#PreCodeApril2022 Film #3: Queen Christina (1933)

Garbo from a deleted scene in “Mata Hari.” She looks amazing in this scandalous dress!

Believe it or not, this was my second Greta Garbo film. My first was only a few weeks prior when I watched Mata Hari (1931). I’d seen clips of Garbo before and I just didn’t “get” her. Every clip of her, she seemed to be playing the same person–Greta Garbo. But then, I saw Mata Hari. While that wasn’t the greatest film, Garbo was fantastic. I “got” her. You couldn’t take your eyes off this woman. Even if she wasn’t the central part of the scene, I still watched her. When she wasn’t on-screen, I wanted her to come back. Where was Greta? Anyway, I decided to follow up Mata Hari with Queen Christina.

Queen Christina was a film that I’d heard about, mostly in the context of the androgynous nature of Garbo’s titular Queen Christina, the kiss Christina gives her lady-in-waiting, and the very scandalous scene between Garbo and John Gilbert in their mountain hotel room. But this film was so much more. I loved this movie, it was fantastic. I loved this movie so much that I actually bought the Greta Garbo Signature Collection box set on Amazon, just so I could own Queen Christina and see more of Garbo’s work. Not only did this box set come with all of Garbo’s biggest “talkie” films, it also came with her silents as well. I look forward to seeing more Garbo.

Queen Christina, 1933
Starring: Greta Garbo, John Gilbert, Lewis Stone, C. Aubrey Smith, Reginald Owen
Director: Rouben Mamoulian
Studio: MGM

SYNOPSIS: At the beginning of the film, we witness King Gustavus Adolphus of Sweden killed in battle during the mid-17th century. His six year old daughter, Christina, ascends the throne. Presumably, the adult members of Christina’s court act as ruling monarchy until Christina is old enough to understand her responsibility to her country. Fast forward a couple decades and a now grown Christina (Garbo) is a beloved ruler of Sweden. Her subjects adore her and respect her devotion to her country. She very much strives for peace for Sweden, and is happy when the Thirty Years’ War comes to an end.

However, like so many of these movies go, the men of Christina’s court are concerned that Christina does not appear to be in a hurry to marry and produce an heir. Despite Christina’s accomplishments and power in Sweden, she apparently isn’t anyone until she’s produced an heir. Presumably Christina is pushing 30 which heightens the anxiety surrounding her lack of husband and children. Christina however, doesn’t agree that she needs to marry, and she especially does not want to marry the suitor her court picked out. I don’t blame her, her male advisors want her to marry the heroic Karl Gustav…who is also her cousin. Christina is not interested in Karl, and there’s a funny part later in the film where she sees a photo of Karl. She laughs and says “is that what he looks like?” in a mocking tone. Obviously Christina and Karl are not well acquainted despite being cousins.

John Gilbert as Antonio and Garbo as Queen Christina. I could watch Garbo eat grapes all day–never have grapes looked so good.

Christina’s attitude toward marrying changes though when she meets a Spanish Envoy by the name of Antonio (Gilbert). One day, after tiring of her restrictive life, Christina decides to sneak out of her castle and take a relaxing horse ride to a neighboring town. However, it starts snowing and she seeks refuge in a small inn. Because Christina is dressed in masculine attire, the innkeeper assumes that Christina is a man. He gives Christina the last room at the inn. When Antonio shows up also looking for lodging, the innkeeper appeals to Christina, aka “the man” to whom he rented the last room. When Christina sees Antonio she agrees. Even the chambermaid is flirting with Christina, thinking she’s an attractive man. Antonio feels uncomfortable looking at Christina as he feels attracted to a person whom he thinks is a man. When Christina starts to change out of her clothing to get ready for bed, Antonio is realized to discover that he’s crushing on a woman, not a man.

Even dressed like a pilgrim, Garbo looks amazing.

Christina and Antonio’s lust for one another cannot be contained and it can be assumed what they do that evening. The next morning, Antonio is informed that the snowfall will cause them to be snowed in for a few more days. Devastated (::wink:: ::wink::) Antonio and Christina continue their tryst. There’s a funny scene afterwards, presumably post-coital, where they feed each other fruit. Christina walks around the room caressing bedposts, still in ecstasy. Throughout their sexy evening, Christina never lets on that she’s Queen of Sweden.

MY THOUGHTS: I absolutely loved this movie. Garbo is absolutely gorgeous. Even when she’s supposedly being mistaken for a man, she’s absolutely breathtaking. I loved the costumes in this movie. I also hadn’t seen John Gilbert in a film and I can see why Garbo was smitten with him. He was adorable in this movie and I also learned that that rumor that his talkie career bombed because of his voice was not true at all. Gilbert’s voice was fine. I would hands down watch this movie again and I’m happy that I own it.

The famous scene between Queen Christina and her Lady-in-Waiting

#PreCodeApril2022 Film #1: The Public Enemy (1931)

I started off this year’s #PreCodeApril event on Twitter with one of the all-time great pre-code films, The Public Enemy (1931). This film is also one of the premier gangster films, and is the film that made James Cagney a star. It was also one of Jean Harlow’s first big parts. With all the hype surrounding the film and its massive starpower, it is amazing that it has eluded me until now. Of course, I knew about the famous grapefruit scene between Cagney and Mae Clarke. I just hadn’t seen the scene within the context of the film.

The Public Enemy (1931)

The Public Enemy, 1931
Starring: James Cagney, Jean Harlow, Edward Woods, Joan Blondell, Mae Clarke
Director: William A. Wellman
Studio: Warner Brothers

SYNOPSIS: The Public Enemy takes place over about a twenty year (give or take) span of time. At the beginning of the film, it’s the early 1900s. We meet our main characters, Tom Powers (Cagney) and his best friend, Matt Doyle (Woods), as children living in Chicago. The two boys are troublemakers and are seen engaging in petty theft around town. They work for a gangster named “Putty Nose.” Putty Nose has the boys steal small items, then he pays them for the items. Putty presumably then sells them for a higher price to someone else. Putty Nose then invites the boys to participate in a robbery at a fur warehouse. The heist goes awry when Tom is startled by a stuffed bear and shoots at it. His gunshot alerts the police to their presence, who end up shooting one of the members of Putty’s gang. Tom and Matt gun the police officer down. When the boys go to Putty for help, they discover that he’s left town. This incident establishes a grudge that Tom carries with him to adulthood.

