If you’ve followed my blog long enough, you probably know how much I love birthdays. I always give birthday shoutouts when it pertains to a blogathon entry that I’m writing, and my Tumblr really shows my adoration for all of classic film’s brightest stars on their birthdays. So, after trying long and hard to think of a great idea for my follow-up of my blogathon celebrating the 117th birthday of Humphrey Bogart, I couldn’t resist celebrating another birthday! Still, this time I wanted to change things up a bit and celebrate something more important. When I found out that the iconic Dean Martin is celebrating the big 100 this year on June 7, I knew that he was the perfect person to honor in the grandest of fashions.
Few people have ever achieved the level of legendary star status that Dean Martin has over so many forms of entertainment. From his film career that spanned four decades to his discography that includes over sixty albums (including compliation and those released after his passing in 1995) and memorable hits like “That’s Amore” and “Everybody Loves Somebody”, Dean continues to be a household name all over the world. His long-running television shows, “The Dean Martin Show” and “Dean Martin’s Celebrity Roast”, allowed him to reach even higher levels of notoriety, as did his on and offscreen associations with the likes of Frank Sinatra, Sammy Davis, Jr., and the rest of the infamous Rat Pack. However, few of Martin’s accomplishments measure up to his partnership with the incomparable Jerry Lewis, which resulted in sixteen films and a lot of laughs. All of these fantastic achievements and so much more is why I’ve decided to celebrate his life and career.
I am allowing TWO duplicates for each subject, but Dean has an extremely significant and diverse filmography with nearly seventy films to his credit, so I would still like to see as many different topics being written about as possible.
Anything relating to Dean Martin is up for grabs! You could write about his partnership with Jerry Lewis, your favorite song of his, his lesser-known westerns, his many television appearances, or even his associations with the likes of Frank Sinatra and Marilyn Monroe. The possibilities are endless!
Once you think of a topic, please leave a comment with your blog’s name, your blog’s link, and your subject (include the year if you’re choosing a movie).
Once you’ve been approved, I’d appreciate it if you help me spread the word! Please take one of my banners from below and put it somewhere on your blog, and make sure to tell your friends. I’d love to see as many participants as possible!
Musings of A Classic Film Addict — 10 Things You May Not Know About Dean Martin
Hello, everyone! I know I’ve been a bit busy these last few months, but I’m trying my best to squeeze in a few blogathon entries and perhaps a new series that I have in the works that my readers are sure to enjoy before I host my next blogathon (you can vote for what my blogathon will be about here). Today I’ll be beloved actor John Garfield on the day after what would have been his 104th birthday, and I’d like to start things off by thanking Phyllis of Phyllis Loves Classic Movies for the opportunity to write about such an underrated actor and film. So without further ado I’d like to wish Mr. Garfield a very happy belated birthday, and on with the post!
In this film, we meet a diverse group of people hoping to board an ocean liner for America at the height of World War Two. All seems to be well until an Austrian pianist and French Resistance veteran named Henry Bergner (Paul Henried) is denied passage for himself and his wife due to lack of an exit permit. Leaving the premises in despair, the audience soon sees his equally distraught wife Ann (Eleanor Parker) searching for Henry in the street amongst the chaos and uproar of a German air raid. She witnesses one of the many falling bombs destroy a car full of passengers on their way to the docks, and hurries home to find Henry attempting suicide by subjecting himself to gas exposure. Rather than putting forth much effort to save him, she intends to join him in death, and soon the two find themselves onboard the ship on which they were denied entry at the film’s beginning. Ann and Henry soon realize that they are dead and find themselves happy to spend an eternity together, especially after Henry finds that he can once again play piano after what was undoubtedly post-traumatic stress disorder caused his hands to shake uncontrollably. Ann also recognizes some of the other passengers on the ship as the very same people who were killed in the air raid, while Henry sees some of the people who were with him in the ship’s office when he was not allowed onboard. Eventually the audience meets all of the ship’s commuters, including cynical drinker and newspaper man Thomas Prior (played by our birthday boy John Garfield) and his girlfriend Maxine Russell (Faye Emerson), the rich and powerful Mr. Lingley (George Coulouris), the steward of the ship Scrubby (played by the always incredible character actor Edmund Gwenn), shy priest Reverend William Duke (Dennis King), sailor Pete Musick (George Tobias), wealthy yet mismatched couple Genevieve and Benjamin Cliveden-Banks (Isobel Elsom and Gilbert Emery), and a sweet elderly woman named Mrs. Midget (Sara Allgood).
With the exception of Henry, Ann, and Scrubby, no one onboard knows that they are dead, and one by one we get a glimpse into each person’s lives, motivations, and desires. We find out that Mr. Lingley used his power in order to get Thomas Prior fired for writing unsavory articles about him, and while Thomas is drinking and blowing off steam about it, we also learn that his girlfriend Maxine doesn’t want to be with him anymore and begins to cozy up to Mr. Lingley due to his wealth and position. Meanwhile, Henry and Ann meet Pete Musick, and are about to tell him that he is deceased when Scrubby intercedes, telling the couple that the passengers need to find out in their own time and way. Everyone convenes at dinner, and the discussion of new beginnings upsets Ann so much that she flees the room in tears. Both friends and enemies are made onboard the ship, and eventually our star of the day’s character Thomas Prior is the fourth to find out that everyone is dead after overhearing Henry and Ann discussing it, though it seems that he was already beginning to form the suspicion of it himself. Already dumped at this point by his girlfriend Maxine for Mr. Lingley, Thomas decides to get his revenge by setting up a magic show which ultimately informs the rest of the travelers that they are lifeless as well, ending it in a “spectacular” finale in which Tomas shoots Mr. Lingley in the chest and doesn’t harm him at all. Soon the cat is out of the bag, and Scrubby informs everyone on the ship that they will be judged by the Examiner (Sydney Greenstreet) and sent ashore to their respective afterlifes according to his ruling. Will the commuters’ pleas or good behavior save their souls? Who will be sent to heaven, and who will be sent to hell?
