Warner Archive Wednesday ~ Susan Slept Here (1954)

Back when I was reveling in the luxury of having digital cable, I would sometimes catch a glimpse at a very strange scene on TCM. A dolled up Debbie Reynolds eating strawberries and mixed pickles. Together. Covered with cream. Why would anyone eat strawberries and pickles together? Was the character pregnant? Crazy? On a strange Hollywood diet? For years the image of Reynolds happily devouring strawberries and pickles together haunted me.

Strawberries and pickles?

 Yes, strawberries and pickles.

Strawberries and mixed pickles for breakfast or for an after-dinner snack.

 

It was only years later that I watched the movie with that infamous Strawberries and Pickles scene:
Susan Slept Here (1954)

Susan Slept Here (1954) is Dick Powell's last film. He plays Mark Christopher, a 35 year old ::snickers:: novelist and screenwriter who just won an Oscar at the Academy Awards. His Oscar statuette is the narrator of the film. No I'm not joking. He's the narrator of the film.

Mark is a pickle (perhaps with a strawberry on the side). He is currently experiencing a sort of writer's block. He's a bachelor and keeps a very rich fiancee, Isabella (Anne Francis) at a distance. His makeshift family includes his personal assistant Maude (Glenda Farrell), his gofer Virgil (Alvy Moore) and his maid Georgette (Maidie Norman). But he's missing one thing: a muse.

In comes Susan (Debbie Reynolds ). She's a 17 year old, underage delinquent who socked a soldier and is about to be jailed. The vice squad pities her as her mom is away and it's Christmas Eve. They pass her off to Mark (Dick Powell) to take care of just until Christmas and her sentencing is over. However, Mark finds his long-lost muse in Susan and he wants to keep her around a little longer. For inspiration of course. But it's problematic because she's 1) underage and 2) an unmarried female staying in a bachelor's home. Solution? Marry her! At least temporarily, so he can get his story and she can avoid jail time. They can always annul the marriage later.

::Spoiler alert::

So why strawberries and pickles? They are an odd pair. Just like Susan and Mark. They don't seem like they go together but for them it works. Susan is like the strawberry. A bit tart when you bite into it but it's all sweetness thereafter. Mark is like the pickle. Sour and wrinkled but enjoyable in a way very different from strawberries. And the combination of strawberries and pickles is one of the things that unite them. Because, as they discover in the end, they both really love strawberries and pickles, and each other.

::Spoiler alert end::

Did you know that the Catholic Legion of Decency banned the film because of it's title and subject matter? Watching it today one can't help notice how innocent it really is however at the time it did push some boundaries. And there is nothing I like better than a film that pushes some boundaries.

What does or does not happen in the bedroom is the crux of the story.

Fans of 1950s domestic style will fall in love with Mark's apartment.

 Just take a look at that Christmas tree!

No seriously. Take a look at that tree!

I really want this set. Breakfast server with lid, Grapefruit holders, toast trays, coffee carafe, ::sigh::

 This film is very trippy in the way that sometimes 1950s films are. Anne Francis' Isabella is given outlandish outfits and a lavish apartment that only someone very wealthy could afford.

 

Doesn't Isabella know that frowning will give her wrinkles?

Also, Susan has this very strange dream and we are delighted (or perhaps traumatized) by an odd dream sequence musical number.

Not quite Gold Diggers of 1933 but even an aging Dick Powell can pull it off.

Even my weirdest dreams aren't that weird.

I poke fun but this was a really enjoyable movie. One of the reasons is that it doesn't take itself to seriously. You'll also be hypnotized by all the color and the '50s design and wardrobe. 
If you are looking for a good rainy day movie to brighten your day and lift your spirits, I would recommend Susan Slept Here. If you need a snack to eat while you are watching it, I would stick with popcorn and NOT strawberries and pickles.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Movies selected are rented from Classicflix or purchased from Warner Archive, Classicflix or TCM. This series is not sponsored by Warner Archive.

Warner Archive Wednesday ~ It All Came True (1940)

"Don't worry about me baby. I got myself covered both ways from the middle." Humphrey Bogart as Chips Maguire

It All Came True (1940) is a little film with a big cast. The movie takes place in the Gay '90s (or maybe not, I couldn't quite tell. It could be that they were being nostalgic). The story follows the story of convict Chips Maguire (Humphrey Bogart) as he hides in a boarding house in order to avoid being arrested by the cops who are hot on his trail. He gets help from his buddy Tommy Taylor (Jeffrey Lynn), a musician who found himself on the wrong side of the tracks and in a whole lot of trouble.

Tommy takes Chips back to the home of his mom Mrs. Nora Taylor (Jessie Busley). They haven't seen each other in many years so it's a very sweet reunion. At the boarding home you'll find Sarah Ryan (Ann Sheridan), a beautiful wise-cracking dame who is having a bit of trouble with money so she's staying with her mom (Una O'Connor). Also at the boarding house is a cast of eccentric characters including Miss Flint played by the ever delightful Zasu Pitts. No one at the boarding house knows that Chips Maguire is a felon on the lam except for Tommy. But soon they start figuring out what is going on and Chips finds himself on edge.

Chips don't want no stinkin' broth!

I always have a difficult time picking out which film from the 1940s I want to watch. It's a tricky decade with me and if I chose a film it has to be just right. It was a comfort for me to see many of my favorite characters actors including Zasu Pitts, Una O'Conner (Christmas in Connecticut) and John Litel (Nancy Drew films).

Humphrey Bogart had been typecast in the 1930s as a gangster/criminal that it is very natural to him again in this role.  It All Came True comes just before Bogart's films High Sierra and Casablanca in which he breaks out of the mold Hollywood made for him and into major stardom.


It All Came True is somewhat typical of a 1940s film. Old people must be kooky, dames must be wise-cracking, the villain must not get his way and the good guy always wins in the end. Oh and all dogs are incredibly smart and well-trained!

Then there is Ann Sheridan as Sarah Ryan. She's a wise-cracking dame with a good heart.

