National Classic Movie Day! Four Favorite Film Noir

Tomorrow, May 16, is National Classic Movie Day. Even though for me, everyday is National Classic Movie Day, tomorrow is “official.” It would be wonderful if the spotlight on classic film brings about a new crop of fans. While classic films still seem to be a bit of a niche interest, at least on Twitter, it feels like new classic film fans are made every day. I have always loved classic film, and it makes up about 90% of my “new” movie viewing. After all, on TCM’s Private Screening series, Lauren Bacall was quoted as saying, “It’s not an old movie if you haven’t seen it.”

This year, the wonderful host at the Classic Film and TV Cafe, has asked bloggers to discuss four of their favorite film noir. Along with musicals, pre-code, and melodrama (“weepies” if you will), if there’s another type of movie I love, it’s film noir. While many film noir may have a formulaic plot, it is the combination of actors, director, cinematography, music, editing, etc. that can set one movie apart from another. It is always so satisfying to discover a “new” film noir, or any classic film really, and be surprised by a plot twist or ending. Narrowing my list down to four will be difficult; but I will try. I definitely have dozens of film noir that I absolutely love.

In no particular order:

#1 Detour (1945)
Starring: Tom Neal and Ann Savage
Director: Edgar G. Ulmer
Studio: PRC Pictures

Synopsis: The film opens with Al Roberts (Neal) hitchhiking. He ends up at a diner in Reno where he drowns his sorrows in a cup of coffee. It is obvious that something is bothering Al. Al’s disturbed mental state becomes further evident when another customer plays a song on the jukebox that reminds Al of his former life in New York City–a life that while not great, must have been better than whatever he is going through now. Al’s voiceover serves as the device that brings the audience back to the beginning of Al’s story.

In New York City, Al worked at a nightclub playing piano. He laments wasting his talents playing in a shabby club; however he puts up with it because he’s in love with the club’s singer, Sue Harvey (Claudia Drake). One evening, she announces that she’s quitting her job and moving to Hollywood to try and make it in Hollywood. Al is depressed about Sue’s departure and eventually decides to drive to California to propose to her. However, not having any money, Al has to resort to hitchhiking across the country.

While in Arizona, Al meets Charles Haskell, a bookie on his way to Los Angeles. On their way to the City of Angels, Haskell ends up dying. Not knowing what to do, Al ends up taking Haskell’s identification and car and continues his trip. After crossing over the California border, Al stops for gas. It is at the gas station when he meets the amazing Vera (Savage). At this point, Vera’s in charge and Al’s just along for the ride.

Why I Love Detour: I love Detour purely because of Ann Savage’s performance. Her performance is absolutely amazing. I love how she is onto Al from the get-go and she will make sure to take advantage of him every opportunity she gets. Al is complete mincemeat after Vera gets done with him. Another reason I love this film is because we really don’t know Al’s story. Is he truly innocent of all the events in the film? Or is he just trying to convince himself that he is? For a film that is barely over an hour long, it is a trip from start to finish. There is not a wasted moment. This film is also very low budget which I think adds to the entire aesthetic and feel to the movie.

If you are not familiar with Tom Neal, I highly recommend reading about him. He was 1/3 of the infamous love triangle involving girlfriend Barbara Payton and her fiance, actor Franchot Tone. Despite her relationship with Tone, Payton and Neal carried on their affair for months in the early 1950s. It came to an end briefly when Payton became engaged to Tone, but then she quickly resumed her affair with Neal. It all came to a head on September 14, 1951 when Neal and Tone got into an altercation over Payton. To say that Tone lost the fight would be a gross understatement. Neal pulverized Tone. Tone suffered a smashed cheekbone, a broken nose, and a concussion which resulted in his hospitalization. Despite this, Tone inexplicably still married Payton. Their union lasted a whole 53 days when Payton left Tone for Neal.

I feel like knowing this drama surrounding Tom Neal really lends to his performance as the unreliable narrator, Al Roberts, in Detour. I also really wish we had a prequel just about Vera. I would love to know about her life leading up to the events of Detour.

My queen, Ann Savage, and Tom Neal in Detour

Favorite Quote:

VERA: “Say, who do you think you’re talking to… a hick? Listen mister, I’ve been around, and I know a wrong guy when I see one. What’d you do, kiss him with a wrench?


#2 The Locket (1946)
Starring: Laraine Day, Brian Aherne, Robert Mitchum, Gene Raymond
Director: John Brahm
Studio: RKO

Synopsis: The Locket is a film with a very interesting flashback within a flashback within a flashback narrative structure. The film starts with a wedding. Nancy (Day) is set to marry her second husband, John Willis (Raymond). Before the ceremony starts, Dr. Harry Blair (Aherne) arrives at the Willis home, requesting to speak with John. John acquiesces and the two men retire to another room. Alone, Harry tells John that he is Nancy’s first husband. He warns John that his bride is a kleptomaniac, murderer, and chronic liar. She has never been punished for any of her crimes.

The film then segues into a flashback featuring Nancy as a child. As a child, Nancy lived with her mother in the Willis estate. Her mother worked as a maid for the Willis family. Nancy’s best friend, Karen Willis, has a birthday party one afternoon, and her snooty mother does not invite the “low class” Nancy. Karen, feeling bad for Nancy, opts to gift her a locket. Mrs. Willis is outraged, stating that the locket was expensive and it wasn’t Karen’s place to give it away. Mrs. Willis takes the locket back. Later, the locket goes missing and Nancy is accused of its theft. Insulted, Nancy’s mother sticks up for her daughter. This leads to Mrs. Willis firing Nancy’s mother. She and Nancy move out. This incident is a formative event in Nancy’s life. From here on out, she steals anything she wants, rationalizing that it doesn’t matter because she’ll be blamed regardless.

Subsequent flashbacks involve Nancy’s relationship with an artist, Norman Clyde, and her marriage to Harry, and the events leading up to her wedding to John.

