George Bailey: There she blows. You know what the three most exciting sounds in the world are?
Uncle Billy: Uh huh. Breakfast is served; lunch is served; dinner...
Food plays a small but important role in the holiday classic It's a Wonderful Life (1946). Now fans of Frank Capra's uplifting drama can celebrate with a cookbook inspired by scenes and characters from the movie.
Published by Insight Editions, It's a Wonderful Life: The Official Bailey Family Cookbook is a retro-style collection of recipes and craft ideas sure to win over any classic movie fans this holiday season. The book is divided into seven sections: Appetizers, Sides, Entrees, Desserts, Cocktails and Drinks, Christmas Crafts and Vintage Christmas Dinner. Each recipe comes with a little introduction tying it to the film. Some of these connections are more obvious than others but are all in the spirit of the movie. Some with direct connections include Annie's Mixed Berry Pie (served by Annie to Harry Bailey for the high school graduation party), Phonograph Fowl (the honeymoon scene has Mary turning chickens over a fire with the help of a phonograph), Coconut Fudge Icebox Cake (inspired by when a young Mary orders chocolate ice cream and young George tries to convince her to add coconuts), Zuzu's Gingersnaps (a reference to when George calls Zuzu his "little gingersnap") and more. There are also a few Italian recipes in the bunch as a tribute to the beloved character Mr. Martini (William Edmunds). I'm quite impressed with how the recipes stay true to the movie because I feel it would have been very easy to stray away from that concept.
I loved the retro-style photography. This truly does look like a cookbook born out of the mid 20th century.
There were a few recipes I really couldn't make because of the level of detail and the extra ingredients I would need. However, the majority of the recipes were very approachable for the average home cook, like myself. The highlight of the book is really the deserts and the cocktails. For those who abstain from alcohol, there are two non-alcoholic drink recipes and one that can be modified.
George Bailey: I'll give you the moon, Mary.
Mary: I'll take it. Then what?
George Bailey: Well, then you can swallow it, and it'll all dissolve, see... and the moonbeams would shoot out of your fingers and your toes and the ends of your hair... am I talking too much?
I had a go at making a three course meal from the book. Here is the menu:
Wedge Salad
Oven-Braised Corned Beef with Mustard Sauce
Meltaway Moon Cookies
Zuzu's Petals
Check out my latest video to learn more about my thoughts on the book and how the meal came out!
Premiering this week on Turner Classic Movies is the excellent documentary Dean Martin: King of Cool. Directed by Tom Donahue and produced by Ilan Arbodela, this film chronicles the life and career of Dean Martin, from his early days singing in the nightclub circuit, becoming one half of the outrageously popular comedy duo with Jerry Lewis, to his film career, his time with the Rat Pack and his personal struggles. We learn about how Dean Martin went from being part of a close knit Italian community in Steubenville, Ohio, to making waves in Hollywood and Las Vegas. Martin was the epitome of cool and part of this was his sense of mystery. He kept everyone, including his family members, at arms length. He went by the notion of "keep yourself to yourself" and lived his life as a menefrigista (he who doesn't give a f***). Martin was also just an extraordinary talent. He mastered singing, drama, comedy and dance, was the consummate host and improvised with the best of them. There were no mistakes. He kept rolling with the punches and everyone loved his mesmerizing personality.
“What an incredible, joyous labor of love it has been to tell the story of one of the 20th Century’s greatest entertainers... The more I learned, the greater and deeper my appreciation and affection for this man became.” — Tom Donahue
What's truly extraordinary about this documentary is the sheer number of people who were interviewed. Half the fun is seeing so many familiar faces, including Martin's peers, friends, family and even classic film authors (whose books I've reviewed on this blog!).
Notable talking heads include:
Deana Martin
Norman Lear
Bob Newhart
Frankie Avalon
Regis Philbin
George Schlatter Dick Cavett
Barbara Rush Florence Henderson
Peter Bogdanovich Angie Dickinson Lainie Kazan Carol Burnett Barry Levinson Todd Fisher Jon Hamm James Kaplan Jeanine Basinger Henry Jaglom and many many more
Hearing from them alongside family members and those who inhabited Dean Martin's world really add to this documentary. It also includes audio recordings, never-before-scene archival footage and film and television clips from Martin's numerous appearances. There are a couple controversial figures included in the interviews as well as a few whom have since passed away. The film loses a bit of steam in the second half and gets quite sad when we get to the most difficult years of Martin's life. But overall it was incredibly enjoyable. Definitely a doc I'll be watching again and again.