The first thing I noticed about the film was its exceptional score, likely because I learned prior to watching that it was the favorite composition of famed film composer Erich Wolfgang Korngold, who also composed the scores for such classics as Captain Blood (1935), The Adventures of Robin Hood (1938), The Private Lives of Elizabeth and Essex (1939) and The Constant Nymph(1943). I also caught onto many of the film’s references to another classic Warner Bros. film made two years prior to this one, Casablanca (1942), which also starred the man who is arguably the main actor in this film, Paul Henried. His character Henry Bergner (sounds like Bergman, doesn’t it?) is a Resistance fighter for the French, and discusses the discussion of exit visas for himself and his wife. Both pictures also starred Sydney Greenstreet, who portrays the Examiner in this film. All in all, I found nearly every performance to be excellent, and this film reminded me how much I adored John Garfield’s speaking voice. In 1944 his star power was a force to be reckoned with, but despite that, I do believe giving him top billing in this film was slightly misleading. Paul Henried and Eleanor Parker’s characters are definitely given the most screen time and attention of the cast, especially towards the beginning of the film, and Garfield’s character tends to come in like a dark horse throughout the middle and end of the picture, gluing together subplots and adding some realism when necessary.
I appreciated his performance even more when I learned that Between Two Worlds (1944) appears to be the last film that John Garfield completed prior to the death of his daughter Katherine Hannah Garfield on March 18, 1945 at only six years old from a sudden allergic reaction, and the fact makes it even more chilling that this film dealt so much with death and the afterlife. Usually I dislike films with too many characters and different storylines moving forward at once, and if we’re being honest this film isn’t much of an exception. Nevertheless, I can’t say that the film as a whole is subpar, as I found it to be more of a mixed bag than I anticipated. On one hand, I really applaud Warner Bros. for gathering so many underappreciated supporting actors into one movie, especially the always too overlooked Henried, Parker, and Gwenn. Yet on the other, I think if the screenwriter of Between Two Worlds (1944) decided to nix some of the minor characters and put more focus on the plots of Henry, Ann, and Thomas, we would have seen a much better and more coherent film as a result. Still, despite my own personal misgivings, I would definitely still recommend it to anyone looking for a fantasy-based picture to watch for John Garfield’s birthday.
Hey, awesome followers! Since I’ve been getting back into the swing of things I’ve been itching to host another blogathon here on Musings of a Classic Film Addict. My very first one on this blog, a tribute to Humphrey Bogart this past December, was a great success, and I’d love to honor another shining star in the same fashion this spring. Unfortunately, my only problem has been that I can’t seem to decide whom to celebrate!
As my last blogathon celebrated Bogie’s birthday, I’m thinking that I’d like to honor another star on his or her birthday as well, especially because birthdays have always been near and dear to my heart. So, with that being said, I’ve compiled a small list of actors and actresses that I’m seriously considering celebrating in the coming months, and all I need is your input! If you have any ideas that you’d like to see that aren’t below or if you’d like to collaborate, definitely let me know that as well!
Make sure to vote in the poll below, and make sure to tell your friends to vote too! I’ll be leaving the poll open until Friday, March 10th, and I’ll be announcing my next blogathon by March 12th. Have fun voting!
Already I have another blogathon entry to offer my wonderful followers! This time I’m celebrating the 90th birthday of my favorite living actor, Sidney Poitier, and my favorite film of his. Before I begin I’d love to thank the always gracious host of this blogathon, Virginie over at The Wonderful World of Cinema, for always choosing such incredible and deserving people for us to write about. I wish this blogathon all of the success possible, and I can’t wait to participate in the 2nd Golden Boy Blogathon: A William Holden Celebration in April! And of course, if you’re interested in reading all of the other entries relating to Sidney Poitier, mosey on over to this post which lists them all. Without further ado, I wish Mr. Poitier the happiest of birthdays tomorrow, and on with the post!
I have had a long and loving relationship with this film over the last five years or so. I was first introduced to it as a freshman in high school, and immediately fell in love with both the moving story and its leading actor, Sidney Poitier. This single film has developed into what will likely be a lifelong passion of mine for his work, and the year after I discovered it I introduced it to the classic film club that I created as a sophomore. Of all of the films that we watched during the club’s existence, this was considered the favorite by a unanimous vote, which speaks volumes about its powerful subject matter, artistic direction, and relevancy, even today. The film takes place right in the middle of the historic Civil Rights Movement, and immediately introduces the audience to Selina D’Arcey (Elizabeth Hartman), a blind teenager who dilligently strings beads for income and keeps house after her alcoholic grandfather Ole Pa (Wallace Ford, in his final film role) and her abusive mother Rose-Ann (Shelley Winters, in her typical role as an obnoxious villainess), a prostitute. Despite her hardworking demeanor, Selina is not very independent as she never received a formal education, and begs Ole Pa to walk her just a few blocks to the park. She promises to work twice as hard stringing beads if he does so, and he agrees despite Rose-Ann’s selfish objections.
