Joan Fontaine as “Mrs. DeWinter” in Rebecca (1940)
Rebecca, based on Daphne Du Maurier’s novel of the same title, is the devastating gothic thriller that served as Alfred Hitchcock’s first American film. At the beginning of the film, a young woman (Joan Fontaine) whose first name is never learned, stops the wealthy Maxim de Winter (Laurence Olivier) from jumping off a cliff. de Winter is a widower whose wife Rebecca perished some time earlier. Later, the young woman and Maxim meet again in the lobby of a hotel. It turns out that the young woman is a companion to an acquaintance of Maxim’s, Mrs. Van Hopper (Florence Bates). While Mrs. Van Hopper chastises the young woman for not being more grateful of her surroundings, she and Maxim steal glances at one another. Eventually the young woman and Maxim enter a courtship and marry. Maxim brings his new bride, the new Mrs. de Winter, to his estate titled, Manderley.
Shots like this epitomize the creepy, dreamlike quality of the film.
Throughout the film, the new Mrs. de Winter never seems to be able to live up to the standard set by her predecessor. Rebecca de Winter was a prominent member of society, always the perfect hostess, giving the perfect party in her immaculate, ornate home. Despite having just married and presumably still in the throes of newlywed bliss, Maxim is cold to his new wife. He is condescending, such as when he tells her to “eat up, like a good girl” at dinner (ick) and makes a point of telling her what they’re doing, versus asking her if she’d like to do whatever. Mrs. de Winter always seems like a wide-eyed fish out of water in this story, never seeming confident as to what her place is in the household.
Joan Fontaine as “Mrs. de Winter” and Judith Anderson as “Mrs. Danvers.”
Another person in the Manderley estate who makes things difficult for Mrs. de Winter is Mrs. Danvers (Judith Anderson), the housekeeper who took care of the home when Rebecca lived there. Mrs. Danvers almost has a fanatical obsession with Rebecca. It makes you wonder if she was actually in love with Rebecca, versus highly devoted. Mrs. Danvers is terrifying in this film. During filming, Alfred Hitchcock instructed Judith Anderson to refrain from blinking during her scenes. Her continual eye contact, combined with her black Victorian high-necked gown makes Mrs. Danvers an intimidating and frightening villain in the film.
Mrs. de Winter is portrayed as mousy and somewhat plain–a far cry from the glamorous and elegant Rebecca de Winter. Mrs. Danvers makes a point of telling her new boss about Rebecca and how she could not possibly compare. Rebecca de Winter was beautiful, accomplished in everything, popular, intelligent, basically everything that anyone could want in a person. Mrs. Danvers doesn’t hide the fact that she doesn’t think much of the new Mrs. de Winter. At one point in the film, she convinces Mrs. de Winter to dress in a replica of the last dress Rebecca wore at the last costume party she attended before her untimely death. Maxim is absolutely horrified. Oof.
Eventually, we learn the truth about Rebecca and Maxim’s relationship and it makes it even more confusing as to why Maxim is so devoted to this woman. I have to assume that part of his devotion is a response to trauma and sheer heartbreak. That’s the only explanation.
Laurence Olivier as “Maxim de Winter” and Joan Fontaine as “Mrs. de Winter.”
The set decoration of Manderley is fantastic. The set is a massive, cavernous, empty house. As Mrs. de Winter ambles about inside, she looks small and lost. The large set lends to her feelings of isolation and loneliness as she moves room to room and sees no one. The fireplace is larger than she is. The breakfast table looks like it’ll seat 50 people and Mrs. de Winter sits there alone. Many of the exterior shots were just models and many of the unused, but seen portions of the home are matte paintings. The cinematography and use of the matte paintings gives Manderley an eerie, yet ethereal quality. As if Mrs. de Winter is forever in a dream state.
Rebecca was Joan Fontaine’s first starring role and she is excellent. When I first saw her for the first time in The Women, I wasn’t impressed. I thought she was just this namby pampy simpering woman. Then I saw her in Rebecca where her meekness and mousy quality worked to their advantage. Mrs. de Winter is terrified of her new life. She used to be a commoner, working as an assistant to the rich, and suddenly she’s thrust into high society, expected to fill the shoes of a woman who was beloved by her society peers and who seemed to do everything perfectly. Mrs. De Winter is constantly seen with a wide-eyed look of terror, sitting with hunched shoulders, as she tries to absorb her surroundings and her new life. Her feelings of self-consciousness and anxiety leap off the screen. I feel uncomfortable on Mrs. de Winter’s behalf when she has to deal with Maxim and Mrs. Danvers. After seeing Fontaine in Rebecca, she’s now one of my favorites, especially when she plays against type in films like Ivy (1947) and Born to be Bad (1950).
Joan Fontaine as “Mrs. de Winter.”
During the making of Rebecca, Alfred Hitchcock wanted his heroine, Mrs. de Winter, to exhibit those same uneasy qualities described above. Prior to filming, Laurence Olivier campaigned hard for his wife, Vivien Leigh, to receive the co-starring role. However, David O. Selznick didn’t think that Leigh was right for the part and refused to give her the role, instead offering it to Joan Fontaine. Olivier, apparently not above throwing a passive aggressive hissy fit, making it very clear to Fontaine that he preferred his wife for the role. Fontaine was very nervous throughout filming, partially because of Olivier’s cold treatment of her throughout filming. Hitchcock, always one to sense an opportunity, opted to use Olivier’s treatment to make Fontaine even more insecure. Hitchcock made sure to remind her of her inexperience, how much less she was being paid than the other actors, and told her that nobody liked her. Despite this treatment (or maybe because of this treatment), Fontaine ended up turning in an Oscar-nominated performance.
