4th Luso World Cinema Blogathon–Favorite Mary Astor Performances

The Luso World Cinema Blogathon is an annual event hosted by Spellbound with Beth Ann and Critica Retro. I’ll admit that I didn’t know anything about Luso cinema, in fact, I didn’t know what “Luso” meant. Research revealed that “Luso” is a prefix used in relation to Portugal and Portuguese culture. From reading through the list of actors/actresses of Portuguese heritage, I learned that one of my favorites, Mary Astor, fits this description.

Mary Astor was born Lucile Vasconcellos Langhanke in Quincy, Illinois on May 3, 1906. Her father was German and her mother was American. Mary got her Portuguese heritage from her mother. Mary was homeschooled by her mother until 1919 when she sent a photo of herself to a beauty contest and became a semi-finalist. When she was 15, she began taking drama lessons and appearing in local productions. Mary submitted her photos to other beauty contests, eventually catching the attention of an employee at Famous Players-Lasky. She was then signed to a six-month contract at Paramount. Mary would eventually make her screen debut in 1921 at the age of 14.

Mary’s career in silent film had its ups and downs. In 1929, she briefly found herself out of work as her voice was deemed too deep for talkies. However, she appeared in a play with her friend Florence Eldridge (wife of Fredric March) which ended up getting her back into films. She started being cast in films again and was on her way to stardom. In 1935, Mary had an extra-marital affair and was later embroiled in a bitter custody dispute with her ex-husband. In many cases, an adulteress’ career would be over, but the scandal seemed to have little effect on her career. Mary would eventually win the Best Supporting Actress Oscar in 1941 for her role in The Great Lie.

Mary Astor’s career reached its peak in the 1940s with her Oscar win and appearance in the film noir classic, The Maltese Falcon, as Brigid O’Shaugnessy. As what happened with a lot of actresses back then, as soon as Mary hit 40 she was seen as a “mother” figure and was often cast in more matronly roles such as matriarch Anna Smith in Meet Me in St. Louis and Marmee in Little Women. Some of Astor’s best roles however come during this time when she took on against-type parts, such as playing a prostitute in Act of Violence or a madam in Desert Fury. Mary made her final appearance in 1964 in the small, but important role of Jewel Mayhew in Hush, Hush Sweet Charlotte.

Mary Astor had a lot of great roles in her long career. Here are my top 5 favorite Mary Astor performances:

Walter Huston and Mary Astor in “Dodsworth.”

#1 Dodsworth (1936). In this film, Mary plays “the other woman,” a role which typically isn’t sympathetic and is usually villainous. However, in Dodsworth, Mary’s performance as Edith Cortright and relationship with Walter Huston’s Sam Dodsworth is so beautiful that she is seen as the woman that Sam deserves. In this film, Sam and his wife Fran (Ruth Chatterton)’s daughter is all grown and married. Fran cannot accept being old enough to have a grown and married daughter. Sam retires and hopes to live a life of leisure with Fran. They’re planning on starting their retirement with an extended European vacation. While on the ocean liner, Sam meets Edith and Fran meets a young Englishman (David Niven) with whom she flirts. Sam ends up spending much of his time on the boat with Edith. While in Europe, Fran wants to be part of the jet set, spending her time living the high life while pretending to be much younger. Sam just wants to see the sights. As the Dodsworths find themselves growing apart, through a chance encounter, Sam reunites with Edith.

Mary’s performance in Dodsworth is very charming and sweet. She is what the film needs to offset the vain and materialistic Fran. While she is the “other woman” so to speak, Sam is such a nice guy and Fran is so awful, that we as the audience want Sam and Edith to be together.

Mary Astor and Joel McCrea in “The Palm Beach Story.”

