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).

We Love Pirates Blogathon: Errol Flynn’s Pirate Films

Of course I’d pick the blogathon button with my boyfriend, Errol Flynn (This photo is from “The Sea Hawk”)

Ah Errol Flynn. My boyfriend, Errol Flynn. While proved himself an adept actor in dramas, comedies, sports films, adventure… He’s best known today for his swashbucklers. Many of Flynn’s swashbuckler films involved him wielding a sword, such as in Captain Blood, The Sea Hawk, The Adventures of Don Juan, Against All Flags, and his best-known film, The Adventures of Robin Hood. In Flynn’s films, he always played the rogue hero. A man who displayed massive amounts of bravado and heroism, but could also make women weak in the knees with one flash of his megawatt smile. Flynn could swagger into the room and cut the villain down to size with one cutting remark. He always played a charismatic leader, one whom others looked up to and wanted to support. In this article, I’m going to focus on Flynn’s pirate films, it is Pirate Week, after all.

Two great stars are born in “Captain Blood,” Errol Flynn & Olivia de Havilland

Captain Blood (1935). This film was Errol Flynn’s big break. While he’d appeared in two films prior to Captain Blood, in one film, he played a corpse (The Case of the Curious Bride) and in another (Don’t Bet on Blondes), he had the small role as a boyfriend–nothing that was going to catapult him into stardom. For ‘Blood,’ Warner Brothers had wanted to cast Robert Donat, but he turned the film down, fearing that it’d be too strenuous for his asthma. Finally, the studio settled on the unknown Australian, Errol Flynn, and cast him alongside the equally unknown, 19-year old Olivia de Havilland. This would prove to be a monumental film for both actors.

While I’m not in love with his hair, I would pay 10 pounds to have Errol Flynn be my slave.

In this film, Flynn plays the titular, Captain Peter Blood, a 17th century British doctor who is arrested and accused of treason against King James II after treating Lord Gilroy. The judge sentences him to death, but the King sees an opportunity for profit, and opts to transfer Peter and other rebellious men to the West Indies to be sold into slavery. After landing in Port Royal, the men are put up on the block to be sold to the wealthy landowners. When it’s Peter’s turn, he is purchased for 10 pounds by Arabella Bishop (Olivia de Havilland), the wealthy niece of the local military commander, Colonel Bishop. Arabella is charmed by Peter’s rebellious nature and let’s face it, he was the most attractive of all the slaves. Peter resents having been purchased like he was a piece of meat. To improve his situation, Arabella recommends Peter for the job of her uncle’s personal physician. It seems that Colonel Bishop suffers from the gout. The conflict of the film occurs when Peter puts together a plan for himself and his fellow slave men to escape. They do and thus begin their life of piracy.

Errol Flynn in a costume test for “The Sea Hawk.” He looks a little mangy, but I wouldn’t turn him down

The Sea Hawk (1941) In this pirate film, Flynn plays Captain Geoffrey Thorpe, a British subject of Queen Elizabeth I (Flora Robson). He and his crew capture a Spanish ship, helmed by the Spanish Ambassador, Don Alvarez (Claude Rains), who along with his daughter, Dona Maria (Brenda Marshall), were sent to Britain by King Phillip II of Spain, to quell Elizabeth I’s suspicions that he’s trying to put together an Armada Fleet. However, after Thorpe captures their ship, he takes Don and Dona to Britain with him. And because he’s ladykiller Errol Flynn, Thorpe wins the affections of Dona Maria by returning her jewelry that he and his crew had stolen. While Queen Elizabeth I doesn’t approve of Thorpe’s crew’s activities as it endangers Britain and Spain’s peace treaty, she hesitantly allows Thorpe to go forward with his plan to seize a Spanish Treasure Fleet.