Rebecca has an eeriness about it. The entire film feels like a bad, yet beautiful dream. The set is exquisite as are the performances. I’ve always enjoyed the Gothic thrillers. There is something about the ornate, yet ghostly setting of Manderley, the creepy Mrs. Danvers, and the omnipresent spirit of Rebecca that gives the film a spooky, yet beautiful quality. The black and white cinematography is gorgeous and lends to the creepiness of the film.
The beautiful Manderley estate is its own character in the film.
2021 is (finally) coming to a close. While the year wasn’t so hot as a whole, except for my fabulous trip to Southern California in October, it was another year of discovering new favorite films. One of the best thing about being a fan of film, especially classic film, is that you never run out of “new” movies to see. As Lauren Bacall says in an episode of Private Screenings with Robert Osborne, “It’s not an old movie, if you haven’t seen it,” and I couldn’t agree more. There is an entire world of movies to discover, a world of films just waiting to become someone’s favorite.
Without further adieu, in no particular order, here are some of my new favorites that I watched for the first time in 2021:
#1 Road House (1948) This was a fabulous film noir that I watched right at the start of the new year. It is the final volume in the Fox Film Noir DVD series (I own the entire collection). I decided to take a look at it, because I’m a big fan of Ida Lupino. In addition to Lupino, it also starred Cornel Wilde, Richard Widmark, and Celeste Holm. At first, it seems like Ida is going to be the femme fatale, but it is soon revealed that she is a woman who will not be made a pawn in the games of the men, Wilde and Widmark. Even though she was originally brought into the Road House by Widmark to be another of his fly by night floozies, she refuses to be used and becomes a big star and later saves the day. In a time when every woman who wasn’t Judy Garland or Doris Day was dubbed, Ida uses her own voice to warble out “One for my Baby (And One More For the Road)” and it was fabulous.
#2 Mrs. Miniver (1942). I know. This is a big Oscar winner. A major classic of the studio era, but I hadn’t seen it yet. I absolutely loved this movie and actually bought the blu-ray literally right after watching it. That’s how much I loved it. Greer Garson won an Oscar playing the titular Mrs. Miniver and infamously delivered the longest acceptance speech, a record which still stands today. Long-winded speech or not, Garson deserved her award. In Mrs. Miniver, Garson portrays a very stoic woman and mother who stays strong and protects her family even directly in the line of fire during the German invasion of Britain. She puts humanity above all else, even when directly threatened by an injured German pilot. The scene with Mrs. Miniver and her husband and children hiding in the shelter while bombs fall all around them is heartbreaking. This family does not know what they’ll find when they emerge, or whether their house will still be standing. Despite everything, Mrs. Miniver remains a calm influence even in the middle of a tumultuous event, like a World War. I cannot say enough good things about this film, it was fantastic.
#3 Girl Happy (1965). Like the esteemed Mrs. Miniver, this Elvis movie is another film that I purchased immediately after watching it. I loved it. For years, with the exception of Viva Las Vegas (my favorite Elvis movie), I wrote off Elvis’ movies as pure fluff, and not fluffy in a good way, and many of Elvis’ movies are ridiculous, like Girl Happy, but if you can suspend disbelief and just go along with whatever plot is presented, I’ve found that many of Elvis’ movies are enjoyable diversions. In Girl Happy, Elvis plays a musician (a premise setting up lots of opportunities for Elvis to sing) who, along with his band, is hired by his boss to indirectly chaperone his 18-year old daughter, Shelley Fabares. Shelley is traveling to Florida for Spring Break and her overprotective father is worried. Elvis happily agrees, because he gets an all expenses paid trip to Florida. Like how most movies with this plot go (see Too Many Girls), Elvis starts to fall in love with the girl whom he’s chaperoning, and the girl discovers that he was hired to watch her and gets upset. Regardless, this movie was charming, fun, and I loved it.
#4 History is Made at Night (1937) This was a movie that I’d never even heard of until I heard that Criterion was restoring it and releasing it as part of their esteemed (at least among the boutique label community) line of films. I first watched it on the Criterion Channel and must have seen a pre-restoration print, because it was pretty rough. After watching it, I couldn’t believe that I’d never heard of it. It had one of my faves, Jean Arthur! And Charles “LUCY! RAWWWR” Boyer. How has this movie been hiding from me this entire time? In this movie, Jean Arthur plays Irene, a woman who leaves her husband, Bruce, (Colin Clive) after he falsely accuses her of having an affair. To prevent the divorce from being finalized, Bruce tries to manipulate a situation to frame Irene for infidelity. He hires his chauffeur to pretend to be Irene’s lover, so that a private detective walks in and catches them in a compromising position. While this is taking place, Paul (Charles Boyer) is walking by Irene’s window. He overhears the ruckus and comes to Irene’s rescue, pretending to be an armed burglar. It’s a weird set-up, but ultimately leads to a beautiful love story with an ending that I was not expecting.
#5 Naked Alibi (1954). This was another film noir that I’d never heard of until I was reading Sterling Hayden’s filmography and discovered that he’d made a film with one of my faves, Gloria Grahame. Fortunately, my library had this film available and I was able to borrow it. This was a great movie. Hayden plays a police chief who tails a suspect, Willis, to Mexico. Willis is suspected to be the mastermind behind a series of crimes in the small town from which he and Hayden hail. While in a border town on the Mexican border, Hayden meets Grahame, a singer with whom he becomes smitten. Unfortunately, Grahame is the girlfriend of Willis, despite the shoddy treatment she receives from him. Hayden and Grahame’s connection with one another continues to grow until the very end of the film. This was a wonderful film and I thought that Gloria Grahame looked absolutely gorgeous.
