping channels and came across Nickelodeon’s evening programming, something called “Nick-at-Nite.” For the record, 90s Nick-at-Nite was one of the greatest things ever and I really wish it would come back, but I digress. Anyway, I was instantly sucked in by the colorful graphics, catchy jingles and fun animation that once graced the evening Nickelodeon block. A voiceover came on screen and announced that a show called I Love Lucy was coming up on the schedule. I honestly do not recall if I’d ever seen or heard of I Love Lucy prior to this moment, but I do know that it was not something I watched regularly. The now-familiar I Love Lucy theme song started, the hearts on satin appeared with the cast’s names: Lucille Ball, Desi Arnaz, Vivian Vance, and William Frawley. I still remember the first episode I saw, “L.A. at Last!” with William Holden guest starring. At that moment, I had no idea who the cast members were, let alone William Holden.
I was instantly transfixed by Lucy’s antics. In “L.A. at Last!,” Lucy decides that she and the Mertzes need to find the “celebrity watering hole,” where the stars all gather at the same place, thus saving Lucy time in having to track them down one-by-one. Bobby the Bellboy suggests that the group visit Hollywood’s famed Brown Derby restaurant–a well known hotspot for celebrities. As an aside, I will forever be sad that I cannot go to the Brown Derby, nor can I go to 99% of the famous Hollywood nightclubs of the 30s-50s. No Ciro’s or The Mocambo for me. Anyway, while at the Brown Derby, Lucy, Ethel and Fred are spotting celebrities left and right. We hear multiple celebrities paged to the telephone: Cary Grant, Gregory Peck, Walter Pidgeon, Ava Gardner. Lucy and the Mertzes see each and every one of them (offscreen) get up for the phone. Ethel also manages to offend Eve Arden in the neighboring booth by asking her to identify a caricature of herself as either Judy Holliday or Shelley Winters. Lucy for her part, is in awe of Ethel. “You touched her!” Lucy says, much to Ethel’s dismay at her faux pas.
The greatest day of Nick at Nite’s annual Block Party Summer.
Then, big star William Holden sits down in the booth next to Lucy and the Mertzes. Ethel is immediately starstruck and gets Lucy’s attention. Lucy catches a glimpse of Holden in the booth and is swooning. Being the creeper that she is, Lucy can’t stop staring at Holden, making him very uncomfortable in the process. Lucy’s encounter with Holden at the Brown Derby culminates with her tripping the waiter and causing him to dump a cream pie all over Holden’s head. Later, Holden meets Ricky at MGM and offers to give him a ride home to his Beverly Palms Hotel suite. When Ricky tells Lucy he’s brought a big star home with him, Lucy is overjoyed, until Ricky reveals the big star’s identity. Frantic, Lucy puts on a ridiculous disguise which includes large black cat eye glasses, a scarf to hide her hair, and a big putty nose. The scene that follows is hands down the funniest moment of the entire series (in my opinion). The look on William Holden and Desi Arnaz’ faces when Lucy turns around after “fixing” her putty nose is hysterical. How lucky was I to have this be the first episode of I Love Lucy that I ever saw?
I was hooked on I Love Lucy from then on, watching it at 8:00pm every night–except on Saturdays, I Love Lucy started at 10:00pm. On “Whole Lotta Lucy” Saturdays, Nick-at-Nite showed two episodes of I Love Lucy, followed by an episode of The Lucy-Desi Comedy Hour. Every episode of The Lucy-Desi Comedy Hour featured a different guest star. With the exception of Fred MacMurray, I didn’t know who any of the guest stars were. I also knewvery few of the I Love Lucy guest stars, with the exception of John Wayne, Orson Welles, and Bob Hope. As a kid, I always figured that these were people who “were famous at the time.” Lol.
The look on William Holden’s face when Lucy turns around after “fixing” her nose is the funniest scene in the entire series.
Anyway, my family and I were also avid library goers, spending approximately one Sunday afternoon a month perusing the stacks. Now fully obsessed with I Love Lucy and Lucille Ball, I checked out each and every book about her in the library. I read multiple biographies about her, Desi, Vivian Vance, and anything I Love Lucy-adjacent. From these books, I learned that Lucille Ball had a fairly extensive film career and discovered that my library had a large selection of “The Lucille Ball Signature Collection” VHS movies. I watched each and every one. At the same time, my parents’ cable package had just acquired a new channel, the recently launched TCM. Every Sunday, I would find the new TV guide supplement in the newspaper and comb through it, looking to see if any Lucille Ball films or documentaries were scheduled that week. I’d always check PBS, A&E’s Biography program, TCM and AMC (when it showed old films).
From Lucille Ball’s film career, I was introduced to a myriad of different stars who quickly became favorites of mine. Through Lucy’s film, DuBarry Was a Lady, I learned about Gene Kelly. Because of my interest in Gene, I watched Singin’ in the Rain and The Pirate. ‘Rain’ introduced me to Debbie Reynolds and ‘Pirate’ introduced me to Judy Garland, who I was aware of through The Wizard of Oz, but hadn’t seen her in anything else prior. Through Judy, I learned about Fred Astaire (Easter Parade), which led me to Ginger Rogers. Rogers I’d seen before as she’d appeared with Lucy and Katharine Hepburn in Stage Door, which I’d borrowed from the library. From Stage Door, I recognized Eve Arden from the episode of I Love Lucy I’d seen. I continued on this path of constant discoveries and am still on the path somewhat, except that I’m more familiar with all the actors and know that the ones who appeared as guest stars on I Love Lucy weren’t just people who were famous at the time of I Love Lucy’s production era.
Cornel Wilde is no longer known as “Cornel Wilde is in the penthouse!” (I Love Lucy, “The Star Upstairs”). He’s a co-star in the excellent Leave Her to Heaven with Gene Tierney and he’s great in The Big Combo, his film being promoted on his episode of I Love Lucy. Charles Boyer isn’t just “LUCY! I love you, rawrrrrr” ((I Love Lucy, “Lucy Meets Charles Boyer”). He’s Ingrid Bergman’s terrifying husband in Gaslight, or the man who woos Olivia de Havilland in Hold Back the Dawn. Boyer is the man who arranges to meet Irene Dunne at the top of the Empire State Building in Love Affair. Unbelievably, I also didn’t know anything that William Holden did aside from being hilarious in I Love Lucy. I finally saw him in Sunset Boulevard and was blown away. After having seen him in so many films now, I can definitely say that Holden was a bona fide superstar.
