Discovering Classic Cinema Blogathon– How Nick at Nite, I Love Lucy and Lucille Ball Brought Me to Classic Film

I ‘m coming in hot with a last minute entry for Classic Film and TV Corner’s “Discovering Classic Cinema Blogathon.” I actually saw this blogathon announced awhile back and forgot to enter it. Oops. This is also my first opportunity to type something substantial using my new laptop that my husband got me for Christmas! Woohoo. My introduction to classic film didn’t come via the usual routes. I’m not old enough to have seen any of these movies in the theater during their original run. The first movie I saw in the theater was Disney’s The Little Mermaid at the age of 5 in 1989. Apparently I saw a re-release of The Aristocats in 1987 when I was 3, but according to my mom it did not go well and I did not see the whole movie. Lol. I traumatized my parents enough that it was 2 years before I went back. Having grown up in Salem, OR during the mid-to-late 80s through the early 00s, there wasn’t really any opportunity to see the classics in repertory theaters, as Salem doesn’t have any. While I did watch the annual TV viewings of The Wizard of Oz, and had secretly seen Psycho and The Birds despite my mom not wanting my sister and I to see them (my dad rented them while she was out of town), these did not ignite my love of classic cinema.

I miss 90s Nick at Nite!

One evening in 1994, 10-year old me was flipping channels and came across Nickelodeon’s evening programming, something called “Nick-at-Nite.” For the record, 90s Nick-at-Nite was one of the greatest things ever and I really wish it would come back, but I digress. Anyway, I was instantly sucked in by the colorful graphics, catchy jingles and fun animation that once graced the evening Nickelodeon block. A voiceover came on screen and announced that a show called I Love Lucy was coming up on the schedule. I honestly do not recall if I’d ever seen or heard of I Love Lucy prior to this moment, but I do know that it was not something I watched regularly. The now-familiar I Love Lucy theme song started, the hearts on satin appeared with the cast’s names: Lucille Ball, Desi Arnaz, Vivian Vance, and William Frawley. I still remember the first episode I saw, “L.A. at Last!” with William Holden guest starring. At that moment, I had no idea who the cast members were, let alone William Holden.

I was instantly transfixed by Lucy’s antics. In “L.A. at Last!,” Lucy decides that she and the Mertzes need to find the “celebrity watering hole,” where the stars all gather at the same place, thus saving Lucy time in having to track them down one-by-one. Bobby the Bellboy suggests that the group visit Hollywood’s famed Brown Derby restaurant–a well known hotspot for celebrities. As an aside, I will forever be sad that I cannot go to the Brown Derby, nor can I go to 99% of the famous Hollywood nightclubs of the 30s-50s. No Ciro’s or The Mocambo for me. Anyway, while at the Brown Derby, Lucy, Ethel and Fred are spotting celebrities left and right. We hear multiple celebrities paged to the telephone: Cary Grant, Gregory Peck, Walter Pidgeon, Ava Gardner. Lucy and the Mertzes see each and every one of them (offscreen) get up for the phone. Ethel also manages to offend Eve Arden in the neighboring booth by asking her to identify a caricature of herself as either Judy Holliday or Shelley Winters. Lucy for her part, is in awe of Ethel. “You touched her!” Lucy says, much to Ethel’s dismay at her faux pas.

The greatest day of Nick at Nite’s annual Block Party Summer.

Then, big star William Holden sits down in the booth next to Lucy and the Mertzes. Ethel is immediately starstruck and gets Lucy’s attention. Lucy catches a glimpse of Holden in the booth and is swooning. Being the creeper that she is, Lucy can’t stop staring at Holden, making him very uncomfortable in the process. Lucy’s encounter with Holden at the Brown Derby culminates with her tripping the waiter and causing him to dump a cream pie all over Holden’s head. Later, Holden meets Ricky at MGM and offers to give him a ride home to his Beverly Palms Hotel suite. When Ricky tells Lucy he’s brought a big star home with him, Lucy is overjoyed, until Ricky reveals the big star’s identity. Frantic, Lucy puts on a ridiculous disguise which includes large black cat eye glasses, a scarf to hide her hair, and a big putty nose. The scene that follows is hands down the funniest moment of the entire series (in my opinion). The look on William Holden and Desi Arnaz’ faces when Lucy turns around after “fixing” her putty nose is hysterical. How lucky was I to have this be the first episode of I Love Lucy that I ever saw?

I was hooked on I Love Lucy from then on, watching it at 8:00pm every night–except on Saturdays, I Love Lucy started at 10:00pm. On “Whole Lotta Lucy” Saturdays, Nick-at-Nite showed two episodes of I Love Lucy, followed by an episode of The Lucy-Desi Comedy Hour. Every episode of The Lucy-Desi Comedy Hour featured a different guest star. With the exception of Fred MacMurray, I didn’t know who any of the guest stars were. I also knew very few of the I Love Lucy guest stars, with the exception of John Wayne, Orson Welles, and Bob Hope. As a kid, I always figured that these were people who “were famous at the time.” Lol.

The look on William Holden’s face when Lucy turns around after “fixing” her nose is the funniest scene in the entire series.

Anyway, my family and I were also avid library goers, spending approximately one Sunday afternoon a month perusing the stacks. Now fully obsessed with I Love Lucy and Lucille Ball, I checked out each and every book about her in the library. I read multiple biographies about her, Desi, Vivian Vance, and anything I Love Lucy-adjacent. From these books, I learned that Lucille Ball had a fairly extensive film career and discovered that my library had a large selection of “The Lucille Ball Signature Collection” VHS movies. I watched each and every one. At the same time, my parents’ cable package had just acquired a new channel, the recently launched TCM. Every Sunday, I would find the new TV guide supplement in the newspaper and comb through it, looking to see if any Lucille Ball films or documentaries were scheduled that week. I’d always check PBS, A&E’s Biography program, TCM and AMC (when it showed old films).