Time passes and the two boys grow up. By 1920, with Prohibition in full swing, Tom and Matt are enlisted by a bootlegger to help distribute his illicit liquor. Tom and Matt are living the high life as bootleggers. They eventually get girlfriends, Kitty (Clarke) and Mamie (Blondell). Tom and Kitty quickly tire of one another. Their relationship reaches its bitter end (literally) when Tom pushes a grapefruit half into Kitty’s face. Eventually Tom meets another woman, Gwen (Harlow), who admits that she’s been with a lot of men. As time passes, Tom’s illicit activity and relationships with other noted members of the underground makes him the target of a rival gang.

James Cagney and Jean Harlow in “The Public Enemy.”

MY THOUGHTS: This was such an amazing film. At first I wasn’t sure what to think of it, I was just anticipating the grapefruit scene. But Cagney was mesmerizing on screen. Apparently, he was supposed to have the supporting role as Matt Doyle, with Edward Woods in the leading role as Tom. However, when the first day’s rushes came back, director William A. Wellman realized what charisma and starpower Cagney had and switched his and Woods’ roles. And while Woods may have been the loser in the deal, the world is richer for Wellman’s insight. Cagney is fantastic in this film and with a less interesting lead (read: Woods), the film might have been average at best. Cagney elevates the material. The ending was truly gruesome. I was not expecting it. Joan Blondell was excellent, even in her small role. She and Cagney make a delightful team. Harlow had flashes of what made her a big star, but it is obvious that she is still very early in her career. Having watched a few of Harlow’s pre-codes, she really comes to her own a year later in 1932 with Red-Headed Woman and Red Dust.

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

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

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

ETHEL: Who, me? No!

MAN: Are you positive?

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

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

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

Oh how I was wrong.

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

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

Then I saw Sunset Boulevard.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Bonnets and Bustles: Costume Blogathon–“The Private Lives of Elizabeth & Essex” (1939)

As much as I love Bette Davis (she’s my second favorite after Lucille Ball), I do not watch The Private Lives of Elizabeth and Essex for her. I watch for my man, Errol Flynn (portrays Lord Essex, obviously). Davis’ preparation for the role as England’s Queen Elizabeth I is legendary. To accurately portray the 60-something year old monarch (despite only being 31), Davis shaved back her hairline to mimic Elizabeth I’s reported hair loss. She even shaved off her eyebrows! Which Davis later admitted was a mistake, as her eyebrows didn’t grow back properly. Forever after the film, she had to pencil in her eyebrows. Davis performed a lot of research for her role, and came up with many of Elizabeth I’s quirks and mannerisms herself based off her studies. One such quirk that Davis inserted into the film was Elizabeth’s propensity to fidget with her beads or other things. It’s the fidgeting that drives me crazy. It’s very distracting. It’s the one thing that turns me off of this film.

Bette Davis and Errol Flynn. I don’t know about you, but give me Flynn over Olivier any day of the week!

‘Elizabeth and Essex’ got off to a very rocky start. Davis wanted Sir Laurence Olivier to appear as Lord Essex. However, he was unavailable. Instead Warner Brothers cast their big star, Errol Flynn, to appear alongside Davis. The film’s high production costs led to the decision to cast Flynn as the studio hoped to not only recoup their budget, but to make a profit as well (obviously). Davis was very unhappy about the decision and did not make a secret of her dissatisfaction with her co-star. She treated Flynn very poorly and didn’t hold back when criticizing his acting ability. In his (fantastic) autobiography, My Wicked, Wicked Ways, Flynn recalls their first dress rehearsal of the scene in which Essex makes his entrance into the film to answer to Elizabeth I re: his latest military defeat (and she slaps him across the face). Essex has to make a long walk, through the middle of the English court, towards Elizabeth I who is seated on her throne.

“Finally, they called the first real rehearsal, and I must say, that as Bette assumed her place on the throne, dressed as Elizabeth, with great big square jewels on her hands, and on her wrists big heavy bracelets, she was living the part. She was Queen Elizabeth. I started the walk down through the English court. The cameras were grinding, the extras were gazing at me or at the throne, and I reached the Queen…Then all of a sudden, I felt as if I had been hit by a railroad locomotive. She had lifted one of her hands, heavy with those Elizabethan rings, and Joe Louis himself couldn’t give a right hook better than Bette hooked me with. My jaw went out. I felt a click behind my ear and I saw all these comets, shooting stars, all in one flash. It didn’t knock me to the ground. She had given me that little dainty hand, laden with about a pound of costume jewelry, right across the ear. I felt as if I were deaf.”

Errol Flynn in My Wicked Wicked Ways (1959).

The tense situation on the set did not improve from there. In his book, Flynn acknowledges that Bette was a great actress; but it’s safe to say that they were never going to be bosom buddies. Flynn also asserts that Bette’s animosity towards him is due to his turning down her advances. Whether this is true or not, is hard to say. Either way, Flynn and Bette never worked together again after ‘Elizabeth and Essex.’ There is a famous anecdote about Bette and friend (and ‘Elizabeth and Essex’ co-star) Olivia de Havilland. Decades after the filming of ‘Elizabeth and Essex’ and even Flynn’s passing in 1959, Bette and Olivia attended a viewing of ‘Elizabeth and Essex.’ Bette was quoted as saying about Flynn: “I was wrong, wrong wrong. Flynn was brilliant.”

Elizabeth I worries that she’ll lose the super hot Essex because she’s twice his age and looks it.

The basic plot of ‘Elizabeth and Essex’ is that Queen Elizabeth I is having an affair with the much younger, Lord Essex. While she is in love with Essex, Elizabeth fears that his intentions are not entirely honorable. She is afraid that the much younger Essex, will use his youth, popularity, and influence to take over her throne. Her vanity worries continue throughout the film. Essex maintains that he is in love with Elizabeth, but at the same time he knows that there is no heir to her throne. It is hard to ascertain whether his motives are genuine, or if he just wants to insinuate himself into the accession line for the British throne. Elizabeth, I think, is in love with Essex, but struggles between her love for him and her duty to the English people. Meanwhile, Elizabeth’s lady-in-waiting, Penelope (de Havilland), also lusts for Essex and uses her position to try and drive a wedge between Elizabeth and Essex.