CORNEL WILDE IS IN THE PENTHOUSE! CORNEL WILDE!
From reading all the library books about Lucille Ball and her film career, I learned that she made it a point to hire her friends from the movies when she had an opportunity to do so. The film friend of hers who benefitted the most from this is of course, William Frawley, who is now a legend in his own right for playing the irascible Fred Mertz on I Love Lucy. Having seen a good amount of classic films now, Frawley is everywhere. He plays Errol Flynn’s boxing promoter, Billy Delaney, in Gentleman Jim. He also plays a cop in Flynn’s Footsteps in the Dark, and Deanna Durbin’s Lady on a Train. He is also in the perennial Christmas classic, Miracle on 34th Street. Frawley had called up Lucy’s husband and Desilu Production president, Desi Arnaz, and asked for the job of Fred Mertz. CBS was hesitant to take a risk on the alcoholic Frawley, but Lucy and Desi prevailed and Frawley is now a television legend.
I find myself pointing out I Love Lucy characters in various classic films. Elizabeth Patterson who played Mrs. Trumbull is everywhere in classic film. She makes a memorable appearance as Fred MacMurray’s Aunt Emma in Remember the Night. Charles Lane is another character who pops up everywhere He appears as Lucy’s typing instructor in Miss Grant Takes Richmond (also co-starring William Holden). He also appears in uncredited roles in a million excellent pre-code films such as: Blonde Crazy, Employees’ Entrance, 42nd Street, Golddiggers of 1933, She Had to Say Yes, and Blondie Johnson. He made multiple appearances in I Love Lucy: the expectant father (I always say “nine girls” when I see him in a movie), the passport office clerk, the man conducting auditions in the episode where Lucy has to tell the truth for 24 hours, and he plays the Ricardos business manager, Mr. Hickox. Allen Jenkins, has a memorable role in an episode of I Love Lucy playing a police officer who apprehends “Sticky Fingers Sal” and “Pickpocket Pearl” (Lucy and Ethel). Jenkins was almost a mainstay in Warner Brothers films, playing the sidekick to the male lead. He’s in Dive Bomber, Footsteps in the Dark, The Perfect Specimen, all with Errol Flynn. He also supports Humphrey Bogart in Dead End, Racket Busters, and the horribly named The Amazing Dr. Clitterhouse. I even spotted Mr. Martinelli, owner of the pizza restaurant where Lucy works for one episode, as the villain in Marked Woman with Bogart and Bette Davis!
To this day, I Love Lucy and Lucille Ball are still my favorites. I also love Classic Film and I just love how well my favorite television show and my favorite era of filmmaking are so closely intertwined.
This single photo still from Stage Door captures my intertwined love of classic film and I Love Lucy. Lucille Ball, center, is flanked by Katharine Hepburn on the left and Ginger Rogers on the right.
2021 is (finally) coming to a close. While the year wasn’t so hot as a whole, except for my fabulous trip to Southern California in October, it was another year of discovering new favorite films. One of the best thing about being a fan of film, especially classic film, is that you never run out of “new” movies to see. As Lauren Bacall says in an episode of Private Screenings with Robert Osborne, “It’s not an old movie, if you haven’t seen it,” and I couldn’t agree more. There is an entire world of movies to discover, a world of films just waiting to become someone’s favorite.
Without further adieu, in no particular order, here are some of my new favorites that I watched for the first time in 2021:
#1 Road House (1948) This was a fabulous film noir that I watched right at the start of the new year. It is the final volume in the Fox Film Noir DVD series (I own the entire collection). I decided to take a look at it, because I’m a big fan of Ida Lupino. In addition to Lupino, it also starred Cornel Wilde, Richard Widmark, and Celeste Holm. At first, it seems like Ida is going to be the femme fatale, but it is soon revealed that she is a woman who will not be made a pawn in the games of the men, Wilde and Widmark. Even though she was originally brought into the Road House by Widmark to be another of his fly by night floozies, she refuses to be used and becomes a big star and later saves the day. In a time when every woman who wasn’t Judy Garland or Doris Day was dubbed, Ida uses her own voice to warble out “One for my Baby (And One More For the Road)” and it was fabulous.
#2 Mrs. Miniver (1942). I know. This is a big Oscar winner. A major classic of the studio era, but I hadn’t seen it yet. I absolutely loved this movie and actually bought the blu-ray literally right after watching it. That’s how much I loved it. Greer Garson won an Oscar playing the titular Mrs. Miniver and infamously delivered the longest acceptance speech, a record which still stands today. Long-winded speech or not, Garson deserved her award. In Mrs. Miniver, Garson portrays a very stoic woman and mother who stays strong and protects her family even directly in the line of fire during the German invasion of Britain. She puts humanity above all else, even when directly threatened by an injured German pilot. The scene with Mrs. Miniver and her husband and children hiding in the shelter while bombs fall all around them is heartbreaking. This family does not know what they’ll find when they emerge, or whether their house will still be standing. Despite everything, Mrs. Miniver remains a calm influence even in the middle of a tumultuous event, like a World War. I cannot say enough good things about this film, it was fantastic.
#3 Girl Happy (1965). Like the esteemed Mrs. Miniver, this Elvis movie is another film that I purchased immediately after watching it. I loved it. For years, with the exception of Viva Las Vegas (my favorite Elvis movie), I wrote off Elvis’ movies as pure fluff, and not fluffy in a good way, and many of Elvis’ movies are ridiculous, like Girl Happy, but if you can suspend disbelief and just go along with whatever plot is presented, I’ve found that many of Elvis’ movies are enjoyable diversions. In Girl Happy, Elvis plays a musician (a premise setting up lots of opportunities for Elvis to sing) who, along with his band, is hired by his boss to indirectly chaperone his 18-year old daughter, Shelley Fabares. Shelley is traveling to Florida for Spring Break and her overprotective father is worried. Elvis happily agrees, because he gets an all expenses paid trip to Florida. Like how most movies with this plot go (see Too Many Girls), Elvis starts to fall in love with the girl whom he’s chaperoning, and the girl discovers that he was hired to watch her and gets upset. Regardless, this movie was charming, fun, and I loved it.