Why I love The Locket. This film has such an unusual narrative structure. I’ve read complaints about the complicated plot, but I like it. It’s such a unique film and I love seeing Laraine Day as an absolute sociopath. I love the ending scene. I felt that this film was adept at showing how childhood trauma can affect a person well into adulthood. I also love the vibe of this movie. What’s also fascinating about this film is that Nancy is set to marry into the Willis family–the very same family that treated her so horribly when she was a child and were the root cause of her childhood trauma. It’s never explained in the film whether this was a calculated movie on Nancy’s part, or just a coincidence. It’s another interesting layer to the film’s plot line.

This screenshot perfectly captures the character of Nancy

Favorite Quote:

NANCY: How could I ever have liked you, Norman? Arrogant, suspicious, neurotic…
NORMAN: It isn’t neurotic to be jealous.
NANCY: It’s worse than neurotic to be jealous of a dead man.


#3 Odds Against Tomorrow (1959)
Starring: Harry Belafonte, Robert Ryan, Ed Begley Sr., Shelley Winters, Gloria Grahame
Director: Robert Wise
Studio: United Artists

Synopsis: Burke (Begley Sr.) is a former policeman who was fired from his job when he refused to cooperate with state crime investigators. Desperate for money and wanting to stick it to his former employers, Burke comes up with a plan to rob a bank upstate (New York). If pulled off successfully, Burke stands to make a mint. To help him, he recruits ex-con and racist, Earle Slater (Ryan). Burke promises Slater $50,000 if he helps pull off the heist. Slater’s incentive for helping is his pride. He is unemployed and living with his girlfriend, Lorry (Winters). Lorry works as a waitress and is supporting herself and Slater financially. Living in the same apartment building as Slater and Lorry is Helen (Grahame), who tempts Slater in to a tryst while his girlfriend is out. Finally, in addition to Slater, Burke recruits Johnny Ingram (Belafonte), an African-American jazz musician who is also in hock to bookies for about $7,000. Despite being an all-around decent man, Ingram is desperate for money. It is explained that his wife divorced him and he lost custody of his daughter due to his gambling. Burke, Ingram and Slater work out the details for the heist. They work through every detail. However, threatening to undermine the entire venture is Slater’s absolute contempt and bigoted attitude toward Ingram.

Why I Love Odds Against Tomorrow: This film has an amazing message without being preachy. The ending is absolutely fantastic, I don’t want to say too much more about it, at the risk of ruining it. But it is well worth the 95-minute investment to get to this point. I also love the on-location cinematography. The grittiness of the New York City streets works perfectly with this very gritty film. Robert Ryan’s performance as the disgusting racist Earle Slater is fantastic. You absolutely despise him throughout the entire film. He is such a worm–even Shelley Winters (who plays a disgusting racist in A Patch of Blue) doesn’t deserve him. Gloria Grahame’s part isn’t really consequential to the overall plot, but she’s always a nice on-screen presence in a film noir. Harry Belafonte was fantastic in this film. I wish he’d made more movies. I especially love the cool jazz song that he performs. This film has an overall cool jazz score as well.

Robert Ryan, Ed Begley Sr., and Harry Belafonte during the COVID pandemic–err, pulling off the heist in Odds Against Tomorrow.

Favorite Quote:

SLATER: What you doin’ with such a big ol’ dog in New York?

BURKE: Never had a wife


#4 Jeopardy (1953)
Starring: Barbara Stanwyck, Barry Sullivan, Ralph Meeker
Director: John Sturges
Studio: MGM

Synopsis: Doug (Sullivan) and Helen Stilwin (Stanwyck) and their son Bobby, are on a road trip driving to Baja California, Mexico. They are planning on traveling to a remote fishing spot on the coastline and will camp while there. Shortly after arriving, Bobby decides to venture out onto a derelict jetty that juts out into the water. His foot becomes caught in some of the planks and Doug rescues him. While walking back to the beach, the jetty collapses, causing the wood piling to fall on Doug’s leg. Making matters worse is that the tide is starting to come in. Doug will drown if he can’t free his leg. Helen and Bobby try a variety of tactics, including a car jack, to free Doug, but to no avail. Estimating that he has about four hours before the tide fully comes in, Doug sends Helen into town for some rope and/or help.

Helen leaves in the car, leaving Bobby and Doug on the beach. Helen finds the gas station that she and Doug passed earlier and tries to get help or a rope. She manages to get some rope. She also comes across a hunky man, Lawson (Meeker). She explains her predicament and he gets into the car. Thinking that he’s accompanying her to offer to help Doug, she has no qualms about letting this stranger, albeit a hunky stranger, into her vehicle. It quickly becomes clear that Lawson is a dangerous escaped convict and he’s using Helen as a means to escape. At one point during their “trip,” Helen tells Lawson that she’s willing to do anything to save Doug.

Why I Love Jeopardy: First off, Ralph Meeker is hot hot in this movie. I wouldn’t have blamed Barbara Stanwyck for one second if she’d abandoned Barry Sullivan to run off with Meeker. This isn’t as well known a film noir title, but it is well worth a watch. Stanwyck always plays the tough as nails woman so well. I actually really like Barry Sullivan, especially in film noir. He’s fantastic in Suspense (1946) and Tension (1949). Ralph Meeker is excellent in this film. I can’t describe what it is that I find so appealing about Meeker. He has this primal quality about him and he always sounds like such a thug when he talks. I loved him in Kiss Me Deadly (1955).

Barbara Stanwyck and Ralph Meeker in “Jeopardy.”

Favorite Quote:

HELEN: I’ll do anything to save my husband…anything!


10 Honorable Mentions (I know this is cheating, lol):

  • The Hitch-Hiker (1953) Edmond O’Brien, Frank Lovejoy, William Talman. Dir. Ida Lupino
  • DOA (1950) Edmond O’Brien, Pamela Britton. Dir. Rudolph Mate
  • Angel Face (1952) Jean Simmons, Robert Mitchum, Mona Freeman. Dir. Otto Preminger
  • Phantom Lady (1944) Ella Raines, Franchot Tone, Elisha Cook Jr. Dir. Robert Siodmak
  • The Spiral Staircase (1946) Dorothy McGuire, George Brent, Ethel Barrymore. Dir. Robert Siodmak
  • Lured (1947) Lucille Ball, George Sanders, Charles Coburn. Dir. Douglas Sirk
  • Deadline, USA (1952) Humphrey Bogart, Ethel Barrymore, Kim Hunter. Dir. Robert Brooks
  • In a Lonely Place (1950) Humphrey Bogart, Gloria Grahame, Frank Lovejoy. Dir. Nicholas Ray
  • Too Late for Tears (1949) Lizabeth Scott, Dan Duryea, Arthur Kennedy. Dir. Byron Haskin
  • Cry Danger (1951) Dick Powell, Rhonda Fleming, Richard Erdman. Dir. Robert Parrish

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

Classic Movie Day Blogathon- 6 Films, 6 Decades

May 16th is upon us again. It’s National Classic Movie Day. Though honestly, I’m sure for many of us, EVERYDAY is National Classic Movie Day. For this year’s event, Classic Film and TV Cafe has asked us to list six favorite films, each from a different decade–starting with the 1920s through the 1970s. We were also given another option of the 1930s-1980s, but since my husband I have been trying to watch more silent films, I’m going to take the original challenge. To ease ourselves into silent films, we’ve started with the classic comedians–an obvious and easy jumping off point. Good comedy is universal and timeless. Since I’ve written about a lot of my favorite films over the years and have a tendency to be verbose and not wanting to bore everyone with yet another dissertation detailing my love for The Long Long Trailer, I’m going to try and change things up a bit by selecting some favorites that I don’t *think* I’ve talked about yet.

1920s- The Freshman (1925)

Starring: Harold Lloyd & Jobyna Ralston

Plot: Lloyd stars as “Harold Lamb,” an incoming freshman who is eager to begin his studies at Tate University. He has saved up quite a tidy sum, $485 ($7400 in 2021 dollars), to use as spending money while enrolled in college. While on the train, Harold meets Peggy (Ralston) and the two are smitten with one another. While at Tate, Harold decides that the best way to fit in is to emulate his favorite movie star, known as “The College Hero” in a series of films. Upon introducing himself to a potential friend, Harold performs The College Hero’s jig and adopting the nickname, “Speedy.” However, unbeknownst to Harold, his attempts to be cool and fit in make him the object of everyone’s jokes, especially the college bully. The students’ laughter makes Harold think that he’s fitting in and he’s unaware that he is the school laughing stock. His only true friend in the film is Peggy, his landlady’s daughter. Harold ends up trying out for the football team, but his obvious lack of athleticism does not impress the coach. The star football player, wanting to continue to make fun of Harold, convinces the coach to hire Harold as the waterboy, hereby making Harold think that he’s made the team. The star football player’s ruse may end up haunting him and the team later.

My Favorite Part: My favorite part of this film is when Harold is at the Fall Frolic in an unfinished suit. His tailor has all the pieces of the suit attached with some very loose stitches. Harold opts to wear the suit while the tailor hides behind a curtain, hoping to casually finishing sewing Harold’s suit. While Harold tries to partake in the Fall Frolic activities, his suit starts falling apart.


1930s- Alice Adams (1935)

Starring: Katharine Hepburn & Fred MacMurray

Plot: Hepburn stars as the titular Alice Adams, a young woman from the “wrong side of the tracks,” at least from Alice’s perception. In reality, there’s nothing wrong with the Adams’ home. It is a nice, clean home. It’s not fancy, but it’s functional and well-maintained. However, it is obvious that the Adamses are unhappy with their lot in life. Mr. Adams (Fred Stone) is an invalid and works as a clerk at Mr. Lamb’s (Charley Grapewin) glue factory. Mr. Lamb as been very nice and patient with Mr. Adams and his illness. However, Mrs. Adams (Ann Shoemaker) is frustrated with her husband’s lack of motivation or ambition to do anything to improve their financial situation. Alice’s brother, Walter (Frank Albertson), is a gambling addict and is unable to hold down a job. He also fraternizes with African-Americans, which at the time, was seen as unseemly (and embarrassing) behavior.

Alice is invited to a dance hosted by a wealthy peer of hers, Mildred Palmer (Evelyn Venable). Alice tries to put on airs, despite being escorted by her brother and carrying a bouquet of violets that she harvested outside. In an attempt to prove herself worthy of attending this party, she tries to impress her peers with haughty behavior and conversation, but they are not impressed and she is essentially shunned. While at the dance, she meets the wealthy Arthur Russell (MacMurray) who sees through her shtick but is nonetheless charmed. He makes it known that he wishes to see her more often and Alice, worried that he won’t be interested in her if he knew her true social standing (though he already does), tries to continue her charade.

My Favorite Part: The family dinner is hilarious and heartbreaking all at once. Alice invites Arthur to have dinner with her family. Alice hires a maid, Malena (Hattie McDaniel), to keep up the charade. Despite being blistering hot outside, the entire family dresses in formal attire. Alice plans this absurd (and very hot and heavy) meal made up of fancy delicacies, but Malena’s poor cooking skills are not up to par with the food Alice wants to serve. Malena provides the comic relief of the dinner with her unimpressed facial expressions and genuinely uncouth behavior. Poor Alice is collapsing emotionally with each and everything that goes wrong. Arthur, bless his heart, stoically carries on despite the disastrous evening.


1940s- Gilda (1946)

Starring: Rita Hayworth & Glenn Ford

Plot: Johnny Farrell (Ford) is an American gambler, newly arrived to Buenos Aires, Argentina. When the film opens, Johnny is hustling some gangsters outside during a game of craps. Johnny wins a large sum of money using loaded dice. When the gangsters discover Johnny’s ruse they are about to beat him up when Ballin Mundson (George Macready), a stranger, steps in and rescues Johnny. Ballin owns a fancy casino and brings Johnny there, but warns him not to cheat. However, once a cheater, always a cheater and Johnny is caught cheating at blackjack. After Ballin catches him cheating again, Johnny convinces him to give him a job and soon becomes the manager.

One day, Ballin comes back from a trip announcing that he’s taken a new wife, despite having only known her for a day. He takes Johnny to meet his new wife, Gilda (Hayworth), and Johnny is shocked. The smile on Gilda’s face quickly fades. It is obvious that these two know each other and have a past. What kind of past remains to be seen. Ballin assigns Johnny to be Gilda’s keeper of sorts. Gilda and Johnny have a very intense love/hate relationship. Gilda at one point says to Johnny: “I hate you so much, that I would destroy myself to take you down with me.” However, in spite of how much they say they hate each other, they’re also always about 5 minutes away from jumping into the sack with one another. To irritate Johnny and get his goat, Gilda begins cavorting with various men at all hours of the evening. Johnny has to keep intervening out of loyalty to Ballin. However, at some point, the tension between Gilda and Johnny begins to take over and they’re unable to contain themselves. Ballin observes his manager and wife’s lust for each other and takes matters into his own hands.

My Favorite Part: My absolute favorite part is Gilda’s floor-length sequin coat. But plot wise, the classic “Put the Blame on Mame” song is definitely a highlight. I also really love the scenes at Carnival. Gilda’s gaucho outfit is amazing.


1950s- His Kind of Woman (1951)

Starring: Robert Mitchum, Jane Russell, Vincent Price & Raymond Burr

Plot: Robert Mitchum plays Dan Millner, a professional gambler. At the beginning of the film, he is very much down on his luck. One night, after being ambushed by a group of thugs, he is brought to one of the more senior thugs and is offered a “too good to be true” job. For $50k, Dan has to spend a year in Mexico. Figuring that there’s got to be a catch, but also figuring that he has nothing to lose, Dan accepts a $5k advance and takes a chartered flight to the isolated Morro’s Lodge in Mexico. While on his flight, Dan meets Lenore Brent (Russell). Lenore very matter-of-factly tells Dan that she has a million dollars. Dan is attracted to her but disappointed to learn that she’s involved with another guest at the resort, famous actor Mark Cardigan (Price). While milling around the resort, Dan overhears two guests: Martin Kraft and a man by the name of Thompson (Jim “Thurston Howell III” Backus) discussing a plot that Dan suspects is related to the $50k he was offered. The two men give Dan $10k hush money and tell him that someone will be arriving soon to go over the plan with him.

Around the same time, an undercover agent from the United States Immigration and Naturalization Service shows up stating that underworld boss, Nick Ferraro (Raymond Burr) is scheming to try and get back into the US. Four years prior, he’d been deported to Italy. At this point, as far as I can tell, Ferraro is planning a “Face/Off” situation where he and Dan, supposedly of similar height and build, will literally switch faces. It seems that Martin Kraft is a plastic surgeon, who is armed with some sort of anesthesia that will allow him to perform the face switching procedure. At some point, Dan is kidnapped and under duress on Ferraro’s boat and it becomes up to Mark Cardigan to head an expedition to save Dan.

My Favorite Part: The entire scene involving Mark Cardigan heading up the rescue mission. Vincent Price’s hamminess makes the scene and it wouldn’t have been anywhere near as interesting or funny without Price. Price brings some much wanted levity to the film, especially while Robert Mitchum faces the idea of having to literally have his face ripped off and switched with Raymond Burr’s. I love the scene where Mark valiantly boards a small boat, only to have it sink immediately because it’s overloaded. I love the hilarious super long (and I imagine, heavy, especially water-logged) cape that he wears while he mans the (larger) rescue boat.


1960s- Girl Happy (1965)

Starring: Elvis Presley & Shelley Fabares

Plot: Elvis plays Rusty Wells, a nightclub singer (duh) who along with the other three members of his quartet have just ended their gig at a nightclub in Chicago. They plan to travel to Fort Lauderdale, Florida for Spring Break before moving onto their next job. However, the nightclub owner, “Big Frank,” messes up their plans when he extends their contract and they have to cancel their trip.

At the same time, Big Frank’s 18-year old college-aged daughter, Valerie (Fabares), is also planning on traveling to Fort Lauderdale for spring break. Despite his daughter’s legal adult status, Big Frank is terrified at the idea of letting his daughter travel so far away with just her friends in tow. Rusty sees his boss’ worry, and still wanting to go to Florida, comes up with the brilliant idea of offering to chaperone Valerie. Big Frank likes the idea and offers to bankroll Rusty and his friends’ trip. While in Fort Lauderdale, Rusty struggles with keeping an Italian playboy from lusting after Valerie and maintaining a semblance of a relationship with a “good time girl” (i.e. loose girl) Deena (Mary Ann Mobley). Rusty has to keep bailing on Deena when duty calls and she quickly grows tired of him. But because it’s an Elvis movie and he has to find himself in some sort of love triangle, Deena continues to maintain an interest in Rusty throughout the entire film.

And because this is an Elvis movie and because it’s a tried and true plot with one party being hired to chaperone or hang out with (or what have you) the other. You know that they’ll fall in love and you know that the person being chaperoned will find out. Despite the formulaic Elvis movies and plotlines, I still love it. His movies are fluffy, but they’re fun. And sometimes a fun movie is all that is needed.

My Favorite Part: I love the part when Elvis dresses up in Nina Talbot’s dress to escape from Officer Jackie Coogan’s jail. Elvis had dug a large hole and burrowed himself into the jail cell so that he could save Valerie and the other women.


1970s- The Muppet Movie (1979)

Starring: Kermit the Frog & Fozzie Bear

Plot: The film opens with all of the Muppets sitting together in an auditorium, waiting to watch their film. This film shows how all the Muppets met. We meet Kermit the Frog sitting in a boat in a pond, singing “Rainbow Connection” while strumming his banjo. A talent agent (Dom Deluise) who just happens to be at the same pond, hears Kermit’s song and says that he could be a Hollywood star. I mean obviously, it’s a singing frog playing the banjo! What more could anyone want? Kermit loves the idea of making millions of people happy and sets off for Hollywood. Along the way, he meets a terrible (but awesome) stand-up comedian, Fozzie Bear. Kermit invites Fozzie to Hollywood and the two set off in Fozzie’s Studebaker. This brings about my favorite quote from the film, “A frog and a bear, seeing America.”

Along the way, Kermit and Fozzie meet Dr. Teeth and the Electric Mayhem (which includes Animal), the band’s manager, Scooter, Gonzo and his girlfriend (Camilla the Chicken), Sweetums, Miss Piggy, Rowlf, Bunsen Honeydew, and Beaker. There are a million of celebrity cameos: James Coburn, Madeline Kahn, Telly Savalas, Milton Berle, Bob Hope, Steve Martin, Mel Brooks, Cloris Leachman, and perhaps the greatest cameo of them all… ORSON WELLES.

My Favorite Part: This entire film is hilarious. But I really love the part where Kermit the Frog and Miss Peggy go out for a romantic dinner. They are greeted by a snarky and rude waiter (Steve Martin) who wears shorty shorts, offers them a straw for their bottle-capped Idaho champagne (after offering to let them smell the bottlecap, of course).

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!

6 From the 60s Blogathon

 

May 16th is National Classic Movie Day. And what would be better to watch during these trying times than a classic film? This year, the Classic Film & TV Cafe’s annual blogathon is devoted to the 1960s. All participants have been asked to list their favorite films of this decade.

The 1960s are an interesting time for classic film as the Production Code and Studio System were all but gone. Sandra Dee, 50s/60s teen queen, was Universal Studios’ last contract star. Most of the classic film stars of the studio system were either retired, and unfortunately, many were deceased. Some of the younger stars of that era, e.g. Doris Day and Lauren Bacall, to name a couple, were still active, but even then their stars were waning. The 1960s brought a new crop of stars: Robert Redford, Paul Newman, Steve McQueen, Faye Dunaway, to name a few. Some child stars, like Natalie Wood, had successfully transitioned out of juvenile roles and into ones for adults.

This year, the Classic Film & TV Cafe has asked bloggers to name their six favorite films of the 1960s.

Without further ado:

Psycho (1960)

This is a great poster

I’m sure everyone is familiar with this film. The violent shower scene where Janet Leigh meets her demise is iconic. Norman Bates’ name is synonymous with “mommy issues.” The fictional Bates Motel is infamous. I love Alfred Hitchcock’s Psycho. This is probably my second favorite Hitchcock film after Rear Window. I am not a big horror movie fan, but this film is more psychological than slasher and in true Hitchcock fashion, there are even some funny, albeit, macabre parts as well.

Janet Leigh stars as Marion Crane, a secretary for a local real estate company in Phoenix. On a Friday afternoon, she meets with her boyfriend, Sam Loomis (John Gavin), for a quickie during lunch. Their rendezvous is complicated when Sam announces that he cannot marry Marion because of debts he incurred after divorcing his first wife. Marion, disappointed, returns to work. When she arrives, her employer is in the middle of settling a large real estate deal. The client ends up giving Marion’s boss $40,000 cash as a down payment. Marion, seeing an opportunity to solve Sam’s money woes, so that they can marry, feigns a headache. Her boss, not wanting such a large sum of cash in the office over the weekend, asks Marion to deposit the cash on her way home. Marion absconds with the money instead and drives to California where Sam lives.

While enroute, there’s a fantastic scene (with Bernard Hermann’s amazing score) where Marion is driving and she imagines her boss’ conversation after he discovers that she’s stolen the money. Marion trades in her vehicle after a weird encounter with a police officer who keeps questioning her when she acts odd and suspicious after he wakes her up from a roadside nap. During a heavy rainstorm, Marion comes across a motel off the beaten path– The Bates Motel. The proprietor, Norman Bates (Anthony Perkins), is a little odd, but seems harmless.

The infamous shower scene

Unfortunately, Marion is never seen again.

The remainder of the film deals with her sister, Lila (Vera Miles), Sam, and Detective Arbogast (Martin Balsam), trying to find out what happened to Marion. It becomes clear to all involved that Norman has a weird relationship with his mother. Lila and Arbogast decide that Mrs. Bates might hold the key to the whole mystery.

This might be the creepiest scene in the entire movie.

***SPOILER*** These are my favorite scenes:

  1. Marion’s infamous shower scene
  2. Lila tapping on the shoulder of “Mrs. Bates” and having the chair spin around only to see a skeleton wearing a wig.
  3. “Mrs. Bates” stabbing Arbogast and him falling down the stairs.
  4. Norman Bates’ reveal as “Mrs. Bates” That scene is funny, if anything.
  5. The last scene featuring a close-up of Norman Bates’ face with “Mrs. Bates” providing the internal monologue. “He wouldn’t hurt a fly.”

Cape Fear (1962)

Not particularly a flattering depiction of Mitchum.

I saw this film for the first time a couple years ago. Prior to that, my only experience with Cape Fear was the Simpsons parody with Sideshow Bob assuming the Robert Mitchum role. I saw Scorsese’s 1991 remake last year and while it was okay, I preferred the original. Scorsese’s version was too graphic and gross. I liked the subtlety of the original. Cape Fear, in my opinion, is very progressive for 1962. It might be one of the first sexual thrillers. This film is terrifying and Robert Mitchum deserves all the credit for imbuing the film with the creepy and uncomfortable atmosphere present through the entire film. In Scorsese’s 1991 remake, Robert DeNiro assumes Mitchum’s role, and in my opinion, Mitchum was much more effective. DeNiro was just creepy, gross, and a complete psychopath. Mitchum, on the other hand, was creepy, but also possessed that dreamy quality (which also makes him excel in romantic roles). He was believable as a man who could charm a potential victim into spending time with him–only for her to realize his true character when it was too late. DeNiro is just a creep from the start.

The original Cape Fear takes place in contemporary 1962 Georgia. Max Cady (Robert Mitchum), has just been released from prison. He has just completed an 8-year stint after being convicted of rape. What’s interesting in this film is that Max’s crime is never explicitly stated, but is implied. After leaving prison, Max travels to the hometown of Sam Bowden (Gregory Peck), a lawyer who assisted in delivering the eyewitness testimony that sealed Max’s case and got him convicted and incarcerated. Max is determined to get revenge on Sam. He promptly discovers where he lives. The remainder of the film deals with Max stalking both Sam and his family. It gets even worse when Max sets his sights on Sam’s 14-year old daughter, Nancy.

There is a terrifying scene between Max and a woman he picks up at a bar, Diane Taylor (Barrie Chase). This scene is made even more disturbing in the 1991 Scorsese version.

Creep? or Dreamboat?

The highlight (and scariest part) of the film is the famous houseboat scene–parodied perfectly on The Simpsons. Sam’s family heads to their houseboat in Cape Fear, North Carolina, in an effort to lure Max. The scene between Max and Sam’s wife, Peggy (Polly Bergen) on the houseboat is so disturbing– it just gives me the willies thinking about it.

This film is fantastic and highly worth watching. I recommend watching it in the dark to get the full effect. In fact, I may watch this movie tonight in honor of National Classic Film Day.


Yours, Mine, and Ours (1968)

Full disclosure: I love The Brady Bunch. I can watch it all day long and I never tire of it. However, other family sitcoms, e.g. Full House, I can only take an episode or two at a time. Both sitcoms have overly sappy moments, both can be saccharine at times, there are lessons to be learned in each episode… so what’s the difference between the two shows? I have no idea, except the The Brady Bunch is superior.

“The Brady Bunch” was greenlit by ABC due to the success of “Yours, Mine and Ours.”

In 1968, when Sherwood Schwartz was looking for a new project, he came across a newspaper column offering the statistic that 30% of marriages involve children from a previous marriage. He created a pilot for a series involving Mike Brady, a widower with three children, falling in love with and marrying Carol Martin, a divorcee with three children. Due to objections from the network, Carol’s marital status was made more ambiguous. Schwartz presented his pilot to all the major networks. Each network liked the project, but requested multiple changes. Then, two films about mixed families premiered– With Six You Get Eggroll (Doris Day & Brian Keith), and Yours, Mine and Ours (Lucille Ball & Henry Fonda), the latter film turning a major profit. The success of ‘Yours,’ served as the impetus for one network, ABC, to take a chance and greenlight The Brady Bunch.

Yours, Mine and Ours is based on the true story of Frank Beardsley and Helen North, two widowers who, between the two of them, have enough children to play an entire baseball game–defense and offense. They meet and marry and then try to unite their families and manage their massive household. Lucille Ball’s production company, Desilu, purchased the rights to Helen Beardsley’s (nee North) autobiography, Who Gets the Drumstick? Ball enlisted her I Love Lucy writing dream team, Bob Carroll Jr., and Madelyn Pugh to write the screenplay. Ball, of course, would play the role of Helen North. She enlisted her friend (and former beau), Henry Fonda, to play her husband, Frank Beardsley.

Gotta love 1960s colors and artwork.

Frank works in the Navy and has recently left his post on the USS Enterprise. He has taken on a new role (one that presumably keeps him at home) working as a project officer. One day, at the commissary, he meets Helen North, a nurse on the base. They have a friendly, cordial meeting. But nothing comes of it. Later, Frank and Helen reunite when Frank has to bring 12-year old daughter Louise in for an exam. Frank and Helen hit it off and decide to go out on a date. The trouble? Frank and Helen are both single parents to a large number of children. Frank has 10 children, Helen has 8.

While on the date (at a VERY crowded club), there’s a funny scene where Helen practices nonchalantly telling Frank about her 8 children. Since she’s practicing out-loud, the men around her think that she’s coming onto them. Later, there is another funny scene where her fake eyelashes (courtesy of her daughters) keep falling off and later her pinned up slip falls down (her girls also shortened her dress, making her slip too long).

Van Johnson, Henry Fonda, Lucille Ball, and Lucille Ball’s fake eyelash drinking Irish Coffees in a very crowded club.

Finally, the truth comes out when Frank and Helen make their respective broods known to one another. After some funny scenes with the children including a manic Lucille Ball crying/drunk scene, and a near break-up, Helen and Frank marry and then work on combining their respective households–but not without help from Frank’s buddy, Darrel (Van Johnson).

My favorite scene is when Frank is doling out bedroom and bathroom assignments. Each bedroom is assigned a letter. The bathrooms are assigned a color. The children are assigned a number, based on their position within the group of children. There’s a funny quote when one of the younger children (11/18) walks down the hallway, repeating the mantra over and over: “I’m 11, red, A.” For the record, in my house, I’m 1, red, A. My husband is 2, red, A. My sister/boarder, is 3, red, B.

Dr. Tom Bosley is on the scene to tend to a sick Phillip during a blackout. The amazing room and bathroom assignment charts are in the background.

I’m not usually a big fan of children-centric movies/shows or actors (which probably makes my love of The Brady Bunch and Yours, Mine and Ours, even more bewildering)–but both The Brady Bunch and Yours, Mine and Ours are free of the annoying, precocious child with a catch phrase–so that’s probably why I like them. For the record: My favorite Brady kid is Marcia (close second: Greg), and my favorite Yours, Mine and Ours child is Phillip (perhaps the Jan Brady of the Beardsley household), close second: Veronica)

For the record, these are the children in their order of rank:

  1. Mike
  2. Rusty
  3. Greg
  4. Rosemary
  5. Colleen
  6. Nick
  7. Janette
  8. Louise
  9. Susan
  10. Tommy
  11. Jean
  12. Phillip
  13. Veronica
  14. Mary
  15. Gerald
  16. Germaine
  17. Teresa
  18. Joan

Gidget Goes Hawaiian (1961)

I really wish movie posters were still fun like this.

I know that this is not the best movie in the world. It’s not even the best of the Gidget franchise. However, I love this movie. It’s so ridiculous in the best possible way. First of all, we’re supposed to believe that this is a continuation of 1959’s Gidget–just look past the fact that Deborah Walley (Gidget in Gidget Goes Hawaiian) looks absolutely nothing like Sandra Dee (the original Gidget in Gidget). The sequel even went as far as to film “flashbacks” of scenes from the first film, with Walley wearing some of Dee’s costumes! Gidget’s parents in the second film–Carl Reiner as Russ and Jeff Donnell as Dorothy, are completely different. Arthur O’Connell and Mary LaRoche assumed the roles in the Dee film. In the first film, only the surfer boys refer to Gidget by her nickname. Gidget’s parents refer to her by another nickname, “Francie,” based on her real name: Frances. In the second film, everyone calls Gidget by her nickname. The one constant in both films? And really the only constant that even matters? James Darren’s Jeff “Moondoggie” Matthews.

In Gidget Goes Hawaiian, Gidget and Jeff are still together. At the end of the first film, Gidget turns 17 and is entering her senior year of high school. Jeff is a college student, who is on summer break and planning to return to school in the fall. We can assume that Jeff is either a year or two older than Gidget. In Gidget Goes Hawaiian, the timeline is a little fuzzy. Presumably, this is a year or so after Gidget, based on the fact that Jeff is on summer vacation, returning to college again in the fall. At this point, Gidget is presumably at least 18, and perhaps Jeff is 20-21 (He’s still in college in 1963’s Gidget Goes to Rome. Super senior? Pursuing a MA?) He gives Gidget his pin at the beginning of the film, something that he did at the end of the Dee film. Is this a continuity error? I’m not sure. I choose to believe that perhaps Jeff got another pin and is giving it to Gidget. I really don’t know. Regardless, in Gidget’s world, Jeff has just proposed marriage, and they’re basically engaged now.

“Flashback” to the scene in the first “Gidget” film where Gidget (Deborah Walley) and Moondoggie (James Darren) first meet and become acquainted. Sandra Dee appeared in the original scene.

After an idyllic summer of surfing, bonfires on the beach and romantic dates, Gidget and Jeff reach their last two weeks of vacation together, before Jeff has to leave for school. Then Gidget’s dad drops a bombshell–he’s booked a two-week trip to Hawaii for the family. Most people would be ecstatic at this news, but not Gidget. She’s devastated, as two weeks is all she and Jeff have left together until he leaves for school. Her father is understandably both upset and bewildered at Gidget’s unhappiness. Gidget tries to get sympathy from Jeff, and he tells her that this trip is an opportunity of a lifetime (because it is) and that she’d be nuts not to go. Gidget, because she’s bonkers, takes Jeff’s encouragement as a sign that he’s indifferent to her leaving or not, gets mad, and breaks up with him. Meanwhile, Gidget’s parents have decided to turn their family trip into a romantic trip and cancel Gidget’s adjoining room. Gidget then announces that she’s coming on the trip after all, and her parents scramble to re-book her room. Her adjoining room is gone, but they’re able to book her a single room down the hall. Gidget and her family are on their way to Hawaii.

Gidget and new frenemy Abby. Back when you might want to talk to your seat neighbor on a plane.

While on the plane, Gidget and her parents become acquainted with another family on board–Monty (Eddie Foy, Jr.) and Mitzi (Peggy Cass) Stewart and their daughter Abby (Vicki Trickett). Abby and Gidget are the same age. While seated on the plane together, Gidget and Abby get to talking. Gidget bares her soul to Abby about Jeff and how lost she is without him. The whole group is staying at the same Hawaiian hotel together. While at the hotel, Gidget and Abby meet Eddie Horner (Michael Callan), a dancer who is appearing at the hotel. The girls, Eddie and his friends all spend time together during the trip.

Deborah Walley and that dreamboat, James Darren

Gidget is miserable during the beginning of the trip. She just sits and mopes in the hotel, refusing to take in the sights of Hawaii. Her parents are understandably concerned. Gidget’s dad arranges to have Jeff fly to Hawaii as a surprise for Gidget. Between Gidget’s moping and Jeff’s arrival in Hawaii, she comes out of her shell and quickly wins over Eddie and the guys. Abby is jealous of Gidget’s popularity and appeal to the boys and quickly resents her.

I really like this film because it’s fun and has amusing moments. I do feel bad for Deborah Walley–only because I feel the costume team did her a real disservice. Gidget is presumably at least 18, but is dressed like she’s 12. Walley is not chubby by any means, but her tight, short waisted, twee dresses greatly undermine her figure. She looks best in her swimwear and when Gidget imagines that she’s a streetwalker. I also don’t know what’s up with the half up, half down hairstyle she sports–it’s not appealing. But I’ve seen it on other women during the early 60s, so I’ll assume that it was the style.


Where the Boys Are (1960)

If there’s one thing I love, it’s teen beach movies. I love all of them: Gidget, Beach Party, everything. One of the best films of this genre is Where the Boys Are. This film has more in common with the coming of age story in Gidget (1959) and less with the wackniess of the Frankie and Annette Beach Party movies. Much like Gidget, this film is progressive in its discussion of not only teenage sexuality, but the sexuality of young, unmarried, women. Where the Boys Are tells the story of four young college women (Freshmen) who travel to Fort Lauderdale, FL for a two week spring vacation.

A great movie poster!

Merritt Andrews (Dolores Hart) is a young woman who talks a good game when it comes to young women being free to date, makeout and have sex (aka “backseat bingo”) with whomever she wants. This progressive attitude of course scandalizes the professor of the “Courtship and Marriage” class. It is obvious that the four main characters in the film attend an all-female university. Merritt’s outspoken views have her kept under close watch by the school’s dean. At the conclusion of the school day, Merritt and her friends Melanie Tolman (Yvette Mimimeux), Tuggle Carpenter (Paula Prentiss), and Angie NoLastName (Connie Francis) set off for Fort Lauderdale.

While on the road, the girls come across TV Thompson (Jim Hutton) who is looking to hitch a ride to Florida. After being impressed by his height and shoe size, Tuggle (who stands 5’10.5 and desperately seeks a taller man) invites him into the car. They arrive in Florida and check into their apartment. As the events of the film unfold, it becomes apparent that each girl has a different viewpoint when it comes to sex.

From left to right: Paula Prentiss (Tuggle), Dolores Hart (Merritt), Yvette Mimieux (Melanie), Connie Francis (Angie)

MERRITT: Outspoken advocate of pre-marital sex. Talks a good game, but might not be as experienced and confident as she lets on. She meets Ryder Smith (George Hamilton), a senior at Brown University. He’s wealthy and his intelligence is on-par with Merritt’s. It becomes clear that he probably actually has the experience that Merritt talks about and it seems that he may have been led on by her at first.

TUGGLE: Strives to become a wife and mother “the chaste way,” she says. Tuggle believes that her height and build has her destined to become the mother to multiple children. She is more traditional and doesn’t particularly share Merritt’s opinion about sex. She wants to meet a man, marry and then have sex after marriage. TV ends up becoming her beau throughout the film and at first seems to be upset about her wanting to be a “good girl.” However, TV seems like a good guy.

MELANIE: She’s insecure about her lack of experience and takes Merritt’s outspoken views to heart. Her main goal while in Florida is to meet a “Yale-ie” and lose her virginity. Unfortunately for Melanie, she might be dealt the worst hand in this film. She meets a couple Yale-ies in the film.

ANGIE: Angie is your classic tomboy. She’s a pretty girl, but isn’t tall like Tuggle, or blonde like Melanie and Merritt. She’s short and brunette and a little curvier than the other girls. Angie is the captain of her school’s field hockey team. Nobody worries what Angie is doing on vacation or while at school. It is implied that everyone just assumes that Angie won’t have to worry about pressure to have premarital sex. The one asset Angie does have is that she has a killer voice. Her voice attracts the attention of Basil (Frank Gorshin) a didactic jazz musician.

This film has some very funny scenes such as at the club when the gang watches Lola Fandango (Barbara Nichols) perform an Esther Williams-esque underwater number; and when Angie and Merritt attempt to save money by ordering hot water (and dipping in their own contraband tea bag) at a restaurant. I also love the scenes showing the mob at the beach and in their hotel room (the girls end up sharing their 2-bed room with 7 other girls). There are also some very serious scenes as well as some sweet ones.

This is an excellent film for anyone who loves coming of age stories, teen beach movies, or movies with killer title theme songs.

Paula Prentiss and Jim Hutton, MGM’s Amazon dream team of the early 60s.

Valley of the Dolls (1967)

Last but not least, one of my other favorite films of the 1960s is the cult classic, Valley of the Dolls. This film is so ridiculous in all the best ways possible. Prior to watching this film, I was unaware that “dolls” was a term for pills. I always thought that the “dolls” in the title referred to the women in the film. Oh how I was wrong.

This is a great poster!

This movie is amazing. Everyone in this film has a million problems. The most sane person is probably Susan Hayward’s Helen Lawson, and even she’s a piece of work. Based on Jacqueline Susann’s 1966 novel of the same name, this film tells the story of Anne Welles (Barbara Parkins) a recent college graduate who takes a job as a secretary at a theatrical agency. Their number one client is Helen Lawson–an aging, and cutthroat Broadway star. Helen is appearing in a new show, which is featuring a young ingenue, Neely O’Hara (Patty Duke). Neely is very talented and Helen fears that Neely will overshadow her performance. In an effort to get Neely to quit the show, Helen orders for all of Neely’s best scenes, including her big musical number, cut. The ruse works and Neely is out. Anne is immediately disheartened with show-biz after witnessing Helen’s cruel behavior toward Neely, but is convinced by her employer to not quit and stay with the company.

The ladies of Valley of the Dolls. From left to right: Barbara Parkins (Anne), Sharon Tate (Jennifer), Patty Duke (Neely O’Hara)

Anne and Neely befriend another young woman, Jennifer North (Sharon Tate). Jennifer is gorgeous, but her talent is limited. Neely’s agent at the theatrical agency (which employs Anne) lands her an appearance on a telethon, which leads to a nightclub gig, and so-on. The audience is treated to an amazing 1960s montage of Neely’s rise to success. Neely is offered a Hollywood contract and off she goes. Unfortunately, the pressure of the business and instant success gets the best of Neely and soon she’s a glorious, alcoholic, doll-addicted disaster. In all honesty, Neely’s complete collapse and self-destruction is the highlight of the film. I know it’s campy, over-the-top, and absolutely absurd, but I love it. Neely O’Hara was my hero in this film. One particular highlight is when a drunk, drugged out of her gourd Neely goes to a bar. She plays her own song on the jukebox and plays the “don’t you know who I am?” card. Nobody knows who she is because she’s a shell of her former self.

My hero, Neely O’Hara (Patty Duke)

Unfortunately, the other two ladies, Anne and Jennifer, don’t fare much better, though Anne’s plight lasts all of 5 minutes. I wish she’d self-destructed a little bit more.

The absolute best part of the entire film is the showdown between Neely and Helen. It is amazing and one of my all-time favorite movie scenes. I absolutely love this movie from start to finish. It is worthy of its status as one of the all-time best campy, cult films. Lee Grant has an appearance as the sister to Jennifer’s beau. Dionne Warwick sings the very melancholy theme song.

Now I want to watch this movie. Valley of the Dolls / Cape Fear double feature? Is that weird?