Ann Sheridan strikes me as the sort of woman who was comfortable in her own skin. She seemed to exude a natural sort of self-confidence. This is just my assumption based on no real knowledge of Ann Sheridan as a person. All I know is that her woman-of-the-world persona is something I find very appealing about her as an actress. Her character is really the go-between of all the characters. She has prior knowledge of Chips Maguire, a history with Tommy, a deep bond with her mother even though sometimes they clash and familial relationship with all the boarders at the home. She's really the central character in the story that keeps things moving along.

And of course, there HAS to be a love story!

It All Came True (1940) is a film for those who want a quirky film with a fun cast of characters. Pair it with Hide-Out (1934) for a great double feature.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Movies selected are rented from Classicflix or purchased from Warner Archive, Classicflix or TCM. This series is not sponsored by Warner Archive.

Not Your Average Classic Film Blogger Link Roundup

Someone on Twitter said that Classic Film Bloggers all write about the same things with different views and that we are pretty much beating a dead horse. I have to disagree with that statement. I think the Classic Film blogging community is very varied and there are so many different films in many different genres (and decades!) that we all end up writing very different blogs. And while we all might talk about watching Casablanca (1942) on the big screen, we also talk about films perhaps others have overlooked share unique experiences and explore themes in many different ways.

After I saw those tweets, I asked classic film bloggers on Twitter to send me a link to what they thought was their most unique or unusual post. Which of their posts stands out from the rest. I got some great feedback!


Cliff from Immortal Ephemera shared his post "Interpreting and Understanding Edward G. Robinson on Collecting" - Did you know that Edward G. Robinson was a obsessive collector? He would sometimes do movies just so he could use the money to buy fine art and other valuables! Cliff does a great job describing Robinson's history of and approach to "collecting".

Rich from Wide Screen World shared his post "The Wizard of Oz (Pink Floyd Version)" - He talks about his experience watching The Wizard of Oz (1939) synced with Pink Floyd's album Dark Side of the Moon. Trippy!

Angela from Hollywood Revue shared her post "My Local Joan Crawford Connection" - Thanks to the book Possessed: The Life of Joan Crawford, Angela discovers that the star got her start as a chorus girl at a theater Angela had passed by many times (unfortunately it no longer exists). Pretty great discovery!

Kate from Silents & Talkies shares her post "Is that mustache really necessary?" - Fans of Silents & Talkies will fondly remember this hilarious gallery of classic film actors sporting some questionable mustaches.

Laura from Laura's Miscellaneous Musings shares her post "Reading the Movies, Part 1 (or Growing Up with the Movies)" - Laura's had a love of movies since she was very young and shares some of her early experiences (including meeting some stars and filmmakers!) as well as some of the film related books she's acquired over the years. I'm jealous she got to watch movies in the same theater with Mel Torme!

Terry from A Shroud of Thoughts shares his post "Mama Told Me Not to Come: The Sixties Party Scene on Film" - Parties can be seen in movies from any decade, but a Sixties party is something really special. Terry explains why in this very informative post.

Bobby from Bobby Rivers TV shares his post "Black Folks in Bedford Falls" -  Bobby discusses the Black characters and extras in It's a Wonderful Life (1946). He also points out that there are Black folks in Bedford Falls but absolutely none in Pottersville! Very interesting. Next time I watch this movie, I'll have Bobby's insightful post in mind.

Andreas from Pussy Goes Grr shared her post "Gentlemen Prefer Rocky" - Andreas compares the "Ain't There Anyone Here for Love?" sequence performed by Jane Russell in Gentlemen Prefer Blondes (1953) to the "I Can Make You a Man" sequence performed by Tim Curry in Rocky Horror Picture Show. Wow!

Brandie from True Classics shared her post "Personality Soup a la Movie Characters" - Brandie creates a Personality Soup recipe in which all the ingredients are bits of different characters from classic movies.

Letícia from Crítica Retrô shared her post "Halloween & coisas assustadoras do cinema clássico (na minha opinião)" which translates into English from Portuguese "Halloween and other scary stuff from classic cinema (in my opinion)". This is a great post and I love the Gregory Peck anecdote she shares at the beginning. For those of you not fluent in Portuguese, she has a handy dandy Translate widget.

What's my most unique post? I would have to say it's "If Jeff Bailey from Out of the Past (1947) were on Match.com" in which I create an online dating profile for Robert Mitchum's character. I followed it up with a "If Eddie Felson from The Hustler (1961) were on Match.com".

If you have a unique classic film related blog post to share, let me know!

Warner Archive Wednesday ~ Death of a Soundrel (1956)

"Business is the art of getting something for nothing" - Clementi Sabourin (George Sanders)

Death of a Scoundrel (1956) is a wonderful B movie directed by Charles Martin and starring my beloved George Sanders. Sanders, known for playing rapscallions and cads very well, was a perfect fit to play the title role of Clementi Sabourin. Clementi (Sanders) is a Czech refugee who has escaped to America, which he sees as a land of milk and honey. And rightly so because with a lot of machination and scheming, Clementi goes from rags to riches in a very short period of time.

The beginning of the film shows Clementi dead and sprawled on a bed in his mansion. As the film progresses we learn about the events that led to his untimely (or one could argue very timely) demise. Death of a Scoundrel is definitely a family affair. Sanders' then wife Zsa Zsa Gabor plays Mrs. Ryan, a wealthy widow who does some insider trading with the stock savvy Clementi. Their relationship is a strange mixture of business and pleasure. Sanders' real life brother Tom Conway plays a very small role as his on screen Gerry Monte/Sabourin. Both stars are past their prime but the years have really done a toll to poor Tom Conway's features. He looks so sad and lost and you can't help but feel sympathy for both the character and what his brother does to him as well as the actor himself.

Also in the film is Yvonne De Carlo, an actress I was not familiar with but was happy to watch on screen. As the film progresses, her character Bridget Kelly goes from a poor pick-pocket to a glamorous business woman. Bridget is the most interesting of all the characters as you see her develop whereas a lot of the other characters stay as they are.

One could say that Clementi (Sanders) was the original Gordon Gekko (Wall Street). He's motivated solely by greed. Clementi is a businessman, schemer, womanizer, gambler, risk taker, manipulator, in other words, he's a shark. George Sanders will make you an offer you cannot refuse.

