Harvard, Mystery Street (1950) and Me!

Did you know that the film Mystery Street (1950) may very well be the first movie filmed on location in Boston?

I recently wrote a review of this film for Film Noir of the Week. It's up now, so go check it out: Review of Mystery Street (1950).

I was simply delighted that real Massachusetts locations were used in the film and I had fun watching as the characters traveled in and out of Boston. One particular shot caught my eye. Ricardo Montalban's character drives up to the gates of Harvard University. He parks his car at a metered spot (and doesn't pay of course) and walks through the gates. I know this may seem mundane to the average person, but being from the area and having walked through those same gates countless of times, I was giddy with glee to know that my beloved Ricardo Montalban walked through those same gates almost 60 years ago.

My friend Kevin took this picture of me (with his iPhone no less) in front of the gates. We happened to be in Harvard Square and I had just finished writing the review.

I hope you'll take an opportunity to read my review over at Steve-O's wonderful Film Noir of the Week blog and watch Mystery Street (1950) for yourself. It's a wonderful jewel of a noir that shouldn't be missed.

Leave Her to Heaven (1946) @ the Brattle

On Sunday afternoon, Kevin, H., Gina, Lisa, Carlos and myself went to the Brattle Theatre to see Leave Her to Heaven (1946). I've always really loved this movie, most notably the visuals, Gene Tierney's character Ellen (spawn of Satan?!) and Tierney's performance. For one weekend only, the Brattle was showing a newly restored print of the film, so I had to take advantage of seeing this on the big screen, and what better way to do this than to share the experience with the people closest to you?

It's an interesting dynamic watching a favorite classic film with friends (and with strangers) in a theater. You never quite know what to expect. I always find myself getting really self-conscious when I bring friends to see a personal favorite of mine. I get very worried that they will not like the film, will question why I dragged them to the theatre to see it or even worse, will think less of me after the experience (what's wrong with her?!). This never really happens, but I'm always scared that it will. This fear changes the way I watch the film in the theatre.


In the case of Leave Her to Heaven, I became very conscious of how over-the-top, or to use a modern colloquialism "cheesy", the film can be. It's as though we are supposed to be in a trance with Gene Tierney's red pouty lips and the gorgeous scenery, that we wouldn't be overwhelmed by the melodrama. Also, I noticed how weak the dialogue seemed to be at different points in the movie. There is one particular scene in which Ellen (Gene Tierney) and Richard (Cornel Wilde) are having a conversation after Ellen's swim. The conversation is filled with short questions and directly answered short replies. From what I understand about screenwriting (from taking a screenwriting class in Grad school) answering a question with a direct response results in boring dialogue. Here is an example: Q: Are you going to the movie? A: Yes or Q: Are you going to the movie? A: If I don't get hit by a bus first... . In this particular scene, I can see how the direct question and answer sequence can work. Ellen's character is intense and her constant questioning can demonstrate her inquisitiveness. She has to know everything about Richard in order to posses him. Yet I feltthat it could have also been done differently with the same effect.

However, none of this lessened my opinion of the film. It just changed the way I saw it. This is still a superb film and I even have the inkling to watch it again at home by myself (too bad I don't own the DVD!). Very few can walk away from this film without some appreciation of it. All of my friends and Carlos seemed to enjoy the film and I'm so grateful for that. While we were outside of the theatre, we partook in some post-show bonding and I brought up the fact that Kate Gabrielle (of Silents and Talkies fame) did a superb painting of the famous boat/drowning scene that makes this film so iconic. Kate did a wonderful job capturing Gene's cold facial expression and the vibrancy of the scene.

Silents and Talkies Etsy Shop

Gene Tierney Signed Art Print

Gene Tierney Signed Mini Art Print

"You're too hungry..." ~ The Hustler (1961)

The Hustler (1961) is not about pool. It's about one man, "Fast" Eddie Felson, and pool just happens to be the medium through which his story is told.