From Lucille Ball’s film career, I was introduced to a myriad of different stars who quickly became favorites of mine. Through Lucy’s film, DuBarry Was a Lady, I learned about Gene Kelly. Because of my interest in Gene, I watched Singin’ in the Rain and The Pirate. ‘Rain’ introduced me to Debbie Reynolds and ‘Pirate’ introduced me to Judy Garland, who I was aware of through The Wizard of Oz, but hadn’t seen her in anything else prior. Through Judy, I learned about Fred Astaire (Easter Parade), which led me to Ginger Rogers. Rogers I’d seen before as she’d appeared with Lucy and Katharine Hepburn in Stage Door, which I’d borrowed from the library. From Stage Door, I recognized Eve Arden from the episode of I Love Lucy I’d seen. I continued on this path of constant discoveries and am still on the path somewhat, except that I’m more familiar with all the actors and know that the ones who appeared as guest stars on I Love Lucy weren’t just people who were famous at the time of I Love Lucy’s production era.

Cornel Wilde is no longer known as “Cornel Wilde is in the penthouse!” (I Love Lucy, “The Star Upstairs”). He’s a co-star in the excellent Leave Her to Heaven with Gene Tierney and he’s great in The Big Combo, his film being promoted on his episode of I Love Lucy. Charles Boyer isn’t just “LUCY! I love you, rawrrrrr” ((I Love Lucy, “Lucy Meets Charles Boyer”). He’s Ingrid Bergman’s terrifying husband in Gaslight, or the man who woos Olivia de Havilland in Hold Back the Dawn. Boyer is the man who arranges to meet Irene Dunne at the top of the Empire State Building in Love Affair. Unbelievably, I also didn’t know anything that William Holden did aside from being hilarious in I Love Lucy. I finally saw him in Sunset Boulevard and was blown away. After having seen him in so many films now, I can definitely say that Holden was a bona fide superstar.

CORNEL WILDE IS IN THE PENTHOUSE! CORNEL WILDE!

From reading all the library books about Lucille Ball and her film career, I learned that she made it a point to hire her friends from the movies when she had an opportunity to do so. The film friend of hers who benefitted the most from this is of course, William Frawley, who is now a legend in his own right for playing the irascible Fred Mertz on I Love Lucy. Having seen a good amount of classic films now, Frawley is everywhere. He plays Errol Flynn’s boxing promoter, Billy Delaney, in Gentleman Jim. He also plays a cop in Flynn’s Footsteps in the Dark, and Deanna Durbin’s Lady on a Train. He is also in the perennial Christmas classic, Miracle on 34th Street. Frawley had called up Lucy’s husband and Desilu Production president, Desi Arnaz, and asked for the job of Fred Mertz. CBS was hesitant to take a risk on the alcoholic Frawley, but Lucy and Desi prevailed and Frawley is now a television legend.

I find myself pointing out I Love Lucy characters in various classic films. Elizabeth Patterson who played Mrs. Trumbull is everywhere in classic film. She makes a memorable appearance as Fred MacMurray’s Aunt Emma in Remember the Night. Charles Lane is another character who pops up everywhere He appears as Lucy’s typing instructor in Miss Grant Takes Richmond (also co-starring William Holden). He also appears in uncredited roles in a million excellent pre-code films such as: Blonde Crazy, Employees’ Entrance, 42nd Street, Golddiggers of 1933, She Had to Say Yes, and Blondie Johnson. He made multiple appearances in I Love Lucy: the expectant father (I always say “nine girls” when I see him in a movie), the passport office clerk, the man conducting auditions in the episode where Lucy has to tell the truth for 24 hours, and he plays the Ricardos business manager, Mr. Hickox. Allen Jenkins, has a memorable role in an episode of I Love Lucy playing a police officer who apprehends “Sticky Fingers Sal” and “Pickpocket Pearl” (Lucy and Ethel). Jenkins was almost a mainstay in Warner Brothers films, playing the sidekick to the male lead. He’s in Dive Bomber, Footsteps in the Dark, The Perfect Specimen, all with Errol Flynn. He also supports Humphrey Bogart in Dead End, Racket Busters, and the horribly named The Amazing Dr. Clitterhouse. I even spotted Mr. Martinelli, owner of the pizza restaurant where Lucy works for one episode, as the villain in Marked Woman with Bogart and Bette Davis!

To this day, I Love Lucy and Lucille Ball are still my favorites. I also love Classic Film and I just love how well my favorite television show and my favorite era of filmmaking are so closely intertwined.

This single photo still from Stage Door captures my intertwined love of classic film and I Love Lucy. Lucille Ball, center, is flanked by Katharine Hepburn on the left and Ginger Rogers on the right.

Broadway Bound Blogathon- Stage Door (1937)

TERRY RANDALL: I see that, in addition to your other charms, you have that insolence generated by an inferior upbringing.
JEAN MAITLAND: Hmm! Fancy clothes, fancy language and everything!
TERRY: Unfortunately, I learned to speak English correctly.
JEAN: That won’t be much of use to you here. We all talk pig latin.

Katharine Hepburn as “Terry Randall” and Ginger Rogers as “Jean Maitland” in Stage Door (1937)

This is just one example of the snappy dialogue present in the 1937 RKO classic, Stage Door. MGM’s 1939 classic, The Women, is held-up as the ultimate women’s picture, mostly because of the all-female cast and it’s spectacular script full of witty one liners and innuendo. While The Women is great, I much prefer Stage Door, despite including men in the cast in addition to the spectacular female cast. The cast is more appealing to me, the story is more interesting and frankly, the film is shorter which makes it a lot more compelling. It is my opinion that The Women runs a little long and could stand some editing. But I digress. This blog entry is not about The Women, it is about Stage Door.

Stage Door, directed by Gregory La Cava, was released on October 8, 1937. As a big Lucille Ball fan, this film is notable for being Lucy’s big break and was her first decent supporting role in an A-list production–and you can’t get much more A-list than co-starring in a film with Katharine Hepburn and Ginger Rogers. In addition to Lucille Ball, this film also features Eve Arden and a 14 (!) year old Ann Miller. It is hard to believe that Ann is only a child in this film, she carries herself as a much older woman and more than holds her own dancing alongside Rogers in the film. Arden is awesome because she spends much of the film with a cat wrapped around her shoulders. Gail Patrick (playing a similar character to her “Cornelia” in My Man Godfrey) and Andrea Leeds also lend support as other women in the boarding house. Adolphe Menjou co-stars as producer Anthony Powell who is acquainted with the young women at the club and to whom the women look to for roles in upcoming productions. Look for a young Jack Carson as Judy’s lumberjack beau, Mr. Milbanks.