Mrs. Ryan (Gabor): Money is not Everything

Clementi (Sanders): But it's the closest thing to it.

Often times, overly dramatic acting comically competes with a movie's plot line. In this instance, the dramatics were as fun to watch as the story itself. Both Carlos and I immensely enjoyed this film and I would recommend it to those who enjoy watching schemers play.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Movies selected are rented from Classicflix or purchased from Warner Archive, Classicflix or TCM.

Rear Window (1954) Timelapse

Rear Window Timelapse from Jeff Desom on Vimeo.

EDIT: The video was taken down. If I see a new version up online I'll replace this one. Otherwise, I'll delete this post after a few weeks.

This is an interesting video. Not really sure what it's trying to accomplish but very cool nonetheless. It takes shots from the vantage point of the "rear window" from the film and puts them all together. It must have taken hours upon hours to piece together! What do you think?

Side Note: I've been a bit out of the loop lately in terms of blogging and social media. I've been having numerous health problems and lately, it's been difficult for me to find a new-to-me film that I enjoy. I might start revisiting favorites on a more regular basis. Also, all this talk about people watching TCM, going to film festivals, meeting all sorts of cool film people, having time to watch loads of movies, writing wonderful classic film posts, has got me really depressed. It makes me feel like less of a legitimate classic film fan and I've lost a lot of that joy that movies used to give me. I have numerous ideas for posts I want to write but I've lately lost the will to write them. I've taken a step back so that my feelings of envy can subside and I can continue to be supportive of others as well as get back some of that classic film joy that's been missing in my life. I hope to be back on the blogging bandwagon soon enough!

Come Fly with Akana

Source: Jamie Schwaberow for The New York Times

The New York Times Sunday edition has a wonderful article about Ron Akana, a Hawaiian flight attendant who has been in the business for 63 years. Wow! He was one of the first male flight attendants for United Airlines when he started back in 1949. In the article, he says that he was the flight attendant on board to fly the entire cast of From Here to Eternity (1953). He took care of Frank Sinatra, Montgomery Clift, served numerous martinis to Burt Lancaster and set up an in-flight bed for Deborah Kerr. He's also met Red Skelton, Sammy Davis Jr. (WOW!) and Bing Crosby. Kudos to Mr. Akana for his years of service. I'm sure he's got many wonderful stories to tell.

The Artist (2011) wins the Academy Award for Best Picture and a Rant

Wiz Pleazuuure

I hadn’t intended to watch the Oscars last night but I got swept up in the glamour of the red carpet, the glitz of the show and all the love for The Artist. I cheered on as I saw The Artist win for Best Picture, Best Score (take that Kim Novak!), Best Actor (Jean DuJardin, YAY!), Best Costume Design and Best Director. I had hoped that God is the Bigger Elvis would have won for best Documentary Short just so I could see Dolores Hart on stage. Actress Elizabeth Banks tweeted her confusion as to why there was a nun on the red carpet. Reading that tweet (which was RTd, I don’t follow her on Twitter), caused me to smack my forehead. Of course Elizabeth Banks doesn’t know who Dolores Hart is! Because a lot of new actors don’t care about film history. Not even the Academy cares very much about early film. Did you notice that in one of the montages showing “classics” they didn’t go further back then Midnight Cowboy (1969) (or at least that’s the earliest film I spotted)? And the Oscars are notorious for skipping over people in their memorial montage, although this year they did a lot better. Now I understand perhaps skipping over Barbara Kent this year because she had only played minor roles in a few films, her last one being released in 1935. But when Penny Singleton (aka Dorothy McNulty) passed away in 2003, they skipped her over in the 2004 montage. Singleton had a very long career in Movie and Television, much longer than Barbara Kent and she also had the Blondie series in which she was the title character! But no one knows who Penny Singleton is so let’s just skip her. If TCM can pay homage to everyone in a few minutes and do a great job at it, a 3-1/2 hour award show can do the same.

The Academy Awards usually throws in some mentions of a few favorites like Gone with the Wind, Wizard of Oz, some Hitchcock, but for the most part it’s all about new new new. We are lucky if we even see Mickey Rooney on the red carpet or in the audience. I’m sure they shove him in the way back even though he’s been attending the Oscars longer than most of those people have been alive. When Kirk Douglas presented the Best Supporting Actress Oscar last year I near fell out of my chair. Seeing him on stage made my heart fill with joy. But idiots on Twitter and elsewhere had different reactions: 1) Kirk Douglas is still alive? and 2) Oh wow, that’s awkward, take the old dude off the stage. Let’s just forget about the fact that the man survived a stroke and has a legendary career in film. Naw, just get him off the stage. And the honorary Oscar for lifetime achievement isn’t even televised anymore. Sad!

This year I was happy for two things. For The Artist and for Hugo (2011). I haven’t seen Hugo but I own and have read the book it’s based on: The Invention of Hugo Cabret. The author/illustrator is Brian Selznick (and yes he is of the famous Hollywood Selznick family) and I got to meet him at Book Expo one year. For me the book celebrated the magic of early film and knowing Martin Scorsese’ appreciation for film history I’m sure the movie did the book justice. As most of you know, The Artist is a silent film (well mostly silent, there is some sound beyond just music and there is a bit of dialogue but not very much). It’s also black and white. How many of us classic film fans have encountered push back because a film is either silent or black and white? “Ew! I only watch films in color and with dialogue.” Well, congratulations! You are king/queen of the world. Silent films and black and white films are so beneath your excellence. What The Artist demonstrated is that a contemporary film doesn’t have to be American, doesn’t have to be color and doesn’t have to be a talkie. A French black-and-white silent film can be just as entertaining and even more so than the interminable dross that’s out there now.

Now it’s not to say that The Artist is a perfect film but it is really good. So before you buy into the Novak controversy, try watching it first. The only issue I had with it was the lack of 1920s/1930s lingo. “Oh my god” was used twice in the film that I noticed. That’s very much a contemporary phrase. They could have had fun with old slang like “on the level”, “and how!”, “Sheik”, “bee’s knees” and “cat’s pajamas”. But they didn’t which is a shame. However, I could tell that they put a lot of attention to the finer details of the era and stayed as true as they could to the period as possible. I definitely appreciated that.

Someone online stated that people who will watch The Artist will not decide to then watch earlier silent films. I don’t agree with that. It's not that I think people will be lining up to see the most complete version of Metropolis but I think saying no one will be interested in silent films is too general a statement. Whenever I watch a film I like, I try to find other films like it. And whenever I discover an actor or actress I enjoy, I try to watch other films they’ve done. It’s just how I watch films. It’s a chain reaction. One experience leads to other experiences. While The Artist is a silent film that is more palatable to modern audiences, I think that there will be some people who will be willing to take the challenge of exploring the silents of a bygone era.

Sometimes I write these posts and then ask myself, what’s my point? My point is that films like The Artist and Hugo demonstrate to all those haters out there that classic films matter! These films are our champions and we should be their champions too. They are love letters to the past from the present. They express the same love we have for classic films. So hurray for The Artist for celebrating early film, for entertaining us and for winning those awards. Congratulations!

Love is a Ball (1963)

And just when I had thought I'd seen all the 1960s sex comedies that I could, I discovered Love is a Ball (1963) on Netflix Instant. Love is a Ball is a delightful and fun romantic romp which takes place in the French Riviera. Glenn Ford stars as John Davis, a former race car driver (winner of the Grand Prix in Monaco!) whose down on his luck when he finds his beloved boat in desperate need for repair but he has no money to fix it up and get it back in the water. That's where Charles Boyer comes in. Boyer plays Monsieur Etienne Pimm, a professional matchmaker who takes down-on-their luck aristocrats and matches them with wealthy companions. He devises an elaborate scheme to get the two together, make them fall in love and see them off in a happy marriage of convenience and love. Boyer's latest cause is Duke Gaspard (Ricardo Montalban) who he plans to match up with American heiress Millie (Hope Lange). Millie has $40 million and Gaspard has a title but no charm, poor skills in English and desperately lacking equestrian and motor skills. Boyer hires three men: Ford/Davis who will teach Gaspard to ride horses, play polo and race cars, a linguist who will teach him how to speak English and quote great scholars and poets and a cook who will prepare fantastic meals so Boyer can wine and dine the conquest.

I usually don't like going into too much description of a film. Heck, if you just wanted the summary I would send you to IMDB or Wikipedia. However, the plot of this movie is so much fun that I just had to write it down. Because even just taking about it makes me laugh! Boyer sends his own British chauffeur to work for Millie but when a freak accident puts him out of commission, Ford/Davis is sent off to be Millie's chauffeur instead. Ahh and here is when the wrench is thrown into the works. Millie starts to fall for her new driver even though M. Pimm/Boyer and her uncle Dr. Christian Gump (Telly Savalas) have set designs on Gaspard as her future husband. And Gaspard is starting to have an eye for Boyer's assistant Janine (Ulla Jacobsson).

This is a fun film. Parts of it reminded me of Come September (1961) which was filmed in Italy. The French Riviera is definitely a major character in this film. Love is a Ball has all the classic workings of a 1960s sex comedy.  Hope Lang and Glenn Ford were in a romantic relationship in real life and you can tell there is some chemistry between them. I think Ford and Montalban were both a bit old for their parts but still believable in their roles. Love is a Ball was also spared some of the real bad dubbing that the 1960s were known for.

I highly recommend this film if you are a fan of the Doris Day-Rock Hudson-Tony Randall features like Pillow Talk (1959), or the Bobby Darin-Sandra Dee films such as If a Man Answers or Come September. It's available on Netflix Instant but the quality is so terrible on there that I recommend purchasing the DVD or renting it from ClassicFlix.

My Classic Film Bookshelves

In our cramped condo, I have two bookcases filled with books. Two shelves in particular are devoted to classic film books and they are already filled to capacity. If I could have the entire bookcase filled with classic film books I would be happy. But alas, cookbooks, novels, reference guides and books from my college years beg for space too. Looking at these two particular shelves of my bookcase makes me very happy. I smile thinking of of the particular books I've read and the ones that I get to read soon.

What does your classic film bookshelf/bookshelves look like? Share a picture! Post it on your blog, tell me about it and I'll add a link to this post (and tweet it too).

Edit - Here are some that were shared:

Angela of The Hollywood Revue - Picture 1 and Picture 2 

Paulie of Art, Movies, Wood and Whatnot - My Classic Film Library

Jill of Sittin' on Backyard Fence - Instagram picture

Here is the list of the books, from left to right and from top shelf to bottom shelf. I've also included links to my reviews (and marked them with a *) or to B&N if I haven't reviewed them yet.

First Shelf

• Steve McQueen: A Passion for Speed by Frederic Brun
• The Garner Files: A Memoir by James Garner with Jon Winokour
• The Norconian Resort: Images of America by Kevin Bash and Brigitte Jouxtel (many a 1920s/1930s movie was filmed at that resort)
• Hedy's Folly: The Life and Breakthrough Inventions of Hedy Lamarr, the Most Beautiful Woman in the World by Richard Rhodes
• Jimmy Stewart: A Biography by Marc Eliot
• Clark Gable by Warren G. Harris
• TCM: Leading Couples*
• Fasten Your Seat Belts: The Passionate Life of Bette Davis by Lawrence J. Quirk
• George Sanders, Zsa Zsa, and Me by David R. Slavitt*
• M: A Graphic Novel Based on the Film by Fritz Lang by Jon J Muth*
• An Affair to Remember: The Remarkable Love Story of Katharine Hepburn and Spencer Tracy by Christopher Andersen
• Jazz Age Beauties: The Lost Collection of Ziegfeld Photographer Alfred Cheney Johnston by Robert Hudovernik
• Roman Candle: The Life of Bobby Darin by David Evanier
• Hail, Hail, Euphoria! Presenting the Marx Brothers in Duck Soup, The Greatest War Movie Ever Made by Roy Blount Jr.
• The Best Years of Flying: A Memoir of Howard Hughes & TWA by Dee Merian
• Norma Shearer by Gavin Lambert (special thanks to Carlos for this one!)
• Robert Mitchum: "Baby I Don't Care" by Lee Server
• Good Stuff: A Reminiscence of My Father, Cary Grant by Jennifer Grant*
• The Silent Screen & My Talking Heart by Nell Shipman*
• Cary Grant: A Biography by Marc Eliot*
• Silent Movies: The Birth of Film and the Triumph of Movie Culture by Peter Kobel and the Library of Congress (special thank you to former co-worker Andrew S. for this one!)
• Film Posters of the 30s: The Essential Movies of the Decade by Evergreen
• Errol & Olivia: Ego & Obsession in Golden Era Hollywood by Robert Matzen*

Second Shelf

• Saul Bass: A Life in Film & Design by Jennfer Bass and Pat Kirkham
• Icons of Men's Style by Josh Sims (special thanks to Gina of Letters and Line for this one!)
• Warren William: Magnificent Scoundrel of Pre-Code Hollywood by John Stangeland*
• Paul Newman: A Life by Shawn Levy
• Son of Harpo Speaks by Bill Marx*
• Complicated Women: Sex and Power in Pre-Code Hollywood by Mick Lasalle (special thanks to Mark Zero for this one!)
• Spencer Tracy: A Biography by James Curtis* (special thanks to Susan for this one!)
• Groucho Marx and Other Short Stories and Tall Tales: Selected Writings of Groucho Marx edited by Robert S. Bader*
• The Night of the Hunter: A Biography of a Film by Jeffrey Couchman*
• Charlie Chan: The Untold Story of the Honorable Detective and His Rendezvous with American History by Yunte Huang
• Nicholas Ray: The Glorious Failure of an American Director by Patrick McGilligan*
• Learning to Live Out Loud: A Memoir by Piper Laurie*
• Possessed: The Life of Joan Crawford by Donald Spoto (special thanks to Diane of Classic Movie Blog, I won this in her contest)
• Steve McQueen: A Biography by Marc Eliot*
• John Huston: Courage and Art by Jeffrey Meyers*
• Cagney by James Cagney
• Tony and Me: A Story of Friendship by Jack Klugman*
• Elizabeth Taylor: A Passion for Life, The Wit and Wisdom of a Legend by Joseph Papa*
• Tough Without a Gun: The Life and Extraordinary Afterlife of Humphrey Bogart by Stefan Kanfer*
• Frank: The Voice by James Kaplan*

A few things I noticed about my bookshelves after listing these books: 1) I don't have a lot of books about classic film actresses, 2) Several titles had very long subtitles and in some cases more than one subtitle, 3) I have 3 books about the Marx Bros! 4) I can remember the story of how I came to adopt/acquire each and every one of these books 5) I don't alphabetize any more and 6) I have a lot more reviewing to do!

Flirtation Walk, Hawaii, Escape and Gettin' No Respect

I’m just going to preface this by saying that this is going to be a very strange post.

Flirtation Walk (1934) arrived to me as a rental from ClassicFlix. While I have an ordered queue on ClassicFlix, I often forget what I put on there or the next title shipped to me is something much further down the list. So when Flirtation Walk had arrived, it was a surprise as most ClassicFlix rentals are. I had some free time on Sunday, which is a rare thing these days, so I popped the DVD player into our BluRay player. The player has been having issues and it’s been displaying diva-like behavior. It likes some DVDs and BluRays and dislikes other. It angrily spins Ocean’s 11 (1960) making a weird buzzing noise of discontent. This makes me want to kick it because gosh darn it I need to watch Ocean’s 11 sometimes! The player seemed to like Flirtation Walk so I called a temporary truce.

I must have chosen Flirtation Walk because it’s one of the 16 films Ruby Keeler made, and I just love me some Ruby Keeler no matter what you haters say. It also has Dick Powell and the added surprise bonus of Ross Alexander, the tragic actor who never saw a long life or a successful Hollywood caree. Dick Powell plays Dickie Boy Dorcy, a private in the army who gets pushed around by Sgt. "Scrapper" Thornhill (Pat O’Brien) while they are stationed in Hawaii. What makes matters worse is that Dorcy has been assigned to escort Kathleen Fitts (Ruby Keeler) the daughter of a general who happens to be engaged to someone in the army (of higher rank than Dorcy of course). When Dorcy isn’t being pushed around by Scrapper he’s being pushed around by Kathleen. He can’t get no respect! I can sympathize with him. I don’t think a day goes by where I don’t feel disrespected by someone. Maybe I’m too paranoid or sensitive or maybe I just have “pushover” stamped permanently on my forehead. Who knows? Anyways, I know what Dorcy feels like and I don’t blame him when he packs up his things, heads to West Point Military Academy to make something of himself.

Private Dorcy and Kathleen (“Kit” Fitts, wow what a name) have a private little rendezvous while in Hawaii. She forces him to take a detour while they are on their way to a party. They stop to watch some native Hawaiians dance and sing. Of course Dorcy is asked to sing because heck he’s being played by Dick Powell. A 1930s Dick Powell must sing! This scene was interesting for a few reasons. Kathleen shows Dorcy utter disrespect by forcing him to take her there, forcing him to sing and forcing him to lay down with her for a romantic moment together, even though she knows all of this will get him in trouble. Disrespect! (Also a curious gender role reversal that becomes very important later in the film). Another interesting point about this scene was the Hawaiian hula dance. So very different from a contemporary depiction of Hawaiians performing for tourists, these Hawaiians sang in their native tongue, most didn't speak English and they were performing for themselves (at least they thought they were until they discovered Kathleen and Dorcy were watching).  Now I know little to nothing about the history of Hawaii but I started to compare this scene with a contemporary movie, Forgetting Sarah Marshall (2008). I know what you are thinking. I've gone off the deep end. But I assure you I haven't. Sometimes I like to watch contemporary comedies and that's okay! The Hawaii in Forgetting Sarah Marshall is a touristy haven, the locals may know a few words of Hawaiian, but don’t speak it fluently, and a few of the locals in the movie have come to Hawaii to escape something in their lives (whether it’s a desk job, an old life, a rough neighborhood, etc.) and the tourists escape there for a vacation or as is the case for the main character, to forget about Sarah Marshall. In a way, both films, while depicting different Hawaiis, are both about escaping.

So what the heck is my point? Sometimes a film comes into your life at the very exact moment you need it. Flirtation Walk is NOT a great film. It’s a film with several enjoyable parts and the kind of disappointing gender fix that's so common in films from that era. But for some reason, it came to me at a time in my life when I desperately need respect (like Dorcy does) and I desperately need an escape (like Dorcy and all the characters in Forgetting Sarah Marshall). Sometimes you realize that your soul needs something to speak to it and you chose a film for that purpose. Other times that film finds you.

Has a film ever come to you at a time you most needed it to? Do you ever watch specific films out of emotional need or for comfort?

Flirtation Walk (1934) is available on DVD from Warner Archive and for rent and sale on ClassicFlix!

Interview with Bill Marx, author of Son of Harpo Speaks!

I've had the absolute pleasure of getting to interview Bill Marx, the adopted son of actors Harpo Marx and Susan Fleming and the author of the book Son of Harpo Speaks! which I reviewed yesterday.


I tried to keep the questions spoiler-free so that you all will be encouraged to pick up the book yourselves and dive on in! A big thank you to Jaime from Hal Leonard for coordinating the interview and also to him and to Bill Marx for allowing me to post one of the never-before-published images from the book. I hope you enjoy the interview!


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Raquelle: What is your favorite memory of your dad, Harpo Marx?

Bill: I have no real singular "favorite" memory of dad. He always made you feel comfortable with him, even on the occasion when he was angry with my behavior. (Of course, those times were fortunately very rare...heh, heh). So really, all of my memories are all my "favorites" because if you knew him, there were no surprises. Whatever it was, he always came straight from his heart. I suppose my most ingrained image of him was the vision of him after breakfast, practicing his music in front of the living room bay window, his harp resting gently on his shoulder as he transported himself to his other kind of surreal world.

Raquelle: What is your favorite memory of your mom, Susan Fleming?

Bill: Lots of good memories of mom as well. Aside from her natural beauty, I remember she had the toughest gig in the family as the Sergeant At Arms of the household. She was more practical than an idealist, strangely unsentimental, though with a great sense of humor, and had an opinion on just about everything, except that she would never talk about herself and her own feelings. But whenever I think of her, I think of the time that dad would come home at the end of the day, I can still remember the sight of the two of them performing their daily ritual of a big kiss on the lips, one that you could also hear the sound of way down the hall. The memory that is my most bittersweet is the time she suffered her final heart attack, and as the paramedics were wheeling her out to the ambulance, she looked up at me, with a loving smile and whispered, "Take good care of yourself, Willie......It's your turn now."

Raquelle: Out of all or your famous uncles, who were you the most close to and why?

Bill: Gummo was the easiest to be with. He was soft spoken and pretty mellow. Groucho was the most intriguing of my uncles because he was a very unpredictable character. You had to be on your game at all times with Groucho. Though I toured with Chico and dad when I was but twelve, I believe maybe because of the 50 year generation gap between us, he was more or less indifferent to me, as he was usually in his own world with his peers, and rarely in good health, except when re-energized by any available Gin or Poker game. Zeppo, too, was usually in his own world with his peers and was difficult to get to know. However, my mom did have a wonderful relationship with his first wife, Marion.

Raquelle: Tell us about a little about your dad’s musical talents as a harpist?

Bill: Dad was a self-taught musician. No academic training. He had to pick up everything either by ear or reading a system of musical notation that I created for him to be able to learn new songs or arrangements. I would write out the letters of the alphabet in place of the corresponding musical notes. Aside from the harp, he could play piano, clarinet, and chromatic harmonica, learned by the hunt and peck, search and destroy methods he used for his constant, creative discoveries.

Raquelle: For those who haven’t read your book yet (which they should soon!), could you tell us a bit about your own musical career?

Bill: Nutshell career as a musician: Juilliard trained in composition; composed concerti for violin, flute, alto saxophone, piano, harp, and double harps, plus various other symphonic works, Motion Pictures, Television, Records, and concertized all over the country as a jazz pianist. More than anything else in music, I enjoy the energy and excitement of live performance when playing the piano, being able to communicate with audiences right then and there, instantly.


Raquelle: How did Son of Harpo Marx Speaks! come together and why did you decide to write it?

Bill: I wrote Son of Harpo Speaks! for two reasons. Siblings of Groucho's and Chico had written books about their father, but no one from Harpo's family had done so. I thought it was time to complete the trifecta. Yes, there are new stories about the Marx Brothers never before published, and the close father/son and professional relationship dad and I shared together. But the book has another story that I hope people find very compelling; that of the "too Hollywood to believe" way I came to become a part of Harpo's and Susan's lives. I chose to write about that only after mom's passing in 2002, carefully respecting her lifetime role as my mom, the parent. It is a weird story about rejection, abandonment, adoption, and acceptance that I believe many can relate to and understand the accompanying feelings attached to these issues that can affect a lifetime of one's behavior.

Raquelle: You have so many wonderful photographs in your book. I especially love the one of your dad Harpo with yourself and your three siblings at Christmas time. You are all wearing big grins and look so happy to be together. How did you select which pictures to include and did these pictures come from your own collection or from other sources?

Bill: All of the photographs and images come from my collection and have never previously been published. I selected them for the book primarily to connect with and/or advance the plot lines. I also wanted easy access for the reader to see the people and things I was referring to at the time they were reading about them.

Raquelle: You have met a lot of famous people in your life. I loved reading about how you worked with Doris Day and when you played piano at a party with Jack Lemmon. Who was your favorite celebrity (besides your Dad and your uncles of course!)?

Bill: I suppose George Burns was the most remarkable celebrity I have ever met. The last time I saw him he was about 98 years old. He saw me and walked toward me with conviction, and then we hugged each other for at least a good 15 seconds. I shall never forget the moment, nor the feeling I had in my arms while holding his frail, skeletal body to me. He was unique, special, a comedic genius.
Maybe the most gifted celebrity that I would see from time to time was Jack Lemmon. Not only a superb actor, he was a very good piano player, and great fun to be around, just like my secret idol, Steve Allen, who I had the great pleasure of working with for a number of charity events.

Raquelle: In your book, you mention that your mother and actress Gloria Stuart were best friends. You even likened them to Oscar and Felix from The Odd Couple (which is one of my favorite TV shows!). Could you tell us a little more about their friendship?

Bill: The Odd Couple (1968) was a wonderful movie with Jack Lemmon and Walter Matthau, and later became a smash TV sitcom. It revolved around the comedic formula of putting two people of opposite behaviors together, (the slob, Felix Unger, and the anal retentive, Oscar Madison) hoping they will somehow eventually learn to live together by tolerating one another, and maybe ultimately even get to become loving friends. Mom's look at life was closer to Felix's, more orderly. Gloria Stuart, mom's dearest friend for over fifty years, was pretty much the free spirited, creative but non-domesticated Oscar. In other words, as I write in my book, pretty much exact opposites...and they did attract.


Raquelle: What do you hope readers come away with when they read your book?


Bill: I hope that there will be something for everyone in Son of Harpo Speaks! that will strike a positive note about Fate, and how it can play a profound part in our lives on this tiny planet in our universe. It sure has with me, and I hope everyone will finish my book with a big smile and warmth in their heart.

P.S. For more about Harpo Marx and his family, go to: harposplace.com 

Thank you Bill!

Son of Harpo Speaks by Bill Marx

Son of Harpo Speaks!
by Bill Marx
February 2007
Applause Books – Hal Leonard
Paperback
$19.99
315 pages



My dad’s wonderful impact on people’s lives had given me an entree into a world I’m sure I would have otherwise never known.- Bill Marx


Whenever I think of classic film biographies written by the children of famous stars, books like Mommy Dearest and My Mother’s Keeper pop into mind. Those books, which may or may not exaggerate the truth, do not put the classic film stars in a good light. Son of Harpo Speaks! is not like that at all. Bill Marx, the oldest adopted son of Harpo Marx and actress Susan Fleming, wrote an autobiography which does double duty in that he talks about his own life journey while also paying tribute to his beloved father and mother. It’s a very charming book, written with a lot of respect and admiration and you can’t help but fall in love with Harpo Marx after reading it.


Harpo Marx married Susan Fleming in 1936 after much chasing on Fleming’s part because Harpo was very content to remain a bachelor. They had a long happy marriage which lasted until 1964 when Harpo Marx passed away. In 1938, Harpo and Susan adopted Bill in 1938 and adopted three more children (all at the same time!) several years later. They decided to adopt children when it was discovered Susan couldn’t bear children.


In the Son of Harpo Speaks! (a play on the title of his dad’s autobiography Harpo Speaks!), Bill Marx chronicles his life with his adopted parents Harpo and Susan, his adult life, career in the music industry and the story of his birth parents. I wouldn’t call it an autobiography per se but more a memoir. Although it reads chronologically and covers his life from beginning up until the present time (circa 2007), it’s focus is very geared towards Harpo Marx’s influence on Bill as a parent, friend and musical inspiration. Bill went on to become a composer and pianist. He even arranged and conducted the song "Please Don’t Eat the Daisies" which was the theme for the movie with the same name and sung by Doris Day!


To be honest, at first the book was a bit difficult to read. I felt that Bill Marx was trying too hard to be as funny as his dad. Also, at several points in the book the ghost of Harpo Marx speaks to his son and at first I found this odd but eventually I came to realize that this was Bill’s way of remembering his dad, dealing with some of his abandonment issues and imagining what he would have thought of Bill’s life after Harpo left it. A few chapters in, Bill Marx really finds his voice and the writing becomes a lot more natural and a lot less forced. It’s a quirky, charming book and it’s very clear that Bill loved his dad. Harpo wasn’t perfect, Bill acknowledges his dad’s his character strengths and flaws in a portrait that makes Harpo look like a loving father, talented and devoted performer and a good friend.

When I was young, [my dad] told me that it wasn’t what you do in life that’s important; it’s how you feel about yourself while you are doing whatever it is you are doing. As long as you aren’t hurting someone else in the quest of your dreams, always look for things to do that can bring you pleasure and personal fulfillment. – Bill Marx

I loved reading stories about Harpo, Susan and Bill. I laughed out while reading about the story of Harpo playing golf in the nude. Reading about Harpo’s death broke my heart. You’ll need to keep some tissues handy when you get to that part. The book is filled with never-before-published family photographs of Harpo, Susan, Bill, the Marx Bros., Harpo’s celebrity friends and many more. There are plenty of these pictures and they are a delight to look at. They are found throughout the book and placed in the appropriate context within the text rather than all grouped in the middle. There is not a lot about Bill’s adopted siblings in the book and there are a few parts of Bill's life that feel left out (although he acknowledges certain omissions like his second marriage). It’s not a salacious read by any means although Bill does devote one chapter to the Marx Bros.’ penchant for nudity and the ladies. In other parts of the book he discusses dating actress Marlo Thomas, some crazy stalkers he had and some interesting events that happened during his life travels. But if you are looking for gossip, look elsewhere.

There is a lot in this memoir to cherish and if you are a Marx Bros. fan with a particular love for Harpo, you need to read this book!

Full Disclosure: Thank you so much to Jaime from Hal Leonard for giving me the opportunity to review this book!

Stay tuned because tomorrow I will be posting an interview with Bill Marx himself!

Racing Cars ~ Winning (1969)

I had set out to watch three classic race car movies and write about each. First was Grand Prix (1966) which was a delight to watch and even though it was long and the plot was rather weak, the three hours seemed to fly by for me. Le Mans (1971) was a horrible, plotless mess. It was fun to watch because of Steve McQueen and because I could easily pick out all the things I disliked and the documentary on the DVD proved to be what saved the whole film for me. Watching Winning (1969) was both a bore and a chore to watch. But this makes absolutely no sense to me. I love the 1960s, I love Paul Newman, and it's an added bonus that his wife Joanne Woodward co-stars as his love interest and I can legitimately hate Robert Wagner because he's the bad guy in the film. Plus there was racing! Winning should have been #winning in my book. But alas, it was not.

So what went wrong? Well, out of the three racing movies, this one had the most plot. Or at least it tried very hard to have a dramatic plot. Paul Newman stars racer Frank Capua who is racing the Indy 500. He falls for divorcee and single mother Elora (Joanne Woodward). They marry and Frank adopts Elora's teen son Charley (Richard Thomas). Elora and Charley, both head over heels in love and admiration for Frank, follow him from race to race. Elora proves to be trouble when she has an affair with rival racer Lou Erding (Robert Wagner). The plot is very choppy, Charley is annoying, to our dismay Newman drinks champagne out of a used popcorn box (ew), and there are numerous slow dramatic shots of pensive Newman alongside cheesy 1960s music. And I seriously wanted to smack Elora upside the head. I mean serious, you chose to cheat on Paul Newman with Robert Wagner? C'mon! The only thing I enjoyed was looking at Paul Newman throughout the movie. Good grief was that man good looking. Those eyes. THOSE EYES! And those chiseled features. He looked like a Roman god.

I wish I had something thoughtful to say about this film. My advice is that if you are looking for a good racing movie from the 1960s/70s era, then skip Le Mans (1971), skip Winning (1969) and watch Grand Prix (1966) instead. 

If you are interested in the early days of race car driving, I highly recommend two silent films. The First Auto (1927), which I've reviewed before, is an excellent film about the early history of cars. The story follows the clash between a father, set in his ways and who doesn't want to give up his horses, and his son who loves the excitement of the new technology. The son, played by Charles Emmett Mack, becomes a race car driving and is involved in a serious accident. Ironically, the actor died in a car accident before filming ended. Legendary race car driver Barney Oldfield makes an appearance in the film. The other film is Speedway (1929) starring William Haines  and Anita Page (I also did a post on this on but not quite a review). I don't remember too many details about the film however it's a fun picture with William Haines as a flamboyant racer who is more interested in chasing Anita Page than he is in taking racing seriously. The racing in both films is real and Speedway was shot on the Indianapolis Motor Speedway, as was Winning (1969) (and I've been there! woot!).

Have you watched Winning (1969)? If so, what did you think of it? What's your favorite racing movie?

Racing Cars ~ Le Mans (1971)

UPDATE: Stop! Before you leave a comment, read the entire post first. I have some opinions about the film not everyone will agree with but I was as fair as possible. Don't jump to conclusions. Thank you.

Le Mans (1971) is simply a terrible movie. It's more a quasi-documentary Steve McQueen/race car fest than it is an actual film. There is virtually no plot and if you are not a race car enthusiast or perhaps you do not know what Le Mans is you would be confused and bored by the seemingly endless race that lasts the entire film. For those of you who are not familiar with Le Mans, it's a 24 hour endurance race (relay with teams) which takes place every year in the Le Mans region of France. The whole movie centers around Michael Delaney (Steve McQueen) the champion racer who is participating in Le Mans in the shadow of the recent death of another racer Belgetti. Belgetti's widow Lisa (Elga Andersen) hangs around the race for some reason, looking forlorn and lusting after Delaney. It's hard to tell if this is really what is going on. Her husband just died and here she is, holding on to the lifestyle and social circle she's grown accustom to which she no longer has a connection. So is Delaney the replacement that will keep her in the race care lifestyle? Who knows. It's Steve McQueen driving a race car. Cool.

This film has very little dialogue. So little that the first 37 minutes of the film contain no dialogue spoken by any of the characters. All you hear is the occasional announcer. The remaining 69 minutes has some dialogue but not much.  So why watch this film? For the setting, the fancy shots of real race care driving and for Steve McQueen. McQueen loved sports and he loved racing. After his famous chase scenes in Bullitt (1968) and The Great Escape (1963), it seems inevitable that McQueen would do a movie completely devoted to race car driving.

The 1970s was the most varied and the most sparse decade in Steve McQueen's film career. Le Mans was produced by Solar Productions, McQueen's production company run by himself and business partner/friend Robert Relyea. By 1970, McQueen had become one of the world's most recognizable talents and a hot commodity for film studios. He also become one of the most difficult actors to work with. Le Mans really should have been Day of Champion (1966), produced by Warner Bros., starring Steve McQueen but it wasn't meant to be. Instead Grand Prix (1966)  starring James Garner was made and Day of the Champion was put on the back burner. Relyea eventually made a deal with CBS's Cinema Center Films to do 3 pictures with Solar Productions. It was a deal I'm sure CBS came to regret.

According to Steve McQueen biographer Marc Eliot, a $5 million dollar insurance policy was taken out on McQueen's behalf were something to happen to him during the filming of Le Mans. Although Solar Production and McQueen were virtually broke, McQueen, banking on his fame, managed to get a good deal out of making Le Mans. Initially that is. However, there were many problems. The director John Sturges, was sick of McQueen's antics on set and the constantly changing script (whatever there was of one) that he abandoned the picture. Le Mans was hemorrhaging money. Pretty much all of Sturges' scenes had to be tossed, CBS' Cinema Center pulled out, McQueen's salary was cut, people were fired and the filming just plain stopped. CBS's Cinema Center took it back on after a few weeks with a new director on board. Lee H. Katzin took over but was restricted heavily by McQueen's demands. Katzin stuck with the production to the bitter end, bless him. By the end of filming, the editors had a mess of a movie to piece together, McQueen ended his business and personal relationship with Relyea forever and McQueen's marriage with Neile was on life support. The film was a critical disaster, didn't make enough to cover it's costs and it quickly disappeared from theaters.

I do hope this movie is released on BluRay, because although it's a terrible film I really do think it should be restored. It's aesthetically and historically important given the footage of real racing and Steve McQueen's iconic status in the history of film. The quality of the DVD is as bad as the plot of the movie. If you are a courageous soul and do brave watching this film on DVD, you will be rewarding by a very nice Speed Channel documentary about Le Mans (1971) hosted by McQueen's son Chad McQueen. I'd say it's better than the actual film. (Update: Le Mans is available on Blu-Ray).