#2 The Palm Beach Story (1942). Mary Astor’s performance in this film is unlike any other part that I’ve seen her play. While she doesn’t seem like the obvious choice to appear in a Preston Sturges screwball comedy, Mary is right at home. In this film, she plays the oft-married Princess Maud Centimillia. At the start of the film, she’s on her way home to Palm Beach, FL with her latest conquest, Toto. She pulls up to the dock in her yacht and immediately wants to drop Toto for Tom Jeffers (Joel McCrea). Tom is in town looking for his wife, Gerry (Claudette Colbert) who has traveled to Palm Beach from New York. While on the train to Florida, Gerry meets the Princess’ brother, John D. Hackensacker III (Rudy Vallee). John is instantly smitten with Gerry and takes her back to his home to give her a place to stay.

Mary Astor’s performance as the Princess is hysterical. Even though she’s taken Toto as her lover, she wants nothing to do with him as soon as she spots Joel McCrea. Her disdain for Toto is so clear and obvious, but he’s a dope and doesn’t pick up on it. The Princess constantly has to think of errands to send Toto on so she’ll go away. She’s also very funny when Gerry introduces her husband as “Captain McGlue” in an effort to hide the fact that he’s her husband. When Tom later reveals that he is not Captain McGlue, the Princess says: “Thank heaven for some things. That name!”

Clark Gable and Mary Astor in “Red Dust.”

#3 Red Dust (1933) In this film, Mary plays Barbara Willis, the wealthy wife of Gary (Gene Raymond) who is sent to oversee a rubber plantation in French Indochina. The manager of the rubber plantation is Dennis Carson (Clark Gable). Another visitor to the plantation is Vantine (Jean Harlow), a young prostitute on the lam. Vantine is instantly smitten with Dennis and he seems interested in her until he sees Barbara. Barbara is the polar opposite of Vantine. She is brunette, more classy and ladylike. In contrast, Vantine is a bleached blonde, a brash, and outspoken. Gary ends up coming down with malaria, which puts him out of commission and more importantly, away from Barbara. Dennis spends the week of Barbara’s visit seducing her until she finally succumbs to his advances. Meanwhile, Vantine looks on with intense jealousy.

This is a very sexy part for Mary Astor. She is given the chance to have the hot and heavy affair with the hunky Clark Gable. The entire film is sweaty and it feels sweaty. At one point, Barbara is caught in the rain and is drenched. She then shares a sexy kiss with Gable.

Mary Astor and John Barrymore in “Midnight.”

#4 Midnight (1939) In this film, Mary plays the wealthy Helene Flammarion, the wife of Georges Flammrion (John Barrymore). She is very openly having an affair with ladies man, Jacques Picot (Frances Lederer). At the beginning of the film, Eve Peabody (Claudette Colbert) crashes a concert attended by members of the Parisian high society. She ends up running into Marcel Renaud (Rex O’Malley) who invites her to play bridge with himself, Helene, and Jacques. Eve introduces herself as “Madame Czerny.” Georges enters the room and sees Eve. He pretends to recognize Madame Czerny.

Georges comes up with a scheme to break up his wife and Jacques. He proposes to Eve that she try and break up Jacques and Helene. If she succeeds, Georges will give her a good payoff to reward her for her efforts. He will also give her 50,000 francs and invites her to his and Helene’s home in Versailles for the weekend. Georges also puts Eve up in a suite at the Ritz and buys her a new wardrobe, worthy of her persona as Madame Czerny. Meanwhile, cab driver Tibor Czerny (Don Ameche) is looking for Eve, having fallen in love with her while her drove her around town. When he finally finds her, he is amused that she’s taken on his surname as her fake royalty name.

While Mary Astor is more of a side character in this film, she is very funny in her part as John Barrymore’s unfaithful wife. She has absolutely no discretion in her affair with Jacques. Mary excels in these parts playing a bit of a goody two shoes, but also classy and a bit rigid. She’s also great at delivering her lines with a bit of bitterness, cynicism, while also being very funny.