While there, Selina meets the gentle Gordon Ralfe (Sidney Poitier), a black man who works nights and spends his days in the park. The two become fast friends and Selina tells him the story of how her mother Rose-Ann blinded her by accidentally throwing acid in her face when she was five years old during a domestic dispute with her father. Gordon begins to witness the level of abuse that Selina has been through and feels sympathy for her, helping her string her beads, bringing her pineapple juice, and by presenting her with a pair of dark sunglasses because she felt insecure about the scars around her eyes. He soon learns that she has never attended school and is shocked by that fact most of all, stunned that she had never even heard of Braille or schools designated for the blind. Later that evening he takes it upon himself to do some reading about the blind, and meanwhile Rose-Ann slaps Selina for going to the park and steals the sunglasses given to her by Gordon. Despite her opposition, Selina manages to go back to the park the next day with the help of Mr. Faber (John Qualen), the merchant who gives her beads to string. Once again she meets Gordon, and he helps her find her own way across the street and ends up teaching her a little bit more about the world in the process. The two begin to fall in love, but Selina starts being pulled in two directons. On one hand, Rose-Ann is making plans to shack up with fellow prostitute Sadie, ditch Ole Pa, and forcefully bring Selina into their grim business. On the other, Gordon promises Selina a brighter and more independent life by assisting her in enrolling in a blind school. Which path will she be able to choose? Will Selina begin to teach Gordon a few things about life as well? Is love truly blind, or will Selina never be able to look past the color of Gordon’s skin?
The complex role of Selina D’Arcey proved to be a difficult one for director and screenwriter Guy Green as well as the casting directors at MGM. Hayley Mills was considered for the role but hiring her proved to be too costly. Producers Green and Pandro S. Berman then offered the role to Patty Duke, who was advised to reject it as she had just starred in the 1962 hit The Miracle Worker (1962) as the famous blind woman Helen Keller, and was afraid of being typecast in such parts. Eventually Green set his sights on casting an unknown actress, leading to open casting calls, and as soon as Elizabeth Hartman walked in, he knew that she was perfect for the role. She had only appeared in middle and high school plays prior to her appearance in A Patch of Blue (1965), and the studio decided to take advantage of this fact by releasing “A Cinderella Named Elizabeth”, a short film documenting her casting process and the research that she conducted for her role, prior to the film’s release. Hartman ended up wearing opaque contact lenses as Selina, which added a realistic touch to the completed picture as they ended up actually depriving her of her sight. Her work and research paid off, as she became the youngest woman nominated for an Academy Award for Best Actress at the tender age of twenty-two, a record that she held proudly for eleven years until 1976, when Isabelle Adjani was nominated at twenty-one for her work in The Story of Adele H (1976). A Patch of Blue (1965) was nominated for five Academy Awards in all, yet only a single Oscar was awarded to Shelley Winters for Best Supporting Actress in the role of Rose-Ann. Winters, a staunch supporter of the Civil Rights Movement, was actually overwhelmed and speechless after winning the award as she felt uncomfortable portraying a racist and disliked her character as a result.
As for our star of the day Sidney Poitier, the picture proved to be the most financially successful of his entire career despite the fact that he did not receive an Academy Award nomination, with the film raking in $6.75 million with a budget of only $800,000. This proved to be most lucrative for Poitier as he forfeited a portion of his salary in exchange for 10% of the film’s profits. In addition, the film skyrocketed Poitier to a new level of stardom with excellent critical reception and box office draws even in the southern cities that were steadfastly against the Civil Rights Movement, like Houston, Atlanta and Charlotte. Scenes of Sidney Poitier and Elizabeth Hartman kissing were nevertheless removed when it was shown in theaters in those and other southern cities, where many states had laws against what they called “race-mixing”. Overall, A Patch of Blue (1965) still proved to be a step in the right direction, and casting agents, directors, and producers began lining up to cast him in films that would later be regarded as some of his best and most well-known, like To Sir, With Love (1966), In the Heat of the Night (1967), and Guess Who’s Coming to Dinner (1967). This picture in particular still remains the closest one to my heart of all of Mr. Poitier’s roles, especially due to the ingenious direction by Guy Green. His decision to shoot the film in black and white when he could have very easily produced it in color is a stellar artistic choice on its own, and the audience being visually limited, even if it isn’t on the same scale as Selina D’Arcey, adds subtle meaning to the finished product. All in all, I would certainly recommend it to anyone looking to watch a poignant and underrated classic on his nintieth birthday.
After a long time away from this blog, I’m finally back with my first post of the year! Today I’ll be talking about legendary actress Luise Rainer and how becoming the first back-to-back Oscar winner changed the course of her life and career. I’d like to start by thanking the three lovely hosts of this blogathon, Kellee of Outspoken & Freckled, Paula of Paula’s Cinema Club and Aurora of Once Upon a Screen for hosting, and I wish this wonderful blogathon all the success possible! And so, without further ado, on with the post!
If you have ever seen a film of Luise Rainer’s before, it probably won’t surprise you to hear that she got her first big break in Europe. In fact, she was discovered in Vienna by legendary theater director Max Reinhardt (who went on to direct A Midsummer Night’s Dream (1935)) and garnered widespread acclaim as part of his theatre company before even turning eighteen. At first Rainer had no interest in films, but in after appearing in several German films in the early 1930s, she was seen performing in a play by MGM talent scout Phil Berg. Immediately he offered Rainer a three-year contract with high hopes that she would move to Hollywood and make a useful backup for finicky Swedish MGM player Greta Garbo. Rainer accepted the offer, and got her second lucky break as soon as she arrived in sunny California, as Myrna Loy had just dropped out of her newest Powell and Loy vehicle halfway through filimg and MGM was in dire need of a star. At the tender age of twenty-five she made her American debut in the film, titled Escapade (1935).