Now onto the real point of this blogathon–the costumes. Obviously, Elizabeth’s costumes are the highlight of the film. Famed costume designer, Orry-Kelly, designed all the costumes for ‘Elizabeth and Essex.’ Elizabeth’s gowns were very extravagant and apparently weighed about sixty pounds. Poor Bette Davis regularly lost 2-3 lbs daily just from sweating under the heavy lights during film production. Bette wears an array of Elizabethan gowns. I’ll admit that I am not familiar with the actual terminology for the different parts of an Elizabethan gown. For the purposes of this blog, I googled “Elizabethan gown” to try and learn the correct names for the different components.

One of Bette’s elaborate Elizabethan gowns

Many of Bette’s gowns are what’s known as a “French gown” which is a dress with a square neckline, tight bodice, and a full skirt. Bette had to be put into a corset everyday in order to present the proper silhouette for her Elizabethan garb. According to some of the articles I read, buxom women would need to wear a corset in order for the gown to fit properly. Less-endowed women could get away with just some boning placed in the bodice of the gown. Bette no doubt had a bosom, thus the corset. Elizabethan gowns were outfitted with a device called a “Spanish Farthingale” which was essentially a hoop skirt, as to give the dress the correct Elizabethan look. Then, there was the “bumroll” (lol) which was a padded device that women wore around their hips to make the skirt pop out more. There is no doubt that Bette is also wearing a similar device to achieve the right aesthetic.

Then, there is another type of skirt, whether it is a petticoat, or something called a “kirtle” that will be a decorative skirt that will cover the spanish farthingale. Then, if that weren’t enough, FINALLY, the dress is put on. Bette’s costumes also include decorative elements, like the ruffs, which provide the more well known Elizabethan touches, like the big ruffled cuffs and high ruffled stiff collars. There were also ruffled collars that just went around the neck, but didn’t stick up half a foot from the neck. The kirtle is the contrasting part of the skirt that is visible. After this many different layers, which didn’t even include any sort of underwear or stockings that Bette might be wearing, no wonder the costume weighed 60 lbs.

Essex tries to reassure Elizabeth that he truly loves her

Many of Bette’s gowns in the film follow this same silhouette, but the gowns themselves all different from one another. The gowns are made of varying fabrics (brocade, silk, velvet to name a few) and colors. Her gowns are festooned with a variety of different decorative elements, like beading, lace, jewelry, flowers, and embroidery. Orry-Kelly would also change up the gowns by adding bunched sleeves, or extra ruffles, or what have you. Elizabeth’s costumes are very beautiful and elaborate. They truly are the highlight of the film.

Flynn’s costumes however, while not as elaborate, are still beautiful. Very few men could get away with tights and still look cool. But as Flynn proved in both The Adventures of Robin Hood and again in ‘Private Lives,’ is that he looks amazing in everything. Honestly, I pay more attention to Flynn than I do to Bette when I watch this film. When Flynn makes his grand entrance into the film as the defeated Lord Essex, he is dressed in a beautiful navy blue with gold trim doublet, with brown and gold breeches, brown tights, and knee-high brown boots. Nobody wore knee-high boots as beautifully as the 6’2″ Flynn. He is also wearing a black and gold breastplate with a red sash draped diagonally across it. And of course, because this film takes place during the Elizabethan era, he has on a tall, ruffed collar. For the sake of propriety, we will assume that Flynn’s Lord Essex is not outfitted with the codpiece that was custom during Elizabethan times.

Errol Flynn makes his entrance as Lord Essex

Flynn’s costumes follow a similar template, though the components are changed up based on the action of the scene. Obviously, he is not always dressed in battle armor, except when appropriate. There is another scene where Essex is dressed in a teal outfit, and he’s wearing a gold garter or some sort of decorative element around his leg, under the knee. He also wears a variety of short and long capes in this film. Flynn’s costumes are also adorned with a variety of embellishments, and the type of fabrics are changed up. While Elizabeth wears a lot of bright, bold colors, Essex for the most part is dressed in more neutrals, like dark blue, brown, and teal.

Olivia de Havilland’s Lady Penelope and Elizabeth’s other ladies in waiting, including chanteuse, Mistress Margaret Radcliffe (Nanette Fabray), wear costumes similar to Elizabeth I, but they are less ornate, less busy. Lady Penelope in particular wears quite low-cut costumes and overall appears sexier (as sexy as one can be in Elizabethan garb) than Elizabeth I. This was probably a purposeful choice as Lady Penelope is presented as a foe for Elizabeth I. She has the hots for Essex and seems like a more logical partner for him than the aging monarch.

Elizabeth wears a very busy dress as she plays chess with her foe, Lady Penelope

This is a wonderful film, in spite of Bette Davis’ constant fidgeting with her beads or whatever else is in her hands. There is no doubt watching this film that she studied and worked very hard to play Elizabeth I. In fact, she might have prepared a little too much as this performance seems a little more rigid than other performances of Bette’s that I’ve seen. Flynn of course is Errol Flynn. He is a great hero and a great lover. It is logical that Elizabeth and Penelope would both be in love with him. It is also logical that he’d use his good looks, popularity and influence to worm his way into Elizabeth’s confidence, so that she’d let her guard down as he keeps his eye on the prize (i.e. her throne). It doesn’t even matter that Flynn didn’t even attempt to not sound Australian. Flynn looks hot in his costumes. That’s all that matters to me. Poor Olivia de Havilland, was cast in this film right after finishing filming her role as Melanie in Gone With the Wind. Someone of her stature is wasted in the small part as Lady Penelope. However, it is nice to see her play a bad girl, a conniving type.

“I’m only a woman. Must I carry the weight, the agony of the world…alone?”

I hear you, Elizabeth.

The Odd or Even Blogathon- “Walk on the Wild Side” (1962)

With this blogathon, we had to provide the option of two films, one film produced in a year ending in an even number and another ending in an odd number. The blogathon host would then flip a coin and decide which option to assign to the author. My two films were: Walk on the Wild Side (1962) and Once a Thief (1965). I was told to write about my “even” choice. Stay tuned for my eventual entry about Once a Thief, with the beautiful Alain Delon whom I just discovered last year, thanks to guest programmer, Dana Delany on TCM!

