My Lunches with Orson: Conversations Between Henry Jaglom and Orson Welles

My Lunches with Orson
Conversations Between Henry Jaglom and Orson Welles
Edited by Peter Biskind
July 2013
Hardcover 9780805097252
Metropolitan Books (MacMillan)

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There have been many classic film biographies published in the last decade but none quite like My Lunches with Orson. Within the pages of this book, you'll find transcriptions of conversations between director Henry Jaglom and the man he revered and championed for, Orson Welles. While some other books might attempt to publish interviews and conversations from memory or notes, there is something special about straight transcriptions from recordings. There was some editorial massaging of the Welles recordings due to sound issues and inaudible bits and for the sake of continuity and context. But for the most part these conversations are presented as though you were a fly on the wall listening in on Jaglom and Welles' lunchtime meetings at the restaurant Ma Maison as they talked shop and gossiped.

Jaglom recorded his conversations with Welles not only with his permission but on his request. The agreement made was that the recording device must always be hidden. Out of sight and out of mind, the hidden device recorded a very candid Welles talking about everything including his past career, projects he was eager to work on, people whom he admired and who annoyed him, how others perceived him, his love life and more. I wouldn't call Orson Welles' conversations lurid or salacious. On the contrary, we get a glimpse of a tortured genius, oftentimes paranoid and always opinionated. He felt he had a right to criticize people in the movie business because he was one of them. Jaglom is at times both lavish with his adoration and other times very particular about his questions in order to get Welles to open up about a certain topic. I think Jaglom made Welles feel at ease and because of that we get to read a much more candid Welles. We have to remember though that Welles was also an actor and sometimes these conversations were mini-performances in themselves.

The book starts with an introduction by Peter Biskind who summarizes the careers of Orson Welles and Henry Jaglom and how these conversations came to be and how they came to be transcribed (note that Biskind didn't transcribe them but did some editorializing of them). Part One transcribes the Welles-Jaglom conversations of 1983, Part Two is from 1984-1985. The last conversation recorded happened 5 days before Welles' death in 1985. Each chapter starts off with a choice quote from Orson Welles, often meant to pique the interest or scandalize. You can't help wanting to dive right in with each of those morsels. The backmatter includes an epilogue written by Henry Jaglom along with an appendix containing descriptions of Welles' various unfinished works and biographical summaries of the people whom Welles refers to in the conversations.

A lot of folks I know have already read and reviewed My Lunches with Orson so I don't necessarily bring anything new to the table other than my own opinions. Here are some of my thoughts:

Sometimes looking at the big picture gives us a shallow sense of what a thing really truly is and it's only when we focus in on one small aspect that we get a better understanding. There is a lot to learn about who Orson Welles was as a director, as an actor, as part of the Hollywood elite and as a man. You can't take everything Welles says in the book at face value.

"No, I think I'm absolutely genuine - that's a lie. I never tell the truth." Orson Welles to Henry Jaglom (pg 107)

Have a shaker of salt by your side when you read this book because you'll need it to take grains from. Sometimes things Welles says are his own true opinion and sometimes they are just to get a rise or reaction out of his audience (Jaglom and that hidden recorder). Welles was not afraid to divulge in detail what he liked about someone and what he didn't. Some of his opinions will shock you. His observations are either brutally honest or just plain brutal.

There were some observations that gave me pause and made me really reflect on the subject at hand. For example, Orson Welles did not care for Charlie Chaplin and thought he was an egotist with not much talent. He much preferred Harold Lloyd and Buster Keaton and even went on to say that he thought The General was one of the best films ever made. I think over the past couple of decades there has been a huge shift in popularity of Keaton and Lloyd films and much more criticism of Chaplin's work. Maybe Welles' observations were ahead of his time? Welles also questioned the talents of favorites including Alfred Hitchcock (he hated Vertigo), Humphrey Bogart (he called him a second-rate actor) and more. He won't win any fans with these opinions however there is something to glean from his observations about the movie industry. Movies are entertainment and for Orson Welles I think movies were his way to express his creativity. Kind of like John Huston, I think Welles may have seen movies as a lesser of the arts but was still compelled to make them.

If anything, this book got me to think a whole lot about my perceptions of the movies. Some things Orson Welles said made stop and think and other times I wanted to throw the book across the room. Especially when Welles said he hated Art Deco!

If you have romanticized notions of old Hollywood and don't want anything to corrupt that pure ideal, then do not read this book. If you have a thicker skin than that, then don't miss out on the opportunity to reading this captivating, eye-opening, bittersweet and oftentimes wildly entertaining book.

Thank you to Metropolitan books for sending me a copy of this book to review!


UPDATE: There has been a lot of talk about My Lunches with Orson. Here are some interesting links for further reading.

My Lunches with Orson Puts You at the Table with Welles via NPR Books
Q&A: Director Henry Jaglom, Author of My Lunches with Orson via NPR Books
The Art of Irascible Conversation, Found in My Lunches with Orson via Biographile
Hollywood Gossip: At Lunch with Orson Welles via The Millions
An excerpt of the book via Vulture
Stardust Memories ‘My Lunches With Orson’ and ‘Ava Gardner: The Secret Conversations via The New York Times
War of the Words via The Paris Review
Henry Jaglom's piece from 2008 via L.A. Times

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Warner Archive Wednesday ~ Tish (1942)

Where do I begin? How do I even talk about such an odd movie? Oh dear! Well, here goes nothing...

Tish (1942) is an adaptation of the Tish stories by Mary Roberts Rinehart. Tish Carberry (Marjorie Main) is part of a threesome of spinsters which includes Aggie Pilkington (Zasu Pitts) and Lizzie Wilkins (Aline MacMahon). Together they cause all sorts of ruckus in their small New England town. Tish lives in her childhood home, now owned by her nephew Charlie Sands (Lee Bowman), and her friends live in a nearby boarding house along with the orphaned teenager Cora Edwards (Susan Peters). All three ladies practically raise Cora.