Dean Martin: King of Cool airs Friday November 19th with an encore screening Friday November 26th. Check out the dedicated Dean Martin line-up programmed for each evening:
Friday, November 19
8 PM ET — Dean Martin: King of Cool (2021) 9:30 PM ET — The Caddy (1953) – A master golfer suffering from performance anxiety caddies for a man he's taught everything. 11:15 PM ET — Rio Bravo (1959)
Friday, November 26
8 PM ET — Ocean’s 11 (1960) 10:15 PM ET — Robin and the Seven Hoods (1964) 12:30 AM ET —Dean Martin: King of Cool (2021)
I've been busy over on my YouTube channel creating some fun classic film themed videos for you all! Two recent ones include a classic film book haul with lots of great novels and two non-fiction selections as well as a review of Spanish filmmaker Luis Buñuel's memoir My Last Sigh. I hope you'll check them out. Please make sure you subscribe as I'm posting videos every Saturday!
Check out my latest YouTube video where I review two Kino Lorber Studio Classics Blu-rays starring Sidney Poitier: Lilies of the Field (1963) and The Organization (1971). I came to really appreciate Lilies of the Field with another viewing on this excellent blu-ray edition. Poitier won an Academy Award for Best Actor in a Leading Role for his performance in this touching film about exiled German nuns and an ex-GI who helps them build a chapel. The Organization (1971) is the third in the Mister Tibbs films starting with In the Heat of the Night (1967) and They Call Me Mr. Tibbs! (1970). Convoluted plot follows Virgil Tibbs (Sidney Poitier) as he uncovers a secret organization of dangerous businessmen who transport and sell hard drugs. Great cast, great setting, but a so-so film.
I'm hoping to get videos up weekly. Would love to hear your thoughts on types of videos you'd like to see!
Check out my latest YouTube video where I review two Kino Lorber Studio Classics Blu-rays: Arise, My Love (1940) and No Time for Love (1943). Both are Paramount films directed Mitchell Leisen and starring Claudette Colbert. Arise, My Love (1940) is a light romantic drama set in WWII starring Ray Milland. No Time for Love (1943) is a hilarious screwball comedy starring Fred MacMurray and also featuring Ilka Chase and June Havoc.
"As a writer you strive for a sense of truth." — Horton Foote
Playwright Horton Foote (1916-2009) had been honored with many awards and nominations in his lifetime including Emmy awards, Tony nominations, the National Medal of Arts and a Pulitzer Prize for Drama. He won the Academy Award for Best Adapted Screenplay for To Kill a Mockingbird (1962) and the Academy Award for Best Original Screenplay for Tender Mercies (1983). But chances are, despite his widespread recognition, you may not have heard his name.
Directed by Anne Rapp, Horton Foote: The Road to Home shines a spotlight on a talented and sensitive writer who was often misunderstood and underappreciated by Hollywood. Foote grew up in Wharton, Texas, a small town that would be the inspiration for his many plays for theater, television and film. His original stories were inspired by his local community. He changed real names to fictitious ones and Wharton transformed itself into Harrison, Texas, to protect the locals, and frankly himself from scrutiny. He was particularly attracted to sensitive characters who faced great challenges but still continued on. His stories weren't grandiose nor were they commercial. But they were powerful. And unlike many of his peers, Foote wrote great parts for women. Vulnerable but strong, these women were central to the stories and not just moving pieces that only served the plot.
In the 1950s and 1960s, Foote wrote many teleplays for shows like American Playhouse, The Dupont Show of the Mount, Playhouse 90 and more. He preferred to write original pieces or adapt his own work but would sometimes adapt other writers work to screen. Foote almost turned down the opportunity to adapt Harper Lee's To Kill a Mockingbird to screen but was convinced by his wife and business partner to give it a go. The result was a resounding success with Foote winning, much to his surprise, his first Academy Award. For Foote, adapting another writer's work was something he did sparingly. He really had to like the material and sympathize with the writer. He called it a painful process because it required him to be both involved in the material and to also be objective. Hollywood saw potential in Foote but didn't know how to work with him. Foote took criticism well however he was firm in his convictions. His work had to be authentic and true to his vision. A commercial writer he was not. He wrote many movie screenplays but only a handful made it to the screen with To Kill a Mockingbird and Tender Mercies being his best known work.
"A gentle, sweet man who had a sharp eye and a sharp mind." — Edward Albee
Rapps' documentary takes the viewer on a journey into the world of Horton Foote. There are interviews with Foote's daughters as well as Edward Albee, Robert Duvall, Matthew Broderick, directors, actors, filmmakers and others who worked with Foote during his lifetime. Although Foote died in 2009, the documentary has a lot of footage of Foote talking about his life and career, his love of Wharton and his never ending desire to tell stories. Throughout the film are theatrical scenes, mostly acted out soliloquies from Foote's theatrical plays.
Horton Foote: The Road to Home is a loving and tender tribute to a great dramatist.
Horton Foote: The Road to Home premiered at the 2021 Woodstock Film Festival. Visit the film's official website for more information.
The 2021 summer reading challenge is officially over. Congrats to everyone who participated! You all did great work. It was a joy to read/listen/watch all of your reviews.
Here is the list of participants (a whopping 14 finalists!) who finished by the challenge by reading and reviewing 6 classic film books:
Andy W.
Angela P.
Breanna M.
Chuck P.
John M.
Jess I.
Kara L.
Karen B.
Molly S.
Nathan J.
Robert B.
Sarah A.
Shawn H.
Woodson H.
These participants were automatically entered into a giveaway to win a single disc Kino Lorber DVD or Blu-Ray of their choice (under $25 USD). Using Random.org I chose three of the finalists and those winners are:
John M.
Molly S.
Robert B.
Here is the final round-up up reviews. Make sure you check out the first and second round-up for more reading delights!
"Although this is an academic book, I do think that it's an accessible one that may appeal to a general reader who is interested in the subject matter."
"If there's one thing I learned about Lauren Bacall that will stay with me after reading her autobiographies it's this: she possessed a steel spine and the confidence to be who she was every moment of her life."
"When Elizabeth Spencer’s 1960 novella “Light in the Piazza” was adapted for film, the movie is nearly identical to the original printed word. This doesn’t often happen."
"a deep, thorough, dive into the making, production, and influence of the film that bridges genres and created an iconic role for one of the great film actresses in history."
"This is a fine book to give as a gift; to put out in the den next to a crackling fire as the snow is falling outdoors, or like for me, to read in early September with 80 degree temperatures and a cold iced tea."
"While we don’t know whether the emotions described in the book are really the way Grace Kelly felt, I think the author taps into Grace’s work and the way she is perceived today."
"One of my favorite things about the book is that Borgnine devotes roughly half of the book to covering many of his films – from the popular to the obscure – sharing his recollections from each."
"A couple of bright spots in the midst of the gloom – I discovered two new-to-me movies by reading the book: Peggy Shannon’s Deluge (1933) and Sidney Fox’s Bad Sister (1931)."
"It opens with her detailed description of taking LSD at the suggestion of Cary Grant. If this doesn’t give you a clue of what kind of wild ride this book would be, I don’t know what will."
"If you’re a fan of Jarman, The Yearling, the San Francisco festival, or just enjoy behind-the-scenes tales of old Hollywood, you’ll enjoy this memoir."
"You can tell that the authors actually love the movies that they pair the recipes with. There is just so much careful attention to detail with the recipes and the films that inspired them."
"I found all the essays and interviews entertaining and informative especially the closing interview with Kevin McCarthy which was surprisingly poignant"
"James Curtis has done a wonderful job with this encompassing volume in illuminating the filmmaking talents and contributions of William Cameron Menzies..."
"As a biography, this book was thoroughly researched, relatively chronological with thematic chapters and very thorough. The writing is engaging but is inevitably weighed down by its subject matter."
"Stenn’s biography of Clara captures her talent as an actress and her alluring star persona while examining Bow’s tumultuous private life that differed wildly from her glamorous screen image."
"Riders of the Purple Sage is a perfect showcase of Zane Grey’s engrossing Western melodramas and the picture of the American West that heavily influenced early Western films. "
"Anyone who loves classic film and is familiar with Utah would also enjoy learning about how Utah became the favorite location of numerous filmmakers."
"Koverman was a magnetic, centrifugal force; a powerful dark energy that charged the MGM star machine."
Ida Koverman was MGM executive Louis B. Mayer's right-hand woman during the studio's heyday. Serving as his executive assistant and trusted adviser, the movie mogul came to lean on Koverman for her political connections, her ability to keep secrets, her eye for new talent and her business savvy that kept MGM running like a well-oiled machine.
Koverman was no stranger to scandal having endured one of her own. An active member of the New York City social scene, she was thrust further into the public eye with her involvement in an embezzlement scandal pertaining to one of the big railroad companies of the early 1900s. Koverman married for convenience to Oscar Koverman, taking on his surname and essentially giving herself a new identity. Once her transformation was complete, she started a new life in California. She was deeply ensconced in that state's Republican party and became an ally to many conservative bigwigs. Koverman was a force to be reckoned with and helped Herbert Hoover with his two presidential campaigns. It's during this time that she met Mayer. She was the middle man between MGM and the Republican party, something Mayer valued greatly.
When she was eventually hired as Mayer's executive assistant she went right to work helping her new boss with some fairly delicate matters including promoting new stars, minimizing scandals, dealing with the aftermath of celebrity deaths and keeping MGM the prestige studio it was known to be. She became a friend and confidante for some of the biggest stars including Esther Williams, Jean Harlow, Clark Gable, George Murphy, Irene Dunne, and Jeannette MacDonald. She also discovered future stars like Jean Parker, Robert Taylor, Judy Garland, Janis Page, Hedda Hopper, etc. Koverman threw parties, groomed talent for stardom, lobbied for legislation that suited the studio's best interest, assuaged male egos, planted media stories, championed musicals, facilitated connections, and much more.
She Damned Near Ran the Studio: The Extraordinary Lives of Ida R. Koverman is a bit of a misleading title. We only get to Koverman's career at MGM about 120 pages in. Prior to that the book focuses primarily on her scandal and her political career. The subtitle is a bit more spot on since Koverman did indeed have several stages in her career and would transform herself with each.
If you find Louis B. Mayer to be an unlikable character from Hollywood history, you may have the same feelings for Ida Koverman. She did some despicable things that left a bad taste in my mouth. While I recognize that some of her actions were not uncommon for the time that doesn't make them any less awful.
Koverman's life story as an independent and career minded woman in a conservative space is quite interesting. She was dedicated to her work and was truly unflappable. She wielded a lot of power which the author effectively demonstrates throughout the book. But in the end, Koverman was an enabler of studio system toxicity.
As a biography, this book was thoroughly researched, relatively chronological with thematic chapters and very thorough. The writing is engaging but is inevitably weighed down by its subject matter. The second half of the book I found to be much more interested than the first half. The author offers lots of great observations about the studio system and Mayer and Koverman's functions within it.
Filmmaking couple Chris (Vicky Krieps) and Tony (Tim Roth) head to Fårö Island, Sweden to take up residency while Chris works on her latest screenplay. Fårö (i.e. Bergman Island) is where Swedish director Ingmar Bergman lived and worked. The house the couple are staying at was used in the making of Scenes from a Marriage (1973). They talk to locals about Bergman, watch Cries and Whispers (1972) on 35 mm and explore the island to find different spots important to Bergman and his work. The hope is that being in this space will inspire Chris to write her screenplay. The movie shifts then to a movie within a movie where Chris is dictating her script to Tony. In that story, Amy (Mia Wasikowska) and her former lover Joseph (Anders Danielsen Lie) reunite on Fårö Island to attend a mutual friends wedding where they rekindle their secret affair.
Directed by Mia Hansen-Løve, Bergman Island is steeped in appreciation for Ingmar Bergman. It is also a tad pretentious. While the film-within-a-film format works quite well, the stories get muddled. There is also a plot point in the screenplay that is never revealed leaving the audience hanging. And it's unclear what truly motivates these characters. Chris and Tony are both supposed to be Bergman fans but don't really demonstrate much knowledge about the filmmaker. However, that actually works in their favor because their curiosity helps deliver a lot of information to the viewer about Fårö and Bergman. Krieps and Roth are terrific in the story and the film boasts plenty of shots of Fårö Island including a peek inside Bergman's home, shots of various filming locations and a visit to Bergman's grave. The quiet, bucolic nature of Fårö really comes through.