When a new person comes into your life in a significant way things inevitably change. If you are lucky, that new person improves your life and your outlook on it. This is what I call the "new-person dynamic" and so many great stories in literature and film are based around this concept. Personally, I have found that this dynamic always proves to be enriching. Everyone brings their own perspective and one can't help but see things differently when exposed to that other perspective. Think about the important people in your life that were introduced to you at one point and how they changed your life afterwards. Now think about your favorite film and how the new-person dynamic was a catalyst for the story. Kind of eye-opening isn't it?

The most interesting part of The Hustler (1961) for me is the love story between Eddie (Paul Newman) and Sarah (Piper Laurie). And no it's not because I'm female and I'd rather see love-dovey scenes than watch people play pool and gamble. Rather, it's because when Sarah is introduced into the story Eddie's character begins to evolve. The film starts off at a very slow and quiet pace and when Sarah and Eddie meet the rest of the film gradually quickens until it reaches it's climax. Without Sarah, Eddie would just be another hustler playing for a big pay-off. With Sarah, we watch Eddie's interactions with her and we start to learn how tortured these two characters are.

My favorite line of dialogue in the movie is spoken by Sarah when Eddie takes Sarah to her apartment and kisses her passionately outside her door. She pulls away from him and says to him, "You're too hungry". They've only known each other for a few hours and already she has discovered Eddie's major weakness and has revealed to us the most important part of Eddie's character. Eddie is a constant state of consumption. He downs JTS Brown (Bourbon Whiskey), he incessantly gambles in pool and he's is constantly striving to be the best hustler. This constant hunger proves to be his downfall. He continues to consume even though it puts his relationship with Sarah at risk.

I'm really very happy I watched this film. I had been avoiding it for years and it took that new-person dynamic in my own life for me to give it a chance. This film happens to be my new beau Carlos' favorite film. Just sensing his enthusiasm about The Hustler and talking to him afterwards about the different themes in the story, enriched my experience with the film. I hope this means I get to watch lots of other movies that have been off my radar but have been on his.

Lookie what I found!

I was in Portland, Maine on Sunday with Carlos and we happened to come across a little store called Pandemonium.

And just look what they had in their window display. A Gone with the Wind (1939) lunchbox! It was so endearing I just had to snap a picture of it.

Now I'm not a big Gone with the Wind fan, but if I were I would have pulled out some cash for this little darling!

TCM will be airing a documentary called "1939: Hollywood's Greatest Year". It will be on again July 31st and it's available On Demand for Comcast customers. This year produced many superb films, GWTW and The Wizard of Oz just to name 2 biggies.

So what 1939 film would I like to see in lunchbox form? A Norma Shearer film of course!

Idiot's Delight (1939) - Image - Clark Gable being carried away by his blonde entourage after singing Puttin' on the Ritz. Elegant wigged Norma Shearer is in the background smiling.

What is your favorite 1939 film? What film would you like to see on a lunchbox? I'd love to hear your thoughts.

God Speed Karl Malden (1912-2009)

My heart hurts. One of my favorite actors Karl Malden passed on yesterday. To me, Karl Malden made every film he was in better just for being in it. He was a great character actor who excelled in comedy and drama, he could play good guys and bad, and he did all of this with such great intensity. He was a big lumbering teddy bear of a man and my heart always got warm fuzzies when I would watch him on screen. I'm so sad that I never really got to pay tribute to him on this blog while he was alive.

Malden is famous for being "that guy" in films like A Streetcar Named Desire (1952), Gypsy (1962) and On the Waterfront (1954). And that's only the tip of the iceberg. If you look at his filmography, you'll see he's been in numerous top-notch films.

There are three Malden films that I especially enjoy because of him specifically....

Baby Doll (1956) - Malden plays Archie, the frustrated cotton gin owner that just wants to consummate his marriage, but goes crazy because he can't. You can see the frustration popping out of his veins!

Parrish (1961) - Malden plays Judd Raike, the cold-hearted greedy Tobacco tycoon. Read my review of the film here.

