John Wayne: His Private Secretary (1933)

Making love like a Romeo. Drinking like a fish. -Wallace, Sr.

If you are a John Wayne fan, please watch this film. If you are not a John Wayne fan and can claim a physical aversion to Westerns, please watch this film. If anything, watch it for its novelty as an atypical John Wayne film. Wayne plays Dick Wallace, a rich, young skirt-chaser whose father is frustrated with his son's antics and is desparate to make him a responsible young adult. When the right woman comes along, Dick Wallace quickly changes his tune, but it's up to his new love to convince his father that he's changed his ways for good.

This film is on DVD but if your some type of visual purist, you may be frustrated with the grainy and out of focus shots. Much wasn't done to restore the original print. If you love bonus materials, you may also be disappointed as they are rather strange and vaguely related to the movie. (For example, one of the extras is a clip of a psychadelic, 70's choreographed dance to protest pollution. Weird...) If you can overcome the poor visuals and the other DVD strangeness, you may find yourself enjoying watching a very young and very handsome John Wayne light up the screen.

Breaking the Code: Suddenly, Last Summer (1959)

All last summer, Sebastian was famished for blondes... fed up with the dark ones - Catherine

If I had to chose the one film that represented Hollywood's rebellion against the Hays Code, it would most definitely be Suddenly, Last Summer (1959). This film is as explicit as it is coy. It is in the throes of desperation - wanting to tell the viewer what it wants to say but having to hold back. The story is bursting from the seams, although it is mostly contained, some secrets find a way to ooze out the sides.

After viewing this film recently for the first time, I wondered how much of the story is representative (or at least symbolic) of the fight against the Code? Take for example, Elizabeth Taylor's character, Catherine. The previous summer she had witnessed the most utterly grotesque sequence of events that culminated in the horrific death of her manipulative cousin, Sebastian. After her return from Europe, the story is held inside her tormented mind and she is consquentially punished for the danger the truth she holds represents to others. Katharine Hepburn plays Violet, Sebastian's mother, whose incestuous relationship with her son lends to her desperate need to keep Sebastian's image alive and well - one even may say "pure". Catherine threatens to tarnish the image with the tale of Sebastian's last summer in Europe and Violet wants to literally rip the story out of her brain, by means of employing Dr. Curkowicz, played by Montgomery Clift, to perform a lobotomy.

[potential spoilers ahead]

Catherine is the owner of a story that needs to be told and encounters a long and difficult path to become the story's teller. When she is finally able to give birth to the story, the experience is painful, ensuiing in screams and sobs but in the end healing. Violet, the censor, the person still alive who is most threatened by this story is not capable of handling it after repressing it for so long.

Catherine - Story - Hollywood

Violet - Censor - Hays Code

Does anyone see the connection? I tend not to think this was in any way on purpose but it was probably a subconscious for of rebellion. It could also be the English major in me just looking for something to analyze. Who knows? What I do know is this film is unquestionably part of Hollywood's break from the code.

Breaking the Code

It is no coincidence that my favorite classic films find themselves situated before and after the Hays Code's reign of power over the film industry. (The Hays Code being the set of statutes imposed upon filmmakers to promote a particular form of morality.) Firstly, there are the pre-Codes, most notably those talkies from the early 1930s that were often playful and jovial even when they dealt with difficult subjects. Although the Hays Code was already in place during this time, it generally wasn't enforced and leaving filmmakers more carefree to explore a broad range of subjects and themes. After 1934, the Code held its grip on the industry for a substantial amounf of time. It wasn't until the late '50s, when television proved to be a dangerous competitor to cinemas when the Code began to lose its power. Films started to come out in spicier flavors to lure back those customers who had begun to hibernate in front of their televisions. Filmmakers broke more and more of the Code's statues over the next decade or so until the industry moved permanently onto a less-restrictive ratings system in 1967.

I find the films I most enjoy and relate to are ones from 1930-1934 and 1955-1960. (Even though one might consider the latter half to be early to mid 50's into the late '60s, I find that the 60's was a decade upon itself and I always view it as it's own entity.) These two timeframes represent moments of rebellion from repression. I want to take the opportunity to discuss those particular films that defied the code individually because they are so powerful and they boast the potential to shatter the people's preconceived notions of classic films.

Next up: Suddenly, Last Summer (1959)

Desperate Plea!

For those of you who are Netflix users and are currently renting Ace in the Hole (1951), I make a desparate plea for you to watch it and return it in a timely manner. It has fallen into the blackhole of the availability bracket "Very Long Wait" which often means it will be a good month before I can get my hands on it. (I remember once having to wait two months to watch Ray (2004) because the DVD came out during the time of much Oscar-hoopla!). I do so want to see it before my Fall classes start and my movie-watching time will be very limited. If worse comes to worse, I may have to ::gasp:: rent it from Blockbuster or ::louder gasp:: pull out my poor, limp wallet and buy it on DVD. So before I go to drastic measures, please return your copy!

~ From the Management ~

MySpace is for Classic Film Lovers

Name your favorite actor or actress from classic film. Chances are they have a MySpace.com page. Some fan out there poured their heart, soul and knowledge of html coding into a veritable shrine in honor of their favorite star. These honorary pages are full of photographs, videos, music and biographical information, often putting bland IMDB pages to shame. When you find one, you inevitably find others because MySpace is a friendly place and chances are this fan has a list of fans who also have related shrines. They are quite fun to explore and I highly recommend checking them out.

Here are some of my favorites...

Fred Astaire

Lucille Ball

Richard Barthelmess

Constance Bennett

Ingrid Bergman

Joan Blondell

Louise Brooks

Joan Crawford

Doris Day

Clark Gable

Jean Harlow

Rita Hayworth

Katharine Hepburn

Leslie Howard

Rock Hudson

Buster Keaton

Grace Kelly
Veronica Lake

Carole Lombard

Myrna Loy

Shirley MacLaine

Jayne Mansfield

Robert Mitchum

Robert Montgomery

Donald O'Connor

William Powell

Ginger Rogers

Rosalind Russell

Norma Shearer

Simone Simon

Barbara Stanwyck

James Stewart

Elizabeth Taylor

Spencer Tracy

Lana Turner

Hidden Gem: State Fair (1962)

Our state fair, is the best state fair in our state.

I have always been fascinated by the way people watch films, especially how they chose the films they see. A person's past repertoire of films seen says a lot about who they are and what motivates them. I like to think that the body of films I've seen shows that I'm adventurous, curious, open-minded, passionate and emotionally-driven. It also demonstrates how I tend to form attachments, especially to particular persons.

State Fair (1962) is one of many remakes of the classic Rodgers and Hammerstein musical. The film is difficult to find. It is not often shown on TV and it's not available on it's own DVD. Rather, it lives in the bonus materials of it's more popular sibling, the 1945 version. You wouldn't think to look for it there, if you were searching for it. And why would you be searching for it anyways?

I found it because I was actively searching for it as one of the many Bobby Darin films I wanted to see (because I Heart Bobby Darin!). I watched it first, before seeing the 1945 version, and was pleasantly surprised. I'm not usually one for musicals but there was something light and refreshingly bouyant about this film. My favorite part was the feeling I had of having unearthed a hidden gem...

... and then came the domino-effect. Watching this film became a catalyst for watching many more. I loved the music in this film, so I watched the 1945 version to get another dose of it. Then I found that I really enjoyed Dana Andrews in that film, and maybe I should watch another one of his. Oh, and look at that. Alice Faye made her film comeback with State Fair (1962) , her last film after Fallen Angel (1945), which also stars Dana Andrews, so I saw that. Then there was Pamela Tiffin, who I found pleasantly annoying as Bobby Darin's love interest. Then I stumble upon her film Come Fly with Me (1963), a nice '60s romantic comedy, which introduced me to Dolores Hart, who was in another film Where the Boys Are (1960), which of course I had to see. Also, State Fair (1962) was my first introduction to Ann-Margret, and I just had to see another of her films, so I saw Made in Paris (1966). This made me realize, that the '60s weren't so bad and that actually I really love '60s romantic/sex comedies and wanted to watch more of those films and so on and so forth. I could go on (because it did go on from there) but I think you get the drift.

This is very representative of my viewing pattern. I watch one film, I enjoy it, I can't get enough, so I watch a lot more semi-related films. It's a wonder I find time to do anything else. I do however, highly recommend watching this film, if you haven't already. Ignore moral of the story, which is out-dated and quite boring, and enjoy it as a fun and light musical. And who knows, maybe you'll go on a fun-filled film journey afterwards like I did.

Catalyst for a Little Crazy

Has watching a particular film ever made you do something kind of strange? Maybe even a little crazy? Not Taxi Driver (1976)/attempted-assasination-on-a-president type of crazy, but something that might warrant a raised eyebrow?

I'm what you might call an "emotional viewer." Movies (and books too) intertwine themselves into my life, and to some extent I become emotionally invested in them. They affect me and I think about them long after seeing them, especially if I can relate to a theme or a particular character. So, sometimes, after watching a particularly touching story, I tend to become, let's say... over-enthustiastic.

All That Heaven Allows (1956)/Breakfast at Tiffany's (1961) - Double Feature - I watched both films for the first time within a week of each other. And for months afterwards, I could not stop craving croissants and coffee! In All That Heaven Allows, one of the most romantic scenes is when Jane Wyman's character offers Rock Hudson's character breakfast and he only takes a roll and coffee. That is the moment when their love starts to blossom. Then in Breakfast at Tiffany's, Holly Golightly, who I think is the epitome of self-transformation and classic style, pulls out a croissant and sips at her coffee while admiring a window display showcasing jewels. I could not help thinking that she was just so hip and so cool and why am I not more like her?!

Pillow Talk (1959) - My pillow and I, both agree, there must be a pillow-talking boy for me. My favorite part about this movie is the title song. I find myself humming it or outright singing it as I wash the dishes, sweep the floors, make the bed etc. etc. Especially if I'm rueing the sometimes sorry state of being a single, independent professional woman.

84 Charing Cross Road (1986) and book - This story (based on a real life cross-atlantic friendship) is one of the many reasons I took a trip to England a few years back. I made a point to go to Charing Cross Road in London and find the location of the original store. I knew beforehand that the actual bookstore wouldn't be there but at the same time I wasn't expecting to find a Pizza Hut! In the end, I was happy to see a commemorative plaque in honor of this amazing story.

Update: Strangers on a Train (1951)

"I certainly admire people who do things." - Bruno

My second viewing of this film went really well. It was great to see it on the big screen in a proper theatre with good friends close by. I managed to successfuly maintain a steady breathing pattern, most noticeably through the party scene. However, there were moments in which I felt that my heart would leap out of my chest. This film is thrilling and creepy on a psychological level and it didn't lose much of its potency the second time around.

It's funny the things you forget about a film over time. My memory bank seems to have deleted (or just plain neglected) some things from my first viewing. The opening sequence with the camera following two different pairs of shoes (Bruno's flashy ones and Guy's practical ones) and the really cool shot of the murder shot through the reflection of the lense of a pair of glasses were both welcome surprises. I quite enjoyed the creepiness the infamous tennis court scene where Bruno's gaze is firmly fixed on Guy while everyone else in the stands follows the ball back and forth. And I had forgotten how thrilling the musical carousel-gone-awry scene was! I believe at one point during that scene my jaw dropped and stayed dropped for a considerable amount of time.

I am glad that now I can be thrilled, and not emotionally traumatized, by this film. I don't know if I will be able to say the same for The Night of the Hunter (1955), but we'll see.

My Prized Posession

My well-loved copy of the Leonard Maltin's Classic Movie Guide (ISBN-13: 978-0-4522-8620-7) is a familiar sight in my apartment. Unlike most books in my personal library, it is not shelved amongst other tomes. It is often found in a convenient spot; on the sofa, next to my computer, near the TV or on the coffee table. Convenience is key and I take supreme pleasure in thumbing through its pages and poring over the lenthy list of films referenced within. And it is, at all times, accompanied by a red felt pen.

This book is very much a part of my film-viewing experience. With my red pen in hand, I document films seen by drawing a star next to a particular selection. The back of the book boasts an index of stars and directors with their films listed below their respective names. I always make sure to underline which of their films I've seen to get a better idea of how familiar I am with their work. This all might seem quite mundane and boring. However, watching films is rarely a physical, tangible experience. It is all in the mind. Being able to connect something physical to the mental is supremely reassuring to me which is why this methodical documentation enhances the experience to me.

I highly recommend this guide for any of you out there who are classic film fans. It boasts an impressive list of films and enough of a synopsis of each film to either pique the interest (or serve as a refresher). However, this book is not without some flaws. Obscure silents or lesser-known '30s comedies are noticeably missing [much to my dismay I couldn't find Lady of the Night (1925) or There's Always a Woman (1938) ]. Also, the cut-off is 1960, so I'm at a loss to document my favorite '60s films, of which I have many. And because the book was published in 2005 and Plume has no immediate plans to update its contents, listed DVD availability is very out-of-date.

Yet this guide, even with its flaws, is my ultimate classic movie companion and one of my most prized posessions.

Strangers on a Train (1951)

The time has come for me to come to terms with this movie. My first viewing happened during a very difficult time in my life, in which I was struggling with the impending deaths of two loved ones. I was emotionally raw and exposed to the full brunt of anything even remotely unsettling. In hindsight, I should have stayed away from films such as this, but with my other experiences with pre-Psycho Hitchcock, I probably thought I was relatively safe with this film. Boy, was I wrong.

I must give kudos to the great Alfred Hitchcock for creating a film that was truly scary indeed. I remember it was a sunny afternoon, on a seemingly innocent day, when I popped the DVD of this film into the player. As engrossing as Hitchcock films often are, I was swept into the story immediately. Then, sometime into the film, came the scene that harshly struck the chord that twanged and sent disonant reverberations right through me.

It was the party scene with Robert Walker as Bruno, a man who had trapped Guy, played by Farley Granger, into a sordid deal; a murder for a murder. With a nervous Guy in the background, Bruno carried on a conversatin with two older ladies about murder and how one would successfully suffocate another person. Bruno, to my utter dismay, proceeds to demonstrate the correct technique one of the ladies' throats. He tightens his grip on her windpipe, then freezes when he sees Barbara, played by Hitchock's daughter Patricia, in the background. All the while staring at her, he is still choking the little old lady. He cannot bring himself to let go and has to be pulled off of her.

At that moment, I started to hyperventilate. I could not catch my breath. I stopped the movie immediately and ran out of the room gasping for air. I must have been so terrified during the scene that I had just stopped breathing altogether, as though Bruno was choking me! Quite traumatized by the experience, it took me a full week before I could watch the remaining length of the movie (careful, of course, to avoid the scene that, literally, took my breath away).

I am a firm believer that what you get from a film depends on what point you are in your life when you see it. Right now, I'm in a good place and feel that I could watch it again. So on Monday, I will watch Strangers on a Train (1951), properly, in an actual theatre, in the dark and I won't be scared.

I hope...