Costar William Powell served as a mentor to her on the picture, teaching her how to act in front of the camera. Rainer remembered him always as “a dear man” and “a very fine person”, and after the film’s completion Powell reportedly told MGM studio head Louis B. Mayer, “You’ve got to star this girl or I’ll look like an idiot.” And star her he did, in what would be her first Oscar-winning performance and her second film with William Powell, The Great Ziegfeld (1936). It was a film that chronicled the life of entertainment mogul and founder of the Ziegfeld Follies, Florenz Ziegfeld, Jr., and also served as MGM’s attempt to ride on the coattails of other successful biographical pictures of the 1930s, like Mata Hari (1931), The Private Life of Henry VIII (1933), The Barretts of Wimpole Street (1934), and Cleopatra (1934). In it, Rainer portrayed Ziegfeld’s first wife, French actress and singer Anna Held. A lavish budget of just over $2 million was given to the picture, and in return it received raving critical and box office success, earning back its budget and almost a million more in total profits and nabbing seven Academy Award nominations, for Original Screenplay, Art and Dance Direction, Film Editing, Best Director, Best Picture, and Best Actress for Luise Rainer.
When Oscar night drew near, however, everyone believed that she would lose to one of her more experienced and respected competitors. That year, Carole Lombard received her first and only nomination for My Man Godfrey (1936), Norma Shearer recieved her fifth nomination for Romeo and Juliet (1936), and Irene Dunne received her second of five unsuccessful nominations for Theodora Goes Wild (1936). Even Luise Rainer herself remained at home, not expecting to win, but when Mayer learned that she had indeed won in what many consider to be a shocking upset, he hurriedly sent MGM publicity head Howard Strickling to her home to fetch her. After much commotion Rainer took home the golden man, and since that date many theories have been presented as to why. One states that MGM studio head Louis B. Mayer had more influence over the Academy than anyone else, and he believed that an Oscar for Rainer would give her some much needed publicity. Another believes that the Academy was blinded by the glitter and glamour of The Great Ziegfeld (1936) and wanted to award the film with as many accolades as possible. Most historians believe, however, that her heartfelt performance in what is now called the famous “telephone scene” earned her the Oscar, a scene in which the broken-hearted Held congratulates Ziegfeld over the telephone on his upcoming second marriage to Billie Burke in a prideful attempt to maintain her composure and her dignity.
Her performance in the film led her to recieve the coveted part of O-Lan in her next picture, The Good Earth (1937), an adaptation of the bestselling 1931 novel by Pearl S. Buck about the trials of Chinese farmer Wang Lung. O-Lan is a servant who becomes Wang Lung’s faithful and hardworking wife, and the two of them lead a life that brings both prosperity and destitution. The role required a stellar actress despite the character not having many lines, and Rainer nabbed the part after censors forbid the use of Asian actress Anna May Wong after hearing that white actor Paul Muni had already received the role of Wang Lung. Like many other films, the production of The Good Earth (1937) was riddled with complications as soon as Rainer was cast. Louis B. Mayer did not approve of such a realistic and plain picture for Luise Rainer, who he had just built up as a beautiful star. “He was horrified at Irving Thalberg’s insistence for me to play O-Lan, the poor uncomely little Chinese peasant,” she recalled in a later interview. “I myself, with the meager dialogue given to me, feared to be a hilarious bore.” Rainer also remembered hearing Mayer’s comments to Thalberg, producer of the film. “She has to be a dismal-looking slave and grow old; but Luise is a young girl; we just have made her glamorous — what are you doing?”
Nevertheless, Rainer considered the film and her part in it among her “greatest achievements”, stating that she was finally able to express realism, even refusing to wear the “rubber mask Chinese look” suggested by the makeup department, and she fondly remembered being allowed to act “genuine, honest, and down-to-earth”. Other serious problems arose when director George W. Hill, who had already spent several months on location in China filming esablishing and background scenes, committed suicide soon after returning to Hollywood. The filming was postponed until Sidney Franklin could take over as director. Months later, producer Irving Thalberg also died suddenly at the age of thirty-seven. Rainer commented years later, “His dying was a terrible shock to us. He was young and ever so able. Had it not been that he died, I think I may have stayed much longer in films.” The opening credits of The Good Earth (1937) include a dedication to Thalberg: “To the Memory of Irving Grant Thalberg — his last greatest achievement – we dedicate this picture.” His hard work and that of the rest of the cast and crew paid off, however, as the film received overwhelmingly positive reviews and was nominated for five Academy Awards, for Film Editing, Cinematography, Best Director, Best Picture, and Best Actress, giving Luise Rainer her second nomination in a row.
Again not much faith was put into Rainer’s ability to win the Oscar and her competition was very steep, as in 1937 Irene Dunne received her third nomination for The Awful Truth (1937), Greta Garbo received her second of three unsuccessful nominations for Camille (1937), Janet Gaynor received her second nomination for the original production of A Star is Born (1937), and Barbara Stanwyck received her first of four unsuccessful nominations for Stella Dallas (1937). Once more Luise Rainer surprised everyone by becoming the world’s first back-to-back winner of the Academy Award, male or female. The feat would not be duplicated again until 1968, when Katharine Hepburn won Best Actress for Guess Who’s Coming to Dinner (1967) and The Lion in Winter (1968). This time Rainer made sure to attend the ceremony, appearing in person and accepting her Oscar for the world to see. Critics overwhelmingly did not agree with the decision, favoring Greta Garbo’s performance in Camille (1937) and still believing that she deserved the Oscar, and unfortunately for Rainer, the award proved to be the beginning of the end for her career in films.
Rainer went on to fulfill her contract with MGM, making three more pictures in 1937 alone. Her next (and most consider her last) hit was The Great Waltz (1938), another musical biographical film in which Rainer played the part of Poldi Vogelhuber, wife of Johann Strauss. The film was nominated for three Oscars and won one for best cinematography, but Luise Rainer did not receive another nomination. Later she became one of the many actresses considered for the role of Scarlett O’Hara in Gone With the Wind (1939), and rallied unsuccessfully for the part of Belinda McDonald in Johnny Belinda (1948). The role eventually went to Jane Wyman and earned her her only Oscar for Best Actress. In 1938 Rainer left MGM, arriving at the office of studio head Louis B. Mayer and reportedly telling him, “Mr. Mayer, I must stop making films. My source has dried up. I work from the inside out, and there is nothing inside to give.”