See? Errol Flynn and his monkey. This really was Flynn’s pets. He loved all animals and had quite the menagerie at his home

At one point in the film Flynn and his crew are captured by the Spanish and made to work as slaves in the Galley. They are chained to each other and to the boat and forced to provide the ship’s power. Let me just get this out of the way: I am here for scantily-clad slave Errol Flynn. Of course, the men need to figure out a way to escape. Later, Flynn charms Queen Elizabeth I with his monkey (no, that’s not a euphemism. He really does have a monkey) and continues to woo Dona Maria. This is a really great film, probably Flynn’s best pirate film, in my opinion. I wish they’d cast a leading lady with a little more personality, as Brenda Marshall is a little bland, but over all, she is fine. Flora Robson is also much more effective as Queen Elizabeth I, than my personal Queen, Bette Davis. Yes, I said it.

Against All Flags (1952). This film features an older Errol Flynn. No he’s not has lithe as he was previously. He’s a little more haggard. He isn’t quite the same vivacious Errol Flynn of the past as his demons were quickly catching up with him; but because it’s Errol Flynn, he is still attractive and still has panache. In this film, Flynn plays Lieutenant Brian Hawke, who works aboard the British ship, The Monsoon. He volunteers for a dangerous mission to infiltrate the pirate’s base on the coast of Madagascar. He plans to pose as a deserter. When Hawke arrives at the pirates’ base, he immediately arouses suspicion in Captain Roc Brasillano (Anthony Quinn). Brasillano says that he will bring Hawke in front of a pirates’ council to decide his fate. If they don’t like him, he’ll be executed.

Maureen O’Hara and Errol Flynn in “Against All Flags”

At the same time, because it’s Errol Flynn, he’s attracted the attention of Spitfire Stevens (Maureen O’Hara), the only female pirate aboard ship. She is one of the Captains of the ship and inherited the position from her father. At the council, Hawke ends up dueling one of the pirates and winning. He’s invited to join the pirates on a tentative basis, as he still needs to prove his worth. At some point, after taking over another ship, another woman is taken on board. She becomes immediately smitten with Hawke, much to the chagrin of Spitfire, even though she pretends not to like Hawke. Eventually, because it’s Errol Flynn, he ends up in a love triangle with himself, Brasillano and Spitfire, with an offshoot of a small triangle between himself, the other woman, and Spitfire. Hawke himself has no interest in the other woman, he only has eyes for Spitfire.

This is a beautiful looking film. One cannot go wrong with Maureen O’Hara. She was also known for her pirate films. It is definitely a treat to have two major figures of Pirate Cinema: Flynn and O’Hara, in the same film.

Has anyone looked better in Technicolor than Maureen O’Hara? The woman in pink is the “other woman” who is in love with Flynn. We’ll just ignore whatever is going on with Flynn’s hair, and focus on his great costume!

Lovely Blog Party Blogathon: “Favorite Movie Couples”

February is the month of Valentine’s Day. A month to celebrate romance. A month to celebrate love. Typically, in lieu of the regular romance movie routine, I personally like to watch movies about obsessive love, like Leave Her to Heaven, where the antagonist, Ellen Berent’s only problem is that “she loves too much.” That’s putting it mildly. For this blogathon however, I’m going to go the more traditional route with a salute to my favorite movie couples. No, it’s not the most unique idea, but I hope that my selections are unique. These are the couples you hope will end up together. Even if they don’t, if the relationship ends on a satisfying note, it can still be a relationship worth coveting.

Humphrey Bogart & Ingrid Bergman in “Casablanca”