Next Stop: The Night of the Hunter (1955)

Sexiest Scenes in Film History: Part Two

I had so much fun compiling a list of what I thought were some of the sexiest scenes in film history that I thought I'd come up with 8 more sizzling scenes to share. These are scenes that seethe sex even with the imposed restrictions placed upon them by either the Hayes Code (with the exception of most pre-codes) or societal mores. They are remarkable in that their power is not in the showing but in the suggesting. If subtely is something you appreciate, like I do, then there is no question you will enjoy (or have enjoyed) these sultry scenes.

1. To Catch a Thief (1955) - Hitchcock was well-versed in the power of suggestion. He took advantage of Grace Kelly's sexual allure and Cary Grant's deobonairre persona to create electricity on the screen. One could even say the chemistry between the two main characters was "explosive". The scene in question has Kelly and Grant, in a hotel room, in the dark sharing a passionate kiss while fireworks go on outside. Fireworks, of course, suggest something else happens shortly after. (link is the trailer)



2. Young Man with a Horn (1950) - Kirk Douglas stars as a trumpeter who should fall in love with the angelic Doris Day but cannot help being seduced by femme fatale Lauren Bacall. They are married but frustrations grow as he realizes she has little to no desire for him. After much turmoil, Douglas' character confronts his wife when she is out with another woman. Yikes!



3. Baby Doll (1956) - I often forget this was a film from the '50s and not from the '60s, as I usually classify it in my mind. It's so ahead of it's time. Eli Wallach is hot in this film. And I mean hot! He plays a Sicilian cotton-gin supervisor who likes to torment and tease another man's 19-year old wife. The girl, played by Carroll Baker, isn't quite capable of consuming her marriage as she's stuck in a little-girl mindset, which is probably her way of coping with growing up before she was ready. The infamous swing scene has Wallach's character seducing Baker's, who only pretends not to be interested. Very steamy. (link is the trailer)



4. The Barretts of Wimpole Street (1934) - Elements of this film are sexual, but in the wrong way. Queen Norma Shearer plays invalid Elizabeth Barrett who is kept in her weakened condition without possibility of improvement by her overbearing father, played by Charles Laughton. Laughton did an excellent job at suggesting the father's incestuous infatuation with his daughter by evoking his conflicting passions through his eyes. The most uncomfortable scene is when the daughter tried to walk and he sweeps her off her feet and carries her away. Eek!



5. A Streetcar Named Desire (1951) - It's New Orleans, the air is hot and dense with humidity, which makes the characters all that more bothered and restless. Besides Brando being absolutely gorgeous in every scene, the Brando/Stanley-Hunter/Stella-Leigh/Blanche sexual triangle is unsettling because each of the character's is not in their right mind. Stanely is frustrated, Stella is frustrated and Blanche is just plain off her rocker. Many of the scenes in this film are very sexy, but there is one that stands out. Stella descends the stairs towards Stanley, who's shirt is barely hanging on by a thread, she pulls him towards her and runs her hands down his muscular back. Is it hot in here or is it just me? (link is the trailer)


6. Cat on a Hot Tin Roof (1958) - Sex is on the mind of every character in this film. Not sex in general but the lack of sex between the young married couple played by Elizabeth Taylor and Paul Newman. While only very subtly suggested in the film, Newman's character is dealing with the internal conflict of being married to an attractive woman but still holding onto to the repressed homosexual attraction to his now deceased friend. Taylor's character is sexually frustrated and it doesn't help that his family blames her for not having had a child yet. To me the most sizzling of scenes is when Taylor wraps her arms around Newman pleading for sexual attention only to have him break free from her grip for the umpteenth time. Poor thing. (link is the trailer)


7. Red Dust (1932) - I couldn't create this new list without including a Jean Harlow film. This film, which was later remade as Mogambo (1953), stars Clark Gable as a plantation overseer who has conflicting desires for floozy Jean Harlow and married Mary Astor. There are numerous sexy scenes in this film. Harlow naked in an outdoor bathtub, being man-handled by Gable. The howling wind conveniently moving up Harlow's skirt revealing her slender gams. The sexiest one is when Gable roughly pulls Harlow onto his lap, kissing her. This is the culmination of all the sexual tension between them. (link is the trailer)


8. Design for Living (1933) - I am still surprised that this film was ever made. Miriam Hopkins stars as a woman who cannot decide between which of her two boyfriends (Gary Cooper and Frederich March) to keep, so she decides to keep them both in her life and moves in with them but forgoes a sexual relationship with either. Neither of the two men are happy about her decision but at the same time do they don't want to walk away and let the other snag her. The sexiest scene takes place in a car where Hopkins sits between her two beaus and plants a kiss on one then turns to plant a kiss on the other. Talk about sharing. Wow!

Queen Norma Shearer: Avec Robert Montgomery Poll

I just had the pleasure of watching Private Lives (1931) which recently aired on TCM and I had managed to tape it. It's so difficult to find Norma Shearer films to watch (see my previous rant about this subject) that when I get the opportunity to see one for the first time I feel like I found a $10 bill I didn't know I had. This particular one was a treat because it's one of the many pairings of Norma Shearer with Robert Montgomery.