Despite her grievances, she was not released from her contract and was still bound to make one more film for the studio, which she did in 1943 with the film Hostages (1943). Rainer later said about her departure: “I was very young. There were a lot of things I was unprepared for. I was too honest, I talked serious instead of with my eyelashes and Hollywood thought I was cuckoo. I worked in seven big pictures in three years. I have to be inspired to give a good performance. I complained to a studio executive that the source was dried up. The executive told me, ‘Why worry about the source? Let the director worry about that.’ I didn’t run away from anybody in Hollywood. I ran away from myself.” She later attributed her the end of her career to her back-to-back Academy Awards, saying that “For my second and third pictures I won Academy Awards. Nothing worse could have happened to me. When I got two Oscars, they thought ‘Oh, they can throw me into anything’. I was a machine, practically a tool in a big, big factory, and I could not do anything. And so I left. I just went away. I fled. Yes, I fled.” Despite other offers in the meantime, Luise Rainer did not return to films until she was eighty-six years old, with one small role in The Gambler (1997), after which she did not work again.
Here I am with another installment of my Five Top Five series for December! Today I’ll be ranking the best films of rugged tough guy Humphrey Bogart as my contribution to my first ever blogathon, the Humphrey Bogart Blogathon! You can find the blogathon’s announcement here, and you can find the rest of the entries here! Without further ado, on with the post!
5. In A Lonely Place (1950)
First up we have one of the two films that I saw for the first time at last year’s Humphrey Bogart Film Festival and thoroughly enjoyed. In this vastly underrated noir, screenwriter Dixon Steele (Humphrey Bogart), who is known for his drunkenness and belligerence, is given the arduous task of adapting the latest bestseller to the screen. Unwilling to read the book himself, he takes home a lovely hat check girl and fan of the novel named Mildred Atkinson (Martha Stewart) to summarize it for him in his home. When the girl is found murdered that very same night Steele becomes the police’s prime suspect, and when he is unable to cough up an alibi his alluring neighbor Laurel Gray (Gloria Grahame) interferes in his defense. Dixon and Laurel become unlikely friends and eventually unlikely lovers, but will their love be enough when he becomes violent and doubts of his innocence creep into her mind? Bogart plays against type as a completely unlikable character in a Hollywood film about Hollywood, which was the fourth film produced by Bogart’s own production company, Santana Productions. With stellar writing, acting on the parts of Bogie and Gloria Grahame, and directing on the part of Nicholas Ray (husband of our leading lady at the time and the man who would go on to helm Rebel Without A Cause (1955)), In A Lonely Place (1950) deserves an immense amount of credit and should go down in history as one of the more sublime and dark noirs of the genre.
4. The Maltese Falcon (1941)
I know what you’re thinking; this film is far too much of a classic to be ranked so low on my list, but I must admit that this film took a few watches to fully understand the plot and arc of the story. Once I did understand, I developed an appreciation for it, but not quite as strong as my appreciation was and is for many of Bogart’s less convoluted pictures. This iconic movie is all about Sam Spade (Bogart), a private eye and half of Spade and Archer, a detective agency with his partner Miles (Jerome Cowan). One not so ordinary afternoon, a captivating brunette who goes by Miss Wonderly (Mary Astor) enters Spade’s office and begs for his help in finding her missing sister by sending one of the detectives to track the man who she’s supposedly in love with. Archer takes the case, trailing the man supposedly named Floyd Thursby, and winds up getting murdered in the process. With hardly any leads and nothing turning out like it seems on the surface, Sam Spade entangles himself in a web of crime and deceit, all revolving around a priceless artifact: The Maltese Falcon. Bogart puts his incredible “tough guy with a heart of gold” persona on full display in this film, and even though Spade makes some antihero-like decisions throughout its entirety, you know that he will swallow his pride and do the right thing in the end. This trope that resides in many of Humphrey Bogart’s roles is what really attracts my attention to his films, and this one is no exception. If you have a desire to check out some iconic noirs and see the likes of Peter Lorre, Sydney Greenstreet, and many more talented character actors in their best roles, check out this film immediately.
3. The Caine Mutiny (1954)
Next we have my favorite of the films that I saw for the first time at the Humphrey Bogart Film Festival. Here we find newcomer Robert Francis in the lead as Ensign Willie Keith, a recent graduate who reports to the USS Caine, a beaten up minesweeper called “the rust bucket” by its untidy and unorganized crew. The commander, Lieutenant De Vriess (Tom Tully), is liked by everyone on the crew except for Keith, who believes that those on the ship could use some good discipline. Soon De Vriess is relieved by Phillip Francis Queeg (Humphrey Bogart), a far more uptight yet bizarre captain, who makes mistake after mistake and covers each one up to the best of his ability. Keith and two of his good friends onboard the ship, Lieutenants Steve Maryk and Tom Keefer (Van Johnson and Fred MacMurray), begin to doubt their captain’s sanity, and when Queeg makes a decision that Keith believes would put the Caine‘s entire crew in jeopardy, he takes it upon himself to call for a mutiny and relieve Queeg of his position as captain. Every single performance in this ensemble cast is noteworthy, but Humphrey Bogart truly outdoes himself in his role as the possibly demented captain of the Caine. The scene in which Queeg crumbles on the witness stand in an attempt to defend himself against the crew’s mutiny is especially awe-inspiring, and quite possibly the best acting of his career. If you want to see a superb war epic and acting at its finest, go see this rare color film of Humphrey Bogart’s on his birthday.