Three mega stars from left to right: Katharine Hepburn, Lucille Ball, Ginger Rogers

Stage Door starts with a raucous, chaotic scene inside the Footlights Club all-female boarding house. The inhabitants of the boarding house are all aspiring Broadway performers, mostly acting, but some dancing as well. Because it’s the Great Depression and because breaking into Broadway is definitely not a sure thing, the women are struggling to survive and make ends meet. One of the boarders, Linda Shaw (Patrick) doesn’t seem to be starving, and it’s implied that she’s a kept woman–often being “kept” by Powell. We see Jean Maitland (Rogers) and Linda arguing over Linda’s borrowing Jean’s stockings without asking. Then, Judy Canfield (Ball) is observed asking Jean if she’d like to double date. Eve (Arden) walks around with a cat draped around her shoulders. The boarding house maid, Hattie (Phyllis Kennedy), contributes to the cacophony by poorly warbling some indistinguishable tune. An aging experienced actress, Ann Luther (Constance Collier), dispenses advice. Later she’ll guide Terry in her performance in her big break.

The noisy scene comes to a halt when a new boarder, Terry Randall (Hepburn), enters the Footlights Club looking for accomodations. It is apparent from the get-go that Terry is not in the same destitute situation as the other women in the club. She has money. She is interested in pursuing theater as a lark, not because she has a passion for the performing arts. Her obvious advantage makes her an instant adversary to the other women, especially Jean. According to Stage Door, Kay Hamilton (Leeds) is the best actress in the club. Kay is desperate to land the lead in Powell’s upcoming play, Enchanted April. Despite being the Footlights Club’s best actress, I find Andrea Leeds to be the weakest part of the film. I think her scenes are too saccharine and frankly, Kay comes off as pathetic. I can see why Terry is getting roles over her.

Left to right: 14 (!) year old Ann Miller, Ginger Rogers, and Lucille Ball

The main conflict of Stage Door comes when Terry breaks the status quo and barges into Powell’s office to demand to know why he refuses to see any of her fellow colleagues, despite their trying day after day to audition. Terry eventually ends up winning the coveted role in Enchanted April, making her the persona non grata at the Footlights Club. Hepburn’s solo scene at the end of the film when she recites the famous “the calla lilies are in bloom again…” speech is heart wrenching and one of the highlights of an otherwise dialogue-heavy film. Hepburn and Rogers are fantastic as the sparring roommates, a situation not too far removed from real life. Apparently, Katharine Hepburn and Ginger Rogers did not get along. I would probably chalk it up to personality differences and probably a professional rivalry at RKO. Lucille Ball and Eve Arden are fantastic as the sarcastic roommates and it’s easy to see why the two women eventually became huge stars.

Eve Arden is awesome and walks around Stage Door with a cat wrapped around her shoulders

I love the ending of this film. After a very tragic and tense third act, Terry gives the performance of her life. Much of her performance is inspired by her friendship with Kay and how much Terry knew that Kay wanted the role. While dialogue indicates that Terry is not delivering the correct dialogue for her opening monologue, it is forgiven because she is properly evoking the mood the author intended. Terry demonstrates that she is intuitive and is an actress. At the behest of Ann, Terry goes on stage despite being distraught–“the show must go on,” as we all know. Terry is forgiven by her roommates, presumably because of her heart-wrenching performance in Enchanted April. She finally wins approval of her roommates who no longer see her as someone who is just slumming it in their boarding house as a form of entertainment. Terry has demonstrated that she has the passion and skill to be an actress on the stage. At the end of the film, Terry is shown throwing out sarcastic barbs alongside her former foe, Jean. A new starry-eyed boarder moves into the boarding house and Terry is right alongside the other women, ready to welcome the newbie into the fold.

Despite the presence of the hugely talented cast, the star of this film is the dialogue. It must have been quite a undertaking for the cast to remember all their lines.

Ginger Rogers and Gail Patrick are at odds through most of Stage Door

(After Terry has spoken at length and eloquently about Shakespeare)
EVE: Well, I don’t like to gossip, but that new gal seems to have an awful crush on Shakespeare!
SUSAN: I wouldn’t be surprised if they got married!
MARY LOU: Oh, you’re foolin’! Shakespeare is dead!
SUSAN: No!
MARY LOU: Well, if he’s the same one who wrote ‘Hamlet,’ he is!
EVE: Never heard of it.
MARY LOU: Well, certainly you must have heard of “Hamlet” !
EVE: Well, I meet so many people.

Eve Arden as “Eve,” Peggy O’Donnell as “Susan,” Margaret Early as “Mary Lou” in Stage Door (1937)

JEAN MAITLAND: (yelling) OH LINDA!
LINDA SHAW: Maybe if you spoke a little LOUDER next time, everyone in the whole HOUSE could hear you.
JEAN: Oh I’m sorry, I forgot you’re old and deaf.

Ginger Rogers as “Jean Maitland” and Gail Patrick as “Linda Shaw” in Stage Door (1937)

JEAN MAITLAND: Do you mind if I ask a personal question?
TERRY RANDALL: Another one?
JEAN: Are those trunks full of bodies?
TERRY: Just those, but I don’t intend to unpack them.

Ginger Rogers as “Jean Maitland” and Katharine Hepburn as “Terry Randall” in Stage Door (1937)

JEAN MAITLAND: In some ways, you’re not such a bad egg.
TERRY RANDALL: As eggs go, I probably have my points.

Ginger Rogers as “Jean Maitland” and Katharine Hepburn as “Terry Randall” in Stage Door (1937)

KAY HAMILTON: It’s (her birthday cake) so beautiful, I hate to cut it.
JUDY CANFIELD: It’s one of Hattie’s cakes. Maybe you can’t cut it.
HATTIE: I resent that!
LINDA SHAW: Be careful you don’t drop it on your foot.
ANN LUTHER: Girls, I have the most wonderful news!
JUDY: Maybe the house is on fire.