Mary Astor and Humphrey Bogart in “The Maltese Falcon”

#5 The Maltese Falcon (1941). This is perhaps Mary Astor’s most famous role, that of femme fatale Brigid O’Shaugnessy in John Huston’s directorial debut and Humphrey Bogart’s breakout role. In this film, Brigid introduces herself to Bogart’s Sam Spade as “Miss Wonderly,” but he soon figures out that she’s lying about her identity. She comes to Sam wanting help in finding out the whereabouts of her missing sister. All Brigid can say is that she came to town (San Francisco) with Floyd Thursby. Sam puts his associate, Miles Archer, on the case. Miles is murdered while investigating Thursby’s whereabouts.

Sam sets out to investigate Archer’s death, but is soon thrust into an even larger (more interesting) mystery. He goes to Brigid, now calling herself Brigid having abandoned the “Miss Wonderly” moniker, to find out more information about Thursby. Brigid confesses that she made up the story about her sister and revealed that Thursby was her partner. She also puts forth the theory that Thursby probably killed Archer. When Sam returns to his office, he encounters Joe Cairo (Peter Lorre) who is wanting help looking for a statue of a black bird.

The black bird investigation proves to be a lot more interesting, especially when it turns out that Brigid is acquainted with Joe Cairo. Sam also learns that Cairo and Brigid are part of a gang led by Kasper Gutman (Sydney Greenstreet). Wilmer Cook (Elisha Cook Jr.) is Kasper’s gunsel and eventual fall guy. The ending of the film where Sam calls Brigid out and says she was responsible for Archer’s death. This is Mary Astor’s time to shine. In the scene, she is heartbroken that Sam Spade, with whom she thought she was in love, sends her up the river. She pleads with him to not turn her over to the police, but to no avail. He “consoles” her stating that she’ll probably be out in twenty years. As she descends in the elevator, Brigid’s face is covered by the shadows of bars on the windows.

#Noirvember 2023

Another Noirvember is upon us. I’ve been pretty spotty in trying to take part in these online events, so once again I’m going to try my best to participate. #Noirvember is an ode to all that is film noir that was started a few years ago by @oldfilmsflicker on Twitter. It’s become a highly anticipated event that has taken on a life of its own and is now promoted by everyone from film fans to movie theaters.

Anyway, because I can’t just simply watch film noir in November, I have to make myself some sort of challenge. One reason is that it makes it more interesting and forces me to check out films, actors, directors, etc. that I may not have otherwise, or it would have taken me longer. While deciding what to do for my challenge, I wanted to make sure that I allowed myself to watch old favorites like Double Indemnity (1944). However, I want to make sure that I also watch some new titles–if only to get through some of the blind buys that I’ve purchased throughout the year. I don’t want to force myself to only watch “new” films, because then I’ll be sad that I can’t watch my favorite Alan Ladd film noir (e.g.). While I did this challenge in the past and ALMOST finished it, I am going to give it another go this month–I am going to follow-up my next film noir with a film that has an actor in common with the film that preceded it.

I’m also not going to limit myself to just one film per day. Some days I can fit in only one film, other days I can fit in 2-3. Due to my regular Monday night board game group, I may not be able to get a film noir watched every single day; but I’ll do my best. I’m also hoping that I can finagle it where the last film I watch connects to the first film. We’ll see what happens as my movie watching will be organic. I do not have it planned out in advance! Just to keep myself on my toes.

Without further much ado. These are the films watched for #Noirvember. Click on the link to view more information about the film and to see what connected it to the previous film!

EDIT: Woo! Did it. The final film, The File on Thelma Jordon, connects to the first film, Double Indemnity, using the Queen of Film Noir, Barbara Stanwyck.