#1 Rick Blaine and Ilsa Lund- Casablanca (1942). This isn’t a unique choice. Rick Blaine (Humphrey Bogart) and Ilsa Lund (Ingrid Bergman) are often held up as one of Classic Hollywood’s greatest romances; but for good reason. Rick and Ilsa’s goodbye scene at the airport is iconic. Who can forget Rick lifting Ilsa’s chin as she sobs, then delivering the iconic line: “Here’s looking at you, kid.” Yes he’s repeating a line that he says to Ilsa in Paris, but it’s this moment where the line is the most poignant. It’s the final callback to the passionate romance they shared before World War II changed their lives permanently. Yes, Ilsa was married to Lazlo (Paul Henried) while they were in Paris and she’s married to him throughout the film. But who cares about Lazlo? This is Rick and Ilsa’s romance. They fell in love in Paris. They were torn apart by the war when Ilsa discovers that her “dead” husband, Lazlo, is actually alive. They’re brought back together in Casablanca when Lazlo’s work with the French Resistance takes him to Morocco. Rick and Ilsa’s feelings for one another come back and it’s such a passionate romance, it’s almost a shame that they don’t end up together. But the ending allows Rick to be the bigger man and to find his place in the world, with Louis Renault (Claude Rains) by his side. It’s the beginning of a beautiful friendship, indeed.

Lauren Bacall & Humphrey Bogart in “To Have and Have Not”

#2 Harry Morgan & Marie ‘Slim’ Browning- To Have and Have Not (1944). I’d be remiss to forget about Humphrey Bogart and Lauren Bacall’s iconic first film together. For not being known as a matinee idol, Bogart found himself part of many classic on-screen romances. In this instance, it was his appearance as Harry Morgan (Bogart), a fisherman working in the French colony of Martinique, a Caribbean nation. Because this takes place right after the Fall of France to the Germans during World War II, the island of Martinique is a mish-mash of Germans (due to the control possessed by the Pro-German Vichy France), sympathetic French, and other people trying to escape their lives. One of these people that Harry meets, is “Slim” (Bacall), a young American woman who is a bit of a wanderer and has found her way to Martinique. The sparks between Harry and Slim are obvious, especially after Slim teaches him how to whistle. Bogie and Bacall’s on-screen chemistry leapt off the screen and into real life as Bogie and Bacall fell in love and became one of Classic Hollywood’s most iconic couples.

Sandra Dee & James Darren in “Gidget” — Get it, girl!

#3 Frances “Gidget” Lawrence & Jeffrey “Moondoggie” Matthews-Gidget (1959). If there’s one type of movie I love, it’s the teen beach movie and Gidget is the all-time best teen beach movie, in my opinion. Part of the reason I love this movie so much is for Gidget (Sandra Dee) and Moondoggie (James Darren). In this film, Gidget (nicknamed bestowed upon Frances by the surfer boys, it’s an amalgamation of “girl” and “midget”) is a 17-year old incoming high school senior who feels inadequate next to her more physically developed, boy crazy girlfriends. At the beginning of the film, we see Gidget and her friends try to attract the surfer boys at the beach, with Gidget failing miserably due to her awkwardness. But there’s something endearing about Gidget. She’s genuine. She can’t muster up the ability to try and attract the boys, because it seems fake. She just wants to swim. She doesn’t want to play stupid games trying to get their attention. She ends up catching the attention of one of the surfer boys, Moondoggie. At first Moondoggie is standoffish, but it’s obvious that he’s doing so because he’s trying to keep up his “cred” with the other boys. But through being protective of Gidget and later having a chance to spend time with her one-on-one, he realizes that he really does like her. Gidget’s liked him the whole time. When they have a chance to be together, they are smitten. Frankly, they are adorable and I love them. In the end, Gidget’s friends are still single and Gidget’s hooked herself a hot college guy by staying true to herself. Get it, girl!

Joel McCrea & Jean Arthur in “The More the Merrier”

