On a chilly Sunday afternoon, we headed into Boston for a very special event. Boston University's Howard Gotlieb Archival Research Center was hosting a grand opening for their new exhibition entitled Portrait of an Artist: The Life and Work of Edward Sorel. Celebrated artist Edward Sorel was on hand along his good friend legendary cartoonist Jules Feiffer. A dedicated room boasted a variety of art from Edward Sorel's long and industrious career.
For those of you unfamiliar with Sorel, he's known for his political, editorial and entertainment caricatures, cartoons and illustrations. His work has graced many covers of The New Yorker and has appeared in Esquire, Vanity Fair, The Atlantic and many other illustrious publications. He's also the illustrator of several books including his latest one Mary Astor's Purple Diary which explores in both text and caricature Mary Astor's 1936 courtroom scandal. Woody Allen recently reviewed the book in The New York Times saying "in Sorel’s colloquial, eccentric style, the tale he tells is juicy, funny and, in the end, touching."
I spend some time browsing the exhibit which boasted a collection of his New Yorker covers, many individual editorials, photographs of Sorel and his family and a video loop displaying a short documentary. It was a very crowded exhibit with many folks eager to see the works on display. Of course I was drawn to Sorel's classic film related pieces. Familiar faces including Clark Gable, Mary Astor, Claudette Colbert, James Cagney, Edward G. Robinson and more are caricatured in his works. A particular favorite of mine is Sorel's Frank Sinatra illustration on the April 1966 cover of Esquire magazine.
Edward Sorel's Frank Sinatra portrait for Esquire
and other works
Edward Sorel exhibit
Illustration from Mary Astor's Purple Diary
and other classic film art
Me with a copy of Mary Astor's Purple Diary
and artist Edward Sorel in the background
Woody Allen's New York Times Book Review piece on display
After exploring the exhibit, we were all seated to hear from the special guests. First up was Cullen Murphy, editor-at-large Vanity Fair and son of
acclaimed artist John Cullen Murphy. He's worked with Edward Sorel over
30 years. In his speech he reflected,
"If for some fluke, all the other sources of information in
our society were to disappear and all that was left was the work of
Edward Sorel on the walls, would the future get us right? And I think
they would have our number."
Cullen Murphy, editor at Vanity Fair
Murphy also reflected on artist Jules Feiffer and asked the audience "how many people do you know who have won a Pulitzer Prize, an Obie award and an Oscar?" Feiffer won an Academy Award in 1961 for his animated short Munro (1960).
Artist Jules Feiffer
If you work in the book industry like I do, Jules Feiffer is a familiar name. His work has appeared in countless books and periodicals and he's generally considered one of the greatest cartoonists of the 20th and 21st centuries. Feiffer was impressed with the exhibition and proud of his friend Edward Sorel. He remembered the very charged political time when he and Sorel were growing up in the Bronx. Feiffer said,
"During the great Depression... when everybody was poor and nothing was happening... there was this cultural explosion. There was radio from coast to coast with great comics and radio shows. There were movies. There was Fred and Ginger. There was William Powell and Myrna Loy. One could be a leftie radical, socio-communist during the week and on Saturday night you went to the movies. The movies were the religion."
Feiffer went on discuss the cultural shift when expressing very liberal points of view became dangerous. He noted that for three artists in particular, Feiffer, Sorel and David Levine, it joined them in "a kind of sensibility of protest." Each of them found their own unique style and way to express their political views. Feiffer says "Ed found his from the politics and the movies." He calls Sorel's art "a bombshell" and notes the sense of immediacy that comes the influence of the movies as well as Sorel's keen sense of place and architecture in his works. Feiffer joked that can never remember the name of Sorel's new book only because the original title "Screwball Tragedy" still sticks in his mind.
Artist Edward Sorel
Feiffer and the audience toasted honoree Edward Sorel who then proceeded to the stage to give his thanks to family, friends, colleagues and the Gotlieb Center. Sorel reflected that he wouldn't have been able to do what he did in the 1960s if Feiffer hadn't led the way with his innovation in the 1950s. Sorel joked that you should never call yourself a self-made man because it takes not only hard work but a lot of luck to get far in life. He remembers how lucky he was in the 1950s when it was a lucrative time to have a career. In his first year as a professional illustrator, he was fired 9 times yet each new job paid better than the last.