A must for Ingmar Bergman fans or anyone who enjoys stories about the creative process. If you don't fit into either category, you may want to skip this one.
Bergman Island is part of the 2021 Toronto International Film Festival Gala Presentation slate. It also screened at the Cannes Film Festival. It's distributed by IFC Films.
Eloise, or Ellie, (Thomasin McKenzie) is obsessed with the 1960s. Growing up with her granny (Rita Tushingham) meant she was exposed to the era in all sorts of ways, particularly music and fashion. Ellie is particularly good at the latter, crafting all sorts of vintage style pieces. When she gets accepted to a fashion program in London, she's thrilled. Heading off to London, the home of the swinging '60s, is the dream. But there is something unusual about Ellie. She sees ghosts. Particularly her deceased mother who appears in mirrors when something good is about to happen to Ellie.
Ellie's transition to life as a fashion student is brutal. She encounters sexual harassment and peer bullying. She eventually moves out of the dorm and rents a room in an old London flat run by one Miss Collins (Diana Rigg). And when she sleeps at night in her new space she sees visions of Sandy (Anya Taylor-Joy), a gorgeous blonde entertainer trying to make it in the London nightclub scene. Sandy meets with Jack (Matt Smith) who promises her a career but ends up being her pimp instead. By night, Ellie is transported back to the 1960s and into Sandy's tumultuous life. By day she's struggling to make it as a student in an expensive city. Ellie becomes more invested in Sandy and even changes her own hairstyle and adopts Sandy's fashions to embody her even more. Her makeover catches the eye of the mysterious regular (Terence Stamp) at the pub Ellie works at. Could he be Jack? What ensues is a living nightmare journey for Ellie and Sandy's trauma envelops her into a world where the visions bleed into her reality.
Okay there's much more to that story but if I were to tell you I'd be giving up some delicious spoilers and I don't want to do that to you. Let's just say real life 1960s icons, Terence Stamp and Diana Rigg, have some of the most important roles in the film.
Directed by Edgar Wright, Last Night in Soho is a complex psychological horror film that tries to do a bit too much and often at the expense of its characters. I was particularly horrified by the depiction of John (Michael Ajao), the sole black character and Ellie's love interest. His sole purpose is to assist Ellie and it's a shame because they put him in pretty terrifying circumstances and do not give his character any nuance or agency. (Read Robert Daniels review of the film to find out why this character is problematic.) And overall, the second half is a big mess with Ellie just running around London in a panic.
With that said, I think there is a lot of appeal here for classic movie fans, particularly ones who also enjoy horror and zombie movies. There isn't a lot of gore but there are some spooks. The swinging '60s London scenes are fantastic. It really transports you to another time. And for anyone who loves vintage fashion, especially of this era, you'll love to see what Sandy is wearing, Ellie's shopping trip to a vintage store and Ellie's makeover and fashion show. The film also pays tribute to the music of the 1960s. Taylor-Joy performs "Downtown", Ellie is constantly listening to '60s music and Cilla Black is a character in the story.
In one of the early scenes, Ellie/Sandy walk by a marquis promoting Thunderball (1965). 1960s actresses Margaret Nolan and Rita Tushingham appear in the film. However the biggest throwbacks to that era, besides the setting and the fashion, are two of the film's most important characters played by Terence Stamp and Diana Rigg. Production took place in 2019 and Diana Rigg passed away in 2020. In fact the movie premiered at TIFF on the one year anniversary of Rigg's passing on September 10th, 2021. And what a role for Rigg. It's one of the best swan songs I've ever had the privilege of watching. These kinds of roles are just not available to older actors, with a few exceptions. And while Rigg had been working into her later years but this role just really stands out to me. I found myself tearing up because what a fantastic role for this icon! That's not to diminish Terence Stamp who does a fantastic job as the mysterious pub regular who knows a bit too much about what happened to Sandy. He's terrifying and menacing. I know this movie is really an opportunity for McKenzie and Taylor-Joy to shine, but for me Stamp and Rigg steal the show.
I encourage you to check out the trailer and let me know what you think! As a classic movie fan, would you watch this one?
Last Night in Soho premiered at the 2021 Toronto International Film Festival. It hits theaters October 29th.