#4 History is Made at Night (1937) This was a movie that I’d never even heard of until I heard that Criterion was restoring it and releasing it as part of their esteemed (at least among the boutique label community) line of films. I first watched it on the Criterion Channel and must have seen a pre-restoration print, because it was pretty rough. After watching it, I couldn’t believe that I’d never heard of it. It had one of my faves, Jean Arthur! And Charles “LUCY! RAWWWR” Boyer. How has this movie been hiding from me this entire time? In this movie, Jean Arthur plays Irene, a woman who leaves her husband, Bruce, (Colin Clive) after he falsely accuses her of having an affair. To prevent the divorce from being finalized, Bruce tries to manipulate a situation to frame Irene for infidelity. He hires his chauffeur to pretend to be Irene’s lover, so that a private detective walks in and catches them in a compromising position. While this is taking place, Paul (Charles Boyer) is walking by Irene’s window. He overhears the ruckus and comes to Irene’s rescue, pretending to be an armed burglar. It’s a weird set-up, but ultimately leads to a beautiful love story with an ending that I was not expecting.
#5 Naked Alibi (1954). This was another film noir that I’d never heard of until I was reading Sterling Hayden’s filmography and discovered that he’d made a film with one of my faves, Gloria Grahame. Fortunately, my library had this film available and I was able to borrow it. This was a great movie. Hayden plays a police chief who tails a suspect, Willis, to Mexico. Willis is suspected to be the mastermind behind a series of crimes in the small town from which he and Hayden hail. While in a border town on the Mexican border, Hayden meets Grahame, a singer with whom he becomes smitten. Unfortunately, Grahame is the girlfriend of Willis, despite the shoddy treatment she receives from him. Hayden and Grahame’s connection with one another continues to grow until the very end of the film. This was a wonderful film and I thought that Gloria Grahame looked absolutely gorgeous.
#6 Dead End (1937). Despite the appearance of the Dead End Kids, whom I cannot stand (I don’t get their appeal), I thought this was a great movie. This film is a story about social classes and the privileges that are afforded to those of a higher social standing. The neighborhood in the film is a “dead end” both figuratively and literally. The rich live in high rise apartments that overlook the slums and tenements. Those who are not privileged to live in the high rises literally have the rich looking down upon them. If you have the misfortune to be born into the slums, it is all you can do to get out. Some try to do so honorably, like Dave (Joel McCrea), who dreams of making a career as an architect. However, he can’t just seem to book the right gig, so he has to survive by doing odd jobs. Others, like Drina (Sylvia Sidney) have slightly less honorable means to get out of the tenement, she wants to marry a rich man. Then, there are those like Hugh “Baby Face” Martin (Humphrey Bogart), who did manage to get out of the slums, but he did so by becoming a big-time mobster. The Dead End Kids represent the next generation who most likely will remain in the slums, unless they can somehow be guided into making a better life for themselves. Marjorie Main has a heartbreaking role as Baby Face’s mother. Claire Trevor is fantastic as Baby Face’s old girlfriend, who was never able to get out of the slums.
#7 Klute (1971) This was the first film in Alan J. Pakula’s “Paranoia Trilogy,” which unfortunately I watched all out of order. I don’t think the films in the trilogy have anything to do with one another, so I think I’m okay. Anyway, there’s just something about the 1970s thrillers that I find fascinating. There’s a grittiness, a seediness, combined with the earth tones aesthetic that I just love watching. Anyway, in this film, Jane Fonda gives an Oscar-winning performance as Bree Daniels, a prostitute who aids police detective, John Klute, in investigating a murder. After finding an obscene letter addressed to Bree in the murder victim’s office, Klute rents an apartment in Bree’s building and begins tracing her. Concurrently, Bree is working as a freelance call girl to support herself while she tries to make it as a model/actress. Bree is also trying to find meaning in her life through sessions with a psychiatrist. This was such a fantastic movie and I was on the edge of my seat waiting to find out who was responsible for the murder.
#8 Thunder on the Hill (1951) I am a big fan of Ann Blyth and this was a film of hers that I hadn’t heard of until I purchased Kino Lorber’s Film Noir: The Dark Side of Cinema box sets. Thunder on the Hill, by the way, is on the second collection in the series. In this film, Blyth plays Valerie, a young woman convicted of murder and sentenced to be hanged. However, on her way to the gallows, Valerie and the police officers accompanying her, are forced to spend the night in the hospital ward of a convent due to massive flooding. Running the hospital ward is Sister Mary (Claudette Colbert), a woman who is also battling with her own mental troubles involving her sister’s suicide. Valerie is understandably combative and angry, but confides to Sister Mary that she is innocent of the crime of which she was convicted. Sister Mary, who has been warned in the past about meddling in other people’s affairs, is convinced of Valerie’s innocence and sets to save her before she is executed. This was such a wonderful film. It was interesting to see Blyth in such a different role than that of Veda in Mildred Pierce or the mermaid in Mr. Peabody and the Mermaid. I loved the suspense of the story and the cinematography was gorgeous. I am also a big fan of Douglas Sirk, so this film fit the bill.
#9 King Creole (1958) A second Elvis film on the list? Yes! I watched a lot of Elvis movies this year according to LetterBoxd, so it was bound to happen. This was an excellent film. It was much higher brow fare than Elvis would be offered once he returned from his stint in the army. In this movie, Elvis plays super senior Danny, who has failed high school once and looks like he’ll fail it again due to his behavior. He is offered a chance to graduate if he agrees to take night classes, but Danny turns it down, much to the chagrin of his father, Dean Jagger. There is drama between Danny and his father, in that Jagger lost his job as a pharmacist after his wife died. The family is forced to leave their nice home outside of New Orleans for a much more modest flat in the French Quarter. To help make ends meet, Danny was working before and after school. Now with school out of the way, Danny starts working at a club. As how most Elvis movies go, he is coerced into singing and is offered a job performing at the club, much to the chagrin of the club’s main act. Danny is soon a sensation. Eventually his connection with the local gangs threaten to affect his family, his relationship with a young woman named Nellie (Dolores Hart), and his life. This was such a great movie with a stellar cast. Aside from Elvis, Dean Jagger and Dolores Hart, Carolyn Jones, Walter Matthau, Vic Morrow, and Paul Stewart also star in this film… and it was directed by none other than Michael Curtiz!