Now let's add some romantic entanglements, shall we? Cora is in love with Charlie who is newly engaged to Kit Bowser (Virginia Grey) whose brother Ted (Richard Quine) is in love with Cora. That's quite a mess, no? Tish tries to meddle in the love lives of the young folks by trying to fix Cora up with Charlie. She takes them on a camping trip together (some hilarious moments ensue) but Cora has a change of heart. Charlie marries Kit in a church ceremony and Cora and Ted secretly elope before Ted is sent off to war.

So far this film is a light comedy about three delightful spinsters in a small New England town and the young people in their lives. The romantic entanglement, more of a circle than a triangle, gets settled but then the story takes a bizarre turn for the worst.

SPOILERS AHEAD

Cora becomes pregnant, finds out Ted is lost at sea, faints, has her baby and dies. Yes, dies. What the heck? Tish finds out about the baby and takes him into her care. But realizes that it might be a bit complicated because the baby is not hers nor did she go through the proper channels to legally adopt him. So Tish tells everyone she had the baby. No one believes her because she's too old to have a baby. She is so adamant that everyone starts to think she's crazy. Charlie reluctantly puts her in a mental institution. Eventually things resolve themselves and there is a happy yet somewhat bittersweet surprise at the end but good grief.

END SPOILERS

What could have been just a light 1940s comedy turned out to be a rather bizarre curio of the time. I haven't read the Tish stories so I'm not sure how much this film stays true to the original tales.

This film is notable because of Susan Peters and she's the main reason I watched the film. Playing Cora in Tish (1942) was Susan Peters' first substantial role at MGM. Studio heads were impressed with her and she went on to do Random Harvest (1942) and several other films. Peters was being groomed to become a leading lady and a starlet all thanks to the film Tish. Also, Susan Peters met her future husband Richard Quine while making this film. Peters and Quine married the following year, adopted a son and later divorced in 1948. Susan Peters became paralyzed as a result of a hunting accident in 1945, continued to have health problems and died in 1952 (it's a complicated story that I won't go into in this post). Researching the life of Susan Peters is a pet project of mine so it was imperative that I watch Tish (1942).

Susan Peters is really delightful in this film as are the other actors. So if you are a fan of anyone in the cast, Tish is worth at least one viewing. I'd like to also point out that Guy Kibbee has a supporting role as Judge Bowser (father of the characters Kit and Ted). Kibbee has some hilarious scenes and his character is often put in embarrassing situations courtesy of the three spinsters. Note that Aline MacMahon and Guy Kibbee played a couple in Gold Diggers of 1933 so it's nice to see them together again in Tish!

One last note for vintage hair and fashion enthusiasts. Watch this film for the outfits and hairstyles of Susan Peters and Virginia Grey. You'll get lots of ideas because the wardrobe and hair departments took extra effort grooming these two young ladies for the film.

Tish  (1942) is available on DVD MOD from Warner Archive.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. I received Tish (1942) from Warner Archive for review.

Bluffton: My Summers with Buster Keaton by Matt Phelan

Bluffton: My Summers with Buster Keaton
by Matt Phelan
240 pages - Hardcover
Candlewick Press
9780763650797
July 2013

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Maybe I'm a little biased because I work for the publisher but I think this book is fantastic. A couple of years ago I was at a company party while working the big industry show Book Expo America. I'm pretty shy and was trying my best to mingle. I happened to overhear someone talking about Buster Keaton and of course this classic-film-loving gal perked right up. The person talking about Buster Keaton was Matt Phelan, an author/illustrator renowned for his children's book art. He has had much success with his historical middle-grade graphic novels and he was working on one about Buster Keaton. Once anything classic film related comes up in conversation, my introverted nature seems to be suppressed and I jump into the conversation with much enthusiasm. I talked to Matt for what seemed to be hours about Buster Keaton and about his work-in-progress, a graphic novel called Bluffton. And each Book Expo we attended, we chatted more in anticipation of the book's release.

Today Bluffton: My Summers with Buster Keaton goes on sale to the public and I urge you to find a copy and buy it.

Bluffton follows the story of Henry Harrison, a young boy from Muskegon, Michigan. It's the summer of 1908 and a troop of vaudevillians, including a young Buster Keaton, have stopped to spend the season at Bluffton, a small neighborhood by Lake Muskegon. Buster is different from any other kid Henry has ever met. Henry is mesmerized by the vaudevillians, their animals, their props, their antics and their colorful personalities. Vaudeville life is the polar opposite of the seemingly hum-drum life Henry leads in Muskegon. However, Buster doesn't seem to think so. Buster lives the vaudeville life all the time and when he spends his summers in Bluffton he gets to be a regular kid for a while. Buster wants to play baseball, go swimming and fishing and do all the things a normal kid from 1908 would do during the summertime. Henry wants to juggle, do stunts, appear on stage and do everything Buster and the vaudevillians do.

This story has a lot of classic elements that work well. There is what I like to call "the new person dynamic" in which a stranger comes into someone's life and changes it forever. There is also opposites-attract and grass-is-greener-on-the-other-side factors. You learn a lot about both Henry and Buster from how different they are to each other and how they interact.

Matt Phelan does a superb job with the illustrations in the book, taking extra care with Buster Keaton. Keaton was known as the Great Stone Face but you'll see a much more playful and relaxed Keaton here. And in this book, unlike in his movies, he smiles! The graphic novel style of the book lends itself to film aficionados because it reads as though you were watching the actions on film.