Everyone’s favorite critic, Bosley Crowther, described Walk on the Wild Side as a “lurid, tawdry, and sleazy melodrama.” With this ringing endorsement, I knew I had to see this film! Plus, it also featured two of my faves, Barbara Stanwyck and Jane Fonda! With these two powerhouse actresses in the cast, I figured that Walk on the Wild Side, if anything, would be entertaining. I first tried to watch this film in February 2019 when my husband was in the hospital. I discovered that it was streaming on Amazon Prime. But between being tired due to trying to sleep in the uncomfortable hospital chair and then being constantly bothered by the hospital staff, and then falling asleep while trying to watch the movie, I had to give up trying to watch it. Sadly, the film dropped off Prime and I didn’t get to see it.

I finally got to see Walk on the Wild Side last year when Criterion Channel featured the film during a series they had on Jane Fonda. I was so excited to see it.

It was worth the wait.

The awesome Saul Bass-produced opening credits

Walk on the Wild Side opens with some awesome Saul Bass-produced opening and closing credit sequences. As the opening credits are displayed, a black cat slinks its way through an urban landscape as an exciting jazz-inspired score plays. The black cat walks through the grimy neighborhood, passing broken fences, old cement pipes, rusted out plumbing and chain link. Eventually the black cat spots a white cat and picks a fight. This opening sequence is the perfect metaphor for the events that unfold in Walk on the Wild Side. The closing credits are just as fun with the black cat seen walking over a newspaper headline providing an update to the characters’ fate whom we just saw at the conclusion of the film.

Jane Fonda as “Kitty Twist” and a wet mop–err Laurence Harvey as “Dove Linkhorn.”

Walk on the Wild Side takes place during the Great Depression. It opens with Kitty Twist (Jane Fonda) sleeping inside of a large, cement tube somewhere in rural Texas. Dove Linkhorn (Laurence Harvey), a cowboy, spots her and wakes her up. Kitty is a young woman who has spent many years as a bit of a vagabond, doing what she needs to get by. The filmmakers try to make Jane Fonda look a little rough around the edges, but despite some messy hair and baggy clothes, she still looks great. Fonda also affects a Southern drawl, much better than the one she uses in Period of Adjustment. Dove tells Kitty that he’s on his way to New Orleans. His father has died and Dove decides that this is the time to find and reunite with his lost love Hallie. He gets wind that she’s in New Orleans.

(DOVE has this completely absurd and ridiculous reminiscence about his time with Hallie. Seriously nobody would ever say this)

DOVE: “I’ll never forget the first time I met her. We went swimming together. It was at night. The way she moved in the water, like a kind of white flash. It was then I kissed her for the very first time. She gave me something I’d never known before. Something I a’int experienced since. Afterwards in the moonlight, we danced like we were celebrating a miracle. Crazy kind of dancing. We sang and shouted like it wasn’t real, as if we were in another world. Sometimes I think it never really happened to us.”

Laurence Harvey as “Dove Linkhorn” in “Walk on the Wild Side” (1962)

Kitty, not really having anywhere else to go or having anything else to do, decides to travel with Dove to New Orleans. Along the way, she shows him the ropes on hitchhiking and hopping freighters. Kitty also shows Dove the tools that women have at their disposal to get by in the world when she trades her baggy clothes in for a tight, form-hugging dress that shows off her assets to their highest potential. The ruse works and Kitty is able to get them a ride in the back of a box truck to complete the final leg of their trip. It’s obvious by this point that Kitty wants to get into Dove’s pants, but he rebuffs her every advance.

(KITTY is trying to seduce DOVE)

DOVE: “Sure I like you Kitty, but I don’t feel like foolin’.”

KITTY: “I’ll make you feel like foolin’.”

DOVE: “When I want something, I’ll ask for it!”

KITTY: “Who are you savin’ it for Dove? What’s her name?”

DOVE: “Hallie. Her name is Hallie.”

KITTY: “She’s in New Orleans?”

DOVE: “Hope so. I a’int seen her in three years.”

Jane Fonda as “Kitty Twist” and Laurence Harvey as “Dove Linkhorn” in “Walk on the Wild Side” (1962)
The miscast Anne Baxter as “Teresina.”

Upon arriving in New Orleans, Kitty and Dove stop at a small diner run by a kind Latina woman, Teresina (Anne Baxter. Yes, really. We’ll look past this for now). Kitty senses an opportunity to take advantage of Teresina’s hospitality and feigns illness after eating her meal. Teresina takes Kitty into the small bedroom behind her cafe to rest. As soon as Teresina is out of sight, Kitty loots her drawers, looking for something of value to steal. She eventually settles on Teresina’s beautiful rosary. Kitty emerges from the bedroom and she is very rude to Teresina, threatening to sue her for “poisoning” her.

(After TERESINA implies that KITTY was feigning illness while KITTY pitches a fit about being “poisoned” by TERESINA’S cooking)

KITTY: “Imagine, an innocent person walkin–“

TERESINA: “And of course, you make your living by walking.”

Jane Fonda as “Kitty Twist” and Anne Baxter as “Teresina” in “Walk on the Wild Side” (1962)

Me-ow! Kitty’s behavior at Teresina’s restaurant leads to a fight between her and Dove. As they’re leaving, Dove discovers the rosary in Kitty’s pocket and forces her to return it. They return to Teresina’s cafe and return the rosary. Kitty storms off and disappears for about half the film. As the action of the film progresses, it becomes obvious where Kitty will re-emerge. Dove’s honesty appeals to Teresina and she gives him a job at her cafe. With a place to stay and some income, Dove continues to search for Hallie. He ends up discovering that she works works at “The Doll House,” a brothel in the French Quarter in New Orleans.

Queen Barbara Stanwyck as “Jo,” the madam of The Doll House brothel

Now for the best part of the film–Barbara Stanwyck. My queen, Barbara Stanwyck, plays Jo, the proprietor of The Doll House. It seems that Jo discovered Hallie in New York City and brought her back to New Orleans. When Dove finds Hallie, she tells him how she came to live at The Doll House. Hallie’s story implies that she and Jo became lovers, which Hallie was receptive to because she was so lonely. Jo is very protective of Hallie, both out of a personal interest and a business interest, because Hallie is the #1 girl at The Doll House. Dove and Hallie reunite and resume their relationship, much to Jo’s chagrin.