2. Dark Passage (1947)
Here we have another of Bogart’s dramas that doesn’t receive nearly enough acclaim. In it he plays the role of Vincent Parry, a convict on death row at San Quentin for the murder of his wife who makes a break for it at the start of the film. He doesn’t get very far at first, but luckily painter Irene Jansen (Lauren Bacall) comes to his rescue and smuggles him in her car to her home in San Francisco. There she explains that she felt sorry for Parry and had sat in for every day of his trial, comparing it to the trial and execution of her own father who she believed was innocent in the murder of her stepmother. Parry hides out in Jansen’s apartment and the two are instantly attracted to each other, but destiny comes banging on the door in the form of Madge Rapf (Agnes Moorehead), a shrill and vindictive woman who is an imposing friend of Irene’s and who testified against Vincent at the murder trial out of jealousy. Will Madge and fate interfere and throw Vincent back behind bars, or will he find a better life and escape the electric chair? I find this to be a thrilling masterpiece and the best of the four Bogie and Bacall films. The directing and cinematography Delmer Daves and Sidney Hickox are revolutionary as the entire first half of the film is ingeniously shot from the main character’s perspective. This trick gives us a glimpse into Parry’s life that no other method would, and gives us a gratuitous amount of shots of Lauren Bacall, which I could never complain about either. I would strongly recommend this film to any Bogie and Bacall fan.
1. Dead Reckoning (1947)
My top pick is likely among my list of the most underrated films of all time. In the film Bogie plays Rip Murdock, an ex-paratrooper who tells most of his story in flashback. He and his best friend and fellow paratrooper Johnny Drake (William Prince) are taken by private plane to Washington, D. C. and surprised with the fact that Drake is to be presented with the Congressional Medal of Honor for his bravery and good deeds in battle. Before he is to receive it, however, Drake leaves town without a word. Determined to find out what happened and what caused his best friend’s disappearance, Murdock heads to his hometown. While there Rip digs a little deeper, and finds out that what was originally a disappearance has turned into a murder, and that Johnny was possibly involved in a murder of his own before he joined the army. To complicate matters even further, Rip finds the love of Johnny’s life, intriguing lounge singer Coral Chandler (Lizabeth Scott), and begins to fall in love with her himself. The exceptional writing by Oliver Garrett and Steve Fisher (based on a story by Gerald Addams and Sidney Biddell) is what truly makes this picture special. Almost every line is quotable in its own right, and while some of the acting may seem cliche or forced (on all counts with the exception of Bogie’s performance), you know that the dialogue spoken in the film is poetic and genuine. With beautiful and mysterious lines like “Go ahead, put Christmas in your eyes and keep your voice low. Tell me about paradise and all the things I’m missing. I haven’t had a good laugh since before Johnny was murdered.”, this film is chock full of romance and intrigue, and I classify it as a must see.
I couldn’t be more excited to present all of the incoming entries for my first ever blogathon, celebrating the iconic Humphrey Bogart! Below you’ll find all of the entries so far, and please comment on this post or on the blogathon’s announcement with a link to your entry!
I, like almost everyone, have had some very happy holidays. It’s my favorite time of year, but ever since I began to blog about classic film, I haven’t made many traditions that involved my passion. This holiday season, I wanted to change that and find a way to incorporate my love for old Hollywood into my celebrations for years to come. So far I’ve been watching some timeless movies, as most fans do, and I signed up for Journeys In Classic Film’s Secret Santa, but it wasn’t until I saw Silentology’s heartfelt post asking for Christmas cards to be sent to one of the last living silent film stars that I knew what to do to make a difference. I know this announcement is cutting it very close to Christmas Day, but since I thought of this wonderful idea I wanted to attempt to start it this year rather than waiting until next year. I perfectly understand if not everyone is able to set aside their time and money for this event, and that’s why I intend to make it an annual one so I can bring it back next year for everyone to participate in. The idea is for everyone involved to sign up to send holiday cards to their favorite living classic film stars and give them some holiday cheer this season.
HERE is a list on Wikipedia of living silent film stars, and HERE is a lengthy list of living Golden Age film stars for inspiration. Below I will list some living stars (sorted by age) for inspiration as well! Of course you may sign up for a star who is not on any of these lists.
Olivia de Havilland
Diana Serra Cary
Eva Marie Saint
Mamie Van Doren
Mary Tyler Moore
Jill St. John
If you’re interested, here’s what you should do:
Leave a comment with your blog’s name, your blog’s link, and the names of the actors you intend to send cards to.
Once you’re approved, write your card, put it in an envelope, and send it to the star’s fan mail address. To find this address, go to fanmail.biz and type the name of the actor into the search bar. You may have to do some digging to find his or her current address! If you don’t feel comfortable with this or are having some trouble finding your desired star’s address, please ask me by commenting on this post and I will do my best to find the correct address for you and reply in a timely manner.
Make a blog post about the event! You may include pictures of your card, write down the note that you sent to the star, or if your card is personal, just make a post stating why you chose to send a card to that star. Be creative!
Finally, once you’re finished, repeat this process with all of the stars as you signed up for, if you signed up for more than one.
Please help me spread the word! I’m still not the most popular blog and I’ll need all the help I can get! Please take one of my lovely banners from below and put it somewhere on your blog, and make sure to tell your friends. I want as many participants as possible!
IF you still want to be a part of this event but cannot afford to send a card or cannot find a star to send a card to, you may still join and write a blog post about whom you would send a holiday card to and why. Of course you may write about anyone living or dead, and you may include what the card would say and what the card would look like. Those who enjoy this option may also do this in addition to sending real cards.