Andrea Leeds as “Kay Hamilton,” Lucille Ball as “Judy Canfield,” Phyllis Kennedy as “Hattie,” Gail Patrick as “Linda Shaw,” and Constance Collier as “Ann Luther,” in Stage Door (1937).

EVE: I’ll never put my trust in males again
TERRY RANDALL: What happened to Eve?
JEAN MAITLAND: She’s brokenhearted. Henry’s in a cat hospital.
TERRY: An accident?
JEAN: He just had a litter of kittens.
TERRY: Well that’s easy to solve. Change his name to Henrietta.

Eve Arden as “Eve,” Katharine Hepburn as “Terry Randall,” Ginger Rogers as “Jean Maitland,” in Stage Door (1937).

TERRY RANDALL (in her play): The calla lilies are in bloom again. Such a strange flower, suitable to any occasion. I carried them on my wedding day and now I place them here in memory of something that has died.

Katharine Hepburn as “Terry Randall” in Stage Door (1937)

The Umpteenth Blogathon- “Desk Set” (1957)

One of the hallmarks of a classic film (regardless of age) is its rewatchability factor. There are plenty of good films, but if it’s not something that I’d ever watch again, it’d be hard for me to consider it a “classic.” I have plenty of films in my collection that many people would not consider classics, or even good movies, but if I love them, then that’s all that matters and they’re “classics” to me. With that said, for this blogathon, we were asked to write about a film that we’ve seen an umpeenth amount of times. This is a film that we’ll watch no matter how many times we’ve seen it. We’ll watch it when it’s on TV, even if we own the DVD. This is a film that never gets old no matter how many times we’ve seen it.

My collection is made up of tons of films that I’ve seen a million times. What’s the point in developing a collection of films if you’re only going to watch them once? One of my films that I never tire of watching is Katharine Hepburn and Spencer Tracy’s penultimate screen pairing, Desk Set. Hepburn and Tracy made a total of nine films together. Their first film, Woman of the Year, or their last, Guess Who’s Coming to Dinner might have more name recognition, but for my money, Desk Set is their best and my personal favorite.

Left to Right: Katharine Hepburn, Joan Blondell, Sue Randall, and Dina Merrill in “Desk Set.”

I’ve seen Desk Set multiple times. It’s always one of my go-to Christmas films, due solely to the wild Christmas party featured in the film. This past Christmas season, I watched this film two days in a row. Desk Set has always been one of my favorite films, but up until recently, I’d always wondered about the title. What was a “desk set” ? And how does this title relate to the film? Well I finally looked up “desk set,” and unfortunately, the answer was anticlimactic. A “desk set” is literally a desk. So that answer was pretty boring and I decided that the title was meant to describe office life.

SYLVIA (answering a question over the phone): Reference department, Miss Blair. Oh yes, we’ve looked that up for you, and there are certain poisons which leave no trace, but it’s network policy not to mention them on our programs.

Dina Merrill as “Sylvia Blair” in “Desk Set” (1957)

In Desk Set, Hepburn stars as Bunny Watson, the head librarian in the reference library at the Federal Broadcasting Network (FBN) in Manhattan. The reference library is basically a manual version of the internet, where anyone can call in and request any sort of information, from baseball statistics, to bible passages, to entire poems. No question is too big or too small for the reference library. Also working in the library is Bunny’s best friend, Peg Costello (Joan Blondell), Sylvia Blair (Dina Merrill), and newbie Ruthie Saylor (Sue Randall aka Miss Landers from “Leave it to Beaver”). The women have a camaraderie and work well together. Bunny is also dating Mike Cutler (Gig Young), an executive at the network, but they’ve been dating for over seven years and the relationship is seemingly going nowhere.

(BUNNY is getting ready to meet MIKE)
BUNNY: How do I look?
PEG: Too good for him

Katharine Hepburn as “Bunny Watson” and Joan Blondell as “Peg Costello” in “Desk Set” (1957)

Bunny and the dull Mike Cutler. I love her dress, but Mike has got to go!

One day, a methods engineer and efficiency expert, Richard Sumner (Tracy) comes to visit the employees at the FBN. He is the inventor of the Electromagnetic Memory and Research Arithmetical Calculator, or EMERAC for short. EMERAC is one of my favorite things in movies, the large 1950s computer that fills up an entire room, has a lot of lights and sound effects, and shoots out pieces of paper. The head of FBN wants to possibly purchase an EMERAC and install it in the research library to help the librarians. However, as these things often go, rumors spread that Sumner is actually looking to replace the librarians with EMERAC and save FBN money over the long term.

RUTHIE: What do you suppose he’s (Richard) doing all that measuring for? Do you think we’re being redecorated?
SYLVIA: Does he look like an interior decorator to you?
PEG: No! He looks like one of those men who’s just suddenly switched to vodka!

Sue Randall as “Ruthie Saylor,” Dina Merrill as “Sylvia Blair,” and Joan Blondell as “Peg Costello” in “Desk Set” (1957)

At the same time, since this is a Hepburn/Tracy film, we anticipate Gig Young getting out of the picture so that they can be together. This happens when Bunny and Richard find themselves bonding over sandwiches in the cold, frigid air. Bunny impresses Richard with her ability to recall facts and use logic and previous experiences to solve the riddles he tries to stump her with. Later, the two are caught in a rainstorm and Bunny invites Richard to her home to dry off and warm up. One of my favorite parts of this scene is when Bunny, needing to find something for Richard to wear while his clothes dry, offers him one of Mike’s Christmas presents–a bathrobe with an “MC” monogram. Both Peg and Mike show up and are surprised to see Richard. They’ve even more surprised to see Richard in a bathrobe with Mike’s monogram. Oops.

BUNNY: I’ve read every New York newspaper backward and forward for the past 15 years. I don’t smoke. I only drink champagne when I’m lucky enough to get it, my hair is naturally natural, I live alone–and so do you.
RICHARD: How do you know that?
BUNNY: Because you’re wearing one brown sock and one black sock.

Katharine Hepburn as “Bunny Watson” and Spencer Tracy as “Richard Sumner” in “Desk Set” (1957)

Spencer Tracy and Katharine Hepburn in “Desk Set.”

Later, the employees at FBN have the greatest Christmas party. It ranks up there with the Christmas party in The Apartment. This party is absurd and could only happen in the 1950s when it was not only allowed, but encouraged to be drinking alcohol while at work. The champagne is seemingly flowing out of a faucet as the women in the reference library float around from department to department drinking and carousing. Obviously, no actual work gets done at FBN on Christmas Party Day. Poor Ruthie says, “But I don’t want to drink in the middle of the day!” but her pleas fall on deaf ears. It is at the Christmas party when Mike drops the bombshell that he and Bunny are moving to California and are going to marry. This is news to Bunny as Mike didn’t even formally propose to her. Bunny has to break it to Mike that she doesn’t want to move, and they end up breaking up–FINALLY.

BUNNY: Have some tequila, Peg
PEG: I don’t think I should. There are 85 calories in a glass of champagne.
BUNNY: I have a little place in my neighborhood where I can get it for 65.

Katharine Hepburn as “Bunny Watson” and Joan Blondell as “Peg Costello” in “Desk Set” (1957)

The reference librarians attend the best work Christmas party

A few weeks later, EMERAC is delivered and put to work. Sumner’s prissy assistant, Miss Warringer, is there to demonstrate EMERAC. The women in the reference library have seemingly been compiling data on punch-cards to feed into the machine. Then payday arrives and the reference librarians expect the worst–pink slips. Unfortunately, their worst fears are confirmed when each woman pulls a pink slip out of their envelope. Then Sumner arrives to demonstrate EMERAC. Then the phone starts ringing off the hook with all kinds of crazy questions. The women in the reference library refuse to help due to their recent firing. Miss Warringer is forced to take the calls and the reference librarians look on in amusement as she struggles to even take the calls, let alone actually finding the answer.

BUNNY: Really, you girls kill me. I was here until ten o’clock last night and this morning at 9, I had to go to IBM to see a demonstration of the new electronic brain.

Katharine Hepburn as “Bunny Watson” in “Desk Set” (1957)

Miss Warringer enters the wrong information into EMERAC and is unable to answer the question correctly. The reference librarians use their resources in the stacks to find the correct answer. This routine continues a few more moments with each successive question, with Miss Warringer getting more frustrated by the minute. EMERAC eventually malfunctions and starts going crazy just as Bunny starts reciting the “Curfew Must Not Ring Tonight” poem to mock Miss Warringer’s misspelling of the name of the island of “Corfu.” Miss Warringer, knowing that she’s being made fun of, storms out in disgust.

EMERAC loses its mind

Sumner understandably wants to know why the reference librarians are being so rude to Miss Warringer and he learns of their firing. Then it comes out that an EMERAC was also installed in payroll, and that machine also went insane and issued pink slips to everyone in the building, including the president! Sumner then clears up the misunderstanding (which probably could have been cleared up a hour ago, but then we wouldn’t have a movie) and explains that EMERAC is only meant to assist, not replace. The women are relieved and Sumner then asks EMERAC if he should marry Bunny. Well duh, he designed the machine and it’s a Hepburn/Tracy film, so you can imagine the answer.

RICHARD (to BUNNY): Something about the way you wear that pencil in your hair spells money.

Spencer Tracy as “Richard Sumner” in “Desk Set” (1957)

The film ends with the FBN reference library intact and Bunny and Sumner are engaged.

I love this movie. I love the scenes of EMERAC. The big computers are always so much fun to watch (see Touch of Mink, 1962). I love poor Miss Warringer’s big tantrum. I love the scenes of Hepburn and Blondell together. Blondell always makes every film better. Hepburn and Tracy were charming together. I loved Hepburn’s wardrobe and her fabulous apartment. This entire film is so much fun to watch and it’s enjoyable to see a career woman actually succeeding in her career, wanting to keep her career, and finding a partner who finds her intelligence exciting and isn’t intimidated. Sumner finds Bunny’s encyclopedic knowledge a turn-on versus Mike who seemingly doesn’t think much of Bunny’s job if he thinks that she’s willing to follow him to the West Coast with no notice. I imagine that after this film, Sumner and Bunny marry, they’re happy, and together they make the reference library better and better.

Bunny hilariously mocks EMERAC

Despite being over sixty years old, Desk Set still feels modern. People are still worried about being replaced by machines and sadly, in many instances, their fears are well-founded. However, no amount of artificial intelligence will ever replace a person’s unique set of experiences, knowledge, and skill sets. Were FBN a real company that was still around today, I’m sure that the reference library would have long since been phased out once the internet became more accessible. However, I could see the reference librarians moving into the roles of fact checking, as those types of roles are always needed by television, movies, news outlets, etc. etc.

What grown woman, especially a woman like Bunny, would want a giant Bunny for Christmas? And, why would a woman named Bunny, want a Bunny stuffed animal? She probably gets bunny stuffed animals all the time! Come on Mike! No wonder she broke up with you.

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.

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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.

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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.

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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.

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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.

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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).

Tracy & Hepburn Blogathon: “Woman of the Year” (1942)

Spencer Tracy and Katharine Hepburn are known as one of the Golden Age’s most enduring, romantic screen couples, both on and off. Despite being together as a couple for over twenty-five years, they never married. Although separated from his wife since the 1930s, Tracy never pursued a divorce, nor did Hepburn ever request that he get one so they could marry. They were deeply in love and it showed in their onscreen relationship. Tracy and Hepburn made nine films together, starting with their first one in 1942–Woman of the Year.

Woman of the Year depicts the meeting and eventual marriage of Tess Harding (Hepburn) and Sam Craig (Spencer Tracy). Tess and Sam are both journalists at the New York Chronicle. Tess is highly educated, worldly, and fluent in multiple languages. She is in charge of the Chronicle’s political affairs column. Sam on the other hand, is the sports columnist, who is well informed and articulate, but perhaps lacks the social connections and status that Tess has.

