Classic Film Lovers Guide to Hulu

If you missed an episode of Family Guy or Dollhouse, chances are you'll run to Hulu.com to watch said episode online. Full-length TV episodes are what this site is most known for. But did you know Hulu has a big selection of full-length classic film features available for viewing?

I ran across the full-length video of Pleasure Seekers (1964) on Hulu a few months ago, purely by accident. I was doing research on Pamela Tiffin who had been my main interest at the time and who happens to be in that movie. I had caught the last 40 minutes or so on the Fox Movie Channel and wanted to see the whole thing. That's where Hulu came in and I got a chance to see the whole movie!

Fast forward a few months later and I took a couple hours to do some real digging. I went through Hulu's vast collection of full-length movies and grabbed links to any films from the 1920s to the 1960s. I created a guide to the Classic Films on Hulu (see below). I tried to organize them by categories so it's more user friendly.

This list is only temporary as a lot of films on Hulu have expiration dates. In fact, Pleasure Seekers expired today! (boo). So if there any films on here you are interested in, watch them now.

Creme de la Creme

Charade (1963) http://www.hulu.com/watch/94303/charade (with Cary Grant and Audrey Hepburn)
His Girl Friday (1940) http://www.hulu.com/watch/63243/his-girl-friday (with Cary Grant and Rosalind Russell)
Captain Kidd (1945) http://www.hulu.com/watch/70587/captain-kidd
Dillinger (1945) http://www.hulu.com/watch/66708/dillinger
The Stranger (1946) http://www.hulu.com/watch/34115/the-stranger (with Orson Welles, Loretta Young and Edward G. Robinson)
Inherit the Wind (1960) http://www.hulu.com/watch/65442/inherit-the-wind (with Spencer Tracy)

Alfred Hitchcock
The 39 Steps (1935) http://www.hulu.com/watch/63055/the-39-steps
Sabotage (1937) http://www.hulu.com/watch/63051/sabotage
The Lady Vanishes (1938) http://www.hulu.com/watch/63050/the-lady-vanishes

Hidden Gems

Blackmail (1929) http://www.hulu.com/watch/66718/blackmail
Dead End (1937) http://www.hulu.com/watch/39077/dead-end (with Humphrey Bogart)
Moon Over Miami (1941) http://www.hulu.com/watch/80543/moon-over-miami (with Betty Grable and Don Ameche)
Rings on Her Fingers (1942) http://www.hulu.com/watch/64844/rings-on-her-fingers (with Henry Fonda and Gene Tierney
Thunder Birds (1942) http://www.hulu.com/watch/80728/thunder-birds (with Gene Tierney)
Woman's World (1954) http://www.hulu.com/watch/80727/womans-world (with Fred MacMurray and Lauren Bacall)
Big Noise (1944) http://www.hulu.com/watch/81275/the-big-noise (with Laurel & Hardy)
Man in the Middle (1964) http://www.hulu.com/watch/82140/man-in-the-middle (with Robert Mitchum!)
The Train (1965) http://www.hulu.com/watch/70571/the-train (with Burt Lancaster)
The Chairman (1969) http://www.hulu.com/watch/80546/the-chairman (with Gregory Peck)
A Hole in the Head (1959) http://www.hulu.com/watch/88202/a-hole-in-the-head (with Frank Sinatra and Edward G. Robinson)
Bachelor Flat (1961) http://www.hulu.com/watch/70068/bachelor-flat

Film Noir

99 River Street (1953) http://www.hulu.com/watch/95974/99-river-street
Crime Against Joe (1956) http://www.hulu.com/watch/95972/crime-against-joe
Cop Hater (1958) http://www.hulu.com/watch/88185/cop-hater

General

Cynara (1932) http://www.hulu.com/watch/95167/cynara (with Ronald Colman and Kay Francis)
The Last of the Mohicans (1936) http://www.hulu.com/watch/61166/the-last-of-the-mohicans-1936
Secret Agent (1936) http://www.hulu.com/watch/62721/secret-agent
The Little Princess (1939) http://www.hulu.com/watch/66720/the-little-princess (with Shirley Temple)
Earthbound (1940) http://www.hulu.com/watch/66803/earthbound
Happy Land (1943) http://www.hulu.com/watch/64845/happy-land
Sherlock Holmes and the Secret Weapon (1943) http://www.hulu.com/watch/81702/sherlock-holmes-and-the-secret-weapon
Love From a Stranger (1947) http://www.hulu.com/watch/61165/love-from-a-stranger
The Noose Hangs High (1948) http://www.hulu.com/watch/75331/the-noose-hangs-high (Abbott & Costello)
Africa Screams (1949) http://www.hulu.com/watch/67432/africa-screams
Prince of Foxes (1949) http://www.hulu.com/watch/69521/prince-of-foxes
Anne of the Indies (1951) http://www.hulu.com/watch/80851/anne-of-the-indies
Fixed Bayonets (1952) http://www.hulu.com/watch/65861/fixed-bayonets
Night People (1954) http://www.hulu.com/watch/80550/night-people (with Gregory Peck)
Captain Kidd and the Slave Girl (1954) http://www.hulu.com/watch/71578/captain-kidd-and-the-slave-girl
Big House, U.S.A (1955) http://www.hulu.com/watch/95170/big-house-usa
Untamed (1955) http://www.hulu.com/watch/80537/untamed (with Tyrone Power and Susan Hayward)
Dance with me, Henry (1956) http://www.hulu.com/watch/31470/dance-with-me-henry (Abbott & Costello)
Time Limit (1957) http://www.hulu.com/watch/73938/time-limit (with Richard Widmark)
Counterplot (1959) http://www.hulu.com/watch/97582/counterplot
The Son of Robin Hood (1959) http://www.hulu.com/watch/80850/the-son-of-robin-hood
Circle of Deception (1960) http://www.hulu.com/watch/70078/circle-of-deception
Anatomy of a Psycho (1961) http://www.hulu.com/watch/38088/anatomy-of-a-psycho
Boy Who Caught A Crook (1961) http://www.hulu.com/watch/95973/boy-who-caught-a-crook
Sniper's Ridge (1961) http://www.hulu.com/watch/80725/snipers-ridge
Hero's Island (1962) http://www.hulu.com/watch/88187/heros-island
Incident in an Alley (1962) http://www.hulu.com/watch/75334/incident-in-an-alley
Mr. Arkadin (1962) http://www.hulu.com/watch/63043/mr-arkadin (Orson Welles)
California (1963) http://www.hulu.com/watch/85350/california
Sergeant Deadhead (1965) http://www.hulu.com/watch/88200/sergeant-deadhead
The Knack, and How To Get It (1965) http://www.hulu.com/watch/30657/the-knack-and-how-to-get-it

Westerns

Angel and the Bad Man (1947) http://www.hulu.com/watch/63052/angel-and-the-badman (with John Wayne)
Blue Steel (1934) http://www.hulu.com/watch/62722/blue-steel (with John Wayne)
'Neath the Arizona Skies (1934) http://www.hulu.com/watch/63038/neath-the-arizona-skies
The Desert Trail (1935) http://www.hulu.com/watch/63047/the-desert-trail
The Outcasts of Poker Flat (1952) http://www.hulu.com/watch/80882/the-outcasts-of-poker-flat
Duel at Diablo (1960) http://www.hulu.com/watch/46783/duel-at-diablo (with Sidney Poitier and James Garner)
Zane Grey Westerns: http://www.hulu.com/zane-grey-westerns

Horror Flicks

Terror in the Haunted House (1958) http://www.hulu.com/watch/37957/terror-in-the-haunted-house The Devil's Hand (1962) http://www.hulu.com/watch/70585/the-devils-hand
The Giant Gila Monster (1959) http://www.hulu.com/watch/38082/the-giant-gila-monster
Atom Age Vampire (1960) http://www.hulu.com/watch/39995/atom-age-vampire
Black Sunday (1961) http://www.hulu.com/watch/85377/black-sunday
The Brain that Wouldn't Die (1962) http://www.hulu.com/watch/73925/the-brain-that-wouldnt-die
The Devil's Hand (1962) http://www.hulu.com/watch/70585/the-devils-hand
The Crawling Hand (1963) http://www.hulu.com/watch/38782/the-crawling-hand
The Terror (1963) http://www.hulu.com/watch/73924/the-terror
Taste of Terror (1963) http://www.hulu.com/watch/82877/tales-of-terror
Carnival of Souls (1962) http://www.hulu.com/watch/37958/carnival-of-souls
House on Haunted Hill (1965) http://www.hulu.com/watch/70582/house-on-haunted-hill

B-Movies

Reefer Madness (1936) http://www.hulu.com/watch/63039/reefer-madness
The Phantom from 10,000 Leagues (1955) http://www.hulu.com/watch/38781/the-phantom-from-10000-leagues
It! The Terror From Beyond Space (1958) http://www.hulu.com/watch/65658/it-the-terror-from-beyond-space
Attack of the Puppet People (1958) http://www.hulu.com/watch/12210/attack-of-the-puppet-people
Frankenstein's Daughter (1958) http://www.hulu.com/watch/39996/frankensteins-daughter
The Wizard of Baghdad (1960) http://www.hulu.com/watch/80726/the-wizard-of-baghdad
The Last Man on Earth (1964) http://www.hulu.com/watch/46780/the-last-man-on-earth
Dr. Goldfoot and the Bikini Machine http://www.hulu.com/watch/13465/dr-goldfoot-and-the-bikini-machine
Dr. Goldfoot and the Girl Bombs (1966) http://www.hulu.com/watch/13462/dr-goldfoot-and-the-girl-bombs
The Night of the Living Dead (1968) http://www.hulu.com/watch/41065/night-of-the-living-dead

Frankie & Annette Movies

Beach Party (1963) http://www.hulu.com/watch/81684/beach-party
Muscle Beach Party (1964) http://www.hulu.com/watch/81693/muscle-beach-party
Pajama Party (1964) http://www.hulu.com/watch/92145/pajama-party
Beach Blanket Bingo (1965) http://www.hulu.com/watch/27808/beach-blanket-bingo
How To Stuff a Wild Bikini (1965) http://www.hulu.com/watch/59316/how-to-stuff-a-wild-bikini

My Judy Garland Life by Susie Boyt

My Judy Garland Life
A Memoir
by Susie Boyt
ISBN: 978-1-59691-666-1
$25.00
May 2009
Bloomsbury

A memoir that takes readers through the mind of the ultimate Judy Garland fan. In it's chaotic and sometimes unapproachable form it gives us an honest look at a true fan.

What does it mean to be obsessed about a classic film star? You may have your top, all-time favorite actor or actress whose films you devour as though they were the most delicious desserts on the planet. But are you really obsessed with them? Has that person become an intricate part of your life? Do you worry about that person even though they are no longer around? Does every artifact of their legacy become interwoven with memorable moments of your life?

Author Susie Boyt is obsessed with Judy Garland. There is no doubt about that. Her memoir My Judy Garland Life is just that, a memoir about her Judy Garland life. Reading this book is like taking a look into the chaotic thoughts of an obsessed fan. Not to say that Boyt is a lunatic fan, sacrificing her well-being and the well-being of others for her obsession. Rather Judy Garland has such a profound influnce on Boyt and Boyt feels such a strong connection that their lives sort of intertwine. And what's interesting is that Boyt never met Garland, nor even lived during Garland's lifetime. Yet Garland becomes an important figure in Boyt's life. What I think is admirable about Boyt, is that she unabashedly delves right into her obsession with Judy Garland. Reading it, I didn't feel that anything was missing; as though she was being brutally honest and revealing everything she could about how she worshipped Garland. I thought that kind of honesty and frankness was very admirable.

While the topic was interesting, I didn't much care for the book. It was very disorganized and difficult to read. However, that same disorganization that I criticize I also think lends to the element of the book of exploring the author's brain. Whoever said thoughts had to be organized? My biggest problem is that I'm not all that interested in Judy Garland. This lack of interest may have been my downfall. I had hoped to enjoy the memoir given my interest in the personal experience as it relates to classic fim. Alas, it was not meant to be.

Even though I didn't enjoy the book, doesn't mean I don't think others won't. In fact, I would recommend this book to many folks. First are the Judy Garland fans; I think they would appreciate reading about another Garland fan's experiences and how they were affected by the star. If you are intrigued by fandom and obsession, I would also recommend this seeing as it's a peak into the brain of a fan. If you are a fan of Dirk Bogarde, you might enjoy the plethora of instances in which he is mentioned. If you generally gravitate towards memoirs and want something unique and different to try out, this books really stands out amongst the other memoirs out there.
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Out of the entire book, there was one section that really quite struck me. It was when the author discusses the differences between good and bad Judy Garland fans. Boyt says:

Good fans consider that bad fans seek to denigrate Judy Garland's achievements by dwelling first and foresmost on her personal suffering... Bad fans prize embarassment and feelings of excruciation above all other sensations because these are the kinds of strong feelings they prefer.

Just some food for thought...

Special thank you to Bloomsbury for sending me a copy of this book for review!

Bye, Bye Birdie (1963) & Mad Men

This film has been on and off my Netflix queue for goodness knows how long. I was interested in watching it but would always push it off to the side (I do that a lot it seems). However, a few weeks ago on a lazy Sunday evening, I was watching my favorite TV show Mad Men and Bye Bye Birdie (1963) was an important part of the storyline. The folks at Sterling Cooper (the fictional advertising agency at the center of the TV show) were given the assignment to come up with a commercial for Patio Cola. The opening sequence of Bye Bye Birdie (1963) is shown to the board. It features the bubbly '60s icon Ann-Margret in front of a blue screen singing the title song "Bye Bye Birdie". What seems to be a very plain set up, is actually quite alluring. Ann-Margret's vivacity, the shock of the blue and the catchiness of the tune gets you all riled up for the movie that follows.



Beware of Mad Men spoilers below!

The men are captivated by the clip and enamored by Ann-Margret and how she oozes youthful sexuality. They want to do a spoof-type commercial for the soda Patio Cola based on this clip. Everyone thinks it's a great idea except for the one lone female in creative, Peggy Olson, who thinks it won't work. Patio Cola is a diet soda with the intended target of young women who are trying to maintain their figures. Recreating the vivacious reprise into commercial form is selling sex to a male audience, who wouldn't necessarily want to buy the soda anyways. No one listens to Peggy and they continue with the project.

Salvatore, the repressed gay man in a sham marriage, is put in charge of creating the commercial. He's an illustrator in a time when the public demands more and more photography, so this is a great way for him to use his creative juices. He puts together the concept and explains the project to his wife. This results in probably one of my favorite scenes of the show. The subtlety and the indirectness of this scene says so much! Just look at his wife's face as the scene progresses. Genius!

Well the commercial fails big time. The Patio Cola people just don't like it. There is something off about the commercial. If you get a chance to see it, you might know what their talking about or you might be confused. I thought there was something off about it too. As though the girl in the commercial was trying too hard to be Ann-Margret. As though this commercial was trying to be sexy, but it just came out seeming forced. As though you feel a little molested after watching it! When everyone leaves the boardroom, Peggy has a very triumphant look on her face because she knew the whole time that this would be a complete failure!

So after all of this, I was DYING to see Bye, Bye Birdie. I put it at the top of my Netflix queue and it was sent to me almost immediately. I have to say, I thoroughly enjoyed the film. The musical numbers were good and even the bad ones were still enjoyable. What I like most about it is that it explores teen culture as well as the effects of the burgeoning pop culture amongst youth. Conrad Birdie is a popular, hip-swinging singer who has all the girls swooning. In a not-so-very-veiled reference to Elvis Presley, Birdie is being shipped off to war and his music company wants one last chance to make some money off him. A big media appearance is just their meal-ticket. Starry-eyed Kim McAfee (Ann-Margret) wins a contest to get a kiss from Birdie live on the Ed Sullivan show. A whole media-storm infiltrates Kim's town and everyone comes down with Conrad Birdie fever. The women are all flustered and the men are all disgusted. Hilarity inevitably ensues.

I think that it was very wise for Mad Men to include Bye Bye Birdie (1963) in the show's plotline. If the film both spoofs and exemplifies pop culture, then an advertising agency in the 1960's would definitely look to it for inspiration, especially if the film itself becomes part of the contemporary culture that it mocks/explores. If you are a fan of Mad Men and haven't seen this film yet, please take some time out to watch it! In fact, make sure you research any cultural references you see on the show. Even if you don't watch Mad Men (and I know some of you out there even dislike the show), watch the film anyways!

Movie Watching Efficiency

I have been overwhelmed lately with too much to do and too little time to do it in. Or so I thought...

I haven't been very efficient lately in many aspects of my life. When I do get free time, I tend to squander it away instead of using it to be productive. This has interfered with my movie watching lately, Netflix being the main culprit. I have many movies to watch (but don't we all). I have borrowed DVDs, DVDs I have purchased but haven't seen, DVDs given to me as presents, taped movies from TCM (recent and old) and rented Netflix movies. This is in addition to great classic films being shown at local repertory houses and the occassional interesting contemporary film at my local first-run or second-run theater.

Since Netflix is a paid service, I make priority to watch those films first and return them as quickly as I can to get the most out of my money. However, this interferes with me viewing my stash of DVDs and tapes. As soon as I finish of the 3 Netflix movies, I already have 3 more waiting for me. Since I know that the other films can wait, Netflix rentals get first dibs on my free time.

What ends up happening is that I borrow a film from a friend and return it to them months later because I never get a chance. Poor Frank, my fellow employee and classic film enthusiast, is still waiting for his Criterion Collection DVD boxed set of Amarcord (1973) back after lending it to me months ago. Or that tape of Jean Harlow films I taped off TCM months ago, collects dust in my entertainment center. The real shame is all those wonderful rare Norma Shearer films my friend Jonas (of All Talking! All Singing! All Dancing! fame) sent me from Sweden are sitting nicely in their sleeves, just waiting for me to watch them.

At first I wanted to discontinue Netflix once I got through the 30-40 films on my queue, but since I keep on adding films to the queue, I don't see an end any time soon. So I have formed a plan to help me be more efficient in my movie watching.

For every 1 Netflix movie I watch, I have to follow it up with 1 borrowed movie and 1 taped movie/owned DVD. I won't be taking full advantage of the rental service but at least I will be making a dent in my collection of movies. If push comes to shove, I might go on a different rental plan with Netflix so that I don't feel overwhelmed.

Do any of you have methods to maintain the efficiency of your movie consumption? Doesn't that last question make movie watching sound terribly trite? Thoughts?

You Got a Little Something There. No there... and there... and well all over really

Can someone tell me what the name of this type of college sweater is? Someone?! Anyone?!

It was common during the 1920s and 1930s. The pictures above are from Good News (1947) which is based on a musical from the late 1920s and the setting is 1927. I researched sweatshirts and they were sports/collegiate wear that came about in the 1920s. I couldn't find anything on these.

What's unique about these sweatshirts is that they have all sorts of writing and drawings on them. Notes, signatures, drawings, fun quips, colloquialisms and my favorite 1920s slang!

I would really like to do some research on this particular clothing fad but I need some direction to go on as I'm coming up blank.

Help?!

Out of the Past - Into the Now ~ Jeff Bailey is a Baseball Player

You know you are a die-hard classic film fan, when movie references follow you around in real life. Carlos and I went to a Pawtucket Red Sox game on Sunday and their Left Fielder just happened to be named Jeff Bailey. Out of the Past (1947) anyone?!


Things have been hectic lately, hope to return to real blogging soon.

The Arrangement (1969) @ the Harvard Film Archive

Ever since I've known Kevin, I've been bugging him to watch Elia Kazan's The Arrangement (1969). We both missed watching the film before Kevin's Kazan lecture in November of '07, but finally I pulled the DVD out of the Netflix sleeve and sat down to watch this strange and alluring film a month later. Fast forward to August of 2009 and Kevin still hadn't seen it. I had to make right that severe wrong.

As part of the Harvard Film Archive's salute to Elia Kazan, they showed The Arrangement (1969) on Monday evening. I dragged Kevin (he was willing) to go see it. The print was in poor quality, very grainy and scratchy. However, it was still a treat to watch this film on the big screen.

I have written about this film in the past and I highly recommend you read my original post. I was quite impressed with myself when I read the post recently. Here is a quote I pulled from it:

"Based on his own novel, The Arrangement (1969) is a lesser-known Elia Kazan classic. Its a film that contemporary film afficianados might enjoy because of its chaotic, psychadelic, A.D.D. type of cinematography. Shots come at all sorts of strange and interesting angles and any remotely chronological timeline is thrown askew by patches of memory flashbacks. Watching this film felt new, fresh and invigorating in a way older films don't usually.."

http://outofthepastcfb.blogspot.com/2007/12/hunka-kirk-douglas-arrangement-1969.html

In watching the film a second time, I find that those 4 really trippy scenes that I pointed out in my original post are still my favorites. During the movie, I kept poking Kevin in the arm to make sure he was alert to them.

1) Kirk Douglas hallucinating, holding grapes over the pool.
2) Kirk Douglas hallucinating while flying an airplane.
3) Beach sequence camera trick, with torn photographs.
4) Kirk Douglas hallucinating, his naked manic self in bed with his past self fully-clothed.

Visually this movie is quite delicious and I found many things to savor. The film is also really quite a head-trip and parts of it can leave you feeling confused. What's amazing is that it really delves into the main character's mania by showing you his hallucinations as he experiences them and also by the use of experimental cinematography. Finding yourself in the midst of the character's mental anguish makes you really sympathize with him.

In the end, I had a ball and Kevin seemed to enjoy the film. I was happy we got to share it together.

Here are a couple pictures of Kevin and I at the HFA. Until next time...

Bob Hope Stamps

It seems like a shame to use them as actual postage, but so I must.

Wild River (1960) @ the Harvard Film Archive and the Walking Ethnic Stereotype

Lee Remick as Carol: You're getting awful human, Chuck.
Montgomery Clift as Chuck: I've always been human.

The Harvard Film Archive in Cambridge, MA is featuring Elia Kazan films this month. Knowing that I was a big Kazan fan (and classic film buff in general), Carlos gave me a clipped article from the Boston Globe about the series and suggested that we go see the film Wild River (1960) in particular. Wild River has yet to be released on home video (in the US) and it's distribution is very limited. The HFA just received a new print of the film and was showing the print to the public for the first time. It was an exclusive chance to see a lesser-known Kazan film and I was excited to partake in the experience.

The 15-minute lecture that preceded the movie was very informative and I learned a lot about the movie. Kazan wrote the screenplay for this film and considered it one of his favorites of all the films he directed. He was meticulous, writing 6 versions of the script and insisting that the film be shot on location in Tennessee. At first he had intended Marlon Brando to star as Chuck Glover, but Brando was otherwise occupied and reluctant to do the film. From what I understood from Kevin's lecture, Brando wasn't terribly fond of Kazan. The lead role went to Montgomery Clift, who was in his post-accident, alcohol-infused phase. He stayed sober throughout most of the movie, which I guess was a good thing. Kazan had a soft spot for Lee Remick, to whom he gave her first screen role in A Face in the Crowd (1957), and he gave her the role of Carol. Of the cast, the highlight for sure is Jo Van Fleet. The 46-year old actress played the 80-something matriarch Ella Garth.

Wild River is about the tumultous Tenessee River which floods in the Fall, taking down houses, flooding land and killing the townsfolk. Ella Garth, owns an island situated in the middle of the River. With Autumn approaching, the floods threaten to take over her land but she is determined to stay put. The goverment wants her off that lands so they can harvest the flood for the dam. The Tennessee Valley Authority sends Chuck Glover (Montgomery Clift) over to Garth's island to convince her to leave. It's not quite so easy a job but he's determined. Glover falls in love with Carol (Lee Remick) a sad widow who lives on the island with her grandmother. Glover helps Carol find hope again. The film touches upon a lot of subjects and has a lot of interesting themes. The Great Depression and FDR's New Deal goverment are at the backdrop of the story. The creation of dams and how they affect Americans and the American landscape was an interesting theme. There is the racial divide between the white and black townsfolk as well as the divide between authority and the lay people. For what is a pretty quiet film, it has a lot to say.

I very much enjoyed Fleet's performance as Ella Garth. She had some great monologues and dialogue in general and delivered all her words with great conviction. Remick was great as widow Carol. You see her character transform during the movie. I also think there is a realness that is quite unique to Remick and she really fits into this movie quite well. Montgomery Clift however was not the best actor for this film. In the post-accident phase of his career, his performances seem quite emotionless as his face was always so frozen. I know this wasn't his fault, but it's difficult to watch an actor or actress who can't emote.

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I was really excited for this film and on a whim decided to dress up for the occassion. I hadn't worn my new 1960's style blue wiggle dress out yet so I decided to wear it to the movie. I wore my hair curly; half-tied up and half-loose. I put on my gold-colored sandals, my big gold, red and white earrings and my white Mod-style sunglasses. I was feeling very stylish and confident until I got to the theater. The HFA is a very stuffy, collegiate theater and I looked terribly out of place. Also, being Hispanic, I can't really carry the vintage look very well. While I tried to go 1960's, I ended up looking like a walking Hispanic stereotype. Here I was, curly haired with my Spanish bangs showing, a tight dress, and humongoid earrings. All I needed was to smack some gum and ask "Why you so stupid, stupid?" and the look would have been complete. I felt so out of place and I wondered if anyone thought that maybe I had gotten lost and ended up at the wrong theater. I was just waiting for someone to ask me what the hell I was doing there, so I could declare "Wait! I do belong here and I have the blog to prove it!" The community of classic film enthusiasts is predominantly white, so sometimes I feel like I stick out like a sore thumb. But it could also just me being terribly self-conscious as I am wont to be. This didn't really sour my experience but it did get me thinking. And next time I go to the HFA, I'll try to dress a bit more casually.

Rebel Without a Cause (1955) @ the Park

On Thursday, I went to go see Rebel Without a Cause (1955) outdoors on the big(ish) screen. The film was screened at Nathan Tufts Park in Somerville, MA and it was part of the town's SomerMovie Fest where they show different films at different parks each Thursdy during the summer. The only classic film they were showing was this one and I invited my friend Kevin to come join me. Kevin's a huge fan of the film and has written about it for me as a guest post (check it out here). My friend Jeanine surprised me by coming along too. She saw that I had posted about it on Facebook and wrote to me about attending the screening. I hardly ever get to see her and really wanted to pick her brain about classic films, as she is a film buff like me. So it was great to have two good friends to see the film with.


Thursday just happened to have perfect weather. The evening was warm, not humid, the sky was clear and it didn't rain. We also weren't swarmed by mosquitos so it was easily just to relax and watch the film.

Here I am with my Rebel Without a Cause T-Shirt that I got from H&M. I'm not sure what the protocol about wearing a movie's design on a T-Shirt to the actual screening. Maybe it's taboo, like going to a rock concert and wearing that band's T-shirt. Kevin poked fun at me, but I wasn't about to wear my Breakfast at Tiffany's (1961) or my Don't Bother to Knock (1952) T-Shirts to this screening. I thought it was great that I had the attire to suit the occasion. (So take that Kevin!)

Here are Jeanine and Kevin posing for me just as the opening credits are starting on the screen. The show is about to begin...

I snapped this picture of Natalie Wood for Sarah over at Cinema Splendor. Not the greatest shot, but I guess it's the thought that counts.

As the night progressed and the sky grew darker, the screen really lit up in the park. It was quite a treat to see a film outdoors like this. There were about 60 or so people in the park. Many folks had chairs, blankets, towels, etc. A lot of couples were snuggling in the dark, which made me wish that Carlos was there. Groups of people came prepared with drinks, snacks and dinner.

The experience was quite magical. My only complaint was the audience reaction to some scenes. Several people thought dramatic points were funny and laughed at the expense of the film. Jeanine and I looked at each other several times and asked what people were laughing at. It saddens me that these people don't have the capacity to appreciate a film like Rebel Without a Cause at it's full glory and chose to poke fun at things they don't understand. Oh well, it's their loss.

It was great to watch this film after having not seen it in so many years. After the film had ended, Jeanine pointed out the use of garments in the film which I thought was interesting. I hope she'll consider writing a post about it for me! If not, I'll take a crack at it later.

Have any of you seen an outdoor screening of a film? If so, what was your experience? I'd love to hear from you.

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And a special Happy Birthday to Nicole from Classic Hollywood Nerd. She turns 20 today. Feliz Cumpleano Nicole!

Queen Norma Shearer ~ The Trial of Mary Dugan (1929)

While Jonas of All Talking! All Singing! All Dancing! is away in Thailand, I wrote him a guest post for his site. Go check it out: http://talkieking.blogspot.com/2009/07/guest-blogger-raquelle-trial-of-mary.html .

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.
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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!
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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!
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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.

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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!
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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.
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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!

Out of the Past ~ A Classic Film Blog's Second Anniversary

On June 15th, 2007, I ventured out into the unknown with my very first post on this blog. It was an opening of sorts; a welcome to future readers. My first real post was on Dick Cavett's interview with Alfred Hitchcock. What followed was 2 years of faithful writing about classic movies and the stars that I love. It was slow at first, building up a readership and finding time to post in between full-time work and graduate school. Once I graduated last year, this blog really got into it's stride as I had more time to devote to it.

I'm very happy about the people I've met online and in person through my blog. I love all the comments and e-mails I've gotten. I have also loved seeing others start their own classic film blogs. This blog has really grown and I'm happy with everything I've been able to put into it.

I'm not sure what is in store for the future of this blog; whether I will continue it at the same pace, at a slower pace or even at all. Looking back though at the 2 years I am very happy that on that fateful day in 2007, I decided that all the words I had building up inside me about my love for classic movies could finally get a portal to be released into the world.

Here are some highlights of the past 2 years of blogging:

Sexiest Scenes in Film History ~ I still get lots of wayward Google searches land people here. I wish I could have continued the series, but I'm glad I at least got a few posts up.

Breaking the Code Boxed Set ~ I took a school project and tied it in with my blog. That's dedication.

Elia Kazan & You Otto See It ~ To prepare for Kevin's lectures on Kazan and Preminger, I wrote reviews for several films.

Partying Norma Shearer Style ~ I dressed up as Norma for Kevin's 30th Birthday party and he dressed up as James Dean!

I Saw Mickey Rooney with my Own Two Eyes ~ Seeing the legend in person.

The Friend Dynamic ~ I got a lot of compliments on this one. I dissect the dynamic of watching films with friends.

Work: My Classic Film Nest ~ Photographic tour of my classic film paraphenalia at work. Jonas @ All Talking! All Singing! All Dancing! starts his blog.

Brattle & Harvard Film Archive Posts ~ Wonderful memories

Out of the Past (1947) by the Numbers ~ Just happens to be my favorite post. Such a fun project!

Good Heavens ~ I try to make sense of all of those movies with "Heaven" in the title.

Norma Shearer Week ~ A whole week devoted to my favorite actress. It's the biggest project that I have taken on and the results made me very happy.

Hot Toddy/Hot Chick ~ Celebrating the best in hotness.

Guest Blogger Months ~ This one is already a success and it's only half-way through the month!