#6 Dead End (1937). Despite the appearance of the Dead End Kids, whom I cannot stand (I don’t get their appeal), I thought this was a great movie. This film is a story about social classes and the privileges that are afforded to those of a higher social standing. The neighborhood in the film is a “dead end” both figuratively and literally. The rich live in high rise apartments that overlook the slums and tenements. Those who are not privileged to live in the high rises literally have the rich looking down upon them. If you have the misfortune to be born into the slums, it is all you can do to get out. Some try to do so honorably, like Dave (Joel McCrea), who dreams of making a career as an architect. However, he can’t just seem to book the right gig, so he has to survive by doing odd jobs. Others, like Drina (Sylvia Sidney) have slightly less honorable means to get out of the tenement, she wants to marry a rich man. Then, there are those like Hugh “Baby Face” Martin (Humphrey Bogart), who did manage to get out of the slums, but he did so by becoming a big-time mobster. The Dead End Kids represent the next generation who most likely will remain in the slums, unless they can somehow be guided into making a better life for themselves. Marjorie Main has a heartbreaking role as Baby Face’s mother. Claire Trevor is fantastic as Baby Face’s old girlfriend, who was never able to get out of the slums.
#7 Klute (1971) This was the first film in Alan J. Pakula’s “Paranoia Trilogy,” which unfortunately I watched all out of order. I don’t think the films in the trilogy have anything to do with one another, so I think I’m okay. Anyway, there’s just something about the 1970s thrillers that I find fascinating. There’s a grittiness, a seediness, combined with the earth tones aesthetic that I just love watching. Anyway, in this film, Jane Fonda gives an Oscar-winning performance as Bree Daniels, a prostitute who aids police detective, John Klute, in investigating a murder. After finding an obscene letter addressed to Bree in the murder victim’s office, Klute rents an apartment in Bree’s building and begins tracing her. Concurrently, Bree is working as a freelance call girl to support herself while she tries to make it as a model/actress. Bree is also trying to find meaning in her life through sessions with a psychiatrist. This was such a fantastic movie and I was on the edge of my seat waiting to find out who was responsible for the murder.
#8 Thunder on the Hill (1951) I am a big fan of Ann Blyth and this was a film of hers that I hadn’t heard of until I purchased Kino Lorber’s Film Noir: The Dark Side of Cinema box sets. Thunder on the Hill, by the way, is on the second collection in the series. In this film, Blyth plays Valerie, a young woman convicted of murder and sentenced to be hanged. However, on her way to the gallows, Valerie and the police officers accompanying her, are forced to spend the night in the hospital ward of a convent due to massive flooding. Running the hospital ward is Sister Mary (Claudette Colbert), a woman who is also battling with her own mental troubles involving her sister’s suicide. Valerie is understandably combative and angry, but confides to Sister Mary that she is innocent of the crime of which she was convicted. Sister Mary, who has been warned in the past about meddling in other people’s affairs, is convinced of Valerie’s innocence and sets to save her before she is executed. This was such a wonderful film. It was interesting to see Blyth in such a different role than that of Veda in Mildred Pierce or the mermaid in Mr. Peabody and the Mermaid. I loved the suspense of the story and the cinematography was gorgeous. I am also a big fan of Douglas Sirk, so this film fit the bill.
#9 King Creole (1958) A second Elvis film on the list? Yes! I watched a lot of Elvis movies this year according to LetterBoxd, so it was bound to happen. This was an excellent film. It was much higher brow fare than Elvis would be offered once he returned from his stint in the army. In this movie, Elvis plays super senior Danny, who has failed high school once and looks like he’ll fail it again due to his behavior. He is offered a chance to graduate if he agrees to take night classes, but Danny turns it down, much to the chagrin of his father, Dean Jagger. There is drama between Danny and his father, in that Jagger lost his job as a pharmacist after his wife died. The family is forced to leave their nice home outside of New Orleans for a much more modest flat in the French Quarter. To help make ends meet, Danny was working before and after school. Now with school out of the way, Danny starts working at a club. As how most Elvis movies go, he is coerced into singing and is offered a job performing at the club, much to the chagrin of the club’s main act. Danny is soon a sensation. Eventually his connection with the local gangs threaten to affect his family, his relationship with a young woman named Nellie (Dolores Hart), and his life. This was such a great movie with a stellar cast. Aside from Elvis, Dean Jagger and Dolores Hart, Carolyn Jones, Walter Matthau, Vic Morrow, and Paul Stewart also star in this film… and it was directed by none other than Michael Curtiz!
#10 Private Lives (1931) This was a fabulous pre-code starring Norma Shearer and Robert Montgomery. In this film, Shearer and Montgomery play Amanda and Elyot, two ex-spouses who end up staying at the same hotel while honeymooning with their new respective spouses. Both honeymoons are NOT going well. Amanda and her new husband Victor (Reginald Denny) are already fighting due to Victor’s incessant need to talk about Elyot. Because yes, let’s talk about your new bride’s ex-husband on your honeymoon. Great idea, Victor. Elyot is dealing with the same thing from his new wife, Sybil (Una Merkel) who won’t stop asking about Amanda. Eventually, Amanda and Elyot find each other and begin to reminisce about “the old times.” They end up leaving the hotel together and head to a new place in St. Moritz. This was a fabulous pre-code that had plenty of racy moments. I am not as big a fan of Shearer in her production code movies like The Women, but I love her in pre-code. She and Montgomery also make a great pairing. Poor Una Merkel is wasted in her role, but she is wonderful in her scenes.