Come Fly With Me (1963) - Malden plays Walter Lucas, a widower flying coach to Europe, who falls in love with a beautiful young stewardess. The stewardess, Bergie, falls in love with him before she finds out he's a millionaire. I don't blame her for falling in love with him, because I did a little too.

God Speed Karl Malden....

Guest Post Sarah ~ Romeo & Juliet (1936) & West Side Story (1961)

The last entry for June's Guest Blogger Month extravaganza comes from the lovely Sarah from Cinema Splendor. Sarah's posts are always fun to read and she just about dazzles and amuses everyone who visits her delightful blog. She's also the biggest Natalie Wood fan on the planet! Hope you enjoy this entry.
--------------

Disclaimer – it may help if you know the stories of Romeo & Juliet and West Side Story to read this post :)

So we all know that West Side Story is a modern retelling of the Shakespeare classic Romeo and Juliet. While they are similar, they also have their differences and my job is to show them to you! Raquelle made me...just kidding, I volunteered :)

Maria and Juliet both have fake deaths.
In R & J, Friar Laurence gives Juliet a potion to make her appear to be dead though she is really in a deeeeeep sleep. Deep enough to make her not have a pulse. Don't quite know how that one worked out, but okay...

Romeo doesn’t get the memo that Juliet isn’t really dead, so when he goes to see her ‘body’, he gets all upset and drinks poison to be with Juliet. She wakes up like, 3.5 seconds later and discovers Romeo all drawn out next to her. She has vice versa thinking and stabs herself with Romeo’s dagger to be with him.

WSS is totally different however because Anita gets upset after being harrassed by the jets and tells them that Chino shot Maria for loving Tony. Tony catches wind of this, runs out into the streets calling Chinos name begging him to shoot him too so he'd be with Maria. Tony and Maria find each other and while running towards each other all Bo Derek and Dudley Moore in 10 , guess what; Chino heard Tony yelling his name and shoots him. Insert a few dramatic moments and Maria walks away. The End. It isn’t shown or explained if Maria really did kill herself, so that’s one difference between the two stories.

Paris/Chino and the relationship between Tybalt/Bernardo and Nurse/Anita are completely different.

Paris in R & J has been arranged to marry Juliet. Chino in WSS has been arranged to marry Maria. Obviously both gals fall in love with other guys and these two are just left to their own devices.

Chino – kills Tony after he finds out about his relationship with Maria meaning he will probably end up in jail for quite a while.

Paris – After Juliet kills herself, he’s just sort of left in the dust. Poor Paris :(

Also, Tybalt is Juliet’s cousin. Nurse is kind of a confidant for Juliet. In the Shakespeare story, they’re not romantically involved, although Nurse shows some affection for Tybalt at the masked ball. Also, when Tybalt dies in the street fight, Nurse is visibly upset at his death. However, in West Side Story Anita and Bernardo are clearly lovers. Both Nurse’s and Anita’s reactions are similar in that they are both very upset at the deaths.

Romeo and Juliet are actually married while Tony and Maria are fake married.
R & J go to Friar Laurence (the same guy who give Juliet the “it’ll make you look dead” potion) to get married, like for real. Nobody knows about their holy matrimony except Nurse. Tony and Maria have a do-it-yourself wedding in the bridal shop (how appropriate) resulting in the scene that everybody hates and think its such a corn-fest, but…I kinda love it.

Do you see the “cross” above them? ;)

Mama will make him ask about your prospects.
Many!
If you go to church…
Oh, always.
Yes…Papa might like you.


Heh. Watch it here.

Guest Blogger Steve-O ~ On Classic Boxing Films

Since 2005, Steve-O has been bringing us weekly installments of in-depth reviews on Film Noirs over at his site Noir of the Week. It is one of the most comprehensive and interesting collection of articles, written by Steve-O and various other contributorss on this ever popular genre of films. Steve-O does us the pleaures of stopping by to enlighten us on classic boxing films. Enjoy!
--------------------

I'm a sucker for films about the sweet science. I admit it. As much as I try to convince co-workers that Rocky IV isn't really very good – I still find a great amount of pleasure watching it. However, I do find most modern boxing dramas – from Cinderella Man to Rocky - entertaining but a bit lacking.

Now if you want to talk about great boxing films – then you have to talk about the gritty classics from the 40s and 50s.

City for Conquest is a guilty pleasure. James Cagney plays the same guy he played in most WB tough-guy films. Cagney showcases some deft footwork in the ring – but his punches are thrown like one of the Dead End Kids in a brawl. The film is a very slick Warner Bros film filled with over-the-top drama. Strong performances make the film an absolute pleasure though. Ann Sheridan as the girlfriend, Arthur Kennedy playing the more sensitive brother, and Anthony Quinn as Sheridan's slimy dance partner all help tell the rags-to-riches tales. When Cagney goes blind in the ring and Sheridan's dancing career is also flushed the film has its most tear-jerking moment. City for Conquest is a New York story through and through - and it's one I find myself watching again and again.



More realistic is Body and Soul. John Garfield plays a young Jewish street kid who is lured into a career as a pugilist. He quickly moves up the ranks – and at the same time dumps his artist girlfriend and – surprisingly – his poor mother (played by Anne Revere). The film was an independent production by Garfield but the lack of a budget didn't stop clever film makers from making a slick sports movie. Unfortunately, a decent copy is a challenge to find. The US DVD release is muddy and cuts one of the best lines from the movie. When Charley is deciding to through a title fight – and make a fortune by betting against himself – a local grocer from the old neighbor hood says, "In Europe, the Nazis are killing our people, but here Charley is Champeen! No, it's not about the money." Charley is devastated by the comment. Hopefully someday a better DVD will be released of this one.



Kirk Douglas is at his evil best in Champion. In fact, I'm finding that Douglas is one of the best anti-heroes of the 40s and 50s. Barry Gifford, writing in his book Devil Thumbs a Ride & Other Unforgettable Films, calls Champion the most vicious boxing film until Raging Bull. Douglas as the cut-throat fighter makes Garfield in Body and Soul look like a boy scout in comparison. This was the big break out film for Douglas. Douglas – prior to Champion – learned how to smoke while making Strange Love of Martha Ivers because the director though he needed something to do with his hands. In Out of the Past and Ace in the Hole, he found amazing ways to light and share smokes. In Champion Douglas' hands were taped and gloved most of the time. He found what to do with them. Bury them into his opponent.

Robert Ryan - unlike the other leading men mentioned above – was actually a pretty decent boxer in his day. In The Set-Up he proves it. No film has better boxing fight scenes than this one. When I first saw this movie I loved it but I find – strangely- that I like it less and less with each viewing. I think I'm going to blame the DVD which seems too bright. The sets out on the streets look like sets. And the film feels too stagey at times. Ryan is fantastic in it and the fight scenes – it's worth repeating – are just perfect. Film noir fans love the cast of ugly faces including George Tobias, Wallace Ford and Percy Helton. Beauty does make an appearance though. Audry Totter – one of the queens of noir – plays Ryan's woman.

Finally, there's Bogart's last film The Harder They Fall. No, Bogie doesn't play a boxer. Luckily he keeps his shirt on and manages instead. The film both glorifies and condemns the sport. This is an appropriate send off to the grizzled Bogart. The film is heartbreaking when it shows broken down brain-damaged boxers of the past. Bogart's Eddie Willis is his best role since In a Lonely Place.

Recently at my blog, Noir of the Week, we covered both Body and Soul and The Set-Up. Film noir is notorious for using similar locations and professions. Boxing – with it's many appearances in dark cities - was the sport of film noir.