Because it’s the holiday season and I want to make sure everyone can sign up to send to their favorite stars, I am allowing up to THREE duplicates of each star and you may sign up to send to an UNLIMITED number of stars. If any star exceeds three duplicates, I may possibly allow more on a case by case basis. I also want to make sure that as many stars recieve cards as possible, so let’s please avoid everyone signing up for the same person. You may also choose a television star as long as they appeared on television before 1970, or the family of a deceased star if you can find the address for them.
I am allowing cards to be sent to approved fan mail addresses only! I would like to avoid anyone sending mail to personal residences, so if you ask me for a star’s address, I will only reply with what fan mail addresses I can find. If you do your own research and find a star’s personal address, you may send a card there on your own free will, but I will not be claiming responsibility for that.
You may make your own card or buy one from a store and include a handwritten note. You are not required to spend any money. If you don’t wish to do so, please refer to number six of the previous list. I would like these cards to be as personal as possible, but do what you can. If you don’t have time to write a note, you of course may simply sign and send a card, or if you intend to send cards to multiple stars, you may buy a pack of cards and sign each individually (this is my preferred method). Many of these stars also sign autographs or will reply to your card, so please do your research or ask me about this if you’re hoping to receive something in return.
In general, please be respectful of all of the stars as well as their respective religions. Do your research before sending any religiously inclined cards to make sure that you do not offend anyone. If you aren’t sure about a star’s religious preference, stick to non-denominational “holiday” cards. Refrain from sending any inappropriate or negative cards as well. This is the holiday season, please use common sense as the object of this event is to spread cheer!
I would like all of the cards to be sent by Christmas Day (December 25th), and I will be making a post in one week (December 17th) to round up all of the blog posts, though you may make your blog posts at any time. I will be adding entries to the post indefintely, so if you don’t send your card out on time, that’s okay! Also, please let me know if a star replies to your card! I would love to see that!
Musings of a Classic Film Addict — Dina Merrill, Diana Serra Cary, Mary Carlisle, Jane Fonda, Kim Novak, Gina Lollobrigida, Raquel Welch, Vera Miles, Kathryn Crosby, Don Murray, Joanne Woodward, Shelley Fabares
Sleepwalking in Hollywood — Kathryn Beaumont, Nehemiah Persoff, Russ Tamblyn, Olivia de Havilland, Mamie Van Doren, Tab Hunter, Julie Newmar, Robert Redford, Lana Wood, Mike Farrell, Claire Bloom
Today I’m paying tribute to the talented Agnes Moorehead! I’d like to start off by thanking In the Good Old Days of Classic Hollywood for hosting yet another fantastic blogathon. I wish it all the success possible, and I can’t wait to write about Carole Lombard in January! I’d also mention that I don’t intend to tackle and discuss the entirety of such an iconic film as Citizen Kane (1941). There’s just too much to say about such a picture, and to do it justice it would require many posts. Besides, our star of the day (despite giving a fine performance) hardly appeared in it, so I think discussing her early life and path to her breakout role in Citizen Kane (1941) would far better suit the theme we’re trying to highlight today. So without further ado, on with the post!
Agnes was born on December 6, 1900 (though she would later tell the white lie that she was born in 1906) to a Presbyterian minister named John Henderson Moorehead and a singer named Mildred McCauley. Her first performance was surprisingly early; at the age of three she sang “The Lord’s Prayer” at her father’s church, urged by her mother. Later on her family moved to St. Louis, where Agnes honed her acting talents by impersonating members of her father’s congregation with her sister, much to the encouragement and delight of both of their parents. At the age of ten Agnes joined the St. Louis Municipal Opera Company (“The Muny” for short) as a singer and dancer for four years, where she also developed a strong interest in religion that would remain with her for the rest of her life. There are conflicting reports as far as which high school she attended; she claimed that she graduated from Central High School in 1918, but she does not appear in its yearbook and lived nowhere near the school. Thus, I am led to believe that she graduated from Soldan High School that same year, as she does appear in their yearbook and within proximity. While both of her parents were supportive of Agnes’ desire to act, as I mentioned earlier, her father insisted that she complete her education first. Always one to respect his wishes, she obtained her Bachelor’s degree in Biology at Muskingum College in Ohio in 1923, while appearing in several stage productions on the side. The very same year she landed her first job as a singer for a St. Louis radio station, which instilled in her a deep appreciation for the medium which would last well into her later fame.
Afterwards her father recieved a pastorate in Reedsburg, Wisconsin, uprooting the Moorehead family and Agnes along with them. She went on to attend the University of Wisconsin, earning a Master’s degree in English and Public Speaking. Afterwards she taught English and Drama for five years and in between studied pantomime in Paris with the illustrious Marcel Marceau. In 1928, Agnes enrolled in the American Academy of Dramatic Arts, graduating with honors the following year and adding yet another accomplishment to her resume. From there Agnes’ career would begin to falter, however, as she struggled to find work with the exception of a few minor stage productions once she left school. She often found herself unemployed and hungry, and later recalled a period of four days during which she went without food, saying in hindsight that it “taught her the value of a dollar”. Soon Agnes found work in the medium that she loved straight out of college: radio. Stations began to clamor for her and her many voice talents, and she often worked on several programs each day. During that time she met actress Helen Hayes, who encouraged her to try for Hollywood, but her first attempts failed and she was rejected as not being the “right type”, leading Agnes to head back to radio, where she met the man who would give her her real shot at the big time: Orson Welles.