#11 Hold Back the Dawn (1941) This was an amazing movie. One that I’d always wanted to see but it seemed like it was never on TCM–then finally it was and the movie was everything I’d hoped it would be. In this film, Charles Boyer stars as Georges Iscovescu, a Romanian immigrant who is stuck in a Mexican border town. Per immigration laws, he is looking at up to an eight year wait to obtain a quota number for entry in the United States. Georges then runs into an old flame, Anita Dixon (Paulette Goddard), an Australian who married a US citizen purely to obtain US citizenship. As soon as she could, she divorced the man and retained her citizenship status. Anita suggests that Georges do the same thing, then he and she could be free to start a new life together in New York. Georges immediately goes to work and spots Emmy Brown (Olivia de Havilland), a California school teacher whose bus has broken down. The bus is set to be repaired shortly, but Georges manipulates the situation (by “losing” a vital piece of the bus’s machinery) and forces Emmy and her class to stay overnight. This gives Georges enough time to woo Emmy and they are married after a whirlwind romance. However, Georges is required to wait in Mexico a few weeks before he can join Emmy in California. Emmy returns unexpectedly and Georges takes her on a trip (under the guise of a honeymoon, but in reality he is trying to hide from an immigration officer who is looking for con artists like Georges and Anita). Georges’ plans are complicated when he finds himself falling in love with Emmy. This was such an amazing film. Even though we’re supposed to dislike Georges, it’s hard to do because it’s Charles-freaking-Boyer. It’s easy to see why Emmy falls for him. I love true, legitimate romantic films (with no contrived plot points), and this is one of the best that I’ve seen.
#12 Gaslight (1944) Another Charles Boyer film! Third one on the list! Surprisingly Boyer was not on my top 10 actors watched in 2021, per Letterboxd. This was an amazing film. I don’t know how I went so long without seeing it. This is the film that gave the name to a form of psychological abuse, where one partner mentally manipulates another into thinking that they’re losing their mind. In this film, Boyer plays Gregory Anton, a pianist who marries Alice Alquist (Ingrid Bergman), a famous opera singer. Gregory works as Alice’s accompanist. At first, Gregory seems sweet, he convinces Alice that they move into her deceased aunt’s old home #9 Thornton Square in London, seemingly under the guise that Alice loved her aunt so much and that her aunt would want her home to be lived in. However, Gregory has ulterior motives which are revealed throughout the film. To keep Alice from catching onto Gregory’s motives, he gaslights her by manipulating situations and then making her think she caused them. Alice begins to think she’s going insane. And while she begins to question Gregory’s actions, he’s gotten her mind so messed up that she can’t convince herself that she’s right. A young, 17-year old Angela Lansbury makes her film debut as Nancy, a tart of a maid who takes pleasure in observing Gregory’s manipulation of Alice. Nancy even plays along to exacerbate the situation. Ingrid Bergman’s performance was a tour-de-force and she deserved every piece of the Oscar that she received.
#13 I Want to Live! (1958) If there are two things I love, it’s classic film and true crime. I Want to Live! has both. This film is a biopic of Barbara Graham, a prostitute who was executed in California in 1955 for her part in the murder of a wealthy widow. Susan Hayward gives an Oscar-winning performance as the doomed woman who at the beginning of the film, works as a prostitute who is arrested for soliciting sex across state lines. She then receives jail time after providing a false alibi to two friends who committed crimes. Despite her growing rap sheet, Barbara continues to “make a living” by committing petty crimes and turning tricks. Eventually, she hits the big time when she gets a job working with a big time thief, Emmett Perkins. Her job is to lure men into his illegal gambling parlor. Meanwhile, her husband has a drug addiction and is unemployed–leaving Barbara as the breadwinner. Eventually Perkins ends up becoming involved with criminals, John Santo and Bruce King. Barbara returns to Perkins’ establishment which is soon raided by the police. Barbara surrenders to the police for her involvement in the gambling ring, but soon learns that she is being accused in being complicit with Santo and King’s murder of a wealthy widow. Barbara tries to give her alibi, saying that she was home with her husband and son, but her husband has skipped town. Unless he can be found, Barbara is toast. This was such an amazing film. I know that there was controversy regarding how Barbara Graham was portrayed in the film, versus the real life events. I can’t comment on that; but what I can say is that real facts or not, this was a great movie.
#14 Suspense (1946) I went into this film noir not knowing entirely what to expect. It starred Barry Sullivan whom I like and Albert Dekker who always turns in a good performance. Sullivan and Dekker’s co-star was British figure skater, Belita. Often when athletes are put into films, especially athletes whose sport is exploited on screen, the results can vary drastically–especially if the athlete has limited acting talent. Sometimes this is good, such as the case with Johnny Weissmuller in the Tarzan series. Other times, it can be limiting like is the case with Belita in another film of hers that I’ve seen. However, in this film, I was pleasantly surprised. I’m not saying Belita was amazing; but she was asked to play a figure skater, and Belita delivers on that front. In this film, Sullivan plays schemer, Joe Morgan, a newcomer to New York City who ends up taking a job at a theater as a peanut vendor. Belita plays the star performer, figure skater, Roberta. Albert Dekker plays Leonard, the owner of the theater and Roberta’s husband. Joe ends up suggesting a new act for Roberta, which revitalizes the show–as a reward he is made a manager. When Leonard leaves for a business trip, he puts Joe in charge. Joe and Roberta end up striking up a romance which Leonard soon discovers. This was a fantastic film. I actually was in suspense and couldn’t wait to see what would happen next.
#15 The China Syndrome (1979) This was another 1970s thriller that I watched which I really enjoyed. In this film, Jane Fonda plays television reporter, Kimberly Wells, who keeps getting stuck with the fluff stories during the local news segments. There is chauvinism present at the station, as it is thought that she couldn’t possibly handle a serious story. Her cameraman is the hot-tempered Richard Adams (Michael Douglas). One day, Kimberly and Richard end up getting a plum gig: doing a report from the Ventana, CA nuclear power plant. While visiting, they witness a malfunction in the nuclear power plant turbine operation and emergency shutdown protocol. Richard, despite being asked not to film, covertly records the entire incident. The incident is played off as not a big deal, but it becomes clear that the plant was thisclose to a meltdown. Jack Lemmon gives a fantastic performance as Jack Godell, the supervisor of the plant. Wilford Brimley was also excellent as the long-time employee, Ted Spindler, who battles with knowing what is right and his resentment over being passed up for promotion opportunities. I loved this movie. This isn’t normally my type of thing, but as a fan of 1970s thrillers and Fonda and Lemmon, I gave it a try. I’m glad I did. I was captivated from beginning to end and I especially loved Lemmon’s performance in the second half of this movie.
