George Baxt’s Hollywood Murder Mysteries
If you like to read and research absolutely everything on classic Hollywood like me, you’ve probably heard of George Baxt’s fictional classic Hollywood murder mysteries. I’ve certainly came across them a great deal when educating myself about classic Hollywood, and I thought it was a fun idea to take our beloved stars and put them in a thrilling murder mystery, a work of fiction. So I decided to order a bunch of them two years ago, for my seventeenth birthday. To my chagrin, I found out that the books are extremely rare and out of print, and I ended up having to order them from some bookshop in London! Some books in the series, such as the Dorothy Parker Murder Case and the Alfred Hitchcock Murder Case were either too expensive or too rare, so alas, I don’t have them.
I was beyond excited to read them, but…I am sorry to say, they were an absolute disappointment, especially since Baxt himself was a former Hollywood agent, who was supposed to have known most of these stars. I was expecting an insightful look into the lives of these Hollywood stars, but instead I got a shallow story with a stupid plot and even stupider characterizations each and every time! I have no idea what Baxt meant by writing these books…did he mean to slander the names of the stars of classic Hollywood? Or was all of this meant to be taken as a joke, a lighthearted work of fiction? But when you’re dealing with the personalities of real people, how are you NOT supposed to take what is said seriously?
Anyway, over the summer I will be reviewing what I have from this series for two reasons:
1) The books are rare, so it may be difficult for some to access them and read them for themselves.
2) I don’t think anyone on here deserves to plow through such drivel anyway.
The titles I’ll be reviewing are:
1) The Tallulah Bankhead Murder Case
2) The Greta Garbo Murder Case
3) The Marlene Dietrich Murder Case
4) The Humphrey Bogart Murder Case
5) The Clark Gable and Carole Lombard Murder Case
6) The William Powell and Myrna Loy Murder Case
7) The Fred Astaire and Ginger Rogers Murder Case
I’ll discuss what worked and didn’t work for me, and I’ll also put up some of the “facts” that Baxt had in books, just to show how outrageous they sometimes are! This means that I’ll have to re-read them (oy…but at least they’re small, easy reads). So stay tuned!
Lone Star (1952)
Lone Star (1952) is about a cattle rancher named Deveraux Burke (Clark Gable) who is sent on a missi0n by former president Andrew Jackson (Lionel Barrymore) to convince Texas to join the United States. During his Texas adventures, he meets Senator Tom Craden (Broderick Crawford) and his girlfriend, newspaper woman Martha Ronda (Ava Gardner). Both of them want Texas to remain as the Lone Star Republic, separate from the United States. Despite their clashing opinions, Dev and Martha (of course) fall in love. And who will win the big final showdown between Dev and Tom?
I’m really sorry to say this, but i found this historical western/romance mashup to be quite…awful 
Getting a detailed, blow-by-blow account of the annexation of Texas made me feel like I was a junior in high school and sitting in AP American History class all over again. According to director Vincent Sherman, even the cast realized just how lame the film was shortly after shooting began. Broderick Crawford was intoxicated throughout the filming (which is something admirable to me…how can an actor be so dead drunk yet still remember all their lines?), and Gable and Gardner were just “showing up, reading lines, and going home.” It was just…nothing was really that exciting during the film. It was really quite predictable.
I also hated the Gardner character. She was such a bitch! First of all, she was dating the Broderick Crawford character, so she shouldn’t have been seducing Gable to begin with! Then she sings “Moonlight is Made for Lovers” to Gable, and when he goes in for the kiss, she pushes him away! Um, if you sing that kind of song to a man, WHAT ELSE is he supposed to do!? She also spends most of the movie flirting with him, then slandering him in her newspaper. Whadda bitch, toying with the man’s affections like that!
There were, however, two high points in the film. the first is Lionel Barrymore, in the small role of ex-Prez Andrew Jackson. This was Barrymore’s last film, and he was wheelchair-bound at this point. Barrymore is always a joy to watch and gives everything to his role, no matter how small.
The other high point is my man Gabe. Because no matter how awful the film, he provides plenty of eye candy, which makes up for everything in the end. He also has curly hair in this movie, and that combined with his blue eyes and rough-and-tough manliness turns me into a pool of melted Jell-o every time <3
Art, Anyone?
Some of you may know that I love art. Drawing, painting, printing, carving, I’ve done it all and I love it all. So of course, for my art class in school, most of my subjects dealt with classic films. Here’s some of the work I’ve done recently:
Clara Bow
Jean Harlow…not really happy about how this one came out…
Joan Crawford
Gable and Lombard, publicity shot for No Man of Her Own (1932).
I know this is a bit of a short post, but I wrote a review of Lone Star (1952) and WordPress decided to just delete the entire thing >:( I’m way too frustrated to re-do the entire post now, so keep your lovely eyes peeled for it tomorrow!
Mary Pickford-A Celebration
I am happy to announce that today, May 23, 2012, was my last day of school! Woooooooohhooooooo! Now I can blog as much as I please! Today’s post on Mary Pickford is guest written by Imogen Reed. She did me a great favor by writing this when I didn’t have the time to be writing myself. Here’s her wonderful piece, and enjoy!
Mary Pickford – A Celebration
April 8th 2012 saw what would have been the 120th birthday of Mary Pickford and May 29th marks the 32nd anniversary of her death. Mary Pickford was a trailblazer for the glamorous women of Hollywood and such an important figure within the movie industry (from their very earliest inception) that she mustn’t ever be forgotten.
Auspicious Beginnings
Mary Pickford was born Gladys Mary Smith in Ontario in 1892. She had two siblings, Jack and Lottie who would also both go on to become actors and performers in their own right although they both had distinctly troubled lives.
From her earliest years all Mary ever knew was acting and performing. She toured the US with her family performing in plays and vaudeville (doing what actors these days call “cutting their teeth”). Her early years were lived out in pretty much intolerable poverty. Ramshackle housing with no heating, hot water or electricity. Little in the way of health and safety passed in those days so houses would be very often dangerous to live in with not even anything in the way of an asbestos survey or a damp proof course to keep the family from illness or injury.
The family had to try and earn their keep somehow even though being an actor at this time was considered the lowest of the low, unless you were performing in “proper” things like Shakespeare or Chekhov. Anything else was deemed highly inappropriate. When the movies were first established in the very early years of the twentieth century, they were seen as an even lower form of art than stage acting and heavily frowned upon.
Nevertheless, in the year 1909 Mary was taken in for a screen test by the famed director DW Griffith for his “Biograph” company. She passed her audition with flying colours, so much so that Griffith was prepared to give her more than the going rate per day for other actors. Here she is in one of her very first supporting roles, seen properly in the second scene (the sound quality of this clip is quite poor unfortunately, but even here you can see what a glorious presence she had.)
Mary Pickford “The Light That Came”
Her Film Career
From 1909 onwards her film roles came thick and fast. However, in those days actors were not credited for any acting they did in the same way stars are billed now. Mary is one of the actors who managed to change this notion. One day she saw a huge picture of herself on a sandwich board outside a movie theatre, advertising a film she had taken top billing in with the caption “The Biograph Girl”. She was incensed that people knew who she was but not her name, and left Biograph to work for DW Griffith’s opposite number Carl Laemmele – also ensuring that from then on she was “named” in pictures alongside other actors.
Over the next few years she yo-yoed between different picture houses and directors making films for Biograph, Famous-Players-Lasky and Paramount. This is her in a role from 1915 in Madame Butterfly, made with the director Sidney Olcott
Mary Pickford “Madame Butterfly”
Mary, at the young age of twenty three could now seriously and choose the work she did. She was a respected actress, moviegoers loved her youthful innocence, she was one of the few actresses that kept her long locks at a time in which most other women cut their hair into bobs, feeling that women had no need to emasculate themselves in the name of fashion.
The “Move” That Really Made Her
Pickford was working for Adolph Zukor at Paramount Pictures when her contract came up for renewal, she chose not to stay with Paramount and instead moved to “First National Pictures” who offered her complete control over her work. This wasn’t to last. In 1919 she, along with Douglas Fairbanks, Charlie Chaplin and DW Griffith formed the motion picture company “United Artists” which gave not only her, but the other gentlemen complete control over their work and how it was distributed. This made Mary one of the richest women in the US, not only that but it proved that she was not only a great and consummate actress with wonderful talent and beautiful classical looks but an incredibly shrewd businesswoman.
Mary Pickford, Charlie Chaplin and Douglas Fairbanks together
She continued her career in the silents and right into the era of the talkies, making this Oscar winning performance in the 1929 film coquette (in which she’d finally flouted the long hair in favour of a bob!
However, by 1933 she realised she could no longer play the roles she had been so adept at, the innocent teenager, the young vivacious girl etc and didn’t have the “voice” in her to play elegant heroines so she gracefully retired from the business of acting instead choosing to work as a producer instead making films for people like Claudette Colbert and The Marx Brothers.
Personally Speaking…
She was married three times and divorced twice, firstly to Owen Moore then to her business partner and respected actor Douglas Fairbanks and finally Charles “Buddy” Rogers and never had children of her own, instead choosing late in life to adopt and care for two children Roxanne and Ronald. However adept she was as an actress, her life as a mother was less successful and her relationship with her adopted children was never easy. She received an honorary Oscar in 1976 for her services to the film industry, directing and producing and died three years later in 1979 following a stroke.
She blazed a trail for other women to “make it” in Hollywood, not just as actresses but behind the camera as directors and producers too. Her strength of character and feisty nature made it possible for women to believe they too could make it if they chose and hat’s just what they’ve been doing ever since!
If anyone is interested in doing some guest writing for An Elegant Obsession, feel free to contact me!
Cain and Mabel (1936)
I hope everyone had a great start to their New Year! Since yesterday was Marion Davies’ birthday, I am going to review one of my favorite films of hers: “Cain and Mabel.”
Here’s the story: Mabel O’Dare is a waitress-turned-Broadway star and Larry Cain is a mechanic-turned-prizefighter. Both hate each other with a burning passion, but their press agents cook up a love affair between them so they can gain more publicity. However, the publicity stunt slowly turns into the real thing, and Cain and Mabel secretly plan to quit their high-paying jobs in favor of eloping and becoming a mechanic and a housewife, respectively. When Cain’s press agent, Reilly (the always-hilarious Roscoe Karns) overhears their secret plans, he is determined to break them up. Will Cain and Mabel’s dreams come true?
Cain and Mabel don’t exactly get along in the beginning…but soon they’re smoochin’ away!
This film was basically a vehicle for Marion Davies, who was losing box office appeal at the time, and it was produced by William Randolph Hearst’s production company, Cosmopolitan. Hearst pulled all the stops in order to show his mistress at her most beautiful–Davies had plenty of close-up shots in the film, and also got to show off her talents as a comedienne and as a dancer in lavish numbers such as “Coney Island” and “I’ll Sing You A Thousand Love Songs.” However, the film flopped at the box office, and Gable seemed a bit out of his comfort zone as a boxer.
Despite the fact that it flopped, I really love this film and find it quite enjoyable. It is cute, lighthearted, and incredibly funny. I thought the casting was great, the script was snappy, and the music was good. I’ll admit that the story is a bit predictable, but I still saw no reason for it to flop.
Even though this sweet little film doesn’t have the most complex plot or characters, it is well-known for one thing–its music. The big dance number of the film, “I’ll Sing You A Thousand Love Songs,” was actually nominated for an Academy Award in Best Dance Direction. It took two weeks to film and cost Hearst over $400,000. The result was a lavish, spectacular showstopper that clocked in at about ten minutes long. The other memorable number from this film is “Coney Island.” The carousel from the number cost $35,000 alone, and later became a fixture in the backyard of Davies’ Santa Monica home, along with her pools, tennis courts, etc. This was also the closest that Gable got to being in a musical.
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Filming “I’ll Sing You A Thousand Love Songs.” The roof of the soundstage literally had to be raised in order to film it! Marion Davies is all the way up top, standing in the oval.
Overall, “Cain and Mabel” is a fluffy romantic comedy that is easy to love and enjoy. Oh, and there’s also the weirdest costume in film history in it:
Dames (1934)
I’m off for an entire month, which means that it’s time for me to take a much-needed overdose on classics! “Dames” has been sitting around on my DVR for ages, and being a fan of Busby Berkeley’s musicals, I looked forward to seeing this one.
Millionaire Ezra Ounce (an entertaining Hugh Herbert) is obsessed with the upkeep of American morals, and starts a campaign to eradicate institutions he deems as “immoral.” However, he wants to be assured that his vast fortune will be passed on to like-minded members of his family so he pays a call to his cousin Horace (Guy Kibbee) and his wife Matilda (ZaSu Pitts). Ounce believes New York to be the center of all immorality in America and hates the Broadway shows and musicals most of all. But to the family’s horror, Horace and Matilda’s daughter, Barbara (Ruby Keeler) is in love with the “black sheep” of the family, show producer Jimmy Higgins (Dick Powell). On top of that, she is the lead in his new musical, “Sweet and Hot,” which Horace was blackmailed into financing by a conniving yet charming showgirl named Mabel (Joan Blondell). Will the show go on, or will Ounce and his morality brigade take it down?
The film was lighthearted and entertaining, despite all its talk of morality and family differences. After all, it’s a Busby Berkeley musical, designed to be cheerful and escapist. I found the characters of Ounce, Horace, and Matilda to be highly amusing, much more so than Keeler and Powell’s characters, who got more screen-time. Because for all their talk, they aren’t actually as moral as they say. Wait til you se what’s in Doctor Silver’s Golden Elixir, Ezra Ounce’s trusted cure for his chronic hiccups. But I found the fact that Ruby Keeler’s character Barbara is in love with Dick Powell’s character Jimmy, who is her thirteenth cousin, quite creepy. They aren’t immediately related, but still…geez…they are still related, and they know it! If this film took place in the 1800s, I’d let it pass, but in 1934?! Really? That’s disgusting! I also found it a tad ironic that a Hollywood film declared New York City as the center of immorality, when many Americans at that time probably saw Hollywood itself as the center of immorality. But maybe I’m just biased.
Yep.
Of course, the best feature of these films is the musical numbers, and this film doesn’t disappoint. I’ll talk about the three major musical numbers of the film here: “The Girl at the Ironing Board,” “I Only Have Eyes for You,” and of course, “Dames.”
“The Girl at the Ironing Board” was a cute little number, partly because Joan Blondell is a very lovable actress. Even though she can’t really sing. But you forget about that when she smiles her pretty smile. Throughout the number, and throughout the film in general, Blondell took great pains to hide her belly–because she was seven months pregnant during filming. It was quite obvious, since the usually slender Blondell was a bit plump in this film. This number had a lot of men’s long johns doing things on their own, like hugging Blondell is the above photo, which was really creepy. But this is not as creepy as what happens in the next number…
“I Only Have Eyes for You” is a sweet little love song about Dick Powell’s undying love for Ruby Keeler. It makes anyone’s heart melt. It will get stuck in your head for at least twenty four hours. But the effects in this dance number border on the nightmarish for me.
You see, if Dick Powell only has eyes for Ruby Keeler, then EVERYONE looks like Ruby Keeler. The entire dance number is composed of floating Ruby Keeler heads and Ruby Keeler lookalikes. She’s cute and all, but that much of anyone’s face is enough to give me the creeps. However, it was well done. Besides, the dress Keeler and her lookalikes got to wear is drop-dead gorgeous:
The last number, “Dames” was definitely my favorite. Being a self-proclaimed dame, I’d like to think of it as my own little theme song. It’s basically a praise of the beauty of dames, and that they–not the music, dancing, or acting–make the show. It definitely had the best set, dancing, costumes, and synchronization.
This number had some of the best examples of Busby Berkeley’s famed aerial synchronization. Of course, guys would love this musical number too since it starts hundreds and hundreds of young pretty chorus girls–not a male in sight.
A dame is never a dame without her morning primping!
Dames being cheeky
For some reason, I love these costumes from the number. I would not mind going out looking like that. I guess it’s no wonder I attract a lot of stares on the street…
“Dames” is a fun and cute film, but in the end, it is pretty much like a lot of other Busby Berkeley musicals.
Manhattan Melodrama (1934)
“Manhattan Melodrama” is one of my all-time Gable favorites. It’s fast-paced. exciting, and yes, heavy on the drama! But it’s all good fun, and every time that I recommended this film to someone, they ended up enjoying it. The people don’t lie!
Gable and Loy.
The film revolves around orphans Blackie Gallagher (Clark Gable) and Jim Wade (William Powell). Although they were raised together, they take completely opposite paths in life. Mischievous Blackie becomes a gangster and professional gambler, and studious Jim becomes district attorney, vying for the position of governor. Blackie’s girlfriend Eleanor (Myrna Loy) becomes tired of the wild life with Blackie, and instead settles down and marries Jim. Despite this, the two men remain friends. But when Blackie kills a man, their friendship becomes tested as Wade’s morals and job as D.A. tell him to send his best friend to the electric chair. Does Wade do what he feels is right, or does he save Blackie?
Gable with Mickey Rooney. Their smiles are so similar it’s uncanny!
Obviously, the cast is terrific, and the three leads all play off each other wonderfully. Gable was, and always will be, great in the gangster role. This was also the first of fourteen pairings between Powell and Loy. Seeing their chemistry here, it is no surprise why they would make thirteen more films together (three of them being in 1934). Supporting actors like Leo Carrillo, Nat Pendleton, and George Sidney lend plenty of personality and likability to their characters, and Mickey Rooney as young Blackie in the beginning of the film is adorably and touching. (Fun fact: Rooney idolized Gable quite a bit on set, and would dress like him, act like him, and even drive a little replica of Gable’s car, much to Gable’s chagrin).
Blackie in the stony lonesome. Does he die, or is he freed?
The Biograph Theater less than an hour after Dillinger’s death.
In recent years, this film has become quite famous due to the Johnny Depp film “Public Enemies,” which was a biopic of 1930s gangster and Public Enemy Number One, John Dillinger. Dillinger, a big Myrna Loy fan, was infamously shot to death by FBI agent Melvin Purvis outside the Biograph Theater in Chicago right after watching this film. Apparently, the news was used to publicize the film, much to the shock and horror of Loy. No blog post on this film would be complete without mentioning John Dillinger!
“Manhattan Melodrama” is also famous for the debut of a popular jazz standard, “Blue Moon.” However, in this movie we hear the song in its original title and lyrics, “The Bad in Every Man” by Rodgers and Hart. I must say, as much as I love “Blue Moon,” “The Bad in Every Man” is just so much more better. I can’t help but sing along to it every time I watch the film. The music in general is quite good in this film. It gets stuck in my head FOREVER.
Gable and Powell.
But best of all, “Manhattan Melodrama” is an incredibly New York-ish film. Of course, being a New Yorker, I love that. It’s fast, glitzy, dramatic, complex, and just captures life in this city so well. It always gives me the shivers because it feels like I’m in a time machine, going back to that time and place that I love so much. That is the best feeling in the world, and the mark of an excellent film.
The King and Four Queens (1956)
One of my biggest goals is to watch the entire filmography of the greatest actor who ever lived: Clark Gable. As we all know, he’s the most perfect man, and no one compares with him, or ever will. Therefore, I was expecting a lot for The King and Four Queens. However, I am sad to say that I was excited for no reason at all, and this film ended up being quite boring, and not even Gable’s screen presence could do much for it.
The King and Four Queens revolves around outlaw Dan Kehoe (Gable) who, of course, is on the run. When he stops by in a random town, he hears the story of the four McDade bandits, who were killed in an explosion after stealing tons of gold. One of them survives the bombing, but no one knows which one it is. The boys’ mother has hidden the gold and guards it fiercely, along with her sons’ wives. So Kehoe hightails it to Wagon Mound, and there he flirts with the wives, hoping they can lead him to the gold. Of course, Ma McDade doesn’t approve, hoping that the wives would stay faithful for the one husband who may return.
The only thing special about this film was that it was the only one Gable ever produced. He formed a production company with Jane Russell’s husband, Bob Waterfield (Russ-Field-Gabco Productions). However, Gable felt the job of producing was extremely stressful, and never produced another film. Which is kinda sad, since this film was quite mediocre. I wish he produced more so he could’ve added more awesome films to the body of his work.
Now here comes my infamous long list of complaints:
1) This film had a very thin, predictable plot. It was basically a vehicle for Gable to flirt with FOUR WOMEN in the space of an hour and a half. They could’ve done a lot more with Gable’s character’s quest for gold, but the only effort he puts into is…kissing a bunch of buxom young women. Over and over and over again.
2) The women were quite one-dimensional and stereotypical. There’s the dumb blonde who wants to get into show business (Barbara Nichols), the disgustingly sweet, shy, innocent, naive girl (Sara Shane), the fiery, sexy brunette (Jean Willes), and the heartless, clever, crafty one (Eleanor Parker). Boooo-ring. The only thing that ran through any of their silly minds was finding ways to get into Gable’s pants. I found all of them ridiculously annoying.
Gable and the four sluts respectable young wives.
3) The mom (Jo van Fleet). Oh my God. She is perhaps the scariest person to ever be portrayed in film history. Her eyes have absolutely no feeling, her voice sounds like a gravelly old frog’s, and she wields a gun better than any sharpshooter. The first thing she does in the movie is shoot Gable in the arm. Seriously. She needs a man or something because she was insane.
Ma McDade with–SURPRISE–a gun.
4) It was just so BORING. I can’t describe why, but it just was. It’s a Western, but kind of a cop-out Western because there weren’t any terrible bad guys, or shootouts, or horse chases with Native Americans, or anything! It was just Gable seducing girls. And the only “shooting” was that ninety year-old mom thinking she’s Annie Oakley and waving her rifle around and giving everyone a stink-eye. The only funny parts were some scenes in which Gable sang and danced.
5) The lines were laughable at best. There’s one scene in which Gable’s character says “My trail’s hotter than the fourth of July!” which had me in stitches because it was so corny. And the mom says nothing more than mumblings like “GRRrrRrR that KEEEEEEE-HOOOEEEE man GRRRrrRrr.”
The one nice thing about this film was that it was shot in gorgeous DeLuxe color. The mountains and the scenery were absolutely breathtaking–but not as breathtaking as shots of Clark Gable’s blue/grey eyes.
The Cabinet of Dr. Caligari (1920)
A famous work of German Expressionism, The Cabinet of Dr. Caligari was recommended to me by my best friend way back in February. When my art teacher mentioned this film last month, I really knew that I had to see it, to satisfy both my friend AND my teacher! All what I can say is, I really wish I saw this great film back in February!
The film is told in flashback form, with a student named Francis recalling the horrible experience he had when the deranged exhibitionist Dr. Caligari and his somnambulist, Cesare (Conrad Veidt) stop by in a quiet German village for its carnival. Soon the doctor and the somnambulist are connected with a series of strange and grisly murders. When the somnambulist correctly predicts the death of Francis’ friend, Alan, Francis and his betrothed, Jane (Lil Dagover), began to investigate the strange pair. Will they stop the crazed doctor and the somnambulist? The ending is a major TWIST!
Dr. Caligari and Cesare, who sleeps in a box.
The Cabinet of Dr. Caligari is often considered the first true horror film, and I couldn’t agree more! However, it isn’t a horror film in the traditional sense, with blood and guts. It’s a crazy psychological horror film, and being a girl who is sickened by the sight of blood, that’s exactly the way I like them! Actually, the scariest part of the film for me was the scene when Cesare the somnambulist first awakens…his face is just terrifying! It’s quite an odd moment to classify as “frightening,” and that’s part of what I like about this movie. The entire film literally revolves around the concept of madness…that’s all I’ll say about that! But when my art teacher was talking about it, he said it wasn’t a horror film so much as it was an anti-Nazi work. I honestly think he’s wrong because I don’t see the connection, but if someone could enlighten me on that, that would be nice 
The scariest scene in the entire film! Just look at those freakish eyes! Definitely a Halloween costume possibility for next year…
One of the reasons why Caligari is a German Expressionist classic is because of its set: wildly distorted, fantastical, and macabre. It strongly reminded me of Alice in Wonderland…maybe that’s a little weird. Oddly enough, the sets were made entirely out of paper, with shadow effects painted directly on the walls. I’ve also heard that this film also influenced the later film noir genre.
The imaginative sets of the film.
The Cabinet of Dr. Caligari is a classic film in many categories. It’s a must-see that all can find thrilling. If my modern-film loving friends are interested in seeing it, you know it’s special!
Random Vintage Fun
Sometimes, when scouring the Internet for images related to classic films and actors, you find lots of random, fun things. Here are some of the gems that you can find when looking up images of some classic movie stars:
Here’s Marion Davies using an odd contraption called the Bentograph. It was supposed analyze the human character. Director Monte Bell gives Marion part of her analysis: “Full forehead; benevolent, creative, learned and happiest when in company of the intellectