Tag Archives: Romance

Down With Love (2003)

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I apologize for being so lax on my blogathon entries.  I over-committed and apparently cannot sign up for every blogathon during end of the quarter time at work.  We were very busy during the month of May and frankly, I just didn’t have the ambition to write anything after getting home.  I’m trying to get back on track, because I do enjoy watching movies and writing about them and sharing my love of movies with everyone.  I should hopefully have some more time.

Lately, I’ve been catching up with Ewan McGregor, who I’ve proclaimed as my new Scottish boyfriend.  I realize that he isn’t a classic movie star, but I enjoy movies of all kind–not just classic film.  Classic film is my favorite, but I do watch newer films as well. Anyway, a film that I just recently discovered and found completely enjoyable is Down With Love.

Down With Love, while a film from 2003, is an homage to the classic Doris Day/Rock Hudson sex farces of the late 1950s-early 1960s.  Pillow Talk, in particular, shares many similarities with this pastiche film.  The film takes place in 1962 Manhattan.  The film has a very stylized appearance with numerous tongue in cheek jokes and corny dialogue that was present in the rom-coms of yore.  The costumes and sets are colorful and gorgeous. Renee Zellweger’s apartment is hilarious and very 1960s.  There is also lots of innuendo which is always delightful.  Especially in this film, as the innuendo is pretty racy, but not crass.  A funny scene involves McGregor’s new secretary, Sally, overhearing a conversation between McGregor and his boss.  They’re discussing the newest innovation in men’s socks (no need for sock garters!), but without being in the room, Sally assumes that they are comparing the size of each other’s “manhood,” with McGregor coming out well ahead (“16 inches!” “And don’t forget, I have two of them”).

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Just one of many split screens in Down With Love

In Down With Love, Zellweger plays Barbara Novak, a feminist writer who writes the best-selling non fiction book, Down With Love.  The book is a sensation and soon every woman on the planet is engrossed in it and adopting its philosophy.  Down With Love tells women that they don’t need to fall in love with a man and assume a life of domestic servitude.  Women, like men, can have a fulfilling career, social life and have meaningless sex.  They don’t have to have a man around to be happy.  A love of chocolate can be substituted for a man if they wish.  The main thing that the men of the world dislike about Zellweger’s book is that it promotes an independent life for women.

McGregor’s character, Catcher Block, is a star reporter at Know Magazine For Men, is assigned to write a story on Zellweger’s book.  McGregor is a playboy, “a ladies man, a man’s man, a man about town.”  At first, he is completely against the idea, because he finds the idea of her book dumb and boring.  However, he has a change of heart when he finds out that he’s losing dates because they have embraced Zellweger’s idea that women don’t need men.  McGregor decides that he’ll write an exposé about Zellweger, exposing her for what he feels are her true feelings, based on his assumption that all women really want love and marriage.

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Just one stop on a parade of hot night spots that McGregor as “Zip” and Zellweger visit

To bait Zellweger into admitting that she really wants love and not just meaningless sex (so he has fodder for his article), he arranges for a chance meeting at a dry cleaner, knowing that she’s only heard his voice, but doesn’t know what he looks like.  He puts on a pair of glasses and poses as Major Zip Martin, a kind and naive astronaut from the South who is content on remaining chaste until he feels ready for a physical relationship.  Essentially Zellweger and McGregor are working toward opposite goals (opposite from their own and from each other’s).  Zellweger grows frustrated that McGregor won’t have sex with her and McGregor is enjoying frustrating her until he finds himself falling for her and suddenly his plan becomes frustrating for him as well (emotionally and physically).  One particularly funny scene involving McGregor’s frustration (more physical, than anything else) is where after a particularly hot first kiss, he has to literally cool himself off by dumping a champagne bucket full of ice water on top of his head.  In fact, there are a lot of sexy kissing scenes in this movie.  It definitely helps that McGregor is so cute.  Lol.

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Ewan McGregor as Catcher Block, “a ladies man, a man’s man, man about town.”

There is considerable sexual tension between Zellweger and McGregor’s characters throughout the entire film.  They have great chemistry with one another and are very adept at bringing their respective personas to the screen.  Zellweger’s Doris Day-esque character is not as squeaky clean as Day’s characters, such as when Zellweger is trying to outright ask McGregor (as “Zip”) to go home with her, after having literally just met him ten minutes earlier in the dry cleaner.  McGregor, in a very unusual role for him (no nudity for one, lol), is excellent as the European playboy.  Even his faux Southern accent is adorable and hilarious.  He is very charming and you can see how so many women succumb to his charms.  He also displays excellent comedic timing (which was also present in Moulin Rouge! to some extent).

David Hyde Pierce lends support as McGregor’s boss and best friend, Peter.  Pierce is essentially his Niles Crane (from Frasier) persona here, unlucky in love and neurotic.  He pines over Sarah Paulson, who plays Vicky, Zellweger’s editor and best friend.  Pierce and Paulson have a subplot where their two characters try to get together while at the same time, supporting their respective friends in their relationship.  Of course, Pierce is aware of McGregor’s deception in his relationship with Zellweger.  Pierce and Paulson also provide much of the humor of the film, as they get all the hilarious one liners that are ubiquitous in the world of “the best friend” in the Doris Day/Rock Hudson comedies.  Pierce and Paulson are essentially the male and female versions of the Tony Randall character who provided support in all three Day/Hudson features.

Speaking of Randall… He shows up in a very funny segment in the film where be bemoans the success of Down With Love because it’s affecting his relationship with his mistress.

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A very funny scene toward the beginning of the film where Sarah Paulson and Renee Zellweger show off their fashionable wares.  The best parts about these scenes, aside from the dramatic way they remove their coats, is the music.

Down With Love didn’t do well upon its initial theatrical release.  I believe it only barely turned a profit.  This film is greatly underrated and perhaps may have been overlooked when it was new, because audiences didn’t know what to make of this pastiche film that pays tribute to the 1950s-1960s sex farces.  Perhaps if this had come out a few years later when Mad Men came out, it may have done better.  I only found out about and watched this film less than a month ago, and I won’t even share how many times I’ve watched it since then.  I originally borrowed it from the library and have since procured my own copy.  I may have watched it two times in a row today while I wrote this blog entry.

Up with Down With Love!

PS: Watch the beginning of the ending credits of the film.  You won’t regret it.  Unless you dislike cheesy 1960s inspired lounge music numbers, then… I don’t think we have anything else to discuss.

This film is just plain fun.  And really, in the end of the day, that’s really all that matters.

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William Holden Blogathon–“Picnic” (1955)

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“I gotta get somewhere in this world. I just gotta.” -Hal Carter, Picnic.

And so sums up William Holden’s character in Picnic.  I’ve written about this film previously in this blog, but I thought that this time I would focus on William Holden and his character in the film.  Holden thought that he was miscast in this film and in many ways, he is right.  Hal is clearly supposed to be in his early to mid-twenties, as he’s a college classmate of Alan Benson’s (Cliff Robertson).  Holden himself was 37 and looked every bit of it.  From an age perspective, Holden is right.  He is too old.  However, from a personality standpoint, he is perfectly cast.

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Who cares how old he is supposed to be in this film? Hubba Hubba!

Holden made his screen debut in 1939’s Golden Boy, co-starring Barbara Stanwyck.  Holden was nervous and ill at ease and it was affecting his performance.  Columbia Studios bosses were unhappy with his performance and were on the verge of firing him.  Stanwyck, then one of the biggest stars in Hollywood, employed her star power and demanded that Holden remain in the film.  She coached him and helped him get through the filming of Golden Boy.  While Holden’s “green-ness” shows in this film, he’s not terrible (that honor goes to Lee J. Cobb, then 27, who was inexplicably cast as 21 year old William Holden’s father.  Cobb is horrible and very annoying in this film).  While Holden got steady work, it would take eleven years to finally “make it” and be a big star.

In 1950, Holden won the leading role in Sunset Blvd.  As “down on his luck” screenwriter, Joe Gillis, Holden developed his signature brand of cynicism, world weariness, but an overall good guy.  He would play this character in most of his films from here on out.  One of the best applications of “The William Holden” persona is his portrayal of Hal Carter in Picnic. A film in which, like I mentioned earlier, Holden felt he was miscast.  Yes, age-wise, Holden is too old.  He knows it and the audience knows it.  But personality-wise, Holden is perfect as Hal Carter.

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In Picnic, Hal Carter is a drifter who winds up in Kansas in hopes to reacquaint with an old college friend, Alan Benson.  Hal is unemployed and has jumped from job to job and city to city since dropping out of college.  He is trying to get his life back together and hopes that Alan will give him some sort of job.  Alan’s family owns a large grain mill and Alan promises Hal a job scooping wheat.  This job is not exactly what Hal has in mind–he wanted to be an executive.  Hal ends up meeting and falling for Madge Owens (Kim Novak), a 19 year old woman who is known to be one of the prettiest “girls” in the area.  But, oops! Madge is already involved with Alan.  This will drive a wedge between Hal and Alan.

Hal is just trying to find a niche for himself in a community where he can thrive.  He is tired of the drifting lifestyle and just wants to fit in somewhere.   From Hal’s expository dialogue, we learn that he is responsible for his previous failures.  Alan, believing that Hal is sincere in getting his life together, invites him to the town’s annual Labor Day Picnic.  At first, everything’s going great and Hal is charming everyone.  After Alan senses that Hal may have his sights set on his girlfriend, Madge (and Madge has her sights set on Hal), Alan begins giving Hal the cold shoulder.

Madge is facing a similar situation to Hal.  She is known for being beautiful and that’s it.  Her mother and boyfriend think that Madge can skate by on her looks and nothing matters except for her to “be pretty.”  It is apparent that Madge’s mother, Florence, wants Madge to use her beauty to land a boyfriend with a high social standing, so that by proxy, the Owens women (Madge, sister Millie, and mother “Flo”) will have high social standings as well.  It is apparent that Alan is really only interested in Madge so that he can have a pretty trophy on his arm.  Nobody takes Madge seriously because it is assumed that someone so beautiful couldn’t have any problems, right? Hal on the other hand, has made so many previous mistakes in his life, that his sincere actions are dismissed by others, thinking that he’s just a ne’er do well bum.  Both Madge and Hal are trapped by other people’s perceptions and expectations (or lack thereof) of them.

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Madge (Kim Novak)

Holden incorporates a raw sensuality and a brashness into Hal that is in direct contrast to Novak’s Madge who exhibits an uneasy and inhibited sensuality.  Hal knows what he wants and isn’t afraid to speak up.  Madge on the other hand, is conflicted.  For her entire life, she’s had people telling her what to do.  Finally, she finds herself feeling something for a man whom is the complete opposite of anyone she’s ever known.  Her mother doesn’t approve.  Her boyfriend doesn’t approve (well obviously I guess), not because he loves her, but because she’d look good on his arm.  Rosemary (Rosalind Russell), a boarder at the Owens’ home, goes off on Hal–not because she doesn’t like him, but because she resented him falling for younger Madge and not her middle aged self.  Rosemary is having her own personal crisis.  She is worried that she’s getting old and that she’ll be a spinster her whole life.  The only characters in the film who like Hal are: Millie (Susan Strasberg), Howard (Arthur O’Connell) and elderly neighbor Mrs. Potts (Verna Felton).

A powerful moment in the film is when Hal returns to the Owens home the day after the picnic (and a day after his and Madge’s rendezvous at the river bank) and makes one last plea for Madge to run away with him.  He proclaims his love for her and she realizes that she feels the same for him–so does Hal.  He yells “you love me! you love me!” repeatedly to Madge as he departs for the train.  Their feelings for one another are so expertly depicted in the now classic “Moonglow” dance–one of the sexiest scenes in film.  No words. No nudity. Nothing explicit–yet Hal and Madge’s feelings for one another are so explicit during the dance.  The sexual tension had already been building in the scenes preceding the dance and it explodes during the first moments when Madge hijacks sister Millie’s (more innocent) dance with Hal.

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“Moonglow,” one of the sexiest dances in film and a pivotal moment for the two characters in the story.

Holden was uneasy with the idea of dancing on screen.  Holden demanded $8,000 “stunt pay” to do the dance scene.  He figured the studio would balk and replace him with a dance double.  Well, that backfired.  The studio ponied up the money and Holden was on the hook to perform the dance. The director tried having Holden and Novak, with a few drinks in them, practice dancing to music from jukeboxes in the local bars, but they were too awkward and the end result was not sexy.  When it came time to shoot, Holden was allowed to have a few drinks beforehand.  The camera work was set up in a way to allow the stars to do minimal movement.  The camera would move around Holden and Novak on a dolly.  A bunch of lights were also added to change colors as the stars moved around which added visual interest to the screen.  Whatever hang ups and issues there were and whatever workarounds the crew had to incorporate in order to complete this scene worked, because the end result is gorgeous.  With each swivel of the hip, the audience can watch Holden and Novak slowly fall for one another.  This is where the audience begins to root for Holden and Novak to end up together.

Holden was able to so effortlessly bring sexiness, charm, humor, but at the same time, common sense and cynicism to his parts, that it really made him feel like an everyday person.  He lacked pretension.  You don’t feel like he’s putting on any type of facade.  He’s a “what you see is what you get” type of person.  He isn’t a distinct persona like Cary Grant, Humphrey Bogart or James Cagney.  I don’t think I’ve ever seen anyone do a “William Holden impression.”  But that’s not to say he’s lacking in any personality.  It’s just that he’s so approachable and real.  He isn’t larger than life.  While I like Grant, Bogart and Cagney, I find Holden’s realism refreshing and enjoyable.  Whereas, someone like Marlon Brando (to me), always seems like he’s using a shtick (don’t get me wrong, he’s excellent in On the Waterfront and A Streetcar Named Desire), he’s a bit too intense.  Holden seems like a guy you could go out for a beer with and not feel intimidated or nervous that you wouldn’t have anything to say to him.  He (and his characters) is a real person.

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This looks like the cover of a trashy romance novel

To use the words of Madge to describe Hal, and in effect, describe an audience’s view of Holden himself:

“You don’t love someone because he’s perfect.”

Classic Quotes Blogathon–“Casablanca” (1942)

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One of the qualities a “classic” film has is memorable dialogue.  A movie’s scenes can only be enhanced by clever and well-written dialogue.  Prior to “talkies,” the character’s words were typed out across the screen on a title card.  When the characters are “speaking” on screen, oftentimes the actors are just filmed saying different words, but obviously, because the film is silent, the audience does not hear what is being said.  The audience is told what is being said, via the title card.

In Singin’ in the Rain (1952), a film that depicts the movie industry’s transition from silent to sound films, there is a memorable scene between Gene Kelly and Jean Hagen’s characters, Don and Lina, respectively.  Don and Lina are filming the scenes for their next silent film, The Dueling Cavalier.  Don is furious with Lina because she had his new lady friend, Kathy Selden (Debbie Reynolds) fired from her job at the studio.  They’re supposed to be filming a love scene.  While Don is stroking Lina’s arm and kissing her passionately, he’s also telling her things like “I don’t like her half as much as I hate you.”  Later in the film, after converting The Dueling Cavalier from silent to sound, Don, Lina and the rest of the studio personnel watch their film in a theater.  Silent films were not known for having great dialogue.  Unfortunately, the crew in The Dueling Cavalier didn’t realize that they needed to actually write something for the characters to say.  The actors are no longer silent on screen.  Don’s character is reduced to saying things like: “I love you. I love you. I love you.”  If a movie, like Singin’ in the Rain, can make their scenes and dialogue memorable, then it is destined to be a classic.