Bluffton is intended for children ages 9-12 but I think people of all ages will enjoy this book. It's a great way to introduce children to an important figure in film history and to show them a time before electronic devices in which work and play were exclusively physical. Adults will revel in the nostalgia and the history and everyone will be transfixed by the amazing illustrations. This is a great choice for reluctant readers because of the accessibility of the illustrations, the story and the text.

You can see a free preview below of the book. Also, I'll be posting an interview with Matt Phelan soon on this blog! Stay tuned.

2013 Summer Reading Classic Film Book Challenge: First Roundup

We are past the first month mark so I'm sharing some entries for the 2013 Summer Reading Classic Film Book Challenge.

Everyone can chose to read up to 6 books but if you read a total 6 and review them by September 15th, you are eligible to win a prize. The prize in question is your choice of any single disc movie from the Warner Archive and up to $30 worth of books from Barnes & Noble or your favorite Independent Bookstore (or a gift certificate). The prize can be modified if the winner is from outside the U.S.!

If you haven't read or reviewed a book yet, don't worry. There is still plenty of time. Grab a book and get crackin'.

Here are the reviews!

Laura of Laura's Miscellaneous Musings
Three Bad Men: John Ford, John Wayne, Ward Bond by Scott Allen Nollen
When Hollywood Came to Town: A History of Moviemaking in Utah

Lê of Vintage Classic Scrapbook
Rebecca by Daphne Du Maurier

Lindsay of Lindsay's Movie Musings
Wide-Eyed in Babylon: An Autobiography by Ray Milland

Margaret of The Great Katharine Hepburn
Knowing Hepburn and Other Curious Experiences by James Prideaux

Raquel of Out of the Past
A Song in the Dark: The Birth of Musical Film by Richard Barrios

Rich of Wide Screen World
For Whom the Bell Tolls by Ernest Hemingway

Sara on Goodreads
Cat on a Hot Tin Roof by Tennessee Williams

Sebina on Goodreads
Bride of Golden Images by Eve Golden
Pieces of My Heart by Robert J. Wagner

Travis of Cinemalacrum
Shadows of Doubt: Negotiations of Masculinity in American Genre Films by Barry Keith Grant

(Editor's Note: If I'm missing your review, let me know in the comment section below and I'll add it above.)

Triple Ben-Hur Extravaganza!

Up until recently I had never seen any film version of Ben-Hur. Last Sunday I watched three in one day! Am I crazy? Maybe a little. But I thrive on challenges especially fun ones like this.

 It all started with the screening of Ben-Hur (1925) at the Somerville Theatre in Somerville, MA. I went with my good friend Kevin.

Silent Film Accompanist Jeff Rapsis performed. (Read my previous interview with him here). Before Ben-Hur (1925) was screened, they brought out a projector and showed a rare 16mm print of Ben-Hur (1907). Yes 1907!  A gentleman (I didn't catch his name) came out to introduce the film to us. He made it very clear that he thought the film was silly and gave us permission to laugh. I take film history a bit more seriously and let's just say I wasn't amused.

Ben-Hur (1907) is a 9 minute long one-reeler. How did they get the entire plot of Ben-Hur into a 9 minute film? They didn't. This short film only shows a few key scenes from the story for example the tile falling on the governor and the chariot race. It was filmed on a very small budget and on Coney Island. Jeff Rapsis explained later on that the story of Ben-Hur had been so wildly popular that audiences then already knew the story very well. It's a landmark film because it was the first time filmmakers were sued for copyright infringement. Movies were so new that there wasn't any language in copyright law about adapting copyrighted works into movies. The publisher (Harper) and the estate of Ben-Hur author Lew Wallace sued the filmmakers and won. Filmmakers have had to pay for film rights for adaptations ever since!

Not knowing much about the story of Ben-Hur, I was a bit lost watching the 1907 version. I definitely appreciated being able to see a piece of history on the big screen like that!

After Ben-Hur (1907), Jeff Rapsis gave an introduction to Ben-Hur (1925), which was shown on 35mm. Rapsis pointed out that by comparing the 1907 and 1925 versions of Ben-Hur we can see
how rapidly the technology of making movies developed during that time. The 1925 version still stands up well today in terms of cinematography and story telling. The novel Ben-Hur: A Tale of the Christ by Lew Wallace was first published in 1880. It became a cultural phenomenon and a best-seller and one of the reasons it was such a hit was because it took a fictional story and placed it in the familiar context of the Bible and story of Jesus Christ. Before the movie adaptations, Ben-Hur was a hit on stage and theater productions of the story were common.

Rapsis also made note that filmmakers very gingerly approached showing Jesus. In the 1925 version, you only see Jesus' hand or in one see his outline at the Last Supper. He didn't mention this but the 1959 version obscures Jesus' face but the 1927 version of The King of Kings does not attempt to obscure Jesus at all. Director William Wyler decided to obscure Jesus' face in the 1959 version. Perhaps he was influenced by the 1925 version that he worked on as a young assistant director?

It took 2 years to make Ben-Hur (1925) and it is considered to be the most expensive silent film ever made. It was shot in black-and-white and in two-strip Technicolor. There are also some tinted scenes. Rapsis mentioned that during that era it was very difficult to shoot movies at night. Nighttime was often shown with a dark blue tint to give the sense that it was late in the evening.

I was quite impressed with the 1925 version of Ben-Hur. It clocks in at around 2-1/2 hours which is about an hour less than the 1959 version but I didn't feel anything was rushed or left out. I very much enjoyed watching Ramon Novarro in the role of Judah Ben-Hur. The audience at the Somerville Theatre was respectful and they only laughed at a couple of the romantic scenes. Jeff Rapsis did a tremendous job playing for 2-1/2 straight hours without stopping.