#10 Private Lives (1931) This was a fabulous pre-code starring Norma Shearer and Robert Montgomery. In this film, Shearer and Montgomery play Amanda and Elyot, two ex-spouses who end up staying at the same hotel while honeymooning with their new respective spouses. Both honeymoons are NOT going well. Amanda and her new husband Victor (Reginald Denny) are already fighting due to Victor’s incessant need to talk about Elyot. Because yes, let’s talk about your new bride’s ex-husband on your honeymoon. Great idea, Victor. Elyot is dealing with the same thing from his new wife, Sybil (Una Merkel) who won’t stop asking about Amanda. Eventually, Amanda and Elyot find each other and begin to reminisce about “the old times.” They end up leaving the hotel together and head to a new place in St. Moritz. This was a fabulous pre-code that had plenty of racy moments. I am not as big a fan of Shearer in her production code movies like The Women, but I love her in pre-code. She and Montgomery also make a great pairing. Poor Una Merkel is wasted in her role, but she is wonderful in her scenes.
#11 Hold Back the Dawn (1941) This was an amazing movie. One that I’d always wanted to see but it seemed like it was never on TCM–then finally it was and the movie was everything I’d hoped it would be. In this film, Charles Boyer stars as Georges Iscovescu, a Romanian immigrant who is stuck in a Mexican border town. Per immigration laws, he is looking at up to an eight year wait to obtain a quota number for entry in the United States. Georges then runs into an old flame, Anita Dixon (Paulette Goddard), an Australian who married a US citizen purely to obtain US citizenship. As soon as she could, she divorced the man and retained her citizenship status. Anita suggests that Georges do the same thing, then he and she could be free to start a new life together in New York. Georges immediately goes to work and spots Emmy Brown (Olivia de Havilland), a California school teacher whose bus has broken down. The bus is set to be repaired shortly, but Georges manipulates the situation (by “losing” a vital piece of the bus’s machinery) and forces Emmy and her class to stay overnight. This gives Georges enough time to woo Emmy and they are married after a whirlwind romance. However, Georges is required to wait in Mexico a few weeks before he can join Emmy in California. Emmy returns unexpectedly and Georges takes her on a trip (under the guise of a honeymoon, but in reality he is trying to hide from an immigration officer who is looking for con artists like Georges and Anita). Georges’ plans are complicated when he finds himself falling in love with Emmy. This was such an amazing film. Even though we’re supposed to dislike Georges, it’s hard to do because it’s Charles-freaking-Boyer. It’s easy to see why Emmy falls for him. I love true, legitimate romantic films (with no contrived plot points), and this is one of the best that I’ve seen.
#12 Gaslight (1944) Another Charles Boyer film! Third one on the list! Surprisingly Boyer was not on my top 10 actors watched in 2021, per Letterboxd. This was an amazing film. I don’t know how I went so long without seeing it. This is the film that gave the name to a form of psychological abuse, where one partner mentally manipulates another into thinking that they’re losing their mind. In this film, Boyer plays Gregory Anton, a pianist who marries Alice Alquist (Ingrid Bergman), a famous opera singer. Gregory works as Alice’s accompanist. At first, Gregory seems sweet, he convinces Alice that they move into her deceased aunt’s old home #9 Thornton Square in London, seemingly under the guise that Alice loved her aunt so much and that her aunt would want her home to be lived in. However, Gregory has ulterior motives which are revealed throughout the film. To keep Alice from catching onto Gregory’s motives, he gaslights her by manipulating situations and then making her think she caused them. Alice begins to think she’s going insane. And while she begins to question Gregory’s actions, he’s gotten her mind so messed up that she can’t convince herself that she’s right. A young, 17-year old Angela Lansbury makes her film debut as Nancy, a tart of a maid who takes pleasure in observing Gregory’s manipulation of Alice. Nancy even plays along to exacerbate the situation. Ingrid Bergman’s performance was a tour-de-force and she deserved every piece of the Oscar that she received.
#13 I Want to Live! (1958) If there are two things I love, it’s classic film and true crime. I Want to Live! has both. This film is a biopic of Barbara Graham, a prostitute who was executed in California in 1955 for her part in the murder of a wealthy widow. Susan Hayward gives an Oscar-winning performance as the doomed woman who at the beginning of the film, works as a prostitute who is arrested for soliciting sex across state lines. She then receives jail time after providing a false alibi to two friends who committed crimes. Despite her growing rap sheet, Barbara continues to “make a living” by committing petty crimes and turning tricks. Eventually, she hits the big time when she gets a job working with a big time thief, Emmett Perkins. Her job is to lure men into his illegal gambling parlor. Meanwhile, her husband has a drug addiction and is unemployed–leaving Barbara as the breadwinner. Eventually Perkins ends up becoming involved with criminals, John Santo and Bruce King. Barbara returns to Perkins’ establishment which is soon raided by the police. Barbara surrenders to the police for her involvement in the gambling ring, but soon learns that she is being accused in being complicit with Santo and King’s murder of a wealthy widow. Barbara tries to give her alibi, saying that she was home with her husband and son, but her husband has skipped town. Unless he can be found, Barbara is toast. This was such an amazing film. I know that there was controversy regarding how Barbara Graham was portrayed in the film, versus the real life events. I can’t comment on that; but what I can say is that real facts or not, this was a great movie.
#14 Suspense (1946) I went into this film noir not knowing entirely what to expect. It starred Barry Sullivan whom I like and Albert Dekker who always turns in a good performance. Sullivan and Dekker’s co-star was British figure skater, Belita. Often when athletes are put into films, especially athletes whose sport is exploited on screen, the results can vary drastically–especially if the athlete has limited acting talent. Sometimes this is good, such as the case with Johnny Weissmuller in the Tarzan series. Other times, it can be limiting like is the case with Belita in another film of hers that I’ve seen. However, in this film, I was pleasantly surprised. I’m not saying Belita was amazing; but she was asked to play a figure skater, and Belita delivers on that front. In this film, Sullivan plays schemer, Joe Morgan, a newcomer to New York City who ends up taking a job at a theater as a peanut vendor. Belita plays the star performer, figure skater, Roberta. Albert Dekker plays Leonard, the owner of the theater and Roberta’s husband. Joe ends up suggesting a new act for Roberta, which revitalizes the show–as a reward he is made a manager. When Leonard leaves for a business trip, he puts Joe in charge. Joe and Roberta end up striking up a romance which Leonard soon discovers. This was a fantastic film. I actually was in suspense and couldn’t wait to see what would happen next.