Aside from Singin’ in the RainCasablanca is another classic film from the studio era.  One of the reasons that the film is so popular and memorable is the dialogue.  This film is one of the most quotable films of all times.  The dialogue in Casablanca is gold, from start to finish.  The iconic airport scene at the end of the film has so many memorable quotes, it’s hard to choose a favorite.

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“Everybody comes to Rick’s”

My particular favorite quote is muttered by Claude Rains’ Captain Louis Renault, the shamelessly corrupt head of the Vichy French police in Casablanca.  German official, Major Strasser is also in Casablanca while he keeps track of Czech Resistance leader Victor Laszlo and his wife Ilsa.  Rick’s Cafe American, run by expatriate Rick Blaine (Humphrey Bogart) is the most popular club in town.  There is a backroom gambling den which though illegal, is popular and well attended.  Captain Renault frequently spends time at the roulette table.

On one particular night, Major Strasser and his cronies are spending time at Rick’s.  Strasser leads a rousing rendition of “Die Wacht am Rhine,” a patriotic German anthem.  Laszlo interrupts and has the band play “La Marseillaise,” the French national anthem.  The dueling anthems is a very beautiful and powerful part of Casablanca (Anything to not hear that guitar lady sing again!).  Pretty soon, the French are drowning out the Germans.  Upset, Major Strasser orders Captain Renault to close Rick’s.

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Captain Renault demands that Rick’s be shut down.  Rick naturally asks what grounds the Captain has for closing his establishment.  Captain Renault is grasping for a reason to close Rick’s down and then delivers one of the funniest lines in the whole film:

CAPTAIN LOUIS RENAULT: “I’m shocked! Shocked to find that gambling is going on in here.”
(The dealer hands the Captain a stack of money)
DEALER: “Your winnings, sir.”
CAPTAIN LOUIS RENAULT: “Oh, thank you very much…everybody out at once!”

This scene perfectly sums up Captain Renault’s entire persona.  He’s a corrupt official.  He’s a hypocrite.  He doesn’t care about what is right or wrong, he just wants to win.  Even if it means allying with the Germans, he doesn’t care.  He wants to be on the winning side.  Captain Renault is ultimately a good guy and eventually comes around toward the end of the film when he agrees to join Rick who plans on leaving Casablanca.

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

“Rain” Blogathon–“Singin’ in the Rain” (1952)

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Rain in movies is often used to evoke feelings of depression, despair, unhappiness, etc.  Film noir often uses rain to set the mood of the film.  In Key Largo (1948), the constant rain storm keeps the action contained onto the ship and gives the film a claustrophobic feeling.  While, noir and other more serious types of films tend to use rain as a way to make the scene dreary, scary, what not, other genres of film use rain for other purposes.  Romantic films like The Notebook (2004) and Breakfast at Tiffany’s (1961) use rain to create romantic kissing scenes.  Often times, in romantic films, the characters will be somewhat on the outs, only to realize their love for one another during a horrific rainstorm.  Their romantic feelings for one another will culminate with a passionate clinch and kiss in the pouring down rainstorm.  Other films, such as Pleasantville (1998) and Beauty and the Beast (1992) may use rain to symbolize change.  It is the idea of change that is represented so beautifully in Singin’ in the Rain (1952).  Gene Kelly in an iconic scene, memorably dances down the street in the pouring down rain.

“…doo-dloo-doo-doo-doo, doo-dloo-doo-doo-doo…” 

And so starts one of the most memorable rain scenes in film.

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Gene Kelly’s joy is infectious in one of the most delightful musical number ever to appear on screen

Singin’ in the Rain is quite simply one of the best (if not the best) musicals ever made.  It tells the story of Hollywood’s transition from silent films to “talkies.”  Stars Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) are great romantic stars and are also involved in an off-screen romance–at least according to Monumental Pictures’ publicity department.  In reality, Don cannot stand Lina.  She on the other hand, cannot allow her ego to believe that someone doesn’t love her.  Cosmo Brown (Donald O’Connor) is in charge of the studio’s music department and is also Don’s best friend.  Don ends up involved with an aspiring actress, Kathy Selden (Debbie Reynolds) who Lina is intensely jealous of.  Not only is Don in love with Kathy and not Lina, but Kathy also threatens Lina’s career.  Kathy can sing and dance–two things Lina can’t do.  After the hilarious failure of Monumental Pictures’ first talkie, Cosmo, Kathy and Don come up with the idea to turn their turkey of a movie into a musical.  After dropping his love Kathy off at home and excited about their new venture, Don is on Cloud Nine.  Not even a torrential downpour can dampen (pun intended) his spirits.

Kelly’s “Singin’ in the Rain” number is simply put, one of the greatest things to ever grace the silver screen.  His excitement over his new romance and the new direction his career is heading is infectious.  Even though he starts out carrying his umbrella, he quickly puts it away.  Kelly’s character Don, is so happy about his life that he doesn’t even care that he’ll be soaked on the way home.  He gleefully taps and skips his way down the sidewalks with a big smile on his face.  Don sees a lamp post, jumps up and twirls around.  He pretends his umbrella is a guitar, and playfully tips his hat to the woman in the store window advertisement.  He taps into his inner child, without a worry in the world during his magical walk down the street.  Don throws and catches his umbrella and allows water from the downspout dump on his head.  He pretends to balance on a curb.  Don’s rain dance culminates with him splashing around in the massive puddles.  A cop finally ends the number when he stops and stares at this guy essentially playing in the road.  Don unconcerned, croons “I’m singin’ and dancin’ in the rain” and walks down the sidewalk, arms still swinging happily.  His glee and enthusiasm is contagious.  It is impossible to not feel happier after seeing this scene.  In a way, the rain represents a new life.  It washes away all the unhappiness and annoyances of his previous life and now he can start anew, with his new film persona and lady love.

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A party pooper stops all the fun

The song “Singin’ in the Rain” was not written for Singin’ in the Rain.  In fact, all the songs in the film, except “Make ‘Em Laugh” (which sounds exactly like Cole Porter’s “Be a Clown”) were used in past musicals.  “Singin’ in the Rain” was crooned by Cliff Edwards in the 1929 musical, The Hollywood Revue of 1929.  Judy Garland gives a rousing rendition of the song in the 1940 musical, Little Nellie Kelly.  In 1971’s A Clockwork Orange, the song was used in a more disturbing fashion.  Star Malcolm McDowell hums the iconic song while raping a woman.  Gene Kelly’s rendition of the song plays over the closing credits.  Kelly himself was not pleased to be associated with this film. In 2007, Usher re-created the famous musical number in an homage to Kelly’s famous number, complete with the same style suit and everything.

Even though “Singin in the Rain” was more than 20 years old by the time it was used as the title song for the 1952 classic and had been performed multiple times by different artists, even by big star Judy Garland, it is Gene Kelly’s rendition that is the most famous.  The image of Gene Kelly twirling on the lamp post while ‘singin’ in the rain’ will forever be a part of American pop culture.  In an era where the word “iconic” is thrown around too often and too loosely to the point where it doesn’t really mean much, the image of Gene Kelly singing and dancing in the rain truly meets the definition.  The song itself has such a catchy tune, it’d be hard to find someone who at least doesn’t know the main part of the chorus.  Even Cary Grant was humming it in the shower in North By Northwest.

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One of the most famous scenes in film history

Dinner & a Movie: Roman Holiday (1953)

I recently checked a new book out from the library, TCM: Movie Night Menus: Dinner and Drink Recipes Inspired by the Films we Love.  While I questioned some of the meals, I liked the idea of pairing a meal and a cocktail with a film.  A decade or so ago, TBS had a television show that followed these same lines.  It, I believe, was called “Dinner and a Movie.” In the show, the hosts would prepare a meal that was loosely themed to the featured film.  Usually it had some cutesy name (often times the name was a pun on the name of the film).  I liked the ideas featured in the TCM book as it was less corny and seemed more in tune with my idea of making film viewing an event in and of itself. Who says you have to leave the house to “go out” ?

I’ve been trying to come up with some type of feature for the blog.  I often enjoy pairing drinks and/or meals with specific films.  Even if this is my hundredth time watching the film, it can feel like a different experience in the context of a dinner and drink event.  For my first feature, I went with Roman Holiday (1953).  I decided to go with Roman Holiday, because I wanted to watch something that took place in Italy to go with my Italian meal. I made lasagna and paired it with a glass of Sauvignon Blanc from California.  I’m not going to include recipes, because lets face it, I had to use a recipe to make the meal in the first place–so it’s not my recipe. My lasagna happened to be made with italian turkey sausage (instead of the traditional ground beef or ground beef and pork sausage blend).  The turkey makes the meal feel lighter.  I also added fresh spinach to the ricotta filling.

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My turkey, spinach, tomato lasagna with a breadstick and a glass of Sauvignon Blanc.

***WARNING: SPOILERS AHEAD.  I USUALLY TRY NOT TO BLOW PLOT POINTS, BUT I NEED TO DO SO FOR THE SAKE OF DISCUSSION***

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Roman Holiday is such a delight.  It is Audrey Hepburn’s first major film role and is the film that catapulted her to stardom.  Peck was very kind to Hepburn during the making of this film.  At this point, Peck was the bigger star and should have received sole star billing (i.e. above the title).  However, he felt that this was Hepburn’s film and that she would win an Oscar for it.  He insisted to the studio heads that Hepburn’s name also appear above the title with his.  He was right.  Hepburn went on to win the Best Actress Oscar for her work in this film.  Peck and Hepburn went on to be life long friends.

In this film, Hepburn portrays Princess Ann.  Princess Ann’s nationality I do not believe is ever disclosed in this film. Princess Ann is on a European tour and is quickly growing bored with her regimented routine and schedule.  One night, appearing at another function (undoubtedly just one of hundreds that she has to attend), Ann has a breakdown after being briefed on her next appearance.  A doctor gives her a sedative (seemingly every doctor in the Golden Age’s solution. “She’s hysterical. Give her a sedative”).  Not knowing about the sedative, Princess Ann sneaks out of the embassy and into Rome.  Joe Bradley (Peck), an American reporter for the American news service comes across her sleeping on a bench.  Not knowing of her true identity, he tries to give her money for a taxi to go home, but she’s too out of it to cooperate.  He ends up taking her home to sleep it off.

The next morning, word is out that Princess Ann has taken ill and has canceled all appearances (obviously the embassy is trying to save face and figure out where she is).  Bradley ends up going to work late under the pretense that he’s completed his interview with Princess Ann.  His boss calls him out on his lie.  Bradley sees a photograph of the Princess in the newspaper in his boss’ office.  Seeing an opportunity, Bradley bets his boss $5,000 that he can get an exclusive interview with Princess Ann.  He returns home and despite the Princess’ hesitations, he ends up taking her out for a day of fun in Rome.  With her newfound freedom, Princess Ann cuts her hair short and even drives a Vespa around town! Unbeknownst to her, Bradley has hired his friend Irving (Eddie Albert) to photograph the Princess during her day of freedom.

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Isn’t this just one of the most joyful scenes in cinema?

Many romantic comedies involve deception.  Roman Holiday features multiple deceptions.  Gregory Peck deceives Audrey Hepburn in two ways: 1) He knows her true identity but pretends like he doesn’t and 2) He tells her that he is a fertilizer salesman.  Audrey Hepburn deceives Gregory Peck by devising her fake identity of “Anya.” Of course, Hepburn’s deception seems reasonable, as she wouldn’t want word to get out as to her whereabouts.  Peck on the other hand, at the beginning of the film, is lying to Hepburn purely to profit off of her decision to be “free.” Of course, in most of these romantic comedies, the characters usually find out about the other’s deception and the relationship seems to be in jeopardy at first until one of them makes a great gesture.

In Roman Holiday, however, Hepburn never finds out about Peck’s true intentions.  In fact, she realizes that her jig is up when the government agents track her town at a party and chaos ensues.  At the conclusion of the party, Hepburn bids Peck adieu, stating that she must resume her royal duties.  Peck realizes that he’s developed true romantic feelings for her and doesn’t want to hurt her by profiting off of the photos he has of Hepburn acting very un-Princess like.  While appearing at another meet and greet event, Peck and Albert present Hepburn with the photos of her trip under the guise of a generic memento of her trip to Rome.  Hepburn and Peck exchange some vague but direct allusions to their day together while maintaining the appropriate distance between a royal and a “strange” reporter.  At the conclusion of the event, Peck is left to wonder what could have been as he leaves Princess Ann. I can’t help but think that Peck’s character will stick around in Rome hoping to see Princess Ann each time she visits–or perhaps he’ll get an assignment in Princess Ann’s country.

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Joe Bradley says goodbye to Princess Ann.

When I first saw this film, I loved Audrey Hepburn’s character but thought that Gregory Peck seemed wooden.  I have had that same opinion of Peck in other films, but as I see more of him and learned about him as a person outside of the silver screen, I’ve grown to appreciate him more.  Now, when I watch him in Roman Holiday, he still has that deep, stiff sounding voice.  However, now his deep voice lends itself to sounding more romantic and strong–which is a good quality for a leading man.  He and Audrey have magnificent chemistry.  Audrey’s effervescence is a nice contrast to Peck’s tendency to seem too serious and she helps lighten him up a bit.

This film is filled with so much joy and happiness that it is impossible to tire of it.  This film was a wonderful way to introduce Audrey Hepburn to the American public.

In Memoriam…

Sorry for the delay in posting, but I’ve been very busy with work and dealing with the aftermath of a disaster incurred in my home.  During the Thanksgiving weekend, my sewer pipe and sump pump decided to join forces and fail at the same time.  Not to be outdone, the rain poured furiously, further compounding the problem.  As a result, my basement flooded about 1′, destroying everything in its path.  Unfortunately, in one of the rooms in the basement, I was storing my DVD collection.  I lost all the films on the bottom shelves in the room.  Some other films also suffered some collateral damage due to coming in contact with one of its flood-ravaged brethren.

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You’ll notice that the rug is floating.  All the movies that are on their sides on the second to bottom shelf are the ones in the water.  There were seven shelves in all.  Sadly, inside that cardboard box on the right side, were all my husband’s classic NES, SNES, Sega, etc. game cartridges.  While I know that the DVDs themselves are okay, the cover art is destroyed.  Plus the movies were covered in sewer water.  Who wants sewage contaminated films? I don’t.  Ick! Insurance should provide me with enough money to be able to replace all the victims.

Anyway.  This brings me to my post:

In Memoriam to some of those lost in the great flood of 2016…

You’ll Never Get Rich (1941) /You Were Never Lovelier (1942).

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In You’ll Never Get Rich, Fred Astaire portrays the manager of a theater who is enlisted by the theater owner, Robert Benchley, to help him woo dancer Rita Hayworth by buying her a gift.  However, Benchley is caught by his wife, Frieda Inescort, who is at the end of her rope.  It is implied that Benchley has a wandering eye and Inescort has had enough.  She threatens divorce.  To save his marriage, Benchley insists that Astaire bought the gift and sets Astaire and Hayworth up on a date.  Matters are further complicated when Astaire is drafted into WWII and Hayworth travels to the camp (to perform for the troops) and to visit her real boyfriend.  She and Astaire end up falling in love.

In You Were Never Lovelier, Hayworth portrays the second eldest daughter of a wealthy Argentinian, Adolph Menjou, who also owns a local nightclub.  Menjou has four daughters and has insisted that his daughters must marry in order of age.  Astaire portrays an American dancer who finds himself out of work after losing all his money betting on horses.  Looking for work, Astaire visits Menjou’s club.  Menjou is not interested.  Astaire ends up contacting his friend, Xavier Cugat, who has been hired to perform at Menjou’s eldest daughter’s wedding.  Astaire spots Hayworth and is immediately smitten, but she rebuffs him.  Hayworth is not interested in marriage.  Her two younger sisters are in love and desperately want to marry (in the film it the ladies seem like they’re more desperate to sleep with their boyfriends, but of course, morality dictates that they must wait until they’re married).  Knowing the plight of his youngest daughters, Menjou begins sending orchids and love notes to Hayworth under the guise of a secret admirer.  One day, Astaire tries to visit Menjou.  Menjou, not seeing Astaire and thinking he’s the bellboy, orders him to go deliver the latest love trinkets to Hayworth.  Astaire complies and Hayworth assumes that Astaire has been the one sending the notes.  Hayworth ends up asking Menjou to set her up with Astaire.  Menjou, who dislikes Astaire, offers to give Astaire a long-term contract at the club if he will do his best to repel Hayworth.  Of course, they fall in love instead.

A Summer Place (1959)

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One of my favorite types of films are the over-wrought melodramas of the 1950s.  A Summer Place has everything you could ever want in a film: adultery, bigotry, alcoholism, love, teen pregnancy, everything.  Plus, it has memorable theme music that is present throughout the film and adds to the overall mood of the film.

A Summer Place tells the tale of two former teenage lovers (Dorothy McGuire and Richard Egan) who end up reuniting twenty years after the end of their affair.  Neither McGuire nor Egan are happy in their respective marriages.  McGuire’s husband, Arthur Kennedy, is an alcoholic.  McGuire and Kennedy operate an Inn on Pine Island off the coast of Maine.  The Inn used to be Kennedy’s family’s opulent family mansion.  With the family fortune all but gone, they are forced to rent out rooms.  McGuire and Kennedy have even moved into the small guest house on the property so that they can rent out their master suite.  One day, Kennedy receives a message from an old acquaintance, Richard Egan, who wants to bring his family to the resort.  Egan, who used to be a lifeguard back when Kennedy knew him, is now a millionaire.  Kennedy doesn’t want Egan to visit, feeling that he’s only there to brag about how he’s rich and Kennedy is now broke.  However, McGuire tells him to accept the request, because they need money.  McGuire and Kennedy also have a teenage son, Troy Donahue.

Egan shows up with wife Constance Ford and teenage daughter Sandra Dee.  Egan and Ford have a rocky marriage.  She is bigoted against pretty much everyone.  He even delivers a delicious diatribe completing ripping her a new one.  Egan, who is very cognizant of “the love that got away” (McGuire) encourages daughter Dee to listen to her natural desires and to embrace her developing figure and interest in the opposite sex.  Ford on the other hand, is a prude who forces Dee to hide her curves and disapproves of any behavior that seems indecent.  She particularly disapproves of Donahue and even goes as far as forcing Dee to submit to a particularly embarrassing and degrading physical exam after she suspects that Dee and Donahue were having sex, even though both parties vehemently deny it.

McGuire and Egan, who haven’t been together for twenty years since McGuire left the then broke Egan for the rich Kennedy, rekindle their romance and are soon engaged in an adulterous affair.  Their respective spouses end up finding out and the marriages are soon dissolved.  At the same time, McGuire and Egan’s respective children, Donahue and Dee, are wrapped up in a teen love affair of their own.  Knowing of the time they lost, McGuire and Egan are the most supportive of their children’s affair.  Ford and Kennedy both disapprove.  Donahue and Dee are deeply in love and nothing, not even being sent to different schools in different states, will keep them from seeing one another.

Yours, Mine and Ours (1968)

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This film, the precursor to The Brady Bunch (1969-1974), features Lucille Ball and Henry Fonda as widowed spouses who end up marrying and merging their families.  The problem? Ball is the mother of eight children and Fonda has ten children.  The beginning of the film features funny scenes of Ball and Fonda’s courtship.  When they originally meet, neither knows about the other’s considerable brood.  When the truth comes out, they try to put the kibosh on their relationship, but soon it is apparent that they are truly in love and they decide to take the plunge.  Both groups of children dislike each other and the tension is high.  Eventually they end up learning how to work together and to actually like each other.

One of the funniest scenes is when Ball comes over to meet Fonda’s children for the first time.  The eldest sons, tasked with making cocktails, end up getting Ball schnockered by making her “an alcoholic Pearl Harbor” (as Fonda puts it), which is a screwdriver containing vodka, gin and scotch with a tiny bit of orange juice (for color, I imagine).  Ball ends up dumping food on one of the children, laughing and crying maniacally, and generally making a fool out of herself.

Another funny scene deals with the plight of poor Phillip, one of Ball’s youngest sons.  This poor kid can barely get any food at breakfast, can’t reach the sink to brush his teeth, is left with enormous rain boots that he can’t walk in and later ends up getting in a fight with the teacher in his Catholic school.

My favorite scene though, is the one where Henry Fonda hands out room assignments.  He assigns a number to each child (oldest to youngest), a color to each bathroom and a letter to each bedroom.  One of the children walks away repeating, “I’m 11, Red, A.”

Van Johnson co-stars as a co-worker of Fonda and Ball; Tim Matheson appears as the eldest child, Mike; and Tom Bosley appears as a doctor.