If you would like to tell me what your favorite post or series was on my blog, I'd love to hear from you! (Not asking for praise, but would love to hear feedback for sure).

And a special thank you to Frank who indirectly inspired me to start writing a blog. He doesn't know this and I'm sure will be surprised to find out that he was the impetus for Out of the Past!

Guest Blogger Nicole ~ Jeffrey Lynn

Nicole over at Classic Hollywood Nerd gives us the latest entry in the Guest Blogger series, a wonderful post on the life and career of Jeffrey Lynn. Nicole shows an incredible dedication to old Hollywood for someone so young (she's only 19). I'm already impressed. Enjoy!

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Jeffrey Lynn’s career spanned from 1938 to 1990 in films, television, plays, and radio, yet not much is known on the actor today.

Jeffrey Lynn was born Ragnar Godfrey Lind on February 16th 1909 in Auburn, Massachusetts. Though information is difficult to find on his family, he did grow up with a rather large family: three sisters and two brothers. After graduating from Bates College with B.A. Degree, Jeffrey started off a career in teaching high school speech, English, and drama. Somehow though, he always managed to put some acting into classes and that’s when the young man decided he wanted to go to Hollywood. Jeffrey began with summer stock companies but eventually he caught the eye of Warner Brothers. He began his film career with rather small and unimportant characters but as time went by, Jeffrey’s roles got better and better.

Warner Bros was planning on making the Fannie Hurst story “Sister Act” into a movie, and there hopes was to get an all-star cast but things didn’t turn quite the way they had planned. Michael Curtiz, director of the film wanted Errol Flynn and Bette Davis to star in the film but because of other film obligations, they were unable to play the roles. Going from an A-list cast of actors, Warner Bros made the film into a B-list cast of actors that would star Priscilla Lane and her sisters Rosemary and Lola, Claude Rains, May Robson, Dick Foran, newcomer John Garfield, and Jeffrey Lynn. Curtiz felt unhappy with the casting but went along with directing the film. The film’s title was no longer going to be “Sister Act” but it was to be “Four Daughters”. The film would center around Four Women who are growing up and really beginning to fall in love. Jeffrey Lynn would play the character of Felix Dietz, a man who all the girls fall head over heels for. Jeffrey’s Felix and Priscilla’s Ann were destined to be together but someone came between them- John Garfield’s Mickey. The film was much more than just a B-List Cast, the film had an amazing storyline that fit perfectly with the actors’ portrayal of their characters.

After the huge success of “Four Daughters”, Jeffrey had made into Hollywood and was now on the top of his game until something suddenly got into the way. World War II was right around the corner and many Americans would join in and sacrifice their lives for other Americans. Deciding it was time for him to help, Jeffrey Lynn joined the Army Air Force, where he had earned a bronze star. Jeffrey spent about 4 years in the Air Force and when he did come back from the War, he had hoped he could revitalize his career but life had different plans for him.

Shortly after coming back from fighting, Jeffrey married magazine editor, Robin Chandler with whom he would have two children with Jeffrey Jr (born in 1948) and Letitia (born in 1949). As his roles in movies became less important to him, Jeffrey did some television but eventually went into real estate. Aside from doing real estate and television, Jeffrey also did some plays such as “The Philadelphia Story" (in which he played C.K. Dexter Haven) and “Mister Roberts” (where he played the title character).

Though it seemed that Jeffrey had disappeared from Hollywood, Jeffrey was about to get a role that would bring him back into the spotlight for some time. The creators of the television show, “Murder She Wrote”, wanted Jeffrey to reprise his role from his 1949 film “Strange Bargain in which starred alongside Martha Scott. Jeffrey agreed and the episode was a hit. Years after making the episode, Jeffrey passed away on November 24th 1995 with his third wife, Helen by his side. Though he didn’t establish the same career as Humphrey Bogart or Clark Gable, Jeffrey did have a successful career.

From teaching, to acting, to fighting in the army, Jeffrey always was working. The particular reason I like him is because he often portrayed the everyday man, the guy next door, the one who could be your best friend and at the same time, be there for you. Even when the films weren’t that good, Jeffrey always did his best. One of his favorite films of his was 1941, Vincent Sherman film “Underground”, in which he had played a Nazi soldier who finally understands the wrong, that is being done in Germany and then retaliates. He wasn’t a one dimensional character either, he could play poet Joyce Kilmer or he could play gate swinging Felix Dietz. He had more talent than people gave him credit for.

8 Women (2002)

Now it's up! My guest post on Counting Down the Zeroes on 8 Women (2002). Check it out and let me know what you think. If you liked The Women (1939), this film will definitely interest you.