#4 Connie Milligan & Joe Carter- The More the Merrier (1943). Connie (Jean Arthur) and Joe (Joel McCrea) are adorable. They’re brought together by the meddling, Benjamin Dingle (Charles Coburn), a retired millionaire who sublets half of Connie’s apartment during the World War II housing crisis. When Sergeant Joe Carter shows up to answer Connie’s ad, Mr. Dingle sees an opportunity to fix the uptight Connie up with a nice young man. Mr. Dingle sublets half of his half of the apartment to Joe. After learning about Mr. Dingle’s arrangement, Connie is upset. Especially when the men start razzing her about her fiance, Mr. Charles J. Pendergast. Despite trying to impress the two men with Mr. Pendergast’s good points (he makes $8600/year and has no hair), it becomes even obvious that she’s matched up with the wrong man. By this point, Joe has a crush on Connie and wants to spend time with her. Later one evening, Joe and Connie find themselves alone together on the front stoop of their apartment building. What unfolds on the front stoop is one of the sexiest, romantic scenes in Classic Hollywood, and nobody had to lose any of their clothes. I love them together and hope that they lived happily ever after… without Mr. Pendergast.

William Powell & Myrna Loy in “The Thin Man” (1934)

#5 Nick and Nora Charles, The Thin Man Series (1934-1947). Nick (William Powell) and Nora (Myrna Loy) Charles are the power couple that everyone wishes they were. They are part of society. They have a beautiful home. They have an amazing dog, Asta. And, they solve mysteries together, thanks to Nick’s background as a detective. Nick loves the thrill of the mystery and Nora desperately wishes to be a part of the thrill. Nick tries to keep her at home and safe from the danger, but Nora always manages to horn her way in, by finding a vital clue or having an alluring thought about a potential suspect. At the start of the film series, Nick had retired from his detective career when he marries socialite Nora. Nick and Nora have such an amazing rapport and chemistry with one another, that the mystery almost takes a back seat to their relationship. William Powell and Myrna Loy are so amazing together, that one wishes they’d been married in real life.

Clearing the DVR- “The Strange Affair of Uncle Harry” (1945)

Geraldine Fitzgerald’s provocative pose on top of brother George Sanders’ head is apropos to their relationship in this film–“strange affair” indeed

The Strange Affair of Uncle Harry (1945) was featured on TCM’s Noir Alley a couple weeks ago. I had heard of this film previously, after having seen Robert Siodmak’s amazing film noir, Phantom Lady (1944). Through this film, I discovered Ella Raines, an actress I’d heard about, but had never seen in a film. I loved her and thought she brought a new breed of leading lady to film noir. I liked that she took charge of the search for her boss’ (and secret crush) alibi. She did what she needed to do to find the truth and free her boss from an inevitable execution. Phantom Lady was produced by Joan Harrison, Alfred Hitchcock’s protegee.

After the success of Phantom Lady, Harrison and Siodmak teamed up for another film noir, The Strange Affair of Uncle Harry. They cast Raines again, as one of the leads in the film. With these pieces in place, plus the addition of George Sanders whom I loved in All About Eve, Lured, and Foreign Correspondent, made me want to see this film. I was so excited to see The Strange Affair of Uncle Harry on TCM’s schedule! After seeing the film… I liked it, but oy vey. The ending. The ending gets a big thumbs down. In fact, despite my liking the film as a whole, the ending was such a bummer that it completely ruined the third act of the film.

In The Strange Affairs of Uncle Harry, Sanders plays the titular “Uncle Harry (Quincy).” He works at the local textile mill designing patterns for their fabrics. His younger co-workers call him “Uncle Harry” as a term of endearment, but Harry implores them to stop–“Uncle Harry” makes him feel old. Harry is approaching middle-age and is very lonely. He lives at the Quincy Family’s large home with his two sisters. The Quincy Family were well-off at the start of the twentieth century; however they lost their fortune during the Great Depression. All that was left was the family home.

Ella Raines and George Sanders. Their relationship is a bright spot in this film.

Harry’s older sister, Hester (Moyna MacGill aka Angela Lansbury’s mother), is a widow. She loved her late husband very much and it is obvious that she is unhappy living with her siblings. She desperately tries to help keep house, but is constantly at odds with their maid, Nona (Sara Algood), who doesn’t appreciate Hester invading her domain. Harry’s younger sister, Lettie (Geraldine Fitzgerald), is a spoiled, lazy, witch (with a capital B) who regularly feigns illness to keep Harry by her bedside.