Eventually, Kitty re-joins the film (looking amazing I might add) when she’s picked up on vagrancy charges. Jo apparently bailed her out and perhaps in repayment, Kitty becomes an employee at The Doll House. Jo then figures out that Kitty and Dove are acquainted with one another which is where Jo finds her ace in the hole. Kitty is apparently underage (which we wouldn’t know looking at her). Dove and Kitty traveled together from Texas to Louisiana. Jo sees this as an opportunity to threaten Dove, stating that she will tell authorities that he transported a minor over state lines for the purposes of immoral activity and statutory rape. However, she’ll keep quiet if Dove leaves, without Hallie. However, Jo isn’t the type to just let things go.

JO to HALLIE: “I want to know what’s going on between you and that boy. Are you in love with that Texas dirt farmer?

(After further arguing between JO and HALLIE)

JO: You may be weak, but I’m not. I’ll find your dirt farmer and that will be the end of that.”

Barbara Stanwyck as “Jo” in “Walk on the Wild Side” (1962)
Jane Fonda as “Kitty Twist” looking amazing when she rejoins the film as one of Jo’s new girls.

This film is kind of trashy, but in all the right ways. It is not quite as trashy as one of my other faves, Valley of the Dolls, but it’s up there. Laurence Harvey has the personality of a wet mop, so there isn’t much to say about him, except that he’s miscast. Harvey is British playing a cowboy. Capucine isn’t much better. She epitomizes ice queen, which does not seem like the ideal quality for a prostitute. She seems like she’d be the type of prostitute who’d come with a big laundry list of things that they “won’t do.” Anne Baxter’s casting as a Latina is baffling. Her affected “Mexican” accent is even worse. The filmmakers could have cast someone else, like Katy Jurado, if they wanted a Latina accent. If they really wanted Baxter, I don’t think changing the character’s nationality would have made much of a difference. While I love Baxter, she has such a deliberate way of speaking, with. each. and. ev-ery. syl-a-ble. so. clear-ly. em-pha-sized. Regardless, Baxter’s miscasting just lends to the fun. That’s how I look at it.

The real stars of this film, in my opinion, are Fonda and Stanwyck–the two actresses for whom I watched this film. Fonda is excellent as the conniving young woman who does whatever she wants, takes whatever (or whomever) she wants. She doesn’t care who she hurts as long as she gets what she wants. Fonda brings a spark to her scenes with Harvey, which is desperately needed since he’s so boring. I love that she’s allowed to be a little more loose in this film as she was a bit too stiff in her earlier films like Period of Adjustment. Stanwyck is amazing and she did an excellent job as the villain of the story. She is so cruel and ruthless. Jo is a woman who is so clearly in love with her star girl, that no man, and especially not a drip like Laurence Harvey, are going to come between her and the woman she loves. Poor Barbara Stanwyck’s legless husband. He doesn’t stand a chance.

Ice Queen Capucine looking glamorous in 1960s couture in a film that takes place during the Great Depression. Oops.

This film also features gorgeous 1960s gowns, except, oops. This movie takes place during The Great Depression. But hey, if Anne Baxter can be Mexican, then Capucine can wear 1960s Pierre Cardin couture. Sartorial anachronisms aside, Walk on the Wild Side is a great film if you enjoy a slightly trashy film. The early 1960s black and white, gritty aesthetic really makes the film. It’s a fun film to watch if you don’t take it too seriously and just go with whatever is presented on screen. I was so happy when Sony saved this film from out of print oblivion by releasing a new blu ray of the movie this past September. You better believe that I bought it.

Kayla’s Top 15 “New” Films of 2021

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:

  1. A Cry in the Night (1956). Raymond Burr, Natalie Wood, Edmond O’Brien.
  2. Jane Fonda in Five Acts (2018). A fabulous documentary on HBO Max.
  3. The Caine Mutiny (1954). Humphrey Bogart, Fred MacMurray, Van Johnson, Jose Ferrer.
  4. Once a Thief (1965). Alain Delon, Ann-Margret, Van Heflin.
  5. Walk on the Wild Side (1962). Laurence Harvey, Jane Fonda, Barbara Stanwyck, Anne Baxter, Capucine.
  6. Moonrise (1948). Dane Clark, Lloyd Bridges, Gail Patrick.
  7. The Glass Wall (1953). Vittorio Gassman, Gloria Grahame.
  8. The Big Combo (1955). Richard Conte, Cornel Wilde, Jean Wallace.
  9. Muppets Haunted Mansion (2021) The Great Gonzo, Pepe, Will Arnett.
  10. Die Hard (1988) Bruce Willis, Bonnie Bedelia, Reginald VelJohnson.
  11. Confession (1937) Kay Francis, Basil Rathbone, Ian Hunter.
  12. Three Days of the Condor (1975) Robert Redford, Faye Dunaway, Max Von Sydow, Cliff Robertson.
  13. I’ll Cry Tomorrow (1955) Susan Hayward, Richard Conte, Eddie Albert.
  14. Possessed (1947) Joan Crawford, Van Heflin, Raymond Massey
  15. The Circus (1928) Charlie Chaplin.

The Distraction Blogathon- “Casablanca” (1942)

“Louis, I think this is the beginning of a beautiful friendship.”

“Of all the gin joints, in all the towns, in all the world, she walks into mine.”

“We’ll always have Paris.”

“Play it Sam, play ‘As Time Goes By.'”

“I’m shocked! Shocked to find that gambling is going on here.”

“Here’s looking at you, kid.”

“Everybody comes to Rick’s.”

Humphrey Bogart (Rick), Claude Rains (Louis), Paul Henreid (Victor) and Ingrid Bergman (Ilsa) in “Casablanca.”

These are just some of the amazing quotes from Casablanca. Casablanca is considered one of the greatest films of all time, and for good reason–it is a fantastic movie. Almost every line of dialogue is quotable. The characters (especially Rick, Ilsa, and Louis) are iconic. The last scene between Rick and Ilsa at the airport and later, the ending scene with Rick and Louis walking off into the fog are forever symbolic of Classic Hollywood. Between the quotes, the scenes, the music, Rick and Ilsa’s romance, Louis’ corruption… there is so much to remember about Casablanca. However, does anyone remember the object that plays a central role in the film? 1

1 Obviously a rhetorical question, because duh, we’re all Classic Hollywood film fans, OF COURSE we know the answer to this question; but roll with it.