There is a funny scene at a baseball game that shows off both the differences in Tess and Sam’s personalities and their social class. After Tess proclaims that baseball be suspended during the duration of World War II, Sam defends America’s Favorite Pastime by taking Tess as his guest, despite the unspoken rule of “No women in the press box.” Obviously Sam, as a sports reporter, knows the rules of baseball inside and out. Tess on the other hand, doesn’t even know who the pitcher is and where he stands during the game. The funniest part about this scene is the enormous hat she decides to wear, which blocks the view of the frustrated blowhard behind her.

Later, Sam is a spectator at a talk that Tess is giving about the world’s political situation. He accidentally walks on stage during Tess’ speech, not realizing that she was giving her speech and not just speaking. She tries to lessen the embarrassing situation by casually asking him to sit down but he makes a spectacle of himself on stage, albeit a silent spectacle. Later, he ends up sharing a cab with Tess’ aunt Ellen Whitcomb (Fay Bainter). She encourages him to marry Tess, since he’s obviously so fond of her.

Katharine Hepburn and Spencer Tracy in their first on-screen pairing in “Woman of the Year.”

Sam takes Ellen’s advice and proposes to Tess. She accepts and they marry. As they get used to being married and each other, they find that their vastly different personalities, priorities, and temperaments are proving difficult to deal with. Tess is content to carry on her life as it was previously, including living in her apartment still, whereas Sam wants to be married and share experiences with her. Their relationship differences reach their climax when Tess adopts a Greek child without consulting Sam.

This is an excellent film and adeptly shows off Tracy and Hepburn’s amazing chemistry. It is easy to see why they “clicked” and continued their relationship off-screen. Tracy and Hepburn are both strong enough personalities that it doesn’t seem like one dominates or overshadows the other. They were definitely a “power-couple.”

Power-Couple Tracy and Hepburn

I will admit that I’m not the biggest Spencer Tracy fan as I don’t particularly think his acting is the end all, be all that it’s made out to be. He’s perfectly fine and I won’t avoid him, but there are other actors whom I prefer. However with Hepburn, he’s fantastic and I couldn’t imagine her (or him) with anyone else. And I love Katharine Hepburn. I think she’s amazing and I love her unique voice.

While I love Woman of the Year and even own the Criterion, I wouldn’t say it was my #1 favorite of their films. My absolute favorite of their films is their penultimate film together, 1957’s Desk Set. But that could be because I love movies with old timey computers that are the size of an entire room, libraries, wild in-office Christmas parties, and Joan Blondell.

I have one main criticism of Woman of the Year:

Tess adopting a child, Chris, without telling Sam. It is absolutely outrageous to me that someone would adopt a child without telling their spouse. She says that she adopted Chris due to the pressure she received from her fellow Greek Child Refugee Committee members to adopt the first refugee child as a means to promote their program. The fact that she shows absolutely zero interest in raising this child and basically treats as a means to improve her career does not make Tess a sympathetic character– Sam had every right to call her out.

Spencer Tracy, Katharine Hepburn, and The Hat attend a baseball game

With that said, I really do enjoy Woman of the Year. I love the pairing of Tracy and Hepburn. They are magic in this film just like in their others. I love Katharine Hepburn’s amazing apartment with the gorgeous city views. I love her costumes in this movie and I love the scenes of the football game in the snow. Watching football games in the snow (from the comfort of your warm living room, of course) are the best. I also love Hepburn’s giant hat at the baseball game. Plus, she’s got such a gorgeous, unique face. This is an excellent film and I highly recommend it.

Classics For Comfort Blogathon

I can’t think of anything more comforting than watching Eleanor Powell and her amazing dancing.

This year’s CLAMBA (CLAssic Movie Blog Association) Spring blogathon is dedicated to classic films that people may turn to in times of crisis, emotional distress, stress, or any other time when they might feel a little weary from the drudgery of day to day life. Right now, during these trying times, having something comforting to turn to, whether it be a movie, a pet, a hobby, etc. is more important than ever.

I find movies, especially classic movies, to be comforting. Not every film has positive subject matter, and not every film is uplifting, but they allow you to escape into a different world. Full disclosure: This is coming from someone who watches “Forensic Files” and “Unsolved Mysteries” to relax before bed. I have my “pet” movies that I revisit over and over again (The Long Long Trailer, Gidget, Gidget Goes Hawaiian, The Brady Bunch Movie, Singin’ in the Rain… ) but I’ve already written about those–sometimes multiple times. I will try to branch out and share my Top 5 favorite comfort films.

One of my favorite types of films is a tried and true romance. Not necessarily a rom-com (though occasionally those can hit the spot, depending on what it is), or a overly sappy romance (e.g. Nicholas Sparks), or some generic, non-offensive, completely predictable film (Hallmark Movies, I’m looking at you), but a real romantic film–“happily ever after” not guaranteed.

1) Summertime (1955). David Lean’s romantic drama is aesthetically a gorgeous film. Shot on location in Venice, Italy, the scenery and color is beautiful and very fun to watch. Katharine Hepburn stars as Jane Hudson (not that Jane Hudson), a single (gasp!) middle-aged secretary from Akron, Ohio. She has had a lifelong dream of going to Venice and has saved money for many years. Finally, she has enough money and travels abroad for her summer vacation.

Even the credits sequence is gorgeous!

Jane Hudson (Katharine Hepburn) meets Renato de Rossi (Rossano Brazzi) in “Summertime.”

Upon arriving in Venice, Jane boards the local vaporetto (e.g. a waterbus that transports the public down the canals) where she meets two fellow American tourists. Jane and the three tourists are all staying at the same pensione (e.g. a boarding house that includes meals). At the pensione, Jane meets another American tourist, Eddie Yaeger (Darren McGavin), and his wife.

On her first night out, Jane goes out to dinner and spots an Italian man, Renato de Rossi, (Rossano Brazzi) watching her. The next day, Jane is window-shopping at an antique store and spots a red goblet. Interested in obtaining more information (and possibly purchasing) the goblet, Jane enters the store and discovers that the owner of the shop is Renato, the same man who was watching her the night before. Later that night, Renato finds Jane at her pensione and confesses that he finds her very attractive. She tries to ward off his advances, but ultimately agrees to attend a concert with him.

Jane and Renato’s romance is heating up!

Renato and Jane’s romance grows and soon find themselves completely enamored with one another. However, like so many romantic films, they reach an impasse when Jane finds out more about Renato’s past.

I love this film because Jane and Renato’s passion for one another is evident and who doesn’t love the idea of falling in love with a handsome stranger while on vacation? See Diane Lane in Under the Tuscan Sun for another example of this storyline. I also liked the idea that Hepburn was playing a woman who was not only single, but didn’t seem to regret being single. She wasn’t a miserable “can’t find a man” spinster. This film is also where Hepburn picked up her lifelong eye infection after performing a stunt where she falls into one of the fabled (and notoriously polluted) Venice canals.

Another type of movie that I find comforting is an over-the-top melodrama. For me, over-the-top is something so outrageous, so absurd, that it seems like it could never possibly happen. But at the same time, with the right mix of people and the right situation, it could definitely happen. One of my favorite melodramas also combines another of my favorites: 50s-60s teen movies.

2) A Summer Place (1959) has everything one could possibly want in a good melodrama: racism, bigotry, xenophobia, adultery, alcoholism, teen pregnancy, a catchy title theme tune, love, the use of the word “convenience” for toilet… this movie has it all. And if that was not enough, the movie is photographed using the most beautiful color. Every scene is seemingly shot with gauze over the lens, giving everything a slightly hazy, ethereal look. This film also features two of my all-time favorite stars: Sandra Dee and Dorothy McGuire.

At the beginning of the film, we meet the Hunter family. Patriarch Bart (Arthur Kennedy), his long-suffering wife, Sylvia (Dorothy McGuire), and their teenage son, Johnny (Troy Donahue). It is quickly apparent that not all is well with the Hunter household. Bart, despite having been born to a wealthy family and seemingly had it all, has allowed his family’s Pine Island, ME estate to fall into disarray. Most of the blame for the family’s decline falls squarely into the lap of Bart’s alcoholism. To make ends meet, the Hunter family is forced to transform their private family home into an inn and rent rooms out to paying guests.

Johnny (Troy Donahue) and Molly (Sandra Dee) fall in love in “A Summer Place.”

One day, the Hunters receive a telegram from Ken Jorgenson (Richard Egan) who along with his wife, Helen (Constance Ford) and teenaged daughter Molly (Sandra Dee), wants to rent out a room at the “inn” for the summer. The only hitch? Ken and Sylvia used to date twenty years ago, prior to their respective marriages and children. Ken at the time was a lifeguard on the island whereas, it is presumed that Sylvia must have come from “better stock.” However, the tables have turned and now Sylvia is seemingly lower class, whereas Ken is successful millionaire research chemist.

When the Jorgenson family is seen, it is obvious that Helen has some issues. “Some issues” is putting it lightly. Helen is one of the most prudish (even for 1950s standards), hateful women that I have ever seen in a film. She seemingly has an issue with everyone and anything that isn’t American, straight, puritan, and most importantly, White. Ken has an amazing scene where he rips his wife a new one. It is obvious that the Jorgenson union is going to be kaput by the end of the film.

What is this hat?

Upon arrival at Pine Island, Johnny immediately spots Molly. They are instantly smitten with one another, much to the chagrin of Helen. As a parallel to the budding union between the children, something is rekindled between Sylvia and Ken. Both are stuck in unhappy marriages and both want a new start. Sylvia and Ken find themselves confiding in one another, until their flame is reignited. At the same time, Molly and Johnny are finding themselves falling for one another. Jilted spouses Bart and Helen, find themselves on the outside, looking in.

I love this movie. I love everything about it. I never tire of it and look forward to reading the novel. There is so much drama to savor. Sandra Dee, despite being saddled with the goody two-shoes virgin image, is definitely NOT living up to that reputation in this film. One of Dee’s best qualities, in my opinion, are her eyes. Her fantastic large, brown eyes imbue Dee with a vulnerable quality. She seems to always have a wanting in her eyes. She just needs someone to take care of, and someone to take care of her. For whatever reason, Troy Donahue, despite not being that great of an actor I really enjoy. I don’t know what it is about him, but he has a quality that I find interesting.

Sometimes, all that will provide comfort is some good old fashioned eye candy. Just something to ogle for a couple hours. One such eye candy (for me) is Errol Flynn. During his heyday, he looks amazing in pretty much everything. Even in the 1950s, when Flynn’s bad habits were definitely catching up with him, though looking older than his age, he still possesses the panache and charisma of his youth. For this entry, I’m going to discuss my favorite Errol Flynn film.

This poster doesn’t do Errol Flynn or
Alexis Smith justice!

3) Gentleman Jim (1942) is a biopic that features Flynn as James J. “Gentleman Jim” Corbett. At the beginning of the film, Jim and his friend Walter (Jack Carson) are attending an illegal boxing match in 1890s San Francisco. The match is raided by the police. Jim and Walter find themselves in the paddywagon with Judge Geary, a prominent member of the board of directors at the bank that employs both Jim and Walter as tellers. Jim is able to think quickly and saves his boss from embarrassment.

Later, through a chance meeting at his bank, Jim meets Victoria Ware (Alexis Smith), the socialite daughter of Buck Ware, a wealthy upper-class member of the Olympic Club–the same club that Jim’s boss also frequents. Victoria has arrived at Jim’s bank to collect change for a local game at the club. After hearing Victoria state that she’s on her way to the Olympic Club, Jim charms her into letting him escort her and carry her heavy coins. Victoria, obviously interested in Jim (because duh! who wouldn’t?) and seeing his ulterior motives right off the bat, agrees to let him accompany her to the club. She even treats him to lunch and cigars. Later, Jim meets the Judge and other members of the upper class in the gymnasium.