One day at work, Harry meets Deborah Brown (Raines), a young designer from New York City. She is hired to work at the textile factory. She and Harry hit it off and suddenly Harry has a reason for living. He and Deborah fall in love and plan to marry–much to Lettie’s chagrin. Harry asks his two sisters to move to another home. Because she has no intention to leave Harry and move, Lettie continually finds fault with every single prospective home. I wondered why Harry and Deborah didn’t just move into another home, but apparently that was not an option–for whatever reason. Lettie then discovers that Harry and Deborah plan to elope in New York City and she goes to work to sabotage the marriage and Harry’s chance at happiness.

It is obvious from the get-go that there is more than meets the eye with Harry and Lettie’s relationship. They are unusually close for siblings and there is a weird, romantic undertone. In the original play, the incestual element was very obvious; however, this had to be played down for the movie version due to the production code. While I don’t need to see sibling incest in a film, the production code unfortunately had a bigger impact on the film’s ending.

George Sanders and Geraldine Fitzgerald. Fitzgerald’s character is a nut.

The ending of the film is so absurd. My husband and I watched it and were like “Wait?! What?!” The ending is such a let-down and it completely undermines all the tension and drama built up in the third act of the film. Had the film just ended a couple minutes earlier, it would have been a completely different experience. The original play’s action ended where I wanted it to end, however production code dictated a different ending. Boo Joseph Breen! Apparently there were five different endings filmed for this movie and the ending with the best reaction from the test audiences was chosen. As a representative of a modern 2021 audience, I’d like to tell the 1945 audience that they chose a terrible ending.

I don’t normally like to waste time writing negative reviews and while I liked most of this film, the ending was such a bummer that I can’t get past it and have to spend my time venting about it.

Joan Harrison walked out on her Universal contract over this ending.

I don’t blame her one bit.

Mrs. Ziffel serves up grub at the diner!

New Favorite Film Alert! And Clearing Out the DVR- Mrs. Miniver (1942)

This is one of the ultimate classics that I should have seen by now, but hadn’t until a couple days ago. In this film, Greer Garson stars as Kay Miniver, who is referred to often as “Mrs. Miniver.” Mrs. Miniver is portrayed as a very kind, beautiful woman. She is very warm and welcoming and treats everyone the same across the board, regardless of class or status. She seems to be well liked by everyone in her English village, especially by James Ballard (Henry Travers), the local train engineer. He shows Kay a rose that he cultivated in his garden outside the train station–a beautiful red rose that he’s named “Mrs. Miniver” in honor of Kay. He basically says that he named it after her because of the kindness that she shows him again and again when she visits his station.

I loved Greer Garson in this film. She was gorgeous and turned in an amazing performance in this film.

Anyway, Kay along with her husband Clem (Walter Pidgeon) live in a beautiful estate named “Starlings,” on the River Thames. Clem is also part of the River Patrol and is enlisted to help out in the Dunkirk evacuation at one point in the film. Kay and Clem live at the estate with their two young children. Their oldest son, Vincent aka “VIn” (Richard Ney) attends Oxford. He comes home as Germany’s invasion into England is imminent during WWII. He announces his intention to enlist in the Royal Air Force because he wants to do his part. Kay of course doesn’t want her son in the war, but knows that they’re all in the fight with Germany together. 

At the same time, Vin meets Carol Beldon (Teresa Wright), the granddaughter of the very wealthy Lady Beldon (Dame May Whitty). Lady Beldon is very much “old money” and resents the lower classes trying to acquire the same material possessions that she and her fellow rich folk enjoy. She basically doesn’t want the middle class trying to be upper class. Anyway, there is a conflict when Vin and Carol fall in love and want to marry. Meanwhile, during all of this, Germany officially invades England and the Minivers are right in the midst of all the “action” (so to speak).