Later that evening, I decided to watch Ben-Hur (1959) at home. I had a copy of the Blu-Ray which was part of a larger boxed set of Blu-Rays that I own. The quality of the visuals on the Blu-Ray were so stunning. It may not have been fair to watch the 1959 version immediately after watching the previous one because I kept comparing them both to each other. In fact, I enjoyed the 1925 version so much that I kept trying to hold the 1959 to it's standards.

Both films were excellent feats of cinematography especially the chariot race scenes. The 1925 version seemed to be more focused on sharing the entire story of Ben-Hur while the 1959 version cut out several plot points in order to linger more on other ones. I thought the difference between how the two films portrayed Jesus was particularly interesting. As I mentioned before, Jesus' face was obscured in both films and in the 1925 version you only get a hand and one instance of a silhouette and in the 1959 version you see more of Jesus' form. There isn't much time spent on the Passion of Jesus and his crucifixion in the 1925 version but it's explored a lot more thoroughly in the 1959. I always, ALWAYS cry watching depictions of Passion and the Crucifixion. The King of Kings (1927) and (1961) both make me weep and I definitely found myself teary-eyed watching Ben-Hur (1959). Both Ben-Hurs depicted Jesus in slightly different ways but drove home the same essentials of his story. (Editor's note: I'm not religious nor am I pushing any religion here. These are just my observations of the story lines!)

I enjoyed both Ramon Novarro and Charlton Heston in their roles as Judah Ben-Hur. I can't pick a favorite out of the two, they both played their roles adeptly.

Watching three Ben-Hurs in one day was tiring but a worthy endeavor. I'm glad I tackled these classics and now have at least two new favorite epic movies!

The 1925 version is on DVD but might not be for sale individually. You can rent it on Netflix and TCM will be showing it on August 8th which is the Summer Under the Stars day for Ramon Novarro. Ben-Hur (1959) is available on DVD and Blu-Ray. There is a 4-Disc Collector's Set which has Ben-Hur (1959) which has the 1925 version.

Warner Archive Wednesday ~ The Secret Garden (1949)

Dean Stockwell, Margaret O'Brien and Brian Roper in The Secret Garden (1949)

The Secret Garden (1949) is a delightful adaptation of Frances Hodgson Burnett's novel of the same name. Of the three adaptations I've seen of The Secret Garden, this one is my favorite (although I'm also partial to the 1993 version too). The film is filled with wonderful moody cinematography and has great use of light and shadow. The movie is in black and white but there are three glorious Technicolor sequences which all take place in the secret garden when it's in full bloom.

Mary Lennox (Margaret O'Brien) recently became an orphan while living with her family in India. After her parents death, she's shipped off to England to live with distant relatives. Mary is thrust into this oppressive mansion, with a dower and mysterious uncle, Archibald Craven (Herbert Marshall), an even more dower staff and an unknown screaming voice that echoes throughout the hallways. The screams come from Colin Craven (Dean Stockwell), Archibald's son and Mary's cousin. He's been made an invalid from too much coddling and emotional neglect. Colin and Mary are both brats in their own ways and have met their match with each other. Mary befriends both Colin and the neighbor boy Dickon (Brian Roper). Behind the back of gardener Ben Weatherstaff (Reginald Owen), Mary and Dickon break into a secret garden that has been closed up ever since Colin's mother was killed there by a falling tree. The kids revive the garden bringing color (literally and figuratively) and hope back into everyone's lives.

The dark oppressiveness of the mansion is matched by the neighboring moors however these are no match for the vitality of nature (gardens, animals, etc.) and the youthfulness of the children. Whatever is wrong inside that mansion will be made right with the healing powers of nature and youth. I have always thought The Secret Garden is a great stories for kids. The three children in the story prove to be receptive and triumphant as they outsmart the adults. The kids are the heroes and even without the inherent powers that come with adulthood, they are able to change their own worlds. My favorite scene is the one where Mary and Colin have a screaming contest during one of Colin's tantrums. It's hilarious and I think kids would appreciate it! All three child actors do a wonderful job in the film.

Elsa Lanchester has a notable role as the jolly maid Martha and I enjoyed watching Reginald Owen play the gardener. I wonder if Dickon's Raven is played by Jimmy the Raven. I haven't been able to confirm that but if you are interested Terry of A Shroud of Thoughts has a great post about that bird's career in film.

My only complaint is that the film is far too short at only 92 minutes! Some aspects of the story are rushed because of it. If the film were just a bit longer, maybe some more time could have been spent developing some of the characters.

Take a listen to Warner Archive's recent podcast interview with actress Margaret O'Brien.

The Secret Garden (1949) is available on DVD MOD from Warner Archive. I highly recommend it especially if you are looking for a good way to introduce kids to old movies.


Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. I received The Secret Garden (1949) from Warner Archive for review.

A Song in the Dark: The Birth of Musical Film

A Song in the Dark: The Birth of the Musical Film
Second Edition
by Richard Barrios
Oxford University Press
Paperback 9780195377347
2009

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"By inviting us to behold vestiges of our past, these movies allow us to revel, if only momentarily, in a time in which the world appeared less fraught, optimism was an option, and song and dance mattered immensely." - A Song in the Dark, Richard Barrios

I have had many long conversations with Jonas of All Talking! All Dancing! All Singing! about early talkies and I always found myself as the weaker half of the conversation. I really wanted to learn more about films from this era, particularly musicals, and Jonas had recommended a book for me to read so I could be well-informed on the subject.

A Song in the Dark: The Birth of the Musical Film by Richard Barrios is a comprehensive and thorough examination of the early era of musicals. It focuses specifically on films from 1926-1934 starting with Don Juan (1926) and ending with The Gay Divorcee (1934). The book is well-organized which is crucial for the reader because otherwise we would get lost in the vast sea of information.