…and for the saddest casualty of them all…

The Long, Long Trailer (1954)

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This is my favorite film of all time.  I have probably seen it a hundred times–not exaggerating.  When I replace my copy, I will be on my third copy.  I wore out my VHS.  Anyway, myself and my family can recite all the dialogue.  Desi Arnaz has the best lines.  These are some of the gems:

“It’s a fine thing when you come home to your home and your home is gone!”

“Have you any conception how much room it takes to turn this thing around? We might have to go on for miles and miles!”

Then the mechanic has two of the funniest lines, that continually haunt Arnaz for the first half of the film:

“Trailer brakes first!”

“Forty feet of train!”

This film is about a newlywed couple (Lucille Ball and Arnaz) who purchase a trailer and take it on their honeymoon.  Arnaz’ job takes him to different locations all over the country (it is not stated what his job is, but I am assuming that he is some type of engineer as Ball mentions him working on a bridge and a dam), and Ball envisions them living in this motor home and traveling to wherever Arnaz’ job takes him.  They plan to drive from Los Angeles to Colorado for their honeymoon.  On the way, they visit Ball’s relatives in another part of California and also visit Yosemite.  They get into hilarious incidents along the way, including an impromptu housewarming party, a night stuck in the mud, ruining Ball’s Aunt Anastasia’s prized rose, and much more.  The highlight of the film is when Ball has the bright idea of trying to prepare dinner in the trailer while Arnaz drives.

This film is basically one big long I Love Lucy episode, Arnaz’ character’s name is “Nicky” after all, but it is fun from beginning to end and features gorgeous Technicolor and scenery.

 

Cary Grant Blogathon–“To Catch a Thief” (1955)

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FRANCES: “Do you want a leg or a breast?”

JOHN: “You make the choice”

This exchange between Grace Kelly and Cary Grant’s characters is just one of many innuendo-laden scenes in one of Alfred Hitchcock’s sexiest films, To Catch a Thief.  Set in the picturesque French Riviera, To Catch a Thief depicts the story of a retired cat burglar, John Robie (Cary Grant) who finds himself back in the spotlight after a series of copy-cat jewel heists occur which threaten to implicate him as the culprit.  Reformed, he sets out to unveil the real jewel thief.  The jewel thief specifically targets the rich guests of a local ritzy resort.  One of these guests is Frances Stevens (Grace Kelly) whose mother, Jessie Stevens (Jessie Royce Landis) is on the hunt for a suitable beau for her daughter.  Of course, one look at John Robie, and mother and daughter are on his tail.  A Lloyd’s of London insurance agent (John Williams) is also chasing the cat burglar (as his clients are the ones who are being targeted).  He ends up enlisting the help of John Robie to catch the real cat burglar.  Things are complicated when Jessie is targeted by the jewel thief.

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One of the best things about this film is the chemistry between Cary Grant and Grace Kelly.  In many of Grant’s most popular roles, he plays the sophisticated, witty and charming romantic man.  Women can’t help but be taken in by his suave mannerisms and debonair good looks.  To Catch a Thief is no exception.  Grant and Kelly absolutely sizzle when they’re on screen.  One of their sexiest scenes is the famous fireworks scene in the hotel.  In this scene, Kelly invites Grant up to her hotel room “to watch the fireworks.”  At the beginning of the scene, she turns off the lights (saying that fireworks look better in the dark) and at another point, steps into the shadow which only hides her face but showcases her white strapless gown and diamond necklace (which conveniently points down to her cleavage).  At the end of the scene, Kelly invites Grant to sit next to her on the couch, while also ensuring that her necklace and decolletage are on display.  She asks him to “hold them. Diamonds.” After seductively kissing his fingers, Kelly asks Grant if he’s “ever had a better offer.”  After Grant calls out Kelly for trying to seduce him with imitation diamonds, she reassures him that she’s not imitation and they kiss.  Fireworks explode in the sky behind them.

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Grace Kelly tries to seduce Cary Grant

Prior to making To Catch a Thief, Cary Grant had announced his intention to retire after 1952’s Dream Wife.  He felt that at, 48, he was too old to continue acting.  Alfred Hitchcock had to personally coax him into accepting the John Robie role.  Even after filming was completed in summer of 1954, it was feared that Grant, at 50, was too old for 26-year old Grace Kelly.  However, in this film, like Grant’s other May-December romance films, nobody cared.  Grant is one of the few actors who can seem to get away with being a middle-aged man courting a twenty-something and it doesn’t seem strange or awkward.  Perhaps it’s his permanently tanned skin and black hair which gives him a youthful appearance.  Perhaps it’s his suave and charming persona which would be irresistible to almost any woman.  Perhaps it’s all of the above.  Whatever “it” is, Cary Grant is timeless. He makes To Catch a Thief what it is.  Without him, it would not be nearly as fun.

Cary Grant made three other films with Alfred Hitchcock–Suspicion (1941, with Joan Fontaine); Notorious (1946, with Ingrid Bergman); and North By Northwest (1959 with Eva Marie Saint), but To Catch a Thief is my favorite of these collaborations.  The combination of the sexy leading actors and provocative dialogue, the gorgeous color cinematography, the beautiful French Riviera and the fantastic costumes (especially Grace Kelly’s gold ballgown at the end of the film) sets this film apart from the others.

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Grace Kelly’s gorgeous gold ballgown.  I also really like the black mask costume, it’s so outrageous.