The heartbreaking scene in the shelter

This was a heartbreaking film. I’m not one to cry at movies and I didn’t at Mrs. Miniver, but I can see how someone would. There are so many emotional scenes, some tragic and some happy. The scene of the Minivers hunkered down inside of their shelter while bombs blasted all around them was very suspenseful and scary. I cannot even imagine being confined to this small little bunker while bombs are literally falling down all around you, shaking your shelter. I can just imagine how scary it would be knowing that you could possibly emerge from the shelter and your home is leveled to the ground. I thought the scene with Kay and the German soldier was very suspenseful and also showed the strength of Kay’s character. She remains so stoic throughout the entire scene and throughout the film.

Teresa Wright and Richard Ney’s storyline was absolutely heartbreaking

I loved this film. It was fantastic. I loved this film so much in fact, that I bought the Blu Ray right after seeing it. I love wartime dramas and this is definitely one of the best. I wish I had seen it earlier. I also forgot how much I liked Greer Garson. I think I have a bunch of her films on my DVR that I’ll need to prioritize.

Noirvember 2020

My “Noirvember” picks will be continually updated as the month wears on and I make my next choice!

Maxine Cooper & Ralph Meeker in Kiss Me Deadly (1955)

Noirvember is upon us. I love film noir, so every month is “Noirvember” for me, but I thought I’d try to actively participate in the event this year. Previously, I lurked in conversations and posts and read about it, but didn’t actually contribute.

For those who are unfamiliar with “Noirvember,” it is simply a portmanteau of the words “Noir” and “November.” It is a term used to describe what is essentially a month-long celebration of film noir. Noirvember was invented by a poster (@oldfilmsflicker on Twitter) who just wanted an excuse to catch-up on film noir. It has since evolved and become a full-fledged event.

I have seen a lot of film noir and have a lot of favorite films and performers. While I definitely want to revisit some old favorites, I also want to watch some “new to me” film noir. I don’t have a particular list of 30 film noir to watch, as I wanted my list to flow organically. However, so that I had some semblance of organization and didn’t spend my entire evening trying to decide what to watch, I’ve decided to play a game with my selections. Each successive film will feature a performer from the previous film. E.g. “The Big Heat” features Glenn Ford and Gloria Grahame. “Sudden Fear” features Grahame and Joan Crawford.

It is my hope that my final film of the month will link back to the first.

Barbara Stanwyck and Fred MacMurray conspicuously looking inconspicuous in the grocery store in Double Indemnity.

Click here to view my Noirvember Picks!

CMBA Politics on Film Blogathon- “The Candidate” (1972)

Unfortunately, politics have been around since the beginning of time. I absolutely cannot stand politics. I find today’s political climate very toxic and damaging to one’s mental health. But, I do like political-oriented stories if they’re presented in a historical context (e.g. All the President’s Men), or if the politics are presented in a fictional narrative, where there’s no blatant agenda or propaganda–just a basic story about someone running for an office or some other aspect of the political arena.

The Candidate, directed by Michael Ritchie (Downhill Racer, Bad News Bears, Smile) depicts the fictional election of the 1972 California Senate seat within the US Senate. Peter Boyle plays Marvin Lucas, an election specialist who is tasked with finding a viable Democratic candidate for the California Senate seat in the US Senate. The incumbent, Republican Senator Crocker Jarmon (Don Porter aka Sally Field’s dad in TV’s Gidget), is extremely popular and seemingly is a shoo-in for re-election. He’s so popular in fact, that solid Democratic candidates are convinced that running against him is futile because it’s a given that they’ll lose.

I would vote for Robert Redford.

After seeing an article about San Diego lawyer Bill McKay (Robert Redford) in the newspaper, Lucas decides that he is the perfect candidate to run against Jarmon. To sweeten the pot, McKay is also the son of former California Governor, John McKay (Melvyn Douglas). Hoping to cash-in on his connection to the former governor, Lucas visits McKay at his office and makes him a proposition: Because it’s a given that Jarmon will win, if McKay agrees to campaign for California Senate, he can mount whatever type of campaign he wants. Despite not particularly wanting to be Senator, McKay agrees because he feels that this will be a good opportunity to speak about about some of his pet causes like: ecology, civil rights, and legal aid.

McKay easily wins the nomination and mounts a grassroots campaign and his charisma and realism helps him quickly attract supporters. However, his campaigning isn’t doing enough and preliminary election projections show that McKay is not only going to lose the election, he’s going to be obliterated. Not wanting McKay to be embarrassed, Lucas informs him that they will need to mount a more serious, conventional campaign. McKay goes along Lucas’ plan.

Cameo appearance by Natalie Wood!

McKay’s campaign begins to transform into a more typical political campaign. He is given pre-written answers to questions or is asked to give more standard answers that pander to the American public. His answers are full of buzzwords and other shallow phrases, designed to sound good, but mean absolutely nothing. McKay begins receiving criticism for seemingly drifting away from his ideals and turning into a more typical politician.

As McKay gets deeper and deeper into the election, he begins to question his integrity and how much he’s willing to compromise his ideals to win a campaign for an office that he wasn’t interested in winning in the first place. His dilemma comes to head during a debate with Jarmon.

Jarmon represents the celebrity candidate. He knows how to pander to his supporters. He knows how to appeal to his supporters with big, splashy galas and rallies. Jarmon knows what buzzwords to say, what empty phrases to use. He knows how to make promises to his supporters without actually making any promises at all. Jarmon interjects himself into situations (e.g. the forest fire in Malibu) to make him seem like he cares, but he doesn’t really. He says words like “Change” and “America” a lot.

Bill McKay’s catchy campaign slogan

McKay, on the other hand, is the naive, wide-eyed candidate. He’s the one who has no idea what he’s “supposed” to say, what his supporters want to hear. McKay has his laundry list of issues that he wants to fix and actually has ideas on how to fix these issues. He holds rallies to try and attract supporters. McKay says the wrong thing. He says the right thing. And of course, because it’s Robert Redford*, he attracts the young women to his camp because he’s attractive. Being eye-candy never hurt anyone’s campaign. (Honestly, it’s not often that attractive people run for any sort of office).

*For the record, in the never-ending “Paul Newman or Robert Redford?” debate, I am Team Redford all the way.

Despite his inexperience, McKay’s grassroots campaign gains traction. He is charismatic. McKay appeals to all facets of society: the unemployed, the minorities, everyone–not just the wealthy. He wants to fix widespread issues that are actually hurting the voters of the country–like joblessness and poverty. Corporations and taxes aren’t the point of his campaign. He wants to help the actual voters and the environment in which they live. As his supporter base grows, so does the size of his campaign–and before he knows it, McKay is running a bonafide political campaign.

I was on a Robert Redford kick a while back and found this film on HBO Max. I have since watched it three times and really enjoy it. In 1972, The Candidate was released as a satire of the American political system. But is this film really a satire?

Crocker Jarmon (Don Porter) schmoozes his supporters

Many of the situations presented in this campaign are still true today. The hypocrisy present in both major political parties is the same. The way in which the public responds to the different candidates is the same. The pandering and fake promises are the same. The mudslinging between the candidates is the same. While social media changes the medium in which information is spread, the way in which it persuades (or dissuades) is the same.

Everything is the same. The same tactics that were used in 1972 are used today in 2020.

I highly recommend watching The Candidate. While I’ve never run for office (and don’t plan on doing so), I feel that the way in the film depicts how a campaign is run, how the candidates are asked to sell-out their personal convictions in the name of winning, and how the political parties try to manipulate the voters into supporting them is still very timely today. This film would make a good companion piece to All the President’s Men. Aside from the Redford connection, this film can show what happens when someone in an important political office (e.g. THE PRESIDENT) sacrifices their integrity (if they had any) in the name of winning.

That’s certainly another way to show your support

I wouldn’t touch politics with a “39 and a half-foot pole,” but I would watch The Candidate again and again.