Me with Edward Sorel at his book signing
Following the talk there was a book signing. I was eager to meet Edward Sorel and have him sign my copy of Mary Astor's Purple Diary. I had a quick moment to tell him about my love of classic movies and to pose with him for a photo.
My husband Carlos got to meet him too and Sorel autographed his exhibition booklet.
This event was free and open to the public. If you have an opportunity to go to an event at the Gotlieb center I highly recommend it. Neither Carlos nor I had ever been there so we took the time to explore the various displays, many of which were classic film related. Here are some of our favorites displays.
Mary Astor display at the Howard Gotlieb Center
Pages from the edited manuscript of Mary Astor's autobiography
Carlos in front of the Michael Douglas display
A letter from Kirk Douglas to Michael Douglas and Catherine Zeta-Jones
Lauren Bacall display at the Howard Gotlieb Center
Oscar statuettes. Left to right: Rex Harrison for My Fair Lady, Myrna Loy's Honorary Oscar, Gene Kelly's An American in Paris Best Picture Oscar
Robert Osborne at the 2014 TCM Classic Film Festival
I don’t think there was a nicer guy on the planet than Robert Osborne. He was a true gentleman. The world lost someone truly special when the long time host of TCM passed away yesterday. He had been missing from the channel for quite a while and many of us suspected the worst. When the news hit yesterday that he was gone my heart broke. I knew it was coming and probably soon but nothing can really prepare you for the loss of someone who meant so much.
When I first started exploring the world of classic film, Robert Osborne became my teacher and guide. I watched his intros and outros with fervent curiousity and admiration. Thanks to his infectious enthusiasm for classic movies, it wasn’t long before I was hooked.. Osborne had a true love for movies, their history and the people who made them. He was inclusive, understanding, gentle and compassionate. I saw this firsthand when I attended the 2013 and 2014 TCM Classic Film Festivals. For as much as he loved movies, he loved us fans too. Robert Osborne was one-of-a-kind. We’ll never have anyone quite like him.
In honor of the great Robert Osborne I wanted to share some of my favorite memories from seeing him at two of the TCM festivals.
Note: All of the photos shared in the post are my own unless noted otherwise.
Robert Osborne at the 2013 TCMFF Press Conference
1. The first time I saw Robert Osborne - The 2013 TCMFF press conference was just about to start and I couldn't believe that in a few moments I'd be seeing Robert Osborne, THE Robert Osborne, in person. It had been a dream of mine for years and it was finally happening. What would he be like? Would he be totally different from his on screen persona? Finally I spotted him. Tall, elegantly dressed. He looked ready for the camera. And his presence filled the room. I stared at him in awe. He was larger than life and had a way of making us feel like we belonged there with him. I hung on to his every word. I'd see him numerous times afterwards but I'll never forget that first glimpse.
Ann Blyth and Robert Osborne at the 2013 TCMFF
2. Robert Osborne's interview with actress Ann Blyth - I loved attending the TCMFF interviews held in the Hollywood Roosevelt hotel lobby. These were great moments to see the talent up close. My favorite of these was Osborne's interview with Ann Blyth. Two of my favorite people were only a few feet away from me I couldn't believe it. Osborne had a way of making his interview subjects feel at ease. You can tell he had a real admiration for Blyth's talent and beauty. He later interviewed her at a screening of Mildred Pierce and that moment was special for me too.
Eva Marie Saint and Robert Osborne pose for pictures at 2013 TCMFF
3. Live from the TCM Classic Film Festival taping with Eva Marie Saint - Not realizing how far away from the main hub of the festival this taping was being held, we hoofed it and barely made it in. We got stuck with nosebleed seats and I was nursing some bad blisters. But I'd do it all over again for the opportunity to watch Robert Osborne interview his good friend Eva Marie Saint. Saint had a love for Osborne and it was evident in their conversation. She said first there was her husband and then there was Osborne. This interview is on the Conversations with Robert Osborne DVD.
TCMFF goers observe the interior of the Grauman's Chinese before it's remodel, circa 2013.
4. On the eve of the TCL/Grauman's Chinese Theatre remodel - The final screening of the 2013 TCMFF festival was held at the Grauman's Chinese Theatre (now the TCL Chinese). The movie was The General (1926) and Osborne was on hand introduced the final big film of the festival. This wasn't going to be any ordinary introduction. Robert Osborne informed the audience that we were attending the second to last event at the theatre before it would be remodeled for IMAX. The theatre was just as it had been since 1926 and he told us to take a moment to look around and take it all in. After the screening was over we all took Osborne's advice. For a few minutes we stood, looked every which way around us and took pictures. It was a bittersweet moment.
Robert Osborne at the 2014 TCMFF Press Conference
5. Robert Osborne's final TCMFF press conference - Robert Osborne held his final TCMFF press conference in 2014 and I was in attendance. I'm grateful for this conference in particular because we got to spend a lot of time listening to Osborne tell us some of his amazing stories. He spoke about how Jane Darwell and Lucille Ball helped him get his start, about his special friendship with Olivia de Havilland and their weekly phone calls and about his excitement for Maureen O'Hara attending that year's festival. Osborne also spoke at length about his favorite movies and how TCM has helped many people get through tough times. You can read my full transcript of Osborne's Q&A here. I feel privileged to have been part of a small group of people who got to hear him speak at this conference.
Robert Osborne and Kim Novak at the 2014 TCMFF
6. Robert Osborne's interview with Kim Novak - I attended a screening of Bell Book and Candle (1958) not expecting the emotionally charged interview that would kick off the event. This happened not too long after Novak's appearance at the Oscars. She had been nervous and took some medication to calm her down which had the ill effect of making her look flighty on stage. She suffered a lot of criticism for her awkwardness and her physical appearance. As Novak recounted the events of that night and its aftermath, Osborne held her hand. You could tell that Novak spoke from deep pain and Osborne was there to comfort her. This really moved me. I knew Novak was in good hands with Osborne by her side and with us as a supportive audience.
Robert Osborne with Maureen O'Hara at the 2014 TCMFF
7. Robert Osborne's interviews with Maureen O'Hara - I consider myself beyond lucky to have seen Robert Osborne interview Maureen O'Hara on two separate occasions. The screening of How Green Was My Valley (1941) was tops for me and some of us got in line a couple hours early to guarantee entrance and a good spot. O'Hara was quite old at that point and had some difficulty with the interview. Osborne was a true gentleman. He was patient and supportive of O'Hara and had this look of admiration that echoed what so many of us felt at that time. There was another interview with O'Hara, a surprise bonus for many of us, at the lobby of the Hollywood Roosevelt. I was at that one too. It hurts to realize that both of these wonderful people are now gone and only the memories remain.
Meeting Robert Osborne in 2014. Photo by Laura.
8. Conversations with Robert Osborne DVD signing - I had no clue that this would be both the only time I would speak with Robert Osborne but also the last time I would see him in person. If I had known that would be the case I would have spoken up more and told Osborne how I truly felt. Earlier in the festival I learned of an opportunity to meet Osborne. Attendees who purchased Conversations with Robert Osborne DVD at the gift shop could attend a special signing on the final day I went with my friend Laura of Laura's Miscellaneous Musings. We were almost last in line and it took quite a while to get to the front. What took so long was Osborne taking the time to chat with attendees and pose for photos. We were told specifically that Osborne had a screening to get to so we could not keep him long and posing for photos was strictly prohibited. Laura and I came up with a plan. While she was getting her DVD signed I'd secretly take photos of them together and she would do the same for me. When I finally got to meet Robert Osborne I was so nervous. Even though his staff was in a rush to get him out of there, Osborne made it seem like he had all the time in the world for me. He asked me if I was enjoying the festival. I couldn't believe he was talking to me. I had spent years watching him on TV telling me everything I wanted to know about the movies I loved. Now here he was right in front of me. It was surreal moment.
And I got to take home a keepsake to treasure forever.
For Raquel. From Robert Osborne.
Thank you Mr. Osborne for the memories. You will be missed.
During the late 1950s things weren't looking up for actress Judy Holliday. Her marriage to David Oppenheim was over. She had been summoned by the House Un-American Activities Committee and although she wasn't blacklisted her movie career suffered as a result. Things needed to change for the better and quickly. In steps in her good friends Adolph Green and Betty Comden, the writing duo behind many stellar musicals on stage and on the big screen. Inspired by Holliday's time as a switchboard operator at the Mercury Theatre, Comden and Green create a musical with her in mind. It becomes a huge hit on Broadway with over 900 performances before MGM picks it up and adapts it for screen. The end result is a sparkling musical that serves as a last hurrah for the brilliant Judy Holliday: Bells Are Ringing (1960).
The film stars Judy Holliday as Ella Peterson. She lives and works with her two roommates in a dilapidated freestanding brownstone in New York City. The three of them run a service called Susanswerphone, an answering service for everyone from artists, to local businesses to busy socialites. Ella has a soft spot for her clients and becomes personally involved with them, much to the dismay of her boss and roommate Sue (Jean Stapleton) who wants to keep things strictly business. The thing is Ella is starting to fall in love with the man behind Plaza-04433, Jeffrey Moss (Dean Martin). He's a writer working on his newest musical The Midas Touch. However he's down and out because his writing partner left him and he'd rather drink than face writing by himself. In steps Ella to save the day. Jeffrey thinks Ella is really a 60 year old lady and lovingly refers to her as "Mom". When Ella meets Jeffrey in person she pretends to be Melisande Scott and they fall in love.
A wrench is thrown in the works when two police inspectors have their eye on bringing down Susanswerphone. They suspect it's really some sort of escort service. Sue puts pressure on Ella to be on her best behavior and having a romance with Jeffrey could ruin everything. To complicate things further, Sue is smitten with J. Otto Prantz (Eddie Foy Jr.), the leader of a bookie ring who disguises his illegal activity behind the ruse of the classical music distribution company Titanic Records. Unbeknownst to the smitten Sue and her two roommates, Otto is taking bets on horse races under the guise of orders for Beethoven symphonies and the like.
Ella can't help herself. She wants to help Jeffrey but she also wants to help the dentist who dreams of being a songwriter and local beatnik Blake Barton (Frank Gorshin) who dreams of making it big as an actor. She wants to help everyone but doesn't want hurt the business either. What's a gal to do?
Judy Holliday sneaks into Dean Martin's apartment in Bells Are Ringing (1960)
With plenty of memorable musical numbers, fun characters and a zany plot with a satisfying ending, Bells Are Ringing (1960) is sure to please. Having seen the film several times recently I've fallen completely head over heels for it. Judy Holliday is so charming. It's her final film role and her only leading part in a color movie which makes it extra special and something to treasure. My favorite numbers of hers are It's a Perfect Relationship, a delightful song you'll find yourself singing over and over again, and the somber The Party's Over. The Titanic Records/bookie scheme is brilliantly explained in It's A Simple Little System lead by Eddie Foy Jr. Let's not forget Dean Martin who has several great solo songs and duets with Holliday. In addition to Comden and Green, Bells Are Ringing features powerhouses from movie musicals including director Vincente Minnelli, producer Arthur Freed, musical director Andre Previn and songwriter Jule Styne.
Bells Are Ringing (1960) was begging to be brought out on Blu-Ray and the good folks at Warner Archive heard the call and did just that. Seeing Judy Holliday don a gorgeous red party dress in the brilliant color only Blu-Ray can bring makes the whole thing worthwhile. The Blu-Ray includes several extras including two deleted musical numbers and an alternate version of The Midas Touch scene and the film's trailer. There is also a featurette from the 2005 DVD release which includes archival footage of Comden and Green discussing the movie, an interview with Hal Linden, who was Sydney Chaplin's understudy for the role of Jeffrey Moss on Broadway, as well as an interview with actor Frank Gorshin. I love that the Blu-Ray has English subtitles and a song selection menu which gave me an opportunity to play my favorites over and over again while also learning the lyrics.
The story of this film has a somber note as well. Holliday had a rough time making the picture. Ever the perfectionist she wanted it to be just as good as the Broadway production. She had a love affair with Sydney Chaplin, son of Charlie Chaplin, and her co-star on Broadway. That relationship ended before MGM started production on the film. It was inevitable that they had to replace Chaplin. Vincente Minnelli had just made Some Came Running with Dean Martin so he was a natural choice for the role. Holliday was sick during the making of Bells Are Ringing and died 5 years later of breast cancer. It's a shame we don't have more time with her. It makes films like this all the more special.
Warner Archive Wednesday - On (random) Wednesdays, I review one title from the Warner Archive Collection. Thank you to the Warner Archive for sending me Bells Are Ringing (1960) for review!
On a chilly Sunday afternoon, we headed into Boston for a very special event. Boston University's Howard Gotlieb Archival Research Center was hosting a grand opening for their new exhibition entitled Portrait of an Artist: The Life and Work of Edward Sorel. Celebrated artist Edward Sorel was on hand along his good friend legendary cartoonist Jules Feiffer. A dedicated room boasted a variety of art from Edward Sorel's long and industrious career.