Answer? The letters of transit. The letters of transit are introduced in the film as a piece of crucial documentation that refugees must present to leave Casablanca, Morocco. These refugees are hoping to obtain a letter of transit so that they can travel through German-occupied Europe to Lisbon, Portugal (which is neutral), then board a ship/plane to head to their new life in the United States. These documents are the objects that motivate the main characters’ actions in the film. The audience is first introduced to Peter Lorre’s character in the film, Ugarte, as he races through town and into Rick’s (Humphrey Bogart) club, Rick’s Cafe American. Ugarte boasts that he murdered two German couriers to obtain these precious letters of transit. He wants to sell them in Rick’s club. In the meantime however, Ugarte asks Rick to keep the letters of transit safe.

Later, Ilsa Lund (Ingrid Bergman) and Victor Laszlo (Paul Henreid) arrive in Casablanca and head over to Rick’s. Victor is the leader of the Czech Resistance movement. Because of his activity, Victor ranks high on the Germans’ list of persons to not allow to leave Casablanca. Thanks to Rick’s business rival, Signor Ferrari (Sydney Greenstreet), Rick is suspected of having the letters of transit in his possession. This suspicion is what leads Ilsa and Victor to Rick’s. Captain Louis Renault (Claude Rains), the corrupt prefect of police, also suspects Rick has the letters of transit. He is a subject of the German-controlled France and is supposed to be preventing Ilsa and Victor’s escape.

Dooley Wilson (Sam) attempts to comfort Humphrey Bogart (Rick) as he laments Ilsa walking into his gin joint.

But does the audience care about the letters of transit? No. Not really. As the audience, we are immediately captivated by Rick’s sour reaction to Ilsa’s showing up at his club. What’s the story there? That’s what we want to know. Judging from Ilsa’s acquaintance with Sam (Dooley Wilson), Rick’s pianist and friend, and her asking him to play “it,” we know that there’s a story there. Sam knows what “it” is and reluctantly agrees to play the song when Ilsa persists. When Sam acquiesces to Ilsa’s request and begins playing “As Time Goes By,” (i.e. “it”), Rick angrily emerges from his office, demanding to know why Sam is playing *that* song. He spots Ilsa and oof. If looks could kill. Rick’s reaction, combined with Sam quickly grabbing his piano bench and scurrying out of the way, is what we need to know about. What is the story behind Rick and Ilsa?

The story of Rick and Ilsa provides the main framework of the story and the main conflict. Add in the fact that Ilsa is married to Victor, and a love triangle develops. Rick and Ilsa’s romance is re-kindled and soon it’s up in the air as to whether Ilsa will want a letter of transit to leave Casablanca. A different side of Rick emerges. He was a cynical, world weary ex-pat living in Casablanca, seemingly impervious to everything. Then Ilsa shows up (unexpectedly) and the romantic side of him emerges. Louis is there, kind of playing both sides, both as an ally of Rick’s but also wanting to follow through on his “duty” and prevent Victor’s escape. He knows Rick knows where the letters of transit are, but he doesn’t really work too hard to look for them. Louis, a French police officer, is stuck in the middle between duty to his country and duty to the corrupt Nazi regime who had taken over Vichy France. At the end of the film, Louis tosses the full bottle of Vichy water into the trash, symbolically showing that he is severing his ties with the Nazis. Louis, like Rick, becomes a patriot.

At the end of the film, Rick makes the ultimate sacrifice and sends Ilsa off with Victor. He hands over the letters of transit very casually. There is no big fanfare, no big build up when Rick hands off the coveted documents. Instead, we are treated to Rick’s very self-sacrificing monologue, the monologue in which he finally severs ties with Ilsa and closes this chapter of his life. This is closure to the romance that we’ve been captivated by since the beginning of the film. We’re finally finding out the resolution of the love triangle. Which man will Ilsa end up with? The man she fell in love with after her husband was thought to be dead? Or her husband, whom she reunited with (and abandoned Rick in the process) after learning that he was still alive? Does she stay with the man who escaped the war to live in Casablanca? Or does she stay with the man who is conducting very important, but also dangerous work on behalf of the Resistance? The letters of transit are essentially irrelevant in the context of the real crux of the film.

Humphrey Bogart (Rick) and Ingrid Bergman (Ilsa) in the iconic airport scene from “Casablanca.”

RICK: “Last night, we said a great many things. You said I was to do the thinking for both of us. Well, I’ve done a lot of it since then, and it all adds up to one thing: you’re getting on that plane with Victor where you belong.”

ILSA: “But Richard, no… I… I…”

RICK: “Now you’ve got to listen to me! You have any idea what you’d have to look forward to if you stayed here? Nine chances out of ten we’d both wind up in a Concentration Camp. Isn’t that true, Louis?”

LOUIS: “I’m afraid Major Strasser would insist.”

ILSA: “You’re only saying this to make me go.”

RICK: “I’m saying it because it’s true. Inside of us, we both know you belong with Victor. You’re part of his work, the thing that keeps him going. If that plane leaves the ground and you’re not with him, you’ll regret it. Maybe not today, maybe not tomorrow, but soon and for the rest of your life.”

ILSA: “But what about us?”

RICK: “We’ll always have Paris. What we didn’t have, we lost it until you came to Casablanca. We got it back last night.”

ILSA: “When I said I would never leave you.”

RICK: “And you never will. But I’ve got a job to do, too. Where I’m going, you can’t follow. What I’ve got to do, you can’t have any part of. Ilsa, I’m no good at being noble, but it doesn’t take much to see that the problems of three people don’t amount to a hill of beans in this crazy world. Someday you’ll understand that.”

(ILSA lowers her head and begins to cry)

RICK: “Now…now…”

(RICK gently grabs Ilsa’s chin and raises it, so they can look into each other’s eyes.)

RICK: “Here’s looking at you, kid.”

Humphrey Bogart (Rick), Ingrid Bergman (Ilsa), and Claude Rains (Louis) in one of the most iconic scenes in Classic Hollywood.

The final scene between Rick and Ilsa is one of my absolute favorite scenes in any film. Who knew that a scene where two people are breaking up could be so romantic and heartbreaking. It was beautifully written and acted. After taking in the emotional gravitas of this scene and the absolutely heart-wrenching ending to this romance, who is still thinking about the letters of transit?