Honorable Mentions:
A Cry in the Night (1956). Raymond Burr, Natalie Wood, Edmond O’Brien.
Jane Fonda in Five Acts (2018). A fabulous documentary on HBO Max.
The Caine Mutiny (1954). Humphrey Bogart, Fred MacMurray, Van Johnson, Jose Ferrer.
Once a Thief (1965). Alain Delon, Ann-Margret, Van Heflin.
Walk on the Wild Side (1962). Laurence Harvey, Jane Fonda, Barbara Stanwyck, Anne Baxter, Capucine.
Moonrise (1948). Dane Clark, Lloyd Bridges, Gail Patrick.
The Glass Wall (1953). Vittorio Gassman, Gloria Grahame.
The Big Combo (1955). Richard Conte, Cornel Wilde, Jean Wallace.
Muppets Haunted Mansion (2021) The Great Gonzo, Pepe, Will Arnett.
Die Hard (1988) Bruce Willis, Bonnie Bedelia, Reginald VelJohnson.
Confession (1937) Kay Francis, Basil Rathbone, Ian Hunter.
Three Days of the Condor (1975) Robert Redford, Faye Dunaway, Max Von Sydow, Cliff Robertson.
I’ll Cry Tomorrow (1955) Susan Hayward, Richard Conte, Eddie Albert.
Possessed (1947) Joan Crawford, Van Heflin, Raymond Massey
Alfred Hitchcock is primarily known for his Hollywood films starring many of the golden age’s biggest stars. He made his American film debut in 1940 with Rebecca starring Laurence Olivier, Joan Fontaine, George Sanders, and Judith Anderson. Rebecca was a huge success and set the tone for the next few decades. However, prior to this, Hitchcock had made a name for himself as a filmmaker in his native England.
From 1929 through 1939, Hitchcock made many remarkable and brilliant films, starring many of the era’s biggest British stars. One of his best films is The Lady Vanishes (1938), starring Margaret Lockwood, Michael Redgrave, Paul Lukas, and Dame Mae Whitty.
Michael Redgrave, Dame Mae Whitty, and Margaret Lockwood in “The Lady Vanishes.”
In The Lady Vanishes, Margaret Lockwood stars as Iris Henderson, a young British tourist who is vacationing in the fictional European country of Bandrika. Iris is with friends, celebrating her upcoming marriage. In fact, she is on her way back to England to marry her fiance. However, an avalanche has occurred and is blocking the railway line. Iris and all the other passengers are forced to spend the night in the hotel.
Also staying at the hotel are English cricket enthusiasts, Charters (Nauton Wayne) and Caldicott (Basil Radford), and Miss Froy (Dame Mae Whitty), a governess and music teacher who is on her way home. As Miss Froy listens to a folk singer in the street, he is strangled to death by an unknown assailant.
Charters & Caldicott
Later that evening, Iris hears loud, obnoxious noise coming from the room above hers. She complains to the hotel manager who investigates the loud noise. He discovers Gilbert Redman (Michael Redgrave), a musician playing a clarinet and working on transcribing the local music. Adding to the noise are the three locals who are dancing to the music that Gilbert is playing. The hotel manager throws Gilbert out of his room. To retaliate, Gilbert forces himself into Iris’ room and refuses to leave. Eventually Iris relents and asks the hotel manager to allow Gilbert back into his room.
There is an interesting scene in the hotel where Charters and Caldicott share a pair of pajamas. One man dons the pants, while the other wears the top, and the two men share a bed! This is very risque for a 1930s movie and implies a gay relationship between the two men.
The next morning, the railway is cleared and the passengers are ready to depart. As Iris walks to the train, she is hit on the head by a planter. Miss Froy, who was nearby and witnessed the incident helps Iris onto the train. On board, Iris and Miss Froy come across Charters and Caldicott, Eric Todhunter (a lawyer) and his mistress who is pretending to be “Mrs. Todhunter.” Iris ends up fainting from the concussion she probably suffered.
Miss Froy and Iris having tea in the dining room. Right before Miss Froy goes MIA.
When Iris comes to, she finds herself sharing a compartment with Miss Froy and several strangers. Later, Iris and Miss Froy have tea together and return to the compartment. Iris ends up falling asleep. When she wakes up, Miss Froy is nowhere to be found. Iris begins asking the other passengers in the compartment as to Miss Froy’s whereabouts. The passengers deny ever having seen her.
Iris speaks with Eric Todhunter and “Mrs. Todhunter” about Miss Froy, and Eric, not wanting to draw attention to his illicit relationship with his mistress, denies having ever interacted or seen Miss Froy. Iris then ends up coming across Gilbert, who volunteers to help her find Miss Froy. Other potential witnesses, such as Charters and Caldicott, also deny having seen Miss Froy because they don’t want to miss their cricket match and fear that any acknowledgement of the woman’s existence would cause them to be late or miss the match. A brain surgeon on board, Dr. Hartz, suggests that Iris’ possible concussion might be causing her to hallucinate Miss Froy’s existence.
A nun, an Englishwoman, a bandaged man, and a clarinet player walk into a bar…
Despite all the gaslighting attempts, Iris is determined that something bad has happened to Miss Froy. She and Gilbert continue to investigate the train. As they get more into the mystery of Miss Froy’s whereabouts, it is obvious that something is up as they come across a bandaged man, a nun, a knife-wielding magician, and another Miss Froy!
Where did Miss Froy go? She couldn’t have just vanished!
This is such a great movie. When I saw it the first time, I was glued to the edge of my seat. What did happen to Miss Froy? What is going on. I also really liked Michael Redgrave. He reminded me very much of Errol Flynn. In fact, I could hear Errol Flynn’s voice reciting Redgrave’s dialogue. Margaret Lockwood was gorgeous and I am interested in seeing her films. She had a very short career in American films, preferring to stay in her native England. I was also very surprised that both the words “damn” and “hell” are used in their modern context in this film.