November 1st- Double Indemnity (1944)

November 1st- Singapore (1947)

November 2nd- The Killers (1946)

November 3rd- White Heat (1949)

November 4th- Red Light (1949)

November 5th- Race Street (1948)

November 5th- The Glass Key (1942)

November 6th- Shakedown(1950)

November 7th- Brute Force (1947)

November 8th- Mildred Pierce (1945)

November 9th- The Unfaithful (1947)

November 10th- The Mask of Dimitrios (1944)

November 12th- Gilda (1946)

November 14th- Human Desire (1954)

November 14th- In a Lonely Place (1950)

November 15th- Dark Passage (1947)

November 16th- Key Largo (1948)

November 17th- Murder, My Sweet (1944)

November 19th- Pitfall (1948)

November 25th- Too Late for Tears (1949)

November 26th- Desert Fury (1947)

November 29th- Sorry, Wrong Number (1948)

November 30th- The File on Thelma Jordon (1949)

Ingrid Bergman Blogathon–“Casablanca” (1942)

Ingrid Bergman was born 108 years ago today, August 29th, in 1915. Her life came full circle with her passing 41 years ago on her 67th birthday in 1982. Throughout her life, Ingrid won 3 Oscars, was condemned for her affair with Italian director Roberto Rossellini on the floor of the US Congress, and came out on the other side of the scandal stronger than ever. She appeared in more than 40 films (including films in the US, Italy, and her native Sweden), a half a dozen made-for-TV movies, and dozens of theatre and radio performances. Despite winning awards for Classic Hollywood films such as Gaslight (1944), Anastasia (1956), and Murder on the Orient Express (1974), Ingrid is best known for her role in Casablanca (1942).

Today, Casablanca is regarded as one of the best films ever made. It also ranks on the top of many lists as one of the most (if not *the* most) romantic films ever made. However, during the time of production, nobody involved thought much of the film–especially its star, Ingrid Bergman. The script was constantly being re-written to the point where the stars didn’t even know how the film was going to end. The crux of the climactic scene at the airport involves the resolution of the film’s classic love triangle. Ingrid was kept in the dark as to who her character, Ilsa Lund, would end up with–Humphrey Bogart’s Rick Blaine or Paul Henreid’s Victor Laszlo.

One of the most famous love triangles in cinema history: Victor Laszlo (Paul Henreid), Ilsa Lund (Ingrid Bergman), and Rick Blaine (Humphrey Bogart)

Casablanca takes place in the city of the same name in Morocco. Rick Blaine is an American who operates a nightclub, Rick’s Café Américain (aka “Rick’s”). His club offers a refuge for citizens from all countries and all walks of life who are desperate to escape the Nazis and leave for the United States, which has not yet joined the war effort. Rick is seen signing off on a bill dated a few days prior to the Japanese bombing of Pearl Harbor. Every refugee is desperate to procure a “letter of transit” which is required to leave Morocco for neutral Portugal, which then will allow them to get to the US. At the beginning of the film, a crook by the name of Ugarte (Peter Lorre) rushes into Rick’s, requesting a place to hide. Rick refuses and Ugarte is killed by the Nazis. Ugarte had stolen two letters of transit by murdering two German couriers. He manages to hide the letters of transit at Rick’s prior to his death. Rick’s possession of the letters of transit provides one of the main motivations for both the French and German police’s constant presence.

UGARTE: You despise me, don’t you?
RICK: If I gave you any thought, I probably would.
(Oof)

Nazi Major Heinrich Strasser (Conrad Veidt) and French Captain Louis Renault (Claude Rains) are constantly at odds with one other, with their blows often coming to head at Rick’s. Louis, while he is the prefect of police, is corrupt and is friends with Rick. It is implied that Louis propositions young female refugees, asking for sex in exchange for an exit visa. Strasser and Renault’s main bone of contention is the arrival of Victor Laszlo, a Czechoslovakian who escaped from a concentration camp and is the leader of a resistance movement. Major Strasser’s main motivation in the film is to capture Victor Laszlo and return him to the concentration camp.

However, while the political strife of Casablanca is important to the plot, the film is mainly remembered for its love triangle between Rick Blaine, Ilsa Lund, and Victor Laszlo. Throughout the beginning of the film, Rick is shown to be cynical and completely apathetic to everything. He has funny lines such as when he’s asked if he is available for drinks later in the evening, and he responds: “I never make plans that far ahead.” One evening, Ilsa and her husband, Victor Laszlo enter the club. When Rick spots Ilsa, his face suddenly contorts into the look of sheer anger and heartbreak.

Rick is distraught after Ilsa re-enters his life. “Of all the gin joints, in all the towns, in all the world, she had to walk into mine.”

In flashback, we learn that Rick and Ilsa used to be romantically involved, while living in Paris. They’re shown in blissful happiness: romantic drives around the French countryside, sipping champagne while engaging in flirty banter and dancing at romantic clubs. Rick and Ilsa are in love and when they learn that Germany is marching into Paris, they make plans to leave together on the train. One rainy afternoon, Rick waits for Ilsa at the train station, but she never shows up. Heartbroken, Rick reads the “Dear John” letter she sent and boards the train. Ilsa’s reappearance in Morocco brings back a flood of memories to Rick and reminds him of how much she hurt him.

Seeing Rick is obviously a blow to Ilsa as well. Her admiration and love for him comes flooding back to her gorgeously lit face (kudos to whoever lit Ingrid Bergman for this film) that just sparkles on screen. Throughout the film, Ilsa becomes conflicted, not knowing if she wants to leave Victor and rekindle her romance with Rick. In her confusion, she tries to convince herself that she doesn’t love Rick and tries to hold him at gunpoint to force him to give her the letters of transit. Rick isn’t convinced and soon Ilsa confesses that she still loves him.

Rick and Ilsa during happier times in Paris.

Humphrey Bogart and Ingrid Bergman acted out Rick and Ilsa’s romance perfectly. They are still in love, but Rick has been so hurt by Ilsa, that it’s hard for him to drop his defenses. The fact that she’s married makes him even more adverse to getting involved with her again. Ingrid portrays Ilsa’s dilemma perfectly, with her face displaying the conflicted feelings she has for Rick. She loves Rick, but she also admires Victor for his work in the resistance. In a very gallant speech, Rick tells Ilsa that Victor needs her, as she is his motivation. In the famous airport scene, Bogart’s face perfectly portrays the love that Rick has for Ilsa. Ingrid’s face beautifully portrays Ilsa’s confusion and overwhelming love for Rick. However, this time, Rick is able to end the relationship on his own terms, knowing that it’s for the best that Ilsa stays with Victor. Ilsa on the other hand, seems to have expected that she’d stay with Rick and send Victor packing.

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

In the end, do we want Rick and Ilsa together? The Simpsons offered an alternate ending. As Rick and Louis walk away together as Sam (Dooley Wilson) plays piano. Sam then warns Rick that Louis has a gun. As Louis prepares to shoot Rick, Sam shoves his piano at Louis and knocks him out. Hitler then pops out of the lid of Sam’s piano, preparing to throw bombs at Rick and Sam. Ilsa suddenly parachutes down from her departing plane, lands on the piano lid, locking Hitler inside. Sam begins playing something that kind of sounds like “As Time Goes By” (but isn’t, obviously. Rights issues) and the scene segues into Rick and Ilsa’s wedding.

While this is obviously a ridiculous way to end the film, it does give the audience the happy ending that many in the audience want–Rick and Ilsa ridding the world of Hitler and living happily ever after. Personally, I cannot imagine Casablanca with that ending. The entire airport scene, oddly one of the most romantic scenes in cinema history, despite being basically a break-up scene, is so perfect. The credit for how the scene plays out entirely belongs to Humphrey Bogart and Ingrid Bergman. The problems of three little people may not amount to a hill of beans in this crazy world, but for 102 minutes, we’re captivated. We’ll always have Paris. And we’ll always have Ingrid Bergman’s luminous face. Here’s looking at you, kid.

The alternate ending to “Casablanca” as envisioned by The Simpsons.

RICK: Last night we said a great many things. You said I was to do the thinking for both of us. We’ll 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 saying this only 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. We didn’t have, we, 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 be any part of. Ilsa, I’m no good at being noble, but it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world. Someday, you’ll understand that.