#15 The China Syndrome (1979) This was another 1970s thriller that I watched which I really enjoyed. In this film, Jane Fonda plays television reporter, Kimberly Wells, who keeps getting stuck with the fluff stories during the local news segments. There is chauvinism present at the station, as it is thought that she couldn’t possibly handle a serious story. Her cameraman is the hot-tempered Richard Adams (Michael Douglas). One day, Kimberly and Richard end up getting a plum gig: doing a report from the Ventana, CA nuclear power plant. While visiting, they witness a malfunction in the nuclear power plant turbine operation and emergency shutdown protocol. Richard, despite being asked not to film, covertly records the entire incident. The incident is played off as not a big deal, but it becomes clear that the plant was thisclose to a meltdown. Jack Lemmon gives a fantastic performance as Jack Godell, the supervisor of the plant. Wilford Brimley was also excellent as the long-time employee, Ted Spindler, who battles with knowing what is right and his resentment over being passed up for promotion opportunities. I loved this movie. This isn’t normally my type of thing, but as a fan of 1970s thrillers and Fonda and Lemmon, I gave it a try. I’m glad I did. I was captivated from beginning to end and I especially loved Lemmon’s performance in the second half of this movie.
Honorable Mentions:
A Cry in the Night (1956). Raymond Burr, Natalie Wood, Edmond O’Brien.
Jane Fonda in Five Acts (2018). A fabulous documentary on HBO Max.
The Caine Mutiny (1954). Humphrey Bogart, Fred MacMurray, Van Johnson, Jose Ferrer.
Once a Thief (1965). Alain Delon, Ann-Margret, Van Heflin.
Walk on the Wild Side (1962). Laurence Harvey, Jane Fonda, Barbara Stanwyck, Anne Baxter, Capucine.
Moonrise (1948). Dane Clark, Lloyd Bridges, Gail Patrick.
The Glass Wall (1953). Vittorio Gassman, Gloria Grahame.
The Big Combo (1955). Richard Conte, Cornel Wilde, Jean Wallace.
Muppets Haunted Mansion (2021) The Great Gonzo, Pepe, Will Arnett.
Die Hard (1988) Bruce Willis, Bonnie Bedelia, Reginald VelJohnson.
Confession (1937) Kay Francis, Basil Rathbone, Ian Hunter.
Three Days of the Condor (1975) Robert Redford, Faye Dunaway, Max Von Sydow, Cliff Robertson.
I’ll Cry Tomorrow (1955) Susan Hayward, Richard Conte, Eddie Albert.
Possessed (1947) Joan Crawford, Van Heflin, Raymond Massey
The term “film noir” conjures up black and white imagery. The use of shadows, rain, and narration are also common tropes. The detective and femme fatale are typical characters in a film noir. Cynicism, weariness, disillusionment and paranoia are often present. Director John M. Stahl’s 1945 masterpiece, Leave Her to Heaven, features a femme fatale, but otherwise doesn’t share many of the aforementioned motifs. It also features gorgeous locales, a beautiful leading lady, amazing costumes and fantastic immaculately decorated homes, all shot in glorious Technicolor. Technicolor film noir are not common, but Leave Her to Heaven is one of the all-time best. It also features one of the deadliest and most psychotic femme fatales of all time.
The gorgeous Gene Tierney stars as one of the most psychotic femme fatales ever in “Leave Her to Heaven”
Gene Tierney plays Ellen Berent, a socialite traveling from Boston to New Mexico. She is enroute to New Mexico to spread her father’s ashes. She’s accompanied by her cousin Ruth (Jeanne Crain) and her mother (Mary Phillips aka Ex-Mrs. Humphrey Bogart #2). While on the train, Ellen spots Richard Harland (Cornel Wilde). They are immediately smitten with one another and spend the remainder of their journey chatting. Ellen and Richard then discover that they’re all staying at the same New Mexico resort and Richard is invited to dinner. It is at the dinner when Richard learns that his resemblance to Ellen’s beloved, deceased father is one of the reasons why she was interested in him. Ellen’s beau, District Attorney Russell Quinton (Vincent Price) shows up and Ellen announces (to Russell) that she and Richard are engaged–much to Richard’s surprise.
This all should be a red flag. But Richard goes along with it. Richard announces that he’s planning on visiting his polio-stricken brother, Danny (Darryl Hickman) at a hospital in Warm Springs, Georgia. Richard and Ellen marry. While in Georgia, Danny announces his intention to travel with Richard and Ellen to Richard’s “Back of the Moon” lakeside cabin in Deer Lake, Maine. We (the audience) see Ellen beg Danny’s doctor to step in and prevent the trip. She also refers to Danny as “the cripple.” Ellen’s true colors are showing.
Danny swims while Ellen follows in Deer Lake
Deer Lake, Maine is where all the most infamous action of Leave Her to Heaven takes place. This is a gorgeous lake locale–lush with trees and emerald green water. The lake is vast and serene. Deer Lake is just one of the gorgeous locations in Leave Her to Heaven. The beautiful, tranquil settings are juxtaposed with the beautiful, yet psychotic Ellen. Multiple references are made to Ellen “loving too much.” It seems that Ellen loved her father so much that she actually drove a wedge between her father and her mother. Cousin Ruth is Ellen’s adopted sister as she was taken in by the Berent family at a very young age. Ruth makes a comment referring to “being adopted by Mrs. Berent” instead of by both Mr. and Mrs. Berent. One could assume that Mrs. Berent adopted Ruth after being basically left by the wayside by both her husband and daughter. Ellen then promises Richard to “Never let [him go]. Never Never Never.”
And she means it.
Throughout the film, Ellen showcases extreme jealousy toward anyone who divides Richard’s attention away from her. She will not let ANYONE get between herself and Richard. When Danny expresses his interest in following Richard and Ellen to Deer Lake, Ellen is livid. Deer Lake (actually Bass Lake in California) provides the backdrop for one of the most sinister, diabolical scenes in film history. Ellen and Danny go out in a rowboat in the middle of Deer Lake. Danny, who is just starting to regain his strength and ability to walk, tells Ellen that he’s going to swim across the lake. Danny is way over-confident, but Ellen lets him go ahead while she follows in the rowboat. Danny starts out well, but begins to slow down. Ellen, seeing an opportunity to rid herself and Richard of Danny’s presence, urges him to continue:
“You’re not making very much progress, Danny. Are you alright?”