Guest Blogger Paulie ~ Once a Song and Dance Man, Always a Song and Dance Man

Paulie, creator of the blog Art, Movies, Wood and Whatnot, brings us the latest entry into this Guest Blogger series. It's with pure admiration that he writes about the career of the legendary actor James Cagney. You'd be hard pressed to find a classic film fan that doesn't at least appreciate Cagney, so I'm sure many of you will enjoy this post!
----------------
James Francis Cagney . . . it's hard to put into words what this megawatt-hyperkinetic little powder-keg of a guy and his work has meant to me throughout my 42 years. I can honestly say I don't recall a time in my life when I didnt watch and enjoy his films. Some of my earliest recollections of movies are as a 4-5 year-old kid sitting on the floor about 2 feet from the TV completely and utterly entranced and enthralled by Rocky Sullivan, Tom Powers or Cody Jarret, oblivious to any and all goings on around me! I vividly recall going to Yale University law school to see "A Midsummer Nights Dream", I couldnt have been more than 5 or 6 years old and all that Shakespeare talk went way over my head but I loved it anyway! These were the days before cable, video and TCM so when these films played on TV or were getting screened somewhere it was an EVENT! My family, especially one of my uncles, were big time movie buffs and so the appreciation of the old Hollywood films was always encouraged and has only gown throughout the years for me. But above all others, Cagney remains my all-time favorite.

Born on July 17th, 1899, Cagney was a bit of an oddity in Hollywood . . . neither tall nor overly "Handsome" by Hollywood leading man terms, but what he may have lacked in stature or looks he made up for 100 times over by sheer talent and magnetic personality. William Wellman saw it when they began shooting "Public Enemy" in 1931 which is why Cagney's and Eddie Woods' roles were switched and he played Tom Powers, smashed a grapefruit in Mae Clark's face and became an overnight sensation! After which Warner Bros. put him in a string of quick, tough little pictures like "Smart Money", "Blonde Crazy", "Taxi", and "The Picture Snatcher". Some of those pre-code dramas are pretty intense and daring even by today's standards!

He was teamed often with WB workhorse actress Joan Blondell and pals Pat O'Brien and Frank McHugh (the first Cagney/O'Brien teaming "Here Comes the Navy" was even nominated for best picture!). Capitalizing on the success of "42nd Street" and "Goldiggers of 1933" WB put Cagney in "Footlight Parade" and he finally got to show the world that he was more than just a tough-guy! His stylized singing and nimble dancing in the finale is quite enjoyable! The film itself is a non-stop joyride and remains my fave Busby Berkley musical.Cagney and Jack Warner butted heads constantly over scripts and salary and Jimmy walked several times during the 1930's. In 1938, after an unsuccessful attempt to work on his own productions ("The Great Guy" and "Something to Sing About"), he was back at WB playing what I consider THE definitive Cagney tough-guy role, Rocky Sullivan, in "Angles with Dirty Faces". I've lost count of the number of times I've seen this film and yet each time it seems fresh and vibrant, thanks not only to Cagney's oscar nominated performance (his first) but also to the top-notch supporting cast including Pat O'Brien, Ann Sheridan, Humphrey Bogart and the Dead End Kids, and of course director Michael Curtiz and his production team.

The early 40's saw some very interesting work from Cagney in films like the underappreciated "City for Conquest", the hilarious, break-neck-paced "Torrid Zone" (Ann Sheridan nearly steals that one!) the funny and touching "Strawberry Blonde" and the technicolor "Captains of the Clouds". Then in 1942 Jimmy got his dream role of a lifetime, the chance to play George M.Cohan in "Yankee Doodle Dandy". To say he rose to the task of this part is a severe understatement! Cagney is so great in this role and the film so well made that whatever corny patriotics and historical inaccuracies it may possess become irrelevent while viewing. Cagney walked off with a well-deserved Oscar for best actor that year!

After the triumph of "Yankee Doodle Dandy" he sort of lost his way, trying once again to go independent but in 1949 he returned to WB and made "White Heat" playing mother-fixated psychopath Cody Jarret and uttering one of the greatest tag lines in film history: "Made it Ma, Top of the World!" Co-star Virginia Mayo loves talking about working with Cagney and felt he shouldve gotten an oscar nomination for his work in that film. She also pointed out that acting scared when Jimmy had his hands on your throat was really EASY!! Cagney dismissed it as yet another routine gangster film.


The 1950's was uneven but there was some interesting work from Cagney in films like "Come Fill the Cup", the Nicholas Ray western "Run for Cover", and the Lon Chaney bio-pic "Man of a Thousand Faces". I dont think anyone would disagree that his best work in the 50's was in "Mr Roberts" and "Love Me, or Leave Me" which got Cagney his last oscar Nomination for best actor. He made a cameo appearance as George M Cohan in "The Seven little Foys" with Bob Hope and had shooting pains in his legs during his brief dancing routine.


In 1961 Cagney starred in Billy Wilder's hilarious frenetically paced comedy "One, Two, Three", spitting out dialogue at the speed of light with the energy of ten men! But he had trouble nailing the long stretches of fast dialogue and so decided that it was time to hang it up and retire.

In 1974 the AFI gave Jimmy their Lifetime Acheivement award, the first actor to recieve such an honor. His bouyant and hilarious acceptance speech ended with "For the record i never said mmmmmmmmm, you Dirty rat!!...what i said was (aping Cary Grant) Judy, Judy, Judy!"He came back to the big screen one last time in 1981 for Milos Forman's "Ragtime" which also paired him once again with lifelong friend Pat O'Brien. The 1984 TV movie "Terrible Joe Moran" was his last acting gig and James Francis Cagney passed away on March 30th, 1986, which ironically is the birthday of that uncle I mentioned who so encouraged me as a little kid to watch the old Hollywood films.

Watching a Cagney film for me is like recapturing a piece of my childhood because every time he's onscreen I become that little 4-5 year-old kid sitting on the floor about 2 feet from the TV completely and utterly entranced and enthralled by Rocky Sullivan, Tom Powers or Cody Jarret, oblivious to any and all goings on around me. Thank you James!

Guest Blogger Kate Gabrielle ~ Frederic March

Kate Gabrielle is a woman of many blogs. My favorite one of hers is Silents and Talkies which is a fusion of her love of classic film and her artistic talent. Today's guest post comes from the uber-talented Kate as she shows us why we should appreciate Frederic March.

----------------

If I told you that there was an actor who was Spencer Tracy, Clark Gable and Robert Taylor all rolled into one, with a pinch of Paul Muni thrown in for good measure you'd probably think I'm nuts. But such an actor did exist, and his name was Fredric March.

Like Tracy and Muni, March was a real actor with a capital A. In films like A Star is Born, Inherit the Wind and The Best Years of Our Lives, March gives the kinds of performances that make you forget that he is an actor playing a role-- you're only seeing the character. And March went a step further than Tracy, often choosing roles that didn't mesh with his offscreen views if it got the point across. For instance, in real life March actually agreed with the Clarence Darrow side of the Inherit the Wind argument. But he played the role of Matthew Brady with conviction and a fire in his belly so that you believed that he believed the lines he was saying.

Like Gable and Taylor, March could also play a romantic lead. I mean, it was totally believable that Greta Garbo would leave her husband and son to spend her life in sin with Fredric March in Anna Karenina. In Design for Living, you can completely understand why Miriam Hopkins can't decide between Gary Cooper and Fredric March.

Speaking of Design for Living, this is the film that officially got me hooked on Fredric March. I never, in all my movie watching years, would have thought this particular word would describe him, but... he is so .... adorable. If you wouldn't mind the slight inconvenience of fast-forwarding a little through a YouTube video, you will get to see my favorite March moment out of all his films.

A little background first. In Design for Living, March plays an unpublished playwright who is being artistically challenged by Miriam Hopkins, his and friend Gary Cooper's shared paramour. In my favorite scene, he has finally finished Act I of his play, "Goodnight Bassington: a comedy in about three acts with a tragic ending." March reads the ending aloud to Gary Cooper. I'll be brutally honest-- I was giggling uncontrollably when I watched this scene for the first time.

Just fast forward to 1:30 (or watch the 1:30, that's funny too but mainly Gary Cooper) and hopefully you will see what amuses me so much.

Adorable.

I think it's a shame that Fredric March isn't remembered today with the same iconic status that Spencer Tracy has acquired. I believe that he could match, if not top, Tracy's acting ability when faced with any role. I don't even have to hypothesize about this because they actually did play the same role. In 1931, Fredric March played the infamous Dr. Jekyll and Mr. Hyde a whole ten years before Spencer Tracy re-created the role in 1941. While both actors bring something different to the role, I've always liked the March version ten times more. He really blends into his character, merges with the role in a way that Tracy could never quite manage... you always still see that good natured, honest Spencer Tracy peeking through whichever character he played.

Not to knock Spencer Tracy again, but really... which would you prefer? Spencer Tracy? OR...Spencer Tracy, Clark Gable and Robert Taylor all rolled into one with a pinch of Paul Muni thrown in for good measure?

Guest Blogger Donna ~ June Mathis and Rudolph Valentino

Today's guest post comes from the talented Donna, who runs the blog Strictly Vintage Hollywood and is also curator of Falcon Lair, a website dedicated the silent screen legend Rudolph Valentino. The site is full of interesting information and media for Rudy enthusiasts and for the Rudy-curious like myself. It's with excitement that I present Donna's entry into the Guest Blogger series!
----------------


The world was dancing.
Paris had succumbed to
the mad rhythm of the
Argentine tango.

– The Four Horsemen of the Apocalypse (1921)

The Argentine Tango came to American shores as early as 1911 and was considered quite shocking for the day. Vernon and Irene Castle did lend some respectability to the tango in their ballroom dance exhibitions. True Tango madness among the youth of America did not reach a zenith until 1920-1921 with the release of the film The Four Horsemen of the Apocalypse. The Four Horsemen of the Apocalypse had something that Vernon and Irene Castle did not, the pure, raw sensuality that was Rudolph Valentino. For this we must thank a woman who is relatively unknown today, June Mathis.

Hollywood history and legend has widely credited June Mathis with discovering Rudolph Valentino. Valentino landed the plum role of Julio in The Four Horsemen of the Apocalypse because Mathis recommended him after she saw him in Clara Kimball Young’s film The Eyes of Youth. Rudolph Valentino’s star began its irrevocable ascent because of her foresight, her vision. It was the guiding hand of June Mathis and the sensitive direction of Rex Ingram that helped Valentino give a performance that stands firm to this day. Not only was it through her vision that Rudolph Valentino gained stardom, they developed a fond and lasting friendship until his untimely death. Their friendship was no romance, she was a matronly and wise figure that Valentino looked to for guidance on more than one occasion.

Vicente Blasco Ibañez's popular war novel, The Four Horsemen of the Apocalypse (1918), was considered by studios to be unsuitable for the screen. Mathis took it upon herself to prove otherwise. It was through her perseverance that in 1919, Richard Rowland, then head of Metro, purchased the rights to the novel for the then- huge sum of twenty thousand dollars. June took on the difficult task of writing the adaptation of the novel, a sweeping story of a family, separated and engulfed by the tragedy of World War I. Mathis also exercised her considerable sway in obtaining director Rex Ingram and pushing for--and getting--the relatively unknown Rudolph Valentino for the lead role of Julio.

Contrary to what the naysayers in the industry and within Metro had predicted, the film was a tremendous hit. Stock in Ingram, Valentino and Mathis went up 150%. The enormous success of the film meant that June Mathis became a voice to be reckoned with in Hollywood, a real player in every sense of the word. Both she and Valentino rose to great personal heights in careers that continued to cross paths until their untimely deaths.
----

Tantalized? Are your classic film taste buds tingling? Get your satisfaction by consuming the full meal at Donna's blog. To learn more about Mathis and Valentino, click here. Bon apetit!