(Ilsa lowers her head and starts to cry)

RICK: Now, Now…

(Rick lifts Ilsa’s chin, so their eyes meet)

RICK: Here’s looking at you kid.

Humphrey Bogart as Rick Blaine, Ingrid Bergman as Ilsa Lund, and Claude Rains as Louis Renault in “Casablanca.”

Ingrid Bergman’s gorgeous face as Bogart gives her the most romantic brush-off in cinema history.

The Corman-Verse Blogathon- “The Raven” (1963)

I have to admit that I don’t know a lot about Roger Corman. What I do know about him, is that he is very prolific and very influential. He was instrumental in producing and directing a lot of American International Pictures’ (AIP) best campy horror films, often starring Vincent Price. Other horror icons, such as Peter Lorre, Boris Karloff, and Basil Rathbone also turned up in AIP’s horror films, with Price in the lead and Corman at the helm. In the 1960s, Cormon and Price brought seven different Edgar Allan Poe tales to the big screen. One of these films, is the very campy adaptation of Poe’s 1845 poem, “The Raven.”

The film opens as Poe’s poem does:

Once upon a midnight dreary, while I pondered, weak and weary.

Over many a quaint and curious volume of forgotten lore.

While I nodded, nearly napping, suddenly there came a tapping.

As of someone gently rapping, rapping at my chamber door.

“‘Tis some visitor,” I muttered, “tapping at my chamber door.

Only this and nothing more.”

Edgar Allan Poe “The Raven” (1845), recited by Vincent Price in “The Raven” (1963)

Two legends of horror and Classic Hollywood: Peter Lorre and Vincent Price

The film takes place at the turn of the 16th century in 1506. Vincent Price’s character, sorcerer Dr. Erasmus Craven is mourning the death of his wife Lenore. She has been gone for over two years, and Erasmus’ daughter, Estelle (Olive Sturgess) wishes that her father would move on. One evening, Erasmus is visited by Dr. Bedlo (Peter Lorre), a wizard, who has been transformed into a raven. Dr. Bedlo begs Erasmus to help him transform back into his normal form. He gives Erasmus a simple list of ingredients: dried bat’s blood, jellied spiders, chain links from a gallow’s bird, rabbit’s lard, dead man’s hair, just your normal run-of-the-mill pantry staples. Erasmus looks at Dr. Bedlo in disgust.

ERASMUS: “No, we don’t keep those things in the house. We’re vegetarians.
DR. BEDLO: “And that calls himself a magician. Honestly, this is too much!”

Vincent Price as Dr. Erasmus Craven and Peter Lorre as Dr. Bedlo in “The Raven” (1963)

The magic fight between Vincent Price and Boris Karloff in all its glory

Erasmus ends up taking Dr. Bedlo down to his deceased father’s laboratory–a laboratory that has sat unused for over 20 years. As Dr. Bedlo waits patiently, Erasmus looks through his father’s old chemicals. This scene allows for the seemingly squeamish Erasmus to come across ingredients that are either repulsive (e.g. a box of eyeballs), and other funny ingredients that Dr. Bedlo scoffs at, as they don’t belong in his recipe. Eventually Erasmus ends up finding all the ingredients and concocts a very powerful looking potion. Dr. Bedlo, still in his raven-form, drinks the potion excitedly. However, Erasmus didn’t make enough and the potion only takes effect part-way. Dr. Bedlo only semi-transforms back into his normal form. It is in this scene where we get the delightful imagery of Peter Lorre wearing a raven costume. He has a human head and a bird body.

Father Peter Lorre and Son Jack Nicholson

Dr. Bedlo implores Erasmus to make more potion so he can complete his transformation. However, the two men discover that they have run out of a crucial ingredient–dead man’s hair. There’s only one thing to do of course–go to the cemetery and get more hair. Eventually Dr. Bedlo is transformed into his normal form. He then explains to Erasmus that he was initially transformed by Dr. Scarabus (Boris Karloff) in an unfair duel. Dr. Bedlo also tells Erasmus that he saw the ghost of Lenore (Hazel Court). Intrigued, Erasmus and Dr. Bedlo set off for Scarabus’ castle, with Estelle and Bedlo’s son, Rexford (Jack Nicholson). It is at this point when we can laugh at the idea of Jack Nicholson being Peter Lorre’s son.

Vincent Price takes his shot in the magic fight

The gang arrive at Scarabus’ castle. After a variety of mishaps and revelations, the visit culminates with an amazing magic fight between Erasmus and Scarabus. The scene of Vincent Price and Boris Karloff fighting each other with magic, using 1963 special effects, makes the film worth the watch.

Boris Karloff fires back with his magic

This film is so ridiculous. It is very funny and very campy. Do not go into this movie expecting something revelatory. Go into it expecting the absurd. Just go with whatever happens and you will not be disappointed. I absolutely love Vincent Price’s voice. He recites a few passages from Poe’s poem and it is mesmerizing. I wish he were around today to record audio books. He could make any story sound ominous and compelling. Can you imagine if Price had read something like “Little Women” or “The Great Gatsby” ? Peter Lorre also provides the dialogue for the raven. I love that it is just him talking and not someone trying to impersonate a bird’s voice. Lorre has some pretty funny lines.

ERASMUS: “Shall I ever see the rare and radiant Lenore again?”
DR. BEDLO (in raven form): “How the hell should I know?”

Vincent Price as Dr. Erasmus Craven and Peter Lorre as Dr. Bedlo in “The Raven” (1963)

Boris Karloff was excellent as the villain, but I cannot help but think of The Grinch every time he speaks. He has an amazing speaking voice as well, as does Peter Lorre. These three would have made an amazing team recording audio books. It is absolutely fascinating seeing a young Jack Nicholson in this film. His trademark grin is present, but his voice is completely different. If I hadn’t known that this was Nicholson, I’m not sure that I would recognize him. He definitely evolved as an actor by the time that Chinatown (1974) rolled around.

I recommend this film to anyone who loves campy horror movies, Vincent Price, Peter Lorre, Boris Karloff, Edgar Allan Poe, and/or wants to see a 26-27 year old Jack Nicholson, pre-Easy Rider, pre-Chinatown… and my personal favorite, pre-Tommy.

Quoth the Raven: “Nevermore.”

What a Character! Blogathon–Elisha Cook Jr.

WILMER COOK: Keep on riding me and they’re gonna be picking iron out of your liver.

SAM SPADE: The cheaper the crook, the gaudier the patter.

Elisha Cook Jr. as Wilmer Cook and Humphrey Bogart as Sam Spade in “The Maltese Falcon.”

HELEN: I must warn you though, liquor makes me nosy. I’ve been known to ask all sorts of personal questions after four cocktails.

MARTY: ‘s alright. I’ve been known to tell people to mind their own business. Cold sober too.

Claire Trevor as Helen and Elisha Cook Jr. as Marty in “Born to Kill.”

GEORGE PEATTY: This couple, sittin’ in front of me, oh, they weren’t young, exactly. I guess the woman was about your age.

SHERRY PEATTY: A little senile, you mean? With one foot and a big toe in the grave?

GEORGE PEATTY: You want to hear this or not? Do you or not, Sherry?

SHERRY PEATTY: I can’t wait. Go ahead and thrill me George.

Elisha Cook Jr. as George Peatty and Marie Windsor as Sherry Peatty in “The Killing.”

“Well Wilmer, I’m sorry indeed to lose you. But I want you to know I couldn’t be fonder of you if you were my own son. But well, if you lose a son, it’s possible to get another. There’s only one Maltese Falcon.”

Elisha Cook Jr. carved out a very unique niche for himself in Hollywood. He often played a villain, but never a outwardly scary villain. He was no Tommy Udo (Richard Widmark) in Kiss of Death or Max Cady (Robert Mitchum) in Cape Fear. Cook Jr.’s portrayal was much different. He was mild-mannered, timid even, but was still able to make the action of the film seem uncomfortable. To me, he comes across as someone who seems like they could crack any time now. In The Maltese Falcon, he trails Sam Spade all over San Francisco and makes threats along the way, but Spade never takes him seriously. Even at the end of the film, Cook Jr.’s boss, Kasper Gutman, sells him out and makes him the fall guy. Kasper does this to save his own neck.

When I first learned about Elisha Cook Jr., I did what I always do for every new film and new actor I discover: I looked up his Imdb and Wikipedia pages. I was astonished to learn that Cook Jr. was born in 1903! 1903! In ‘Falcon,’ he looks like a kid compared to Bogart and company. However, he was only four years younger than Bogart! Save for Sydney Greenstreet, Cook Jr., was older than the other members of his gang: Mary Astor and Peter Lorre. This was insane to me. He had such a baby face that it was astonishing that he was almost 40 when he appeared in ‘Falcon.’

It is partially Cook Jr.’s baby face that lends to his ability to play these meek, timid characters who provide a duplicitous nature to his characters. He didn’t always play the villain, but he often played someone who was pretty much on the up-and-up, but got in over his head due to his naiveté and inability to stand up against a stronger personality. In The Killing, Cook Jr., works at a large horse track as a cashier. He is married to the very domineering (physically and personality-wise) Marie Windsor, who treats him like garbage because he hasn’t provided her with the lifestyle to which she feels accustomed. To make his wife like him better, Cook Jr., gets involved with criminal Sterling Hayden who wants to pull off one last heist. Cook Jr., offers to use his position as an employee of the horse track to help Hayden pull off the heist. In exchange, he is supposed to receive a large sum of money. Unfortunately, Cook Jr. ends up paying for his involvement with his life.

Probably the most action Elisha Cook Jr. ever got in one of his films–Phantom Lady.

In contrast to his wimpy weaklings, Elisha Cook Jr., did turn in a very uncharacteristic (yet entirely typical) performance in Phantom Lady. In this film, Ella Raines is trying to prove the innocence of her boss who is sitting on death row for murdering his wife. He has an alibi, but the alibi cannot be located. Raines is trying to follow the clues to find the alibi and exonerate her boss before it’s too late. Nightclub drummer Cook Jr., is one of the people who can help lead her to the alibi. To convince him to give her the details, Raines tries to emulate the type of woman that a musician would be interested in. Donning fishnet stockings, a slinky dress, and stilettos, hepcat Raines’ ruse works. Cook Jr., invites her to this seedy private club away from the nightclub.

Here’s where Cook Jr.’s uncharacteristic performance comes in. Obviously wanting to seduce Raines and “make it” (as they say in old movies back then) with her, he presents the most erotic, sexually charged drum solo ever committed to celluloid. This is as close as filmmakers could get in having characters have sex on screen in 1944. Cook Jr.’s drumsticks hit the drumheads with such an intense, rhythmic beat. Close-ups of his sweaty face, eyes widening, smile tightening are juxtaposed with shots of the drumsticks. As the beat intensifies, so does the intensity in Cook Jr.’s face until the scene climaxes, and he and Raines slink out the door when she offers a come hither look. Like in most of his films, Cook Jr., doesn’t survive Phantom Lady, but at least he had some fun before his murder.

Elisha Cook Jr. is one of my favorite character actors. He brings such a unique presence to screen and you never know what you’re going to get, while knowing exactly what you’re going to get when he’s on screen.

My favorite Elisha Cook Jr. performances:

• The Maltese Falcon
• The Killing
• Born to Kill
• Phantom Lady
• House on Haunted Hill
• The Big Sleep
• The Gangster
• Don’t Bother to Knock
• Love Crazy
• I Wake Up Screaming
• Ball of Fire

WATSON PRITCHARD: They’re coming for me now… and then they’ll come for you.

Elisha Cook Jr. as Watson Pritchard in House on Haunted Hill

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!”

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!