(Later, after Danny starts complaining of being cold and having a cramp, Ellen keeps encouraging him)
“You don’t want to give up when you’ve come so far!”
Ellen’s cold heart reveals itself after removing her sunglasses when Danny drowns
Danny starts getting very tired and distressed. As he flails around helplessly, Ellen sits there, coldly. As if she were in a trance, Ellen stares at Danny as he frantically waves his arms, trying to keep afloat and signal Ellen for help. The camera is fixated on Ellen’s face, her eyes hidden behind her dark glasses. We hear Danny yelling for help. We see Ellen watching and watching, almost as if she’s waiting for confirmation that Danny has drowned and will no longer be in her way of loving Richard. As Danny goes underwater, Ellen rips off her glasses and reveals her cold, icy stare. Combined with her pursed lips, Ellen is satisfied that she’s just murdered young Danny. She feigns concern when she spots Richard on the lakeside trail, and makes a show of “saving” Danny by diving into the lake. Richard follows suit. However, both Ellen and Richard’s rescue attempts are futile. Danny is dead. Ellen is overjoyed. Richard is understandably upset and it’s obvious that he has an inkling that Danny’s drowning wasn’t entirely an accident.
Just when we didn’t think that Ellen couldn’t be any more insane, she tops herself (perhaps, it might be on par) at the family’s oceanfront home in Bar Harbor, Maine. I am here for all of the crazy things she does in this film. It’s just so much fun to watch.
The famous shot of Ellen on Deer Lake looking on while Danny drowns. (I really love her sunglasses)
Ellen Berent is one of the most evil and insane femme fatales in noir history. I think she might be crazier than Barbara Stanwyck’s Phyllis Dietrichson in Double Indemnity. The drowning scene in Deer Lake is simply one of the all-time most evil scenes in film. She could have just poisoned Danny or shot him or anything and that would have been bad enough. She sets poor Danny up to drown. His desire to impress Ellen and prove to himself that he’s on the mend from polio causes his overconfidence. Ellen, established to be an excellent swimmer earlier in the film, had all the opportunity to save him and didn’t. Devoid of emotion, she watches Danny struggle. She cooly stares at him, mentally counting down the minutes until he’s drowned. Only then does she “worry” and try to save him. Ellen is cold and calculating. She knows what she wants and how to get it.
My “Noirvember” picks will be continually updated as the month wears on and I make my next choice!
Maxine Cooper & Ralph Meeker in Kiss Me Deadly (1955)
Noirvember is upon us. I love film noir, so every month is “Noirvember” for me, but I thought I’d try to actively participate in the event this year. Previously, I lurked in conversations and posts and read about it, but didn’t actually contribute.
For those who are unfamiliar with “Noirvember,” it is simply a portmanteau of the words “Noir” and “November.” It is a term used to describe what is essentially a month-long celebration of film noir. Noirvember was invented by a poster (@oldfilmsflicker on Twitter) who just wanted an excuse to catch-up on film noir. It has since evolved and become a full-fledged event.
I have seen a lot of film noir and have a lot of favorite films and performers. While I definitely want to revisit some old favorites, I also want to watch some “new to me” film noir. I don’t have a particular list of 30 film noir to watch, as I wanted my list to flow organically. However, so that I had some semblance of organization and didn’t spend my entire evening trying to decide what to watch, I’ve decided to play a game with my selections. Each successive film will feature a performer from the previous film. E.g. “The Big Heat” features Glenn Ford and Gloria Grahame. “Sudden Fear” features Grahame and Joan Crawford.
It is my hope that my final film of the month will link back to the first.
Barbara Stanwyck and Fred MacMurray conspicuously looking inconspicuous in the grocery store in Double Indemnity.
Picture it: Salem, Oregon, 1995. A beautiful peasant girl turns on her parents’ 15″ black and white tube TV. She comes across a show on something called Nick at Nite. She is instantly transfixed by the action on the screen. A redhead (we’ll have to take the characters’ word for it, it’s black and white after all), her Cuban bandleader husband, and their two friends were involved in some wacky scheme. The next day, the girl tuned into Nick-at-Nite again and watched another episode of this hilarious show about a woman whose only dream in life, it seems, is to be in show business, much to her husband’s chagrin. The show was I Love Lucy, and the beautiful peasant girl, was me, minus the peasant part–just tapping into my inner Sophia Petrillo.
I Love Lucy is rightfully considered one of the best, if not the best (which “best” is obviously subjective) television show in history. The show was groundbreaking, almost literally, and created the blueprint for all situational comedies to come. Every show, from The Dick Van Dyke Show, to The Mary Tyler Moore Show, to Cheers to Friends are indebted to I Love Lucy for inventing the situation comedy and engineering the way in which to perform in front of a live audience.
In 1950, CBS approached Lucille Ball with an offer to move her popular radio show, My Favorite Husband, to the new burgeoning medium of television. CBS wanted Ball, her co-star Richard Denning and the other cast members to make the move with her. However, Ball had other ideas. At this time, Ball had been married to her husband, bandleader Desi Arnaz for ten years. The couple’s marriage was faltering. Much of the strain on their marriage was caused by their differing schedules. Ball was in Hollywood filming her radio show and Arnaz was on the road, touring with his band. Ball, seeing an opportunity to work with her husband and keep him home, told CBS that she was interested in the offer, but only if Arnaz could star as her husband. CBS balked, thinking that the American public would not accept that their star, Lucille Ball, was married to a Cuban. Of course, CBS was completely wrong, but to prove it, Ball and Arnaz concocted a vaudeville routine and took their act on the road. People across the country loved them and soon CBS had to relent and give Ball and Arnaz the go-ahead.
In March of 1951, Ball and Arnaz filmed their pilot. It was filmed in kineoscope. Kineoscope was a method of filming a live performance. A camera lens would be focused on a video screen, which would record the performance as it was being recorded. This footage would later be re-broadcast to other markets. Typically shows were filmed in New York, as this is where a majority of the population lived in the late 1940s-early 1950s. If you have ever seen a YouTube video where someone has made a video of a movie, show, concert, etc. playing on their TV, you know that the sound is muffled and tinny and the picture is blurry. This is exactly what it was like to watch a kineoscope show if you didn’t live near New York.
To see a couple examples of Kineoscope, go to You Tube and search for: “I Love Lucy Pilot,” and “Lucille Ball and Desi Arnaz on The Ed Wynn Show.”
Lucille Ball and Desi Arnaz on the “I Love Lucy” Pilot
Above is a screenshot from the I Love Lucy pilot episode. Ball wears a housecoat and big baggy pants for much of the episode because she was pregnant with Lucie Arnaz. The Ricardos live in a completely different apartment and the Mertzes haven’t been created yet. I Love Lucy episode #6, “The Audition” is essentially a re-do of the pilot. In the pilot episode, Ricky schemes with his agent, Jerry. In the I Love Lucy episode, Jerry’s lines are given to Fred Mertz. The pilot episode was a success and Ball and Arnaz were given the green light to start their series.
To produce their series, Ball and Arnaz formed Desilu Productions. Arnaz was president and Ball was vice-president. They hired the writers from Ball’s radio show, My Favorite Husband. Many of the crew members they hired were acquaintances from Ball’s radio program and from Ball and Arnaz’ movie and music careers, respectively. For the Mertzes, they originally wanted Bea Benederet (Betty Rubble in The Flintstones and Kate Bradley in Petticoat Junction) and Gale Gordon (Mr. Mooney in The Lucy Show and Harry Carter in Here’s Lucy). However, Benederet was under contract to The Burns and Allen Show and Gordon was on Our Miss Brooks.
William Frawley and Vivian Vance as Fred and Ethel Mertz
One day, William Frawley, an old acquaintance of Ball’s from her movie days, called Ball and asked if there was room for him on her show. Leery of his reputation as a hard-drinker, Arnaz and Ball met with him and decided he was perfect. Ball later said: “William Frawley was ‘Fred Mertz,’ period.” Frawley was cast on the condition that he always show up to work sober. He would be fired on the spot if he ever showed up to work intoxicated. During all six seasons of I Love Lucy and the three seasons of The Lucy-Desi Comedy Hour, Frawley kept his promise.
Casting Ethel Mertz turned out to be more of a chore. Ball originally wanted to throw the job to her old friend, Barbara Pepper (Mrs. Ziffel on Green Acres), but CBS said no. Much like Frawley, Pepper had a drinking problem too, but hers was much more severe. Then I Love Lucy director Marc Daniels (who directed the first season) suggested an actress he worked with in New York, Vivian Vance. Vance had a successful Broadway career and had spent twenty years on stage acting in various plays until re-locating to Hollywood in the late-1940s. She appeared in a couple films, but by 1951, she was still relatively unknown outside of the Broadway circle. She just happened to be appearing in a revival of Voice of a Turtle in La Jolla, California. Arnaz and head writer, Jess Oppenheimer, drove down to see Vance and hired her on the spot. Vance was reluctant to give up her stage career for the unknown medium of television, but friend Daniels convinced her it’d be her big break–and it was.
With all the pieces put in place, it was time to start producing I Love Lucy. Desilu purchased two soundstages and tore down the dividing wall to create one large room that could hold four separate stages. The Ricardos’ living room was the larger, permanent stage. The Ricardos’ bedroom was typically in the smaller stage to the left and the kitchen was the small stage to the right. The other stage would often be the Tropicana. The walls of the small stages had wheels that allowed them to move around. Oftentimes, when a scene with a large amount of action was filmed, the walls of the set would be rolled in front of the Ricardos’ living room set. Case in point, there is a blooper in the famous Vitameatavegamin episode (#30 “Lucy Does a TV Commercial”). When Lucy comes staggering out of her dressing room (plastered on Vitameatavegamin, alcohol 23%) and the stage hands are searching for Ricky, you can see the Ricardos’ living room between the Vitameatavegamin set and Ricky’s set where he performs.
CBS wanted Arnaz and Ball to use the cheaper kineoscope and to film their show in New York. Arnaz and Ball informed CBS that not only did they plan on remaining in Los Angeles, but they also wanted to film their program on 35mm film, the same film used by the motion picture studios. They wanted the whole country to see their program clearly, not just the East Coast and they wanted to have copies of their program–figuring that if it bombed, at least they’d come away with some “home movies” for their children. CBS complained initially about the increased cost of the film, but Arnaz, the shrewd negotiator he was, offered to deduct $1000/week from his and Lucy’s salaries in exchange for the right to use film and the rights to their show. CBS, figuring that this whole thing will never work, agreed.
The “I Love Lucy” set. This is an early season 1-2 episode based on the floral love seat in the living room.
Arnaz knew that Ball performed best in front of a live audience. To accommodate a live audience, Arnaz had to equip his soundstage with bleachers. He was also required by the fire marshall to bring the building up to code by adding bathrooms and other modifications required of a facility that is going to hold large groups of people. In order to ensure that the cameras didn’t block the audience’s view of the action, Arnaz, along with Academy Award winning cinematographer, Karl Freund, devised the three camera technique. This camera, nicknamed “the three-headed monster,” would film the action from three angles. Then after production, the editors would splice together the footage to create the final show. This technique is still in use today.
The very first episode of I Love Lucy, that aired, was actually the second episode filmed. Episode #2, “The Girls Want to Go to a Nightclub” is the first of many “versus” episodes. In this case, it’s the men versus the women. Lucy and Ethel want to go to a nightclub for the Mertzes’ anniversary and Fred and Ricky want to go to the fights. Lucy and Ethel declare that they will find their own dates who will take them to the club. Ricky informs Lucy that he and Fred will do the same. Enlisting the help of an old friend, Lucy gets herself and Ethel set up as Ricky and Fred’s blind dates. Except, the girls aren’t just coming as themselves, they show up dressed as hillbillies. This is the first of many episodes where Lucy tries to pull a fast one on Ricky. Arnaz made it clear to the writers from day one that while Lucy can play tricks on Ricky, he didn’t want Ricky to look like an idiot. Ricky either needed to be in on the joke from the beginning or figure it out before Lucy succeeded. In the case of this episode, Lucy blows her cover by offering to go grab cigarettes for everyone, stating that she knew where they were. Ricky tells Lucy he knows it’s her and Ethel, they make up and all is well–except that the men end up at the fights with the ladies dressed to the nines. Let’s just hope that a compromise was reached and maybe they went to the fights and the nightclub that evening.
“Lucy Goes to the Hospital”
I Love Lucy was a success and was at the top of the ratings 4/6 years it was on television. In 1953, Ball found out she was pregnant (with Desi Arnaz Jr.) and she, along with Arnaz, thought it was the end of the program. However, it was decided that Lucy Ricardo would be pregnant too. Desilu hired a priest, rabbi and minister to read the scripts and highlight any objectionable content. All three religious leaders could not find any issues. CBS allowed Ball and Arnaz to go ahead with their plan and Lucy Ricardo was set to have a baby. The only stipulation being that the word “pregnant” could not be used on the show. They had to opt for the funnier ‘spectin coming from Ricky. Words and phrases like “infanticipating” and “having a baby” were used instead. The episode where Lucy gives birth to Little Ricky was the highest rated episode of any television show (at that point) and even got a higher rating than Dwight Eisenhower’s inauguration that took place the following day after Little Ricky was born. During this time, Arnaz invented the re-run by re-airing old episodes of I Love Lucy. He wanted to give Lucy time to recover. To make the episodes “fresh,” he and Frawley and Vance filmed new flashback scenes to introduce the episodes. When these repeats garnered the same or higher ratings than the original airing, it was decided to forgo the new flashback footage and just re-air the episodes as-is.
I Love Lucy enjoyed huge success during its original six year run, winning multiple Emmy Awards and achieving high ratings. It ended its run #1 in the ratings. However, I Love Lucy has achieved even greater success in the decades since. It is estimated that I Love Lucy has never been off the air since its debut in 1951. Ball’s face is one of the most widely recognized faces in the world. There are new generations of fans discovering I Love Lucy each and every day. It is truly an indelible part of pop culture and television history.
My Top 5 Favorite Episodes of I Love Lucy:
1) Episode #114, “L.A. at Last!”
The Ricardos and Mertzes finally make it to Hollywood. After checking into their hotel at the Beverly Palms Hotel, Lucy and the Mertzes are on the prowl for movie stars. They decide to go to “the watering hole,” aka The Brown Derby for lunch and celebrity spotting. Ethel manages to embarrass herself in front of Eve Arden and Lucy ends up embarrassing herself in front of William Holden. The true gem of this episode is later, when Ricky, newly employed at MGM, meets Holden. Holden offers to give him a ride to his hotel. Ricky, unknowing about what transpired at the Brown Derby earlier that day, asks Holden if he’d mind coming in to meet Lucy. Lucy, understandably freaked out, but forced into meeting Holden, tries to disguise herself with a scarf, glasses and fake putty nose. The funniest part of the entire episode is the look on William Holden and Desi Arnaz’ faces when Lucy turns around after having re-shaped her nose.
2) Episode #147, “Lucy Gets a Paris Gown”
In Paris, Lucy makes it known to Ricky that she wants a Jacques Marcell dress. Ricky, not wanting to pay the huge price tag, says no. Lucy, not willing to give up, stages a convincing hunger strike in protest of Ricky’s decision. Ricky, feeling bad for Lucy, buys her the dress, but then discovers that Ethel has been sneaking food to her. The dress is returned and Lucy is fuming. To appease Lucy and “cure” her of her desire for high-end French fashion (which Ricky and Fred think is ridiculous), they find some potato sacks, a horse’s feedbag and a champagne bucket and have two Parisian original gowns designed and created: one for Lucy and one for Ethel. The funniest part of this episode is when Lucy and Ethel realize that they’ve been duped and attempt to hide under a tablecloth, that they apparently steal from the restaurant as they run away.
3) Episode #81, “The Charm School”
After an upsetting party where Lucy and Ethel feel ignored by their husbands, especially when the date of another guest attracts all their attention, Lucy and Ethel decide that their husbands are bored with them. Lucy finds out that the woman who came to her party the night prior had just finished a course at “Phoebe Emerson’s Charm School.” Lucy and Ethel sign up and are put through a charm regiment that involves learning to walk, speak and dress like a charming lady. The time comes for the big reveal and Ricky and Fred are speechless. The funniest part of this episode is when Lucy opens the door to let glammed-up Ethel in. As she opens the door, there’s Ethel leaning against the door frame, dressed in a one-strapped, skintight, leopard print dress with a cool snake-like thing around her arm.
4) Episode #23, “Fred and Ethel Fight”
The Mertzes are fighting (because Ethel said that Fred’s mother “looked like a weasel,” to which I say: “Fred’s mother is still alive?”) and Lucy decides to invite each one over for dinner without the other one knowing. She lets Ricky in on the plan. Ricky works with Lucy trying to get Fred and Ethel back together, but during course of conversation, he and Lucy end up getting in a fight. Now it’s Ethel and Fred’s turn to try and get Ricky and Lucy back together! The climax of the episode is when Ricky stages a fake fire in the apartment, so that he can “save” Lucy and be a hero. The funniest part of this episode is when Lucy wants to pretend like she was hit by a bus and has Ethel help her put on casts and a metal arm brace thing and then Ricky stages the fake fire which Lucy doesn’t know is fake. Lucy freaks out trying to grab things, casually tossing them out her 4th story window. She grabs some dresses and her huge jug of henna rinse. Then she makes a rope with a bedsheet and ties it around herself, but neglects to tie the other end to anything.
5) Episode #122 “The Star Upstairs”
Lucy discovers that she has met 99 movie stars and wants to meet one more so she can have an even hundred. She reads a blind item in the paper that a big star is staying in the penthouse of a local hotel for some rest and relaxation. Lucy instantly jumps to the conclusion that the star is in her hotel, and after pressing the bellboy for details, her assumption is confirmed–Cornel Wilde is staying in the penthouse right above the Ricardos’ hotel room! Lucy blackmails the bellboy into letting her borrow his outfit so she can deliver the paper. That scheme fails wholeheartedly. In the next attempt, Lucy hides under the bellboy’s cart. Through the course of events, Wilde ends up thinking that Bobby is a really talented ventriloquist who can throw his voice across the room. The scheme comes off well, but Lucy ends up being left behind in Wilde’s room. Desperate to get out, she attempts to climb down the balcony using a makeshift rope that she crafts out of a beach towel. The funniest part of the entire episode is Ethel trying to distract Ricky from seeing Lucy’s legs dangling from the balcony.
Whimsically Classic 