It was through her work on such radio programs as “The Shadow”and “March of Time” in 1937 that she met and befriended Welles, and he soon invited her to join him and fellow actor Joseph Cotten (who of course would later star in Citizen Kane (1941) as well) as charter members of his “Mercury Theatre on the Air” program. The first show performed by Welles and his company that would attract worldwide attention was the infamous “War of the Worlds” broadcast of 1938, which Miss Moorehead was deeply involved in and resulted in a lucrative $100,000 per picture deal for Welles with RKO Studios. The Mercury Theatre players, including Moorehead and Cotten, were on their way to Hollywood. Welles’ very first picture for RKO was none other than Citizen Kane (1941), and he made every effort to heavily include the Mercury Theatre cast, and of course this was not limited to Agnes Moorehead, who made her first onscreen appearance in the film as the mother of the titular character, Charles Forster Kane. Despite only appearing in the film for one brief scene, Welles made sure to give Moorehead ample credit during the end credits, as he did with every actor who starred in the film and assisted him in his rise to the top. The one scene and plug at the end was all that she needed, and as they say, the rest was history.
Here I am, back at it again with another blogathon! The year is winding down, but luckily fans of Old Hollywood never run out of fascinating stars and films to write about. Today I’m going to talk about Cary Grant, thanks to the host of this spectacular blogathon, Phyllis Loves Classic Movies. I’m so grateful to be able to write about such an interesting film in Grant’s career, so without further ado, on with the post!
I’ll be honest here; I signed up for this blogathon a little late in the game, and had to look up the filmography of ever so suave Cary Grant in order to find a film to discuss. My first and only rule that I kept in my mind as I scrolled through his career that spanned over three decades was that I didn’t want to write about one of his later films. In general, I just never cared for the films that he made in the fifties and sixties in comparison to some of his charming pictures of yesteryear, and as I’ve seen more of his later films than his earlier ones, I thought I might learn a thing or two in the process. Of course, as you might have guessed from the title, everything changed once I learned that That Touch of Mink (1962) was available. I had seen the film once before and absolutely adored it, and with such a scandalous plot (for the time, anyway), and a wonderful cast of characters, I knew that I was sold. So here I am, embarking on this journey of analyzing Cary Grant’s fourth-to-last film. If there ever was a romantic comedy from the sexual revolution of the sixties that showed just how dead the Hayes Code was by that time, this film was it. It’s primarily a Doris Day vehicle as she was the number one box office draw at the time, though she surrendered top billing to costar Grant due to his distinguished career. Day plays Cathy Timberlake, an unemployed and unmarried woman who gets sexually accosted by nearly every man she meets, which I’ll admit ruins my childhood a little considering how attached I’ve been (like anybody) to her wholesome, motherly onscreen image. Creepiest of all of her suitors is unemployment agent Everett Beasley, played by John Astin in another out of character role that separates itself entirely from his usual lovable, goofy parts.
On her way to a job interview, Cathy gets splashed by the limousine of wealthy businessman Phillip Shayne (played by Cary Grant, of course), who makes every effort to find and repay her for any damage done aside from actually meeting her himself, instead sending his financial adviser Roger, who is fed up with how wonderfully he’s been treated by Shayne and his company. It’s clear that he wants to resent his employer and everything he stands for, and wants to go back to teach at his alma mater, but everyone is so kind to him that he just can’t leave. He decides to rally with Cathy and her irritation at Shayne for not making amends with her in person, and urges her to storm directly to his office and complain. She attempts to do so, but her instant attraction to him causes her to forget all of her grievances, and Shayne’s mutual attraction to her leads him to wine and dine her, traveling all across the country to the best restaurants, baseball games, and even a United Nations conference for which he gives a compelling address. At the end of all of their adventures, Shayne propositions Cathy and offers to take her to Bermuda and then around the globe, and though it isn’t explicitly mentioned considering the times, it’s obvious that he expects sex and states that he has no intention of marrying her. This leaves it up to Cathy to make a life-changing decision, giving up her virtue for a shot at happiness or taking the advice of Roger and her best friend Connie (Audrey Meadows) and forgetting about Shayne for good.
Despite disliking the final result of the film, Cary Grant had a great deal to do with its production, including casting Audrey Meadows as Cathy’s friend and roommate after seeing the actress on the hit television show The Honeymooners (1955-1956). For a scene that took place in his character’s library, he brought books and trinkets from his own home and decorated the set with them. According to his costar Doris Day it made the set more pleasant and made Grant feel more relaxed, giving his performance “that peculiarly natural, suave quality that is the hallmark of his pictures”, though she also mentioned in her autobiography that “Of all the people I performed with, I got to know Cary Grant least of all. He is a completely private person, totally reserved, and there is no way into him. Our relationship on That Touch of Mink (1962) was amicable but devoid of give-and-take. Not that he wasn’t friendly and polite — he certainly was. But distant, very distant. But very professional — maybe the most professional, exacting actor I ever worked with. In the scenes we played, he concerned himself with every little detail: clothes, sets, production values, the works. Cary even got involved in helping to choose the kind of mink I was slated to wear in the film.” In addition, he even personally called a raincoat company after seeing a coat that he felt would suit Doris Day in the picture, but owner Norman Zeiler brushed him off, not believing that Grant was really on the phone. He told the actor that if he wanted to see his collection, he would have to come up himself, and that’s exactly what he did, undoubtedly shocking everyone in proximity in the process.
All in all I find this to be a charming film with quite a few laugh out loud moments. I don’t understand why Cary Grant disliked it so much aside from the fact that it was likely a very controversial picture for its time, despite being the fourth highest grossing film of the year. I think this movie really defines what it means to be a classic romantic comedy, as it seamlessly blends both genres and every performance given, even in the supporting roles, is delightful and memorable, especially those of Doris Day and the slimy character portrayed by John Astin. Unfortunately I found Cary Grant’s role to blend in with his usual rich and debonair sort of type, but the comedic aspects of the part went off without a hitch, and his entire rendition of the role seemed effortless as a result. I loved this film the first time that I watched it so long ago, I adored it even more this time, and I’m sure that I’ll watch this film again and again any time I’m looking for a good laugh and a film that reflects an interesting period in cinema’s history.