This duo, although not as famous as, say Katherine Hepburn and Spencer Tracy or Doris Day and Rock Hudson, was a successful one in it's own right and produced some wonderful movies. My personal favorite one is Strangers May Kiss (1931). For those of you out there who are Norma Shearer fans (or Robert Montgomery fans), let me know which of these is your favorite by posting a comment (I love getting those).

Their Own Desire (1929)
The Divorcee (1929)
Private Lives (1931)
Strangers May Kiss (1931)
Riptide (1934)

The Asphalt Jungle: Images Speak

I had never put much thought into it but when I recently did a repeat viewing of The Asphalt Jungle (1950) for my film noir class, I kept thinking about the various publicity pictures and posters used to promote the film. They vary greatly and each says something different about the movie and the time it was released. It got me thinking, what goes into these works of art and photography? Because first impressions are everything, I'm sure that the creators of these promotional images thought very greatly about who the potential audience was and what would draw them in enough to pull out their wallet and fork over the cash to buy a movie ticket.

So I had some fun and let my mind run wild with the idea. I scoured the internet (okay I just Google'd) and picked 3 of my favorites to discuss.

This is by far my favorite one. I had discovered it a couple of years ago when I did my regular post-viewing research of The Asphalt Jungle. This image is straightforward and eye-catching. You've got all the main stars in the image and it's a clever shot of them from below. They are surrounding a pile of jewels which ties them all to the jewel heist which is at the center of the film. This is the image most representative of the film's story. It's not just about a convoluted robbery that goes bad, it's about several individuals who all have their own weakness that leads to their downfall.

This one confuses me greatly and downright irks me. It reminds me of the pathetic cover of a certain BBC-Austen miniseries in which the American packaging showcased 2 models instead of the actors because they were better looking than the actual stars. It's misleading and wrong! This particular poster tells the audience, "come watch this film because you'll see sexy Marilyn Monroe strut her stuff." Those poor lustful souls will only come away disappointed to have seen her in just 3 short scenes.

As I write this, I cannot help feeling like a hypocrite. I did come to find this film as a Monroe fan wanting to see more of her films. I liked the film for what it was and not necessarily for Monroe's role. Yet this title is often distributed as a Monroe film. I'm hoping that in a few years this will be known only as a very good film noir.

Let's ignore Marilyn Monroe scared face in the corner for a moment and look at the other elements of this image, which happens to be the DVD cover. This is quite good. In the background, you have the asphalt jungle and the tagline "The City Under the City" which is representative of both the underground scenes and the "underground" network of hoodlums. Then set below the city you have the 3 main people involved with the actual heist (versus those involved with only the planning of the heist); Sterling Hayden, the hoodlum, James Whitmore, the driver and Anthony Caruso, the box man ~ explosives. Then right below them you've got the sex, i.e. Monroe. Clever thing about this image, is that it's on a tilt symbolizing the impending downfall of these characters (except the sex, which survives of course).

Double Indemnity: Second Viewing

I didn't quite have the time before my first class to watch Double Indemnity (1944) two more times, but was lucky enough to be able watch it once in an interactive manner. By which I mean, I took notes while I watched. I sometimes notetake while watching films. My hands are pretty restless and taking a pen to paper has a tendency to calm me. Also, my mind becomes more alert as I'm actively searching for interesting things to write down. It makes for a more in depth movie experience.

My second viewing of the film was quite interesting. I'd been looking for minutae and subtleties that I may have overlooked during the first go. The language, lighting and plethora of staircases all stood out to me. Part of me wonders how much of what I get out of a film is what I am searching for (either consciously or subconsciously) and what the filmmakers put into it for the viewers to find. Here are some things that I discovered in my second viewing.

1. Robert Osborne -Any movie benefits from a Robert Osborne introduction. Always impeccably dressed, he welcomes you into the movie with fun facts and quips. If your lucky, he will tell you a particular scene or image to look out for. And am I the only one that thinks that loft-style studio is beautiful. Could I move in? I think Osborne should introduce every DVD, no matter what the film.


2. Edith Head - I didn't notice this the first time around, but caught her name in the opening credits. No wonder Barbara Stanwyck looks so stunning! The amazingly talented Edith Head dressed her. I wonder if she dressed the men? If so, I've got a few complaints. The main one being that Fred MacMurray's suits seem to hang on him while Edward G. Robinson seems to be bursting out of his.


3. Film Noir Language - "Dame" "Hot Potato" "Outfit" "Dimwitted" "Song and Dance", this movie is chock full of colloquialisms. Yet what I find so intriguing is the wit and banter and the heavy heavy flirting! I wonder how much of the intricately sexy language was a result of passing this film through the codes. Did the language have to be clever to convey all the sex that had to be censored?


4. Linear and Square - It's "straight down the line" until they get to the "end of the line." The plot movement is very linear. The sequence of events pertaining to the crime seem to happen back to back like a line of dominoes and the uncovering of the crime by Keyes (Edward G. Robinson) seems to happen in the same sequence as the crime does, it's just one step behind. Everything falls apart when Fred MacMurray's character breaks that line. The square element is the romantic entanglement which is at the heart of the story. Phyllis - > Walter - > Lola -> Nino. I could call it a circle, but this is film noir! It's all about the harsh angles.