Rick, hide me! Do something! You must help me, Rick!”

The Biopic Blogathon: “Gentleman Jim” (1942)

The real James J. “Gentleman Jim” Corbett

James John “Gentleman Jim” Corbett was a competitive boxer best known for beating the famed heavyweight world champion, John L. Sullivan. Despite having only fought in about twenty matches, Corbett went up against the best fighters the sport had to offer. He was famous for his technique, which involved actual skill and practice, in lieu of sheer brute force. His refined conduct inside and outside the boxing ring led to the media referring to Corbett by the nickname, “Gentleman Jim.” At the end of the nineteenth century, boxing was still illegal in about half of the states in the union. The brutal nature of the sport led to it being considered immoral. However, Corbett’s genteel behavior and adoption of the Marquess of Queensbury Rules 1 (still in use in boxing today) led to the sport becoming more acceptable, especially among the women who flocked to his matches in droves. Corbett was one of the first modern sex symbols in the sports world.

1 The Marquess of Queensbury Rules were drafted in 1865 and established a code of ethics that fighters must follow at all times during a match. It wasn't enough to win, a fighter also had to play by the rules. There are a multitude of rules, including boxing ring regulations, proper gloves and shoes, 10-count before declaring KO, referee given power to end bout, and other rules. 
Despite what the poster might have you believe, Flynn does not have a mustache in this film.

In 1942, about ten years after Corbett’s passing, Warner Brothers set out to create a biopic of his life after having purchased the rights to his story from his widow. To star in the film as the first sex symbol of modern day boxing, Warner Brothers cast (who else?) Errol Flynn. Of all the stars in their stable, Flynn is the perfect choice to appear as the refined, lithe, attractive “Gentleman Jim.” Flynn himself was a boxer before Hollywood and was a natural athlete. To hone his boxing skills and to properly portray the real-life Corbett’s footwork technique, Flynn took extensive lessons. He rarely used a double during filming.

Flynn’s James “Jim” Corbett is presented as a brash young man with a “cock of the walk” type attitude. Working as a bank teller in San Francisco alongside his best friend, Walter (Jack Carson), he very easily ingratiates himself into the Olympic Club, a very elite club and gym for the upper crust. A young woman, Victoria Ware (Alexis Smith) comes into the bank one day to get some change for her father’s card game and meets Jim. Hearing that she’s on her way to the Olympic Club, Jim very graciously (lol) offers to accompany her to the club. Soon he manages to invite himself on a lunch date with Victoria and before he knows it he’s in the club showing off his boxing technique to the members of the club. The members are impressed and much to Victoria’s chagrin, Jim is invited to become a member of the club.

Alexis Smith and Errol Flynn as Victoria Ware and Jim Corbett. This picture nicely sums up Victoria and Jim’s relationship throughout most of the film.

Victoria and Jim have a very funny love-hate relationship throughout the film. Victoria finds Jim’s cockiness and forward behavior very off-putting. On his first day as a member, Jim has himself paged all over the club, “Paging Mr. Corbett,” to make him appear important to the other members of the club. His arrogant behavior irritates the other members of the club, but they put up with it because of his ability. Victoria heckles Jim throughout the film. She cheers for his opponents, boos him when he enters the ring, and mocks his behavior. Victoria’s dad looms in the background laughing at Victoria and Jim’s flirtatious, yet faux contemptuous behavior toward one another. “You two are the funniest couple” he says. However, despite how much Victoria pretends to be irritated by Jim, there’s a definite vibe that she’s got a crush on him. And who wouldn’t? Look at the man.

Jim also has a hilarious Irish family who provide some comic relief for the film. His father, Pat (Alan Hale) and mother, “Ma,” are both Irish immigrants who run a stable in the working class area of San Francisco. After a few prominent boxing matches, Jim’s star rises and he arranges for his family to move to the upper crust Nob Hill neighborhood. Pat and Jim’s brothers run a saloon that Jim purchases for them. The family is hilarious. One of their running gags is their heated arguments, which culminate with them taking the fight outside–“The Corbetts are at it again!” is heard a few times in the film. It is interesting how Jim is the only member of the family to speak with an Australian accent, but we’ll let that slide.

Alan Hale as Pat Corbett and Errol Flynn as his son, Jim.

Much of the film involves Jim’s power growing as he takes down one acclaimed boxer after another. During his first major bout, there’s a funny scene where his opponent’s son asks his mother why his dad doesn’t look like [Jim] in his underwear. The mother responds, “he did, once.” Jim wins the match and attends a party in his honor. However, he learns about the snobbery of the upper crust when his friend Walter is kicked out of the party due to not following dress code and drunkenness. My favorite part of this scene is where Walter starts drinking a man’s cocktail and the man says “hey that’s my drink!” Walter says, “it is? Then this must be mine!” as he grabs another drink and knocks it back. Upset over the treatment of his friend, Jim bails and they continue the celebration.

Jack Carson, William Frawley and Errol Flynn as Walter, Billy Delaney, and Jim Corbett

The celebration ends the next morning in Salt Lake City when Jim and Walter wake up. They discover that during their drunken evening, Jim had won $10 in a fight and gained a manager, Billy Delaney (William Frawley). Delaney is “strictly big time” (he says) and is soon booking Jim into more prestigious fights. Jim’s prizefighting career culminates with a huge 60+ round fight against the reigning heavyweight world champion, John L. Sullivan (Ward Bond).

Ward Bond and Errol Flynn as John L. Sullivan and Jim Corbett

At the risk of spoiling the film, Jim emerges as the victor of the huge Corbett vs Sullivan match. At his celebration party, a humbled Sullivan shows up unexpectedly to cede his title to Jim. The scene is very poignant as Sullivan has to admit defeat and face the fact that he is no longer the greatest in the world. Jim, who idolized Sullivan when he was younger, gives the man a boost as he says that he’s grateful that he wasn’t the same Sullivan a decade prior. This moment humbles Corbett as he knows that there’s always someone waiting in the wings that is better. Soon Corbett will be humbled, just like Sullivan was that evening.

Finally, Victoria and Jim’s contentious relationship reaches its climax. Victoria continues to feign annoyance at Jim’s arrogance and he finally calls her out on it. He makes her admit that she doesn’t hate him as much as she lets on.

Alexis Smith and Errol Flynn as Victoria Ware and Jim Corbett– Geez, kiss already.