The book follows the story of early musical film chronologically however Barrios adeptly groups the films in each chapter into individual themes. This makes the book very readable. Chapter themes include Hollywood Revues [there were several: King of Jazz (1930), Hollywood Revue of 1929, The Show of Shows (1929), Paramount on Parade (1930), etc.], the Mammy theme [The Jazz Singer (1927), etc.], Comedies, the exotic, films that were not quite musicals, etc. There are also chapters on different specific time periods as well as one on The March of Time which is the most interesting chapter of them all. It focuses primarily on early musical failures and why they failed. It ends with The March of Time which is a Hollywood revue that was never finished and thus never released. A lot was already filmed and those musical numbers were chopped up and released in other movies, revues and shorts.

Barrios isn't afraid to share his opinions or judgements. It is necessary to know this going into reading the book because otherwise it might come as an unwelcome shock. It does add something extra to the text which could have been quite dull without Barrios' voice shining through. Although, I have to admit it took some getting used to. I almost set the book aside to pick up something else until I got 170 pages in and found my stride. I'm so glad I stuck with the book because boy did I learn a lot!

A special thank you goes out to author Richard Barrios for writing this about Ruby Keeler, a performer who I think is very misunderstood by modern audiences:

This particular performer needs her context, for Keeler will strike many as across-the-board incompetent.... As her primary identity apart from Jolson was as a tap dancer, viewers may be surprised by the flailing arms, leaden footwork, and the fact that the top of her head is more visible than her face; she's staring down at those feet to make sure they do her bidding. [Her heavy-footed technique, which seems absurd to those accustomed to Eleanor Powell or Ann Miller, is part of an older dancing tradition. The shoes had wood soles, not metal taps, and produced more sound the harder they were banged down.] 

Barrios explained this so perfectly! So for those of you who make fun of Ruby Keeler, you can go stuff it.

It does help if you are familiar with early musical films. Make sure you watch some early classics like The Jazz Singer (1927)  an early revue like Hollywood Revue of 1929, Gold Diggers of 1933, Sunnyside Up (1929), Madam Satan (1930), The Broadway Melody (1929), Hips, Hips, Hooray! (1934), etc. When I read the book, I already had some familiarity with early musicals but when I did come across an unfamiliar film that was talked about extensively, I took the time to watch a clip online. YouTube has lots of the musical numbers (and oftentimes entire films) available to watch at any time. I recommend Jonas's YouTube channel which has quite a number of early musical gems.

A Song in the Dark is an essential guide for anyone with a keen interest in film history and musicals. I highly recommend it. Thank you to Oxford University Press for sending me this book for review!

Below are a few of my favorite early musical numbers:

To Sir, With Love (1967)

Source

To Sir, With Love (1967) is one of several movies in the good-teacher-vs-tough-students sub-genre. It stars Sidney Poitier as the well-intentioned Mr. Thackeray who winds up at a school in a rough part of London.  Only 12 years earlier, Poitier had a supporting role as a tough student giving Glenn Ford a hard time in Blackboard Jungle (1955). Now the roles have been reversed and it is time for Poitier to contend with a bunch of young hoodlums raring to get out into the real world.

As a contemporary viewer who already has many of these types of films available to them, why should we watch To Sir, With Love (1967)? The main reason is Mr. Thackeray (Sidney Poitier) himself. His demeanor, his race, his modest sophistication and worldliness sets him apart from the poorly educated ruffians who populate his classroom. You feel sorry for him. He's got a tough job on his hands and he's only really there because he hasn't been able to find an engineering position. He has no teaching experience, everyone is expecting him to bail at any second and the rules state that all teachers must avoid corporal punishment at all costs. However, while watching this I got the sense that out of anyone Mr. Thackeray was well suited to tackle this problematic situation. Not just because that's how the story is supposed to go but because of his qualities as a person. However, you feel bad for his students too. They are disadvantaged youth and don't have bright futures ahead of them. Mr. Thackeray, or Sir as they call him, is a beacon of hope for them if they'd only open their eyes.

The story has a lot of heart and is a bit sentimental but never really cloying. Romance is part of the plot with both a young female student and a fellow teacher having the hots for Mr. Thackeray. And let's face it, the viewer has a crush on Thackeray/Poitier too. I know I did!

While watching this you also get to experience a young hip 1960s London. The music, dance, fashion and culture; it's all there. The cinematography isn't all that notable except for the fantastic intro and the scene in which the students go on a field trip to an art museum. I could watch both the intro and the museum scene over and over again, that is how cool they are!

All the students in the film are played by young British actors. The theme song, which shares the same title as the movie, is sung by 1960s British pop star Lulu who also plays one of the students. The song is a recurring theme throughout the film and is performed by Lulu in the movie as well.

To Sir, With Love is not a perfect movie but it is an enjoyable one. I was confused by the scene in which someone is burning an object in the classroom. After some research, I read it was a sanitary napkin. Mr. Thackeray is infuriated, kicks the boys out of the classroom and yells at the girls about their "sluttish" behavior. Sluttish here means female slovenliness and not promiscuousness. This scene will definitely confuse modern audiences without context.

As a side note, Lulu attended the 2013 TCM Classic Film Festival and performed this song at the Vanity Fair party and at a showing of this film. I unfortunately missed both of these performances while attending other things, so when I got home from the festival I immediately put this film on my Netflix queue so I could watch it. From what I hear, her performances at the festival were wonderful and now having seen the film I'm really sad I missed them.

Fans of Brit-Coms will be happy to see Patricia Routledge who plays the supporting role of a concerned teacher who gives advice to Mr. Thackeray. Routledge is most known for her role as Mrs. Bucket (it's Bou-quet!) on Keeping Up Appearances.

To Sir, With Love (1967) is on DVD with limited availability. It will definitely be part of my next movie purchase because I want to snap this one up before it goes out of print.

 

2013 Summer Reading Classic Film Book Challenge ~ Share Your Reading List

Did you sign up for my 2013 Summer Reading Classic Film Book Challenge? There is still time to sign up to participate! The deadline is July 15th to sign up for the challenge. All you have to do is fill out my form and review up to 6 classic film books on your blog or Goodreads profile.

For those of you participating, what six books do you plan to read? Even if you don't want to read six books by the September 15th deadline, just share which six classic film books are on your to-be-read list. You can share your list by creating a blog post or a Goodreads bookshelf. Send me your link via email or in the comment section below and I'll link to it on this post.

Reading Lists:

Laura of Laura's Miscellaneous Musings

Lindsay of Linday's Movie Musings

Shark Trager

Here are my books:

A Song in the Dark: The Birth of Musical Film by Richard Barrios

(Currently Reading)

My Lunches with Orson: Conversations Between Henry Jaglom and Orson Welles

Edited by Peter Biskind

Saul Bass: A Life in Film and Design

by Jennifer Bass and Pat Kirkham

Cagney by Cagney

Young Man with a Horn

by Dorothy Baker

(was adapted into the movie Young Man With a Horn (1950) starring 

Kirk Douglas, Lauren Bacall and Doris Day

Ava Gardner: The Secret Conversations

by Peter Evans and Ava Gardner

Hey, I'm curious okay!

Myrna Loy: Being and Becoming

by James Kotsilibas-Davis and Myrna Loy

This one is my bonus title in case I abandon one of the above books 

or have time to sneak another read in.

Warner Archive Wednesday ~ One Minute to Zero (1952)

One Minute to Zero (1952) is a war drama that explores the conflict between humanitarian efforts and the inherent atrocities of war. This story is told through the lens of the Korean War and magnified through the love story of the two main characters. Robert Mitchum plays Colonel Steve Janowski, an American Colonel fighting to help protect the South Koreans from an imminent North Korean invasion.  Steve thinks he has everything under control until he meets his match with Mrs. Linda Day (Ann Blyth), an official from the United Nations on a humanitarian mission to help in South Korea. Steve has to evacuate all Americans from Seoul but Linda refuses to leave because she still sees much to do to help the South Koreans. They are both fighting for the same cause but have very different points of view on how it should be done.

Steve and Linda begin to fall in love when Steve saves Linda from an air raid. That moment of danger heightens their attraction to each other. Steve keeps having to save the stubborn and reluctant Linda who keeps putting herself into danger. Linda is no damsel in distress though. She doesn't always realize the gravity of the situations she puts herself in but it's because she is determined to carry out her humanitarian mission is sometimes blinded by her will to do good.

Steve carries Linda over his shoulder but she fights him the whole time.

The romantic plot line is at the forefront of the story but this movie does not romanticize war. The film contains a lot of real footage from the Korean War which is both fascinating and often times difficult to watch. There is one very intense scene in which Steve has to reluctantly make a decision about attacking a group of refugees because North Korean rebels have hid themselves amongst a group of them as they march across the border. Linda watches this with dismay. This is a pivotal scene in the movie and very effective. Not only do we mourn the terrible loss of innocent civilians but also the deaths of American troops who leave loved ones behind.

Even with it's very serious subject, there are some light moments too. I think it is absolutely crucial than in any heavy drama but there be moments of respite. A little bit of humor goes a long way. Otherwise you'll be overwhelmed and will not be receptive to the story as a whole. There is a funny scene in the beginning of the film when Colonels Steve and John (William Talman) are getting ready and Steve realizes he needs to get his trousers mended.

Steve steps out of the room to hand his pants to a bellboy and John locks him out of their room. Linda catches Steve in the hallway without his pants on.

Seeing Mitchum both topless and pantless made me smile!

This is a great war drama for those who want a sobering story that really takes a harsh look at the realities of war. Blyth and Mitchum are charming and while their chemistry isn't electric you really do come to appreciate that their characters are meant for each other and they would see that if only they could set aside their differences.

Also, this movie is very relevant today considering the ongoing problems with North Korea and the growing tensions between North and South Korea. It's always great to tie in a classic film to current events especially when you are trying to get someone interested in older movies.

One Minute To Zero  (1952) is available on DVD MOD from the Warner Archive Collection.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. I received One Minute to Zero (1952) from Warner Archive for review.

Warner Archive Wednesday ~ So This is College (1929)

Source

So This is College (1929) is fun collegiate romp and comes to us from the early talkie era. Eddie (Elliott Nugent) and Biff (Robert Montgomery) are college roommates at a USC fraternity and best buddies.

Their bromance has carried them through until their senior year. They compete and razz each other all the time but still have a special bond and are a fiercely loyal pair. However, their friendship is tested when they both fall head-over-heels for the new girl on campus Babs (Sally Starr). They've fought over girls in the past but it has never gone this far. Babs relishes the attention both Eddie and Biff smother her with. But she is reluctant to commit to Biff who is the first of the two whom she shows interest in. She likes the control she has over both of them so when Eddie lays off her for Biff's sake, this drives Babs crazy and she starts to turn her affections to him.

It's not very often when you encounter a story that has your rooting for the bromance and against the traditional male-female romance. It was quite refreshing! I enjoyed the performances by Montgomery and Nugent and there were some scenes that bordered on the homoerotic and made me want to see them end up as a couple at the end. If anything, they have a beautiful friendship that really shines through in the story even when they are going through a rather difficult time.

Other notable cast members include Cliff Edwards (aka Ukulele Ike) who has a supporting role as Windy, a ukulele playing fraternity brother with a penchant for jokes and an ear for music. Ann Dvorak and Joel McCrea also have bit parts .

There are not that many full talkies from the 1920s, so each one of them is a gem in my opinion. So This is College sets out to entertain. It's not an All Talking! All Singing! All Dancing! picture but it is a full talkie with all three elements involved. Plus there is the collegiate setting (with lots of freshman hazing), football and a serious love triangle. College football is a big part of the story. Biff and Eddie are the top USC football stars and their friendship is key how well the team performs. Both the friendship and the team are put into jeopardy because of Babs. I wanted to sock Babs in the face (and run off with her cloche hat) in pretty much every scene she was in.

The story reminds me of Good News (1947) especially with the new girl who doesn't care who she falls for because she just likes the attention. In fact, I'd say that Good News (1947) is like an amalgamation of Good News (1930) and So This is College (1929). I'd say Pat McLellan (Patricia Marshall) from Good News (1947) is another Babs from So This is College!

IMDB notes that real football footage from a USC vs. Stanford game was used in the movie and that Sally Starr was considered to be a vest pocket sized Clara Bow. And even though this isn't Good News (1947), it's interesting to note that Patricia Marshall may be the last surviving cast member from that movie.

So This Is College (1929) is available as a DVD MOD from Warner Archive.

Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. I rented So This is College (1929) from Classicflix. 

2013 Summer Reading Classic Film Book Challenge

This week marks Out of the Past's 6th Blog Anniversary! I would like to celebrate by hosting a 2013 Summer Reading Classic Film Book Challenge.

Your challenge, if you choose to accept, is to read up to 6 classic film related books this summer. You can read 1, 2, 3, 4, 5 or 6 books total but your challenge is to try to read six if you can! This summer reading challenge starts now and ends on September 15th, 2013. The books must be read and reviewed online before the challenge is over.

What counts as a classic film book?

• Biography/Interviews/Letters/Autobiography/Memoir of an Actor/Actress/Director/Other Cast or Crew Member
• Book about films – specific film(s), genre, film-making process, etc.
• A photography or art book related to classic films, fashion, style or an Actor/Actress/Director/Other Cast or Crew Member
• Film criticism or analysis
• 20th Century Novel that was adapted into a Classic Film
• Novel that is about a Classic film or an actor/actress from Old Hollywood

Check out my list at the bottom of this post for examples of books in each category.

How many books should you read?

You can read one book in each category, 6 books in one category or mix it up. It’s whatever you want! You can read a book you’ve never read before or re-read an old favorite. The book can be brand new or long out-of-print. For me, classic films are ones from 1969 and earlier. If you want to include the 1970s, that’s fine too! I know not everyone has time to read 6 books so I’ll leave it up to you if you want to read less than that. Also, if you recently finished a book or are in the middle of one, you can count that too!

If you do complete all 6 by September 15th , you’ll be eligible to win a prize pack I will be giving away. Details on that to come.

How should you post the reviews?

You must review each book online and you can do this one of two ways. Post reviews on your blog or post reviews on Goodreads. Your review must be public somehow! Reviews on Twitter, Facebook, Google+ and other general social media forums do not count.

If you have a blog, feel free to add this button to your review post!

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When should you post the reviews?

Reviews must be brand new and posted from now until September 15th. I will not be accepting links to old reviews (I'll let it slide if it was a review from early June of this year!).

If you are interested in signing up, please add your name, email address and either your blog or Goodreads profile page to the form below. I’ll be checking up on folks throughout the summer and will be sharing links to book reviews on here. The sign up form will be available from now until July 15th. (Form is now closed for entries. If you still want to participate, email me!)

Examples

Biography/Interviews/Letters/Autobiography/Memoir of an Actor/Actress/Director/Other Cast or Crew Member 

Spencer Tracy by James Curtis
My Lunches with Orson: Conversations between Henry Jaglom and Orson Welles 
Unsinkable: A Memoir by Debbie Reynolds 
Buzz: The Life and Art of Busby Berkeley by Jeffrey Spivak
Hollywood Unknowns by Anthony Slide
Hedy’s Folly: The Life and Breakthrough Inventions of Hedy Lamarr, the Most Beautiful Woman in the World by Richard Rhodes

Book about films – specific film(s), genre, filmmaking process, etc.  
Charlie Chan: The Untold Story of the Honorable Detective and His Rendezvous with American History by Yunte Huang
My Life with Cleopatra: The Making of a Hollywood Classics by Walter Wanger and Joe Hyams
The Night of the Hunter: A Biography of a Film by Jeffrey Couchman
The Noir Forties: The American People From Victory to Cold War by Richard Lingeman
Silent Movies: The Birth of Film and the Triumph of Movie Culture by Peter Kobel
A Song in the Dark: The Birth of the Musical Film by Richard Barrios

A photography or art book related to classic films, fashion, style or an Actor/Actress/Director/Other Cast or Crew Member
Classic Hollywood Style by Caroline Young 
Hollywood Movie Stills by Joel W. Finler
Icons of Men’s Style by Josh Sims 
Lana Turner: The Memories, the Myths, the Movies by Cheryl Crane and Cindy De La Hoz
Saul Bass: A Life in Film and Design by Jennifer Bass 
Weddings and Movie Stars by Tony Nourmand et. al. 

Film criticism, analysis or theme 
Being Rita Hayworth: Labor, Identity and Hollywood Stardom by Adrienne McLean
Complicated Women: Sex and Power in Pre-Code Hollywood by Mick LaSalle
Dancing in the Dark: A Cultural History of the Great Depression by Morris Dickstein
I Do and I Don’t: A History of Marriage in the Movies by Jeanine Basinger
The Leading Man: Hollywood and the Presidential Image by Burton W. Peretti  
Hollywood Left and Right: How Movie Stars Shaped American Politics by Steven J. Ross

20th Century Novel that was adapted into a Classic Film  
The Big Sleep by Raymond Chandler
Gone with the Wind by Margaret Mitchell
The Maltese Falcon by Dashiell Hammett
Mildred Pierce by James M. Cain
Rebecca by Daphne du Maurier
Young Man with a Horn by Dorothy Baker

Novel about a Classic film or an actor/actress from Old Hollywood 
Bluffton: My Summers with Buster Keaton by Matt Phelan
The Chaperone by Laura Moriarty (Louise Brooks)
The Disenchanted by Budd Schulberg
The Life and Opinions of Maf the Dog, and of His Friend Marilyn Monroe by Andrew O’Hagan
The Pirate’s Daughter by Margaret Cezair-Thompson  (Errol Flynn)
Rita Hayworth and Shawshank Redemption by Stephen King

Robert Osborne interviews Ann Blyth at a screening of Mildred Pierce (1945)

Ceiling of the Grauman's Egyptian Theatre

Press Photo

I had the privilege of attending a special screening of Mildred Pierce (1945) at the Egyptian Theatre in Hollywood as part of the TCM Classic Film Festival. This event was #1 on my list of all the events and screenings I wanted to attend.

I will try to transcribe the interview that happened before the screening to the best of my ability. It's not word-for-word and some paraphrasing is used.

Robert Osborne introduced Ann Blyth and said she was one of the sweetest nicest people in the world. But we all know her as Veda, the evil daughter in Mildred Pierce (1945). He encouraged us all to hiss and boo at her now and get it over with. To which Ann Blyth responded "I don't care."

Robert Osborne: Osborne notes that Blyth was so wonderful as the evil Veda but she was never typecast because of that role. It's kind of a miracle given Hollywood tendency to typecast during that time period. After Mildred Pierce, Blyth went on to play very lovely ingenues, very nice ladies, etc. Osborne asked Blyth how she came to play Veda in Mildred Pierce.

Ann Blyth: Blyth had to test for the part and she learned much later that a lot of actresses tested for the same role. She says that she was the lucky one and mentions hitting it off with director Michael Curtiz. Joan Crawford did the test with Blyth which was very unusual for a star of Crawford's stature at that time. It made a huge difference in how Blyth started to think about the character having the actress who will be playing opposite her as her mother doing the test with her.

Osborne: We hear so many negative stories about Joan Crawford

Blyth: "I have nothing but wonderful memories of her." Blyth said it was a wonderful learning experience working with Joan Crawford. Crawford was kind to her all during the making of the movie and in private afterwards for many, many years.

Osborne: Blyth was an actress on Broadway and was in Watch on the Rhine as a very young girl.

Blyth: Blyth noted that that was what brought her to Los Angeles and Universal Pictures.

Osborne: Osborne notes that Blyth was loaned out to Warner Bros.

Blyth: And every other studio too! Paramount, 20th Century Fox, etc. She was sent to London to do a picture with Tyrone Power [I'll Never Forget You (1951)]. Blyth got excited talking about Power and remembering his beautiful face and gorgeous brown eyes.

Osborne: Osborne pointed out that Blyth had a batch of handsome leading co-stars.

Blyth: Someone had asked Blyth years ago who she would want to be stranded on a deserted island with. They started listing all the names of the men she had co-starred with and she responded "well, couldn't I take them all with me?"

Osborne: Osborne noted that Blyth's last film was with Paul Newman.

Blyth: Blyth said Newman was a dream and was always well-prepared and professional. That film was The Helen Morgan Story (1957) which was also directed by Michael Curtiz.

Osborne: Osborne asked if she had a favorite among the men she worked with.

Blyth: They were all so different, so talented each in their own particular way. Blyth noted that they were all so good looking and that was the easy part for her. It would be very hard for her to chose a favorite. Can't she chose them all? She had some of the best experiences with actors like Farley Granger, Gregory Peck, etc.

Osborne: Osborne pointed out that Blyth had made a few films in which her leading men were much much older than her. He included Charles Boyer as an example. Boyer was 29 years Blyth's senior [A Woman's Vengeance (1948)].

Blyth: It never entered her mind that these actors were much older. She just appreciated working with such wonderful and talented people. Age had nothing to do with it.

Osborne: Blyth has a wonderful singing voice but wasn't used in musicals for a long time.

Blyth: Blyth noted that she sang in her very first movie. Chip off the Old Block (1944) with Donald O'Connor. Universal didn't use her in musicals after she did Mildred Pierce but she did do a lot of musicals when she moved to MGM.

Osborne: Osborne asked Blyth if making musicals was fun for her.

Blyth: She replied yes especially because of all the beautiful music she was able to sing and called it a "hell of an experience."

Osborne: Osborne points out Kismet (1955), The Student Prince (1954), Rose Marie (1954) in particular. After Blyth treated us with a few musical notes, Osborne asked her why did she stop making films right after The Helen Morgan Story (1957).

Blyth: Things were really beginning to change a lot at that time. However, she did make a serious mistake because there was interest in her doing The Three Faces of Eve (1957) which she turned down. She reminisced that it would have been extraordinary to do that film. The role eventually went to Joanne Woodward.

Osborne: Osborne asked if it was different at each of the several studios she worked at.

Blyth: The movie she made with Tyrone Power was filmed in England so her experience with 20th Century Fox Studios didn't amount to very much. Blyth grew up at Universal so she has distinct memories of that studio. They had a little schoolhouse she attended. She had marvelous teachers when she was there and felt very cared for. They would be with her on the set of different films. Universal was a small studio in comparison to MGM and Paramount.

Osborne: Osborne pointed out to us that Blyth still stays in touch with a lot of her friends from her Hollywood days.

Blyth: Jane Powell, Jane Withers, Joan Leslie, etc. They get together at least 4 times a year especially during Christmas time (My interjection: CAN I HANG OUT WITH YOU LADIES TOO?!).

Blyth says that she feels very blessed and Osborne notes that we were all very blessed to have her there that day. And I agree! It was such a wonderful experience to hear Blyth talk and to watch her on the big screen in Mildred Pierce!