5. Fire - Did anyone notice Fred MacMurray's amazing ability to light a match with his thumb? I found this oddly sexy. As though he was so pumped up with testosterone and adrenaline that he thought nothing of potentially burning his thumb with the match. It was just a faster way to light a cigarette.

Double Indemnity: First Viewing

In preparation for my first Film Noir class next week, I will be watching the classic, Double Indemnity (1944). I have already seen this film but it was some months ago and a refresher seemed necessary. Why watch this film again? Why not, I ask? For any of you who are repeat viewers, you will understand that each viewing of a film is its own unique experience. Minute subtleties overlooked on the first pass, reveal themselves during a new viewing. Sometimes even after 100 viewings of a favorite film, I will be surprised to discover something new and the feeling is equivalent to finding a $5 bill you didn't know you had. Plus repeat viewings are a way for us to intertwine an important movie into our lives. To badly paraphrase deconstructionist Jacques Derrida, single moments cannot be grasped, so to experience something one must repeat it; either the experience itself is repeated in the same form or in a similar form or the memory of it plays in one's mind.

Repeat viewings have always fascinated me. There are certain films that I feel lend themselves to that continued experience. As an experiment, I will document my reactions to each viewing of this film and will finish with a final round up of what I learned from my class. These are my impressions on my first viewing. Elapsed time does not help with my memory so I will only draw on what sticks out in my mind the most.

• Naughty Fred MacMurray - Most of you know him as the detective gone bad in Double Indemnity (1944) or the sleazy, womanizing boss in The Apartment (1960), but my mind's image of Fred MacMurray is quite different. To me, he is the loveable and charismatic actor of so many romantic comedies and dramas from the '30s and '40s. The rich but loving boyfriend of Katharine Hepburn in Alice Adams (1935), the morally righteous lawyer married to a pathological liar in True Confession (1937), or the poor lovestruck suitor who has to compete with an even more endearing wheel-chair bound Ralph Bellamy in Hands Across the Table (1935). To see him be a little bit bad in this film was confusing yet very exciting.



• The Wig - It stands out. Even director Billy Wilder thought it was a bit ridiculous. Yet one couldn't envision Barbara Stanwyck in the role of the conniving femme fatale without the curly, blonde wig. It's severe but she's severe. It's over the top, but she's over the top. It just works. And also there is something that happens to a woman when she goes blonde. Like Deborah Kerr in From Here to Eternity (1953), they go a little bit bad, or in Stanwyck's case a whole lot. However, this is all coming from a brunette who has a serious case of blonde-envy.



• Secondary Romances - They work. Period. I love them and oftentimes I find them more interesting than the primary romance. In this case, the forbidden love between rich daughter Lola and Nino who is poor and rough around the edges. Very intriguing.

Robert Mitchum's Sad Eyes

I just like to look at him!

Boston of Classic Film

Boston is my town. I love it here and always have. Yet, the Boston in classic films is not the Boston I know and love. It's very different. My Boston is made of many different shades: moderately conservative juxtaposed with moderately liberal; heavily accented townies and young students and upstarts from other states; history and modernity. Boston to me is variety and acceptance of that variety. Yet the Boston in classic films is highly conservative, extemely judgemental and socially backwards. Any films from the '20s to the mid '60s portray this city that way. Something happened (Civil Rights movement? Women's movement? Sexual liberation?) that changed Boston in the mid to late '60s that makes it portrayed so differently. I've tried to find out what that change was but to no avail.

I first discovered this anti-Boston trend when I watched a documentary on Bette Davis. She was born and raised here and had a very conservative and strict mother. Perhaps that's why I like blonde Bette Davis so much. She was rebelling from her conservative upbringing and brought an energy and fire to her new home, Hollywood. She had mentioned numerous times about heavy restrictions laid upon her by Boston society. I thought little of it, but didn't forget.

Then I watched The Shocking Miss Pilgrim (1947) and I myself was shocked. Betty Grable stars as a typist in 19th century America and travels to Boston for a position. Her new boss, a Boston local, is shocked that the employement company provided him with a woman for the position. She proceeds to woo him with her looks and vivacity, so all ends up well with him. She also moves into a home filled with eccentrics, all of whom share a deep hatred of Boston. In fact, despising Boston society was a requirement for moving in! I was deeply disturbed by this.

Then came If a Man Answers (1962), one of the three films Sandra Dee and Bobby Darin made together. Sandra Dee plays Chantal, a young woman who has a very sexy French mother and a dour, old-fashioned Boston father. Her Boston-French heritage is her primary source of romantic conflict. Hearing the familiar Boston fog-horns in her mind turns her into a cold and unaffectionate person. It's only the French part of her that makes her snag her Bobby Darin. Watch the opening sequence of this film. It's a '60s-style carton in which a growing Chantal proceeds to lure boys and men in with her French charm only to (literally) turn them into ice with her Boston frigidity.

I don't like this at all but will have to come to terms with it. I'm intrigued enough to want to see more Boston-based films from eras past to get a better understanding of this cold, conservative Boston which is so foreign to me.

Queen Norma Shearer: Boxed Set?

Why is it, that on this good, green earth there has yet to exist a boxed set of DVDs of Norma Shearer films? It seems shameful that there are legions of classic film fans out there that are not capable of owning their own small library of Norma Shearer DVDs. It is a damn shame. In fact, there are only 2 DVDs out there. The Women (1939), because of the ensemble cast and the familiarity with the broadway play, and Marie Antoinette (1938) as a tie-in to Sofia Coppola's version. That will keep broadway buffs and Norma-Shearer-as-Marie-Antoinette-fans happy (yes, there is a whole underground society of such people) but what about those folks, like me, who like her broad range of silents and talkies?

So Warner Home Video and TCM, listen up! We the people who love Norma Shearer films demand a DVD boxed set of her movies! Or at least a larger selection of DVDs in print! Here are some suggestions of what I think would make for excellent boxed sets.

Norma Shearer: The Silent Years

The Student Prince in Old Heidelberg (1928)

He Who Gets Slapped (1924)

The Flapper (1920)

Lady of the Night (1925)

The Snob (1924)

Norma Shearer: Queen of MGM

Marie Antoinette (1938)

The Women (1939)

The Hollywood Revue of 1929 (1929)
Private Lives (1931)

A Free Soul (1931)

Norma Shearer: Drama

The Divorcée (1930)

A Free Soul (1931)

Idiot's Delight (1939)

Escape (1940)

The Barretts of Wimpole Street (1934)

Sexiest Scenes in Film History

Many folks say that the famous beach shot of Burt Lancaster and a blonde Deborah Kerr in From Here to Eternity (1953) is one of the sexiest scenes in film history. I had that in mind when I watched the movie for the first time last weekend. Maybe I was expecting more, but I was mildly disappointed when I did finally see it. It was far too short and quickly moved into a heated argument over jealousy and rumor. I was much more intrigued by the scene in which Deborah's character is looking for her husband and Burt's character says to her, in a very flirty manner, "Is there anything I can do for you?". Yes, I'm sure there was a lot of things he wanted to do for her.

This got me thinking. Classic films are not generally known for their sexiness. In fact, most people have a preconceived notion that because these films were heavily censored that they were stripped of any sexuality. But that just isn't the case. There are plenty of very sexy pre-code films and suggestive movies from the late '50s. Besides, filmmakers found numerous ways to work around the censors and subtley makes for more of an impact on the viewer.

Below is a list of what I believe are the top 10 sexiest scenes in classic films. I hope you've had the pleasure of seeing at least one of them.

1. Rear Window (1954) - Grace Kelly walks in on a sleeping Jimmy Stewart and wakes him up with a seductively soft kiss. Then plants numerous little kisses on him after showing him her overnight bag. WOW! (link is a short clip)

2. Double Harness (1933) - Ann Harding slips into something more comfortable while at playboy William Powell's apartment. So scandalous that it was discovered many years later that the 2-1/2 minute clip was taken out of many copies of the movie. (link is another related clip)

3. Red-Headed Woman (1932) - What scene of this film isn't sexy? I think they all were. Jean Harlow is red-hot as she seduces her wealthy boss played by Chester Morris. He's fed up with her seduction and confronts her at her apartment. She traps him in her bedroom by locking the door and hides the key in her cleavage. Yowzah! (link is another related clip)

4. A Free Soul (1931) - Norma Shearer is in a figure-clinging dress (and nothing else, if you know what I mean) when seducing gangster Clark Gable. She reclines on a sofa and beckons him to put his arms around her.

5. The Cabin in the Cotton (1932) - The sexual tension between Bette Davis and Richard Barthelmess is intense. The most famous scene is Bette line to Richard: "I'd kiss ye, but I just washed ma' hair". She teases him almost endlessly, until one day, the rich southern belle takes the poor boy up to her room, in her mansion, and then well, you know. (link is the trailer)

6. Spartacus (1960) - One of the opening scenes in which Kirk Douglas is slaving away under the hot sun, combines his muscles, a nice tan and a lot of sweat. It's just all very good.

7. North by Northwest (1959) - Hitchcock was a very very clever man. The final scene with Eva Marie Saint and Cary Grant, on a train, in a bed... then cut to a shot of a train entering a tunnel. Talk about suggestive. (link is a featurette about censorship of the movie)

8. Woman of the Year (1942) - You are probably surprised that this is listed here. However, the scene where Katerine Hepburn's character meets Spencer Tracy's character for the first time is electric. The chemistry between them was unmistakeable. This was their first film together and it lead to their real-life romance of 27 years. (link is the trailer)

9. The Seven Year Itch (1955) - One of Marilyn Monroe's most iconic roles. Besides the famous flowing skirt scene, this film is rife with Monroe's special doses of blonde bombshell. Monroe is hot (because it's summer and for other reasons as well) and is trying desperately to find ways to cool down. In the meantime, she gets the married Tommy Ewell all hot and bothered. The air-conditioner scene is my personal favorite. (link is the trailer)

10. Cat People (1942) - Feline Simone Simon is seductively bad. There is something very alluring about the bathtub scene. She seems delicate yet dangerous. So subtle! (link is the trailer)

Blonde Bette Davis: Marked Woman

The virtues of a blonde Bette Davis are many and go largely unacknowledged. Most know Bette Davis as a wide-eyed brunette; fiesty and domineering. The films she's best known for are all in her brunette period [Jezebel (1938), The Letter (1940), Now, Voyager (1942), Mr. Skeffington (1944), All About Eve (1950)]. These are wonderful in their own right and I do not disagree at all with those who say that these are her best pictures. However, just because Bette Davis made wonderful films in her brunette period doesn't mean that her blonde period should be forgotten.