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:
Marion’s infamous shower scene
Lila tapping on the shoulder of “Mrs. Bates” and having the chair spin around only to see a skeleton wearing a wig.
“Mrs. Bates” stabbing Arbogast and him falling down the stairs.
Norman Bates’ reveal as “Mrs. Bates” That scene is funny, if anything.
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:
Mike
Rusty
Greg
Rosemary
Colleen
Nick
Janette
Louise
Susan
Tommy
Jean
Phillip
Veronica
Mary
Gerald
Germaine
Teresa
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?
Once again I’ve fallen off the posting train. I need to make it more of a habit, but I struggle to find time. Then, I had trouble with my WordPress account and I couldn’t post. I finally got that fixed. I didn’t want to miss posting on National Classic Movie Day. I also plan to post about the late, great Doris Day soon.
For this year’s National Classic Movie Day, the Classic Film and TV Cafe are asking participants to post his or her top 5 favorite films from the 1950s.
Without further adieu, here are mine:
The Long, Long Trailer (1954)
This is my absolute favorite movie of all time. I have probably seen it a hundred times (no exaggeration). I’m a big fan of I Love Lucy and Lucille Ball. The Long, Long Trailer is basically a 90-minute I Love Lucy episode. Ball and Desi Arnaz’ (aka Lucy and Ricky Ricardo on I Love Lucy)character’s first names in ‘Trailer’ are very similar to those of their Ricardo counterparts– Tacy and Nicky, respectively. This MGM comedy is hilarious and I never tire of it, even though I’m at the point where I can recite the dialogue. Quotes from this film regularly make it into everyday conversations I have with friends and family (only those who have seen this film of course). My favorite quote to use, while driving, is “Turn right here, left.”
The Long, Long Trailer tells the story of Tacy and Nicky Collini, newlyweds who are embarking on a road-trip for their honeymoon: Los Angeles to Colorado. The Collinis decide to purchase a 40′ New Moon trailer for their journey. The film depicts the Collinis trying to handle trailer life and all the trials and tribulations that come with it: noisy trailer parks, parking on uneven surfaces, getting stuck in the mud, spending the night on a noisy highway, weight limits, cooking, parking, backing in, and more. Will the newlyweds’ marriage survive the trip?
My favorite part of the movie is when Tacy and Nicky decide to go off-roading and end up stuck in the mud. The trailer is all whopperjawed. Tacy and Nicky get through dinner and go to bed. Nicky is on the downhill side. He has no issues getting into bed. Tacy on the other hand, is on the uphill side and can’t stay in bed. One may ask why she doesn’t make her husband move over and she can share his bed. Well that would be the logical solution, but since this is Lucy, that isn’t going to happen. After a couple of feeble attempts to get into bed, the jack holding the trailer up (kind of) collapses in the mud and Tacy goes flying out the door. Nicky, awoken by his wife’s blood-curdling scream, comes to the door and says: “What’s the matter honey? Can’t you sleep?” While sitting in a 5′ deep mud puddle, Tacy gives him a look that could only convey “[expletive] you.”
Gidget (1959)
I’ve mentioned Gidget many times on this blog, but it’s worth mentioning again. I love this movie. I’ve seen it dozens of times and I never tire of it. Sandra Dee is adorable. James Darren is hunky. The story is relatable. Gidget was the start of the 1950s-1960s teen surf movie craze and I’m all in for teen surf movies. Of all the teen surf movies (the ‘Beach Party’ films, For Those Who Think Young, Gidget Goes Hawaiian, etc.) the original Gidget film is the best.
In this coming of age story, Sandra Dee plays the titular character, Frances “Gidget” Lawrence, a seventeen year old tomboy who is uneasy about her girlfriends’ new hobby: manhunting. Frances is more interested in snorkeling than finding a boyfriend. Her friends on the other hand, act like they’ll be old maids if they aren’t “pinned” by the end of the summer aka the beginning of their senior year of high school. The girls (except Frances) try posturing and flaunting themselves in front of a group of male surfers, but fail to catch their attention. Frances clumsily tries to play along, but gets frustrated and goes snorkeling instead. Her friends ditch her. Frances, swimming in the ocean, gets stuck in kelp.
In the first of a couple kelp episodes, Frances is saved by one of the surfer boys, “Moondoggie,” played by James Darren. Frances is infatuated with him from the get-go. And frankly, who wouldn’t be? Frances is nicknamed “Gidget” by the boys (a portmanteau of “girl” and “midget”). She also takes an interest in surfing and is soon hanging out with the boys everyday. Her surfing skills steadily improve and pretty soon, she’s good enough to really “hang” with the boys. Throughout all the surfing scenes, Gidget and Moondoggie grow closer, culminating with a kiss at the luau. However, Gidget’s awkwardness threatens to keep them apart.
My favorite part of this film is probably Moondoggie serenading Gidget at the luau and planting the kiss on her. I also love the scene with the fight at Kahuna’s beach shack and the elderly neighbor’s witness statement to the police: “When I saw that other one (Moondoggie) run in there (the beach shack). I knew there’d be trouble. I can spot trouble through a crack in the blinds.”
All About Eve (1950)
One of the best known classics in Hollywood, I never tire of this film. The cast. The dialogue. The story. Everything about this film is perfect–except Thelma Ritter’s abrupt exit during the first half of the film. What happened to Birdie? She went to get the guest’s coat and never came back! This story is timeless, even in real life. No matter how great and indispensable you think you may be, there’s always someone waiting in the wings who is better than you are.
All About Eve begins at the Sarah Siddons Award ceremony. Rising star Eve Harrington (Anne Baxter) is slated to receive the prestigious Sarah Siddons award, the highest honor given to persons in the theater community. As acerbic critic Addison DeWitt (George Sanders) introduces the cast of characters, us as the audience knows that there is a story behind Eve’s rise to stardom. Huge star Margo Channing (Bette Davis) looks like she wants to shoot Eve. The playwright Lloyd Richards (Hugh Marlowe) and director Bill Sampson (Gary Merrill) of Eve’s award-winning play do not look proud or happy in the slightest. Lloyd’s wife, Karen (Celeste Holm) takes over the narration and lets the audience in on the true story about Eve Harrington.
On a rainy night, after another performance of Margo’s hit play, “Aged in Wood,” Karen comes across Eve, a young woman she’s repeatedly spotted waiting outside the backstage exit. Thinking she’s doing the young woman a favor, Karen invites the young woman inside to meet her idol, Margo Channing. Little does Karen know what lurks ahead. As the story progresses, we see Eve slowly insinuate herself into Margo’s personal and professional life. Perhaps this is why Birdie disappears! Eve’s goal is to star in Lloyd’s next play, Footsteps on the Ceiling.
What I love about this film is how slowly Eve’s scheme unfolds. It is not obvious that Eve is taking over Margo’s life. It’s only through the music, Birdie’s “I told you so” face, and Margo’s growing frustration that we figure out what Eve is doing. As Eve gets away with more and more, the more brazen she becomes–such as calling Lloyd to her apartment in the middle of the night. My favorite part of the film is Addison’s take-down of Eve and Eve’s comeuppance at the end when she meets #1 fan, Phoebe (Barbara Bates).
Pillow Talk (1959)
Starring the recently departed Doris Day, this film is her first of three films with co-star Rock Hudson. Of their three films together, the others being Lover Come Back (1961) and Send Me No Flowers (1964), Pillow Talk is my favorite. I love the catchy theme song, Doris and Rock’s undeniable chemistry, Tony Randall, and Doris’ gorgeous wardrobe. The film is funny, romantic and a little sexy.
In Pillow Talk, Doris stars as Jan Morrow, an interior decorator. She’s a successful career woman who’s driven up the wall by the romantic escapades of her party line partner Brad Allen, played by Rock Hudson. Tony Randall portrays Jonathan Forbes, a mutual friend of Jan and Brad’s. Jan and Brad bicker constantly on the party line. Jan tries to offer a compromise over the use of the line, but Brad is unwilling to participate. Jan ends up (unsuccessfully) filing a complaint against Brad with the phone company.
One night, Brad and Jan just happen to be at the same nightclub. Brad sees her and learns her name, figuring out that she’s the one who he bickers with on the party line. He concocts the fake persona of “Rex Stetson” a Texas cattle rancher. Using a Texas drawl, Rex successfully picks up Jan and takes her home. Soon they are seeing each other regularly. Jan finds herself falling for “Rex.” Brad/Rex finds himself falling for Jan.
My favorite part of this film is watching 6’5 Rock Hudson try to squeeze himself into a tiny sports car, Jan’s maid Alma (Thelma Ritter) drinking Hudson under the table, and every scene with Tony Randall. He is hilarious. Pillow Talk set the pace for the sexy 1960s sex comedies. Watch 2003’s Down With Love (with Renee Zelwegger and Ewan McGregor) for a fun send-up of Pillow Talk and the other sex comedy tropes.
Rear Window (1954)
This is my favorite Hitchock film. Everything about this film is fantastic: the story, the dialogue, the cast, the sets, everything. I absolutely love the set of this film. Hitchcock’s courtyard set is amazing. The attention to detail is fantastic. I love how the other neighbors all have storylines, even though they never set foot in James Stewart’s apartment. Miss Torso, Miss Lonelyhearts, The Songwriter, all the neighbors are fantastic. The only fault in this film is the cheesy way the ending looks, but I’ll chalk that up to 1950s technology.
In Rear Window, James Stewart plays photographer LB “Jeff” Jeffries, who is homebound after breaking his leg. He is bored and spends most of his days watching the goings on of his neighbors in the courtyard. He devises names for the neighbors and keeps up on their lives. One neighbor in particular, Lars Thorwald (Raymond Burr), catches his attention. It seems that Thorwald had an invalid wife, until all of a sudden, he didn’t. Curious about what happened to Mrs. Thorwald, Jeff begins watching him more intently with a large telephoto lens.
Jeff sees Thorwald engaged in all kinds of suspicious activity and is determined that he was behind his wife’s disappearance. Using his binoculars and camera lenses, Jeff basically engages in a stakeout. Throughout all his investigation work, Jeff’s girlfriend, Lisa Fremont, played by Grace Kelly, and his nurse Stella, played by Thelma Ritter come and go. At first the ladies are dismissive of Jeff’s interest in Thorwald and his determination to prove him a murderer. However, after seeing Thorwald’s behavior first-hand, the ladies are hooked and soon join Jeff in his stakeout. Lisa and Stella become further involved in Jeff’s independent investigation when they leave the apartment to gather evidence from Thorwald’s garden and home.
My favorite part of this film is the scene with Jeff, Lisa and Stella watching Thorwald scrub his walls. “Must’ve splattered a lot,” Stella says matter of factly. Lisa and Jeff look at her disgusted. She then defends her position, saying “Come on. That’s what we’re all thinkin’. He killed her in there, now he has to clean up those stains before he leaves.” I also love Grace Kelly’s wardrobe. If there was ever an actress who epitomized Hollywood glamor, it’s Grace Kelly.
By 1962, Bette Davis’ days as a leading lady were long over. After successes like Dangerous (1935), Jezebel (1938), Dark Victory (1939), The Letter (1940), The Little Foxes (1941), Now, Voyager (1942), and Mr. Skeffington (1944), Davis became unhappy with the assignments she was provided. Almost all the films she made from 1946-1949 were either financial and/or professional disappointments. Davis was also getting on in age (in Hollywood years anyway, she was only late 30s) and was not being cast in the romantic leading roles she had been given a decade earlier. In 1949, she was cast in the film noir, Beyond the Forest. At the time, Davis knew it was a clunker and the critics like Hedda Hopper provided the same assessment, even going as far to say, “If Bette had deliberately set out to wreck her career, she could not have picked a more appropriate vehicle.” At the conclusion of the filming of Beyond the Forest, Davis was finally released from her contract, after eighteen years with Warner Brothers.
“Beyond the Forest” (1949) a film so bad, it’s good. This film is hilarious, highly recommended.
By 1950, Davis was working as a freelancer. After completing Payment on Demand, Davis was offered the leading role of Margo Channing in All About Eve. ‘Eve’ provided Davis with one of her best known roles. While Davis worked steadily after ‘Eve,’ she wasn’t able to recapture the success she achieved in the 1930s-1940s. By the early 1960s, Davis’ career had segued into horror films. She made many horror films during the 1960s-1980s, including: The Nanny (1965), Hush, Hush Sweet Charlotte (1964), Scream, Pretty Peggy (1973), Burnt Offerings (1976), and Watcher in the Woods(1980). Her most famous one however, is What Ever Happened to Baby Jane? (1962). A film that is just as notorious for what went on behind the cameras as what went on in front of them.
In 1962, Davis was cast in Robert Aldrich’s psychological thriller/horror film, What Ever Happened to Baby Jane? She was cast alongside longtime rival, Joan Crawford. Davis’ character, “Baby Jane,” was a huge child star. Crawford’s character, Blanche, spent her childhood in Jane’s shadow always standing in the wings watching her sister perform. When the girls reached adulthood, Jane’s star was snuffed out. She was too old to be “Baby Jane” and wasn’t talented enough to be an adult actress. Blanche on the other hand, ended up becoming a famous actress and achieved the Hollywood stardom that Jane always wanted for herself. The pre-credit scenes are a flashback showing the two women’s careers in Hollywood. The sequence ends with one woman purposely hitting the other woman with her car and paralyzing her. It is assumed that Jane is the one who paralyzed Blanche.
The contemporary part of the film depicts Jane and Blanche as they are today–two sisters, former stars, living in a decaying Hollywood mansion. They are living off of Blanche’s money (which is quickly running out) and Jane is her caretaker. Jane however, is insanely jealous of Blanche’s success and career and does what ever she can to torment her. Jane is bonkers and the things she does to Blanche are terrifying. When Jane discovers that Blanche is planning on selling the mansion, her mental health deteriorates even further. She cuts the cord to Blanche’s telephone, essentially cutting her off from the world. Jane also starts tampering with Blanche’s food, making her scared to eat. On one occasion, there was a rat on the platter and on another, a dead bird. Jane ends up catching Blanche on the phone trying to get outside help and she beats Blanche unconscious, gags and binds her and locks her in her bedroom. When Blanche’s cleaning lady returns unexpectedly, Jane murders her.
The levity in the movie (if you can call it that) is when Jane decides that she is going to recapture the fame she experienced during her youth. She dusts off her old sheet music, “I’ve Written a Letter to Daddy” and hires a pianist (Victor Buono) to accompany her singing. Jane, a woman in her late 50s, still dresses like the 10-year old girl she was when she was superstar Baby Jane. She even still wears her hair in blond ringlets, except for now they’re ringlets of dirty and greasy hair. She also wears pounds of makeup which only highlights how haggard she is. Apparently, Bette Davis designed her character’s makeup, by stating that Baby Jane seems like someone who would never take her makeup off, she’d just put more on. Baby Jane looks like she’s wearing 30+ years of makeup, all at the same time.
Baby Jane practices “I’ve Written a Letter to Daddy”
Davis and Crawford’s animosity toward one another during the filming of ‘Baby Jane,’ was well known and in the 55 years since then, their feud has evolved into one of the most notorious stories in Hollywood history. There is even a new mini series, Feud: Bette & Joan, that is on right now that depicts the off screen shenanigans of Davis and Crawford. There is no way to know the real truth, unless you happened to be on the set with Davis and Crawford, but their feud definitely makes the on-screen drama even more juicy. Their feud was legendary and hard to place where and how it started. Did these two ladies really dislike each other that much? Or was it played up for publicity for the film? There are theories abound regarding professional rivalries (Crawford winning an Oscar for Mildred Pierce, a film Davis turned down), romantic rivalries (Davis’ crush Franchot Tone marrying Crawford), and even award rivalries (Crawford was upset that Davis was nominated for the Oscar for ‘Baby Jane’ and not her. However, she got her revenge by accepting winner Anne Bancroft’s Oscar that year after Davis lost).
Two years later, Robert Aldrich tried to recapture the “magic” (if you want to call it that) of ‘Baby Jane,’ by re-casting Davis and Crawford in Hush, Hush Sweet Charlotte. However, Crawford just couldn’t get through another period of drama with Davis and she feigned illness and eventually was replaced by Olivia de Havilland. De Havilland and Davis were friends, so there would be no drama with the new casting decision. ‘Hush, Hush’ shares many commonalities with ‘Baby Jane’ (except this time, Davis is the one being tormented). However, while it is entertaining, it isn’t as good as ‘Baby Jane.’ De Havilland, a wonderful actress in her own right, just doesn’t bring the right vibe to the film. The palpable tension between Davis and Crawford just makes ‘Baby Jane’ the film it is–a film that is delightfully creepy, hilarious, campy, and macabre, all at the same time.
The Davis/Crawford re-teaming that never happened. On the set of Hush, Hush Sweet Charlotte
Whatever the dynamic was between Davis and Crawford, it worked for What Ever Happened to Baby Jane? It’s a shame if their disdain of one another was all because of something petty or a misunderstanding. Depending on the circumstances, this final line from the film could have been applicable to Davis and Crawford’s relationship:
“You mean all this time we could have been friends?” BABY JANE to BLANCHE
Whimsically Classic 