(After Jim kisses her while she berates him for being a “tin-horned, shanty Irishman”)

VICTORIA: Fine way for a gentleman to behave

JIM: Oh darling, that gentleman stuff never fooled you, did it? I’m no gentleman.

VICTORIA: In that case, I’m no lady.

(Jim and Victoria kiss again, this time as two people who have the hots for one another)

Errol Flynn and Alexis Smith as James “Jim” Corbett and Victoria Ware in “Gentleman Jim” (1942)

Like most biopics, Gentleman Jim strays from the truth a bit. The real “Gentleman Jim” was soft-spoken as he considered that more dignified. However, the casting of Errol Flynn brought about the “cock of the walk” attitude that definitely makes for a much more exciting film. Gentleman Jim was Errol Flynn’s favorite film of his career and it shows. This film is the peak of Flynn’s popularity and good looks. This film makes the best use of Flynn’s athleticism, good looks, charisma, everything. Alexis Smith was perfect casting. She’s formidable enough both in stature and personality to face Flynn. He is at his best when he has a strong leading lady to play against.

Swoon

My favorite parts are:

  1. When Jim falls into the San Francisco bay during an illegal fight and he completes the match in wet boxing pants.
  2. When Billy Delaney tries to maintain a quiet, relaxing environment for his prizefighter in the days leading up to the John L. Sullivan fight and his family bursts in and soon they’re singing and dancing an Irish jig. Billy Delaney says: “Look at those maniacs! What do you mean barging in here like a herd of wild elephants?” I love how Jim looks on in the background in amusement while Billy and Pat scuffle.
  3. When Ma Corbett corrects her family, saying “John *L* Sullivan,” emphasis in the L.
  4. The ending romantic scene with Victoria and Jim where they finally kiss. It’s about time, you know she’s been wanting to hook up with him since the beginning of the film.
  5. The very sweet scene between Jim and Ma where she worries about him fighting.

Now, time for my swoon moment:

YES!

Errol Flynn. Errol is my #1 favorite actor and this is the film that cemented that. He is hot hot in this film and is fantastic. He is one of the few leading men who take attention away from the leading lady. He is so gorgeous in this film and is just so much fun to watch. Aside from the film being genuinely a good film, he also provides plenty of opportunities for ogling.

In this film, we get to see:

  1. Flynn in wet, tight pants
  2. Flynn in short shorts
  3. Flynn in a tuxedo and top hat
  4. Flynn in a form-fitting union suit. HE EVEN MAKES A UNION SUIT LOOK GOOD.
  5. Flynn in tight pants
  6. Flynn with no mustache
  7. A lot of shirtless, Flynn action
“Give ’em room!”

Swashbuckbucklaton Blogathon- “The Sea Hawk” (1940)

Errol Flynn is synonymous with the Classic Hollywood swashbuckler. While many other stars (Tyrone Power, John Barrymore, Douglas Fairbanks Sr., Burt Lancaster, Basil Rathbone, to name a few) made swashbucklers, it was Flynn who is the most recognized of the genre. It could be argued as well that Fairbanks Sr., was also a well known swashbuckler, though his career was in silent film. In 1935, Flynn picked up where Fairbanks Sr., left off when he was cast in the titular role in the star-making Captain Blood.

Flora Robson as Elizabeth I and Errol Flynn as Captain Geoffrey Thorpe in “The Sea Hawk”

By 1940, Flynn was a major star, having appeared in his most iconic role, Robin Hood, in The Adventures of Robin Hood. Flynn would begin the new decade with another iconic role, that of Captain Geoffrey Thorpe in The Sea Hawk. In this film, Flynn plays the British captain of “The Sea Hawks,” a group of British pirates or “privateers.” Thorpe and his men operate on behalf of Elizabeth I (Flora Robson), Queen of England. Elizabeth I is concerned that the Spanish are preparing to invade England with the armada they are building. And Elizabeth isn’t wrong. Spain’s King, Phillip II, has designs on conquering England. He sends Don Alvarez (Claude Rains) as his representative to speak with Elizabeth I and soothe her worries–even though obviously he does want to conquer England.

Don Alvarez and his niece, Dona Maria (Brenda Marshall) board one of the Spanish ships and are soon captured by Thorpe and his fellow Sea Hawks. The Sea Hawks rob Don Alvarez and Dona Maria of their riches. But of course, since this is an Errol Flynn movie, he quickly falls for Dona Maria and returns her jewels. However, this capture of Don Alvarez and Dona Maria does not sit well with Elizabeth I and she scolds Thorpe for potentially endangering the peace between England and Spain. Thorpe then suggests that they capture a Spanish treasure fleet that is returning from the Americas. Elizabeth I is wary, but allows them to continue. However, one of Elizabeth I’s ministers, Lord Wolfingham (Henry Daniell) doesn’t believe Thorpe and starts to investigate where the Sea Hawks are truly headed.

The makeup department went to town making Errol Flynn look like hell for the slave scenes.

This is a really great movie. I would argue that Brenda Marshall is a little weak as Flynn’s leading lady in this film. While she’s fine and is pretty, Marshall always comes across as a little bland to me. I much prefer Flynn with a leading lady with a stronger personality, like Olivia de Havilland, Alexis Smith, or Ann Sheridan. I always love Claude Rains. He’s amazing in any film he appears in. Flora Robson’s Elizabeth I, for me is a standout. As much as I love my queen, Bette Davis, I prefer Robson’s portrayal of The Virgin Queen. Davis’ interpretation of Elizabeth I in The Private Lives of Elizabeth and Essex (also co-starring Flynn) is excellent, but she’s so fidgety and not subtle in her portrayal.

Flynn and the best actor in the entire film.

My favorite part of the film is the part when Flynn and the Sea Hawks are captured and forced to work as slaves on the galley. This entire scene is preceded by a sepia tone segment that was reused footage from a 1924 version of The Sea Hawk. I *would* say that I love this scene because I love the suspense and the men planning their escape… but I’d be lying. I really love this scene because, even though he looks a little rough around the edges, Flynn plays the whole scene in just a pair of raggy shorts 😉

The real star of the film however, is Thorpe’s monkey, played by Flynn’s real life pet monkey. In my opinion, every film is improved by an actor monkey–especially a monkey wearing a costume.

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).