You'll find me talking about blonde Bette Davis often here. This selection of films, pre-Jezebel and spanning roughly 7 years are some of my absolute favorites. My top favorite being Cabin in the Cotton (1932) where Bette Davis utters one of her most famous lines: "I'd kiss ye. But I jus' washed ma hair."

I was very lucky to come across another blonde Bette Davis jewel: Marked Woman (1937). It bridges between the blonde and brunette periods. Her hair is significantly darker but she is often referred to in the film as a "blonde". Plus her role has that youthful vivacity that is juxtaposed with her burden of worldly knowledge that is so reminiscent of blonde Bette Davis characters. I find that her brunette roles lack that youthfulness and sprite and are either jaded or feeling the weight of the chains from living a hard life. Marked Woman is a sad drama but Bette Davis is still quite vivacious. She plays one of many prostitutes that work for a gangster at his nightclub. Betrayal is either punishable by death or a cross-mark on one's face. It's quite good and watchable to see Davis as well as a very young Humphrey Bogart. Highly recommended.

I Heart Bobby Darin: Pressure Point

I must share my love for Bobby Darin with you... with the world. When most people hear his name, they automatically think "Splish, Splash", "Dream Lover" and Sandra Dee. My mind's image of him is far more complex. To me he was an amazing actor, singer and comedian. Did you know that he was nominated for four Golden Globes (winning one) and an Academy Award and that he could do a really great impersonation of Robert Mitchum? No, of course you didn't. I truly believe that Bobby Darin is highly under-rated as an actor in his own right. The man was multi-talented, highly ambitious and hard-working. I always have the utmost respect for people like that.

I came to watch Pressure Point (1962) to see Bobby Darin in a dramatic role. I was ready to see a rough, mean and pyscopathic Darin. There are a couple of noteworthy scenes in this movie. The first one taking place in jail when Darin's American-Nazi character, while alone in his cell, sees a minature version of himself desperately trying to climb out of the sink's drain. The mini-Darin is not thwarted by the larger-Darin's attempt to flush him away. It's quite a powerful scene, representative of the character's descent into his madness.

The second scene is comprised of a sick and twisted game of tic-tac-toe. Darin's character is drunk and violent and with the help of other drunks, proceeds to cover the walls, ceiling, floor and furniture of a bar with tic-tac-toe grids. It ends with a final round done with lipstick on the barman's wife's face and back.

Darin truly steals the show. Poitier gets top billing and is the central character and narrator, but one cannot be but captivated by Darin. Wonderful stark visuals and harsh clangy music, and this film will by far deconstruct any preconceived notions you have of Bobby Darin.

The Dick Cavett Show ~ Hitchcock Edition

If you haven't watched The Dick Cavett Show yet, shame on you! For the classic film fanatic, it is absolutely essential to watch. Where else will you see amazing one-hour interviews with film legends? The best part is that during the late '60s and '70s, most of these stars had already gone through the best moments of their career and you get to hear wonderful stories. An added bonus - Dick Cavett knew how to showcase these film legends at their best.

There is no excuse not to watch it. It's on DVD, and available to buy or rent. They've been aired on Turner Classic Movies and perhaps might be in the future (pretty please good folks at TCM!). You get to see Bette Davis, Katharine Hepburn, Groucho Marx, Orson Welles and other greats. One of my personal favorites is the witty Alfred Hitchcock. It opens with a very amusing sequence and I thought I'd share some screenshots so maybe you'll be enticed to watch the show. Here they are...

Welcome

Welcome to my classic film blog. This is a new venture for me, as my devotion to films started just as a budding interest and has now developed into a full-fledged passion. This won't be your boring ole run-of-the-mill movie review blog. Oh no. This will just be a forum for me to talk wildly about anything film related. I'll discuss films I've seen, actors and actresses I like and related books and biographies. Here you'll learn about my interest in blonde-Bette Davis films, my love for Robert Mitchum, Dennis Morgan and Richard Barthelmess, by supreme admiration for Norma Shearer, my love of Hitchcock films and 30's slapstick comedies and my fascination with Turner Classic Movies.

I'm a voracious watcher and although I try to be chosy about which films I devote my time to, I am really up for anything. I'm a curious creature by nature so I gobble up biographical information and I love to learn about stars' love lives. It's all in good fun and I'll always try to be good-natured about it. So please come back and visit (often!). I watch a lot of films and always have lots to talk about so I hope that translates into frequent entries! Enjoy!