Errol Flynn and Alexis Smith

Judge Geary and a renowned British boxing coach (who has been hired to evaluate prospects) see a lot of potential in Jim as a boxer. Both men are looking to make boxing respectable and plan to start a boxing club that use the Marquess of Queensbury rules (the same rules still in effect today in the boxing community). These rules were set up a few decades prior in London and were meant to make the matches more even and fair. The Judge and the British coach find Jim’s appearance and polished demeanor as the perfect image for their new fighter. And, if Jim’s good looks and charm weren’t enough, he’s also a good fighter!

Soon Jim gets to work training and quickly finds himself scheduled for his first fight, which he wins. Eventually, Jim gets a manager, Billy Delaney (William “Fred Mertz” Frawley) who books him into even bigger matches. After winning a series of fights, Jim finds himself booked for his biggest fight yet–Taking on the current heavyweight champion, John L. Sullivan (Ward Bond).

“GIVE ‘EM ROOM!”

I love this movie. I love sports movies in general, and especially boxing ones. Flynn is so freaking adorable and hot in all of his scenes. The man even looks good in a union suit! The absolute best Flynn scene is when he falls into the San Francisco Bay and pulls himself out of the water. Ooh la la. Alexis Smith makes a great foil for Flynn’s brashness. Their love/hate relationship is one of the highlights of the film. One of the absolute best parts of the film though is Alan Hale as Flynn’s father. He is hilarious in this movie. Ward Bond is also excellent as John L. Sullivan.

Another type of film that I find comforting is something that is so adorable and so sweet, that you cannot help but feel better. Charlie Chaplin’s most famous character, The Tramp, is so sweet and kind, you cannot help but root for him. In The Kid (1921), even though the audience knows that Tramp’s “son,” belongs to someone else, you cannot help but root for the two of them to stay with each other. They belong together–even if the Tramp can’t provide financially. What he lacks in financial resources, he more than makes up for it in love and kindness. One of the absolute best examples of this is present in my favorite Chaplin film.

4) City Lights (1931). This film is so freaking adorable and sweet, I cannot stand it. Fortunately, I was able to see it in the theater prior to the COVID-19 pandemic. The film was even better on the large screen. To make the experience even better, I got to view a 35mm print. Anyway, I digress.

This is a great movie poster!

The film opens with a bunch of dignitaries and citizens assembling for the unveiling of a new monument dedicated to “Peace and Prosperity.” When the veil is removed from the statue, the Tramp is revealed to be asleep in the lap of one of the figures. After a few moments of hilarity, the Tramp escapes the angry crowd and runs into the city. While in the city, the Tramp encounters a blind woman (Virginia Cherrill) selling flowers. The Tramp is smitten with her, even after figuring out that she is blind. The blind woman mistakes the Tramp as wealthy when she hears a door open and shut on an automobile right as the Tramp approaches her to purchase a flower. She assumes that he’s just emerged from a chauffered vehicle.

Later that evening, the Tramp saves a drunk millionaire from suicide. The millionaire is grateful to the Tramp and declares him his new best friend. The millionaire takes the Tramp back to his home for champagne, and then for a night out on the town. They have a raucuous good time. The next morning, the Tramp spies the flower girl at her corner as he’s driving the millionaire home. He gets some money from the Millionaire, takes the Millionaire’s car, and drives the girl home.

The blind girl (Virginia Cherrill) and the Tramp (Charlie Chaplin)

At this point, a running gag starts where the millionaire is the Tramp’s BFF when he’s drunk, but sober, he has no idea who the Tramp is and wants him out of his house ASAP.

The Tramp continues to visit with the blind girl. It is during one of these visits that he learns that she and her grandmother are one missed rent payment ($22… Oh to pay rent in the early 1930s) away from being homeless. At this point, nothing will stop the Tramp until he’s able to save the blind girl from losing her home.

One of the sweetest scenes ever in film!

This film is so freaking sweet and I don’t want to spoil it by describing the ending. It is perhaps one of the best endings ever in film and with so few words. The ending scene fully illustrates why Charlie Chaplin deserves every inch of recognition and acclaim that he ever received.

Finally, another of my favorite genres is film noir. Some film noir can be romantic in nature, like the Bogie/Bacall films and others can be super gritty (The Asphalt Jungle comes to mind). I love all of them. There’s something about the noir style, the narration, the way characters speak, everything.

5) One of my favorite noir, is probably one of the most famous film noir of all time: Double Indemnity (1944). Fred MacMurray stars as Walter Neff, a seemingly decent insurance salesman who makes his living selling all types of insurance. One day, he makes a house call to the Dietrichson household to remind Mr. Dietrichson to renew his automobile insurance. When Walter arrives, Mr. Dietrichson isn’t home, but his second wife Phyllis (Barbara Stanwyck) is. In one of the all time best character introduction scenes, Phyllis appears at the top of the stairway clad in a towel and her “honey of an anklet.” Walter is instantly smitten.

While flirting with one another, Phyllis asks Walter about taking out a life insurance policy on her husband, without her husband’s knowledge. Walter at first, wants no part of Phyllis’ obvious plan to murder her husband, but soon devises a scheme to write a policy that contains a “double indemnity” clause–which would double the payout, should the policy holder die in some type of accident.

Barton Keyes (Edward G. Robinson) is on the case!

At this point, I cannot decide if Walter is really that enthralled with Phyllis that he’s willing to commit capital murder, or whether he wants to try and put something over on his boss, Barton Keyes (Edward G. Robinson). Keyes is responsible for investigating claims on behalf of the firm, to reduce the amount of payments that need to be paid out. Keyes seems to believe that he knows anything and everything about probability of different causes of death and everything that would negate an insurance claim.

This scene cracks me up. These two are the most conspicuous, inconspicuous people.

Walter inevitably ends up helping Phyllis commit the murder. Throughout the rest of the film, Phyllis and Walter try to cover their tracks as Keyes gets closer and closer to the truth.

I love this film. I love the way that Walter speaks, I love Phyllis’ hilarious wig, and Edward G. Robinson is fantastic. In the scene where Walter murders Mr. Dietrichson in the car, Phyllis has one of the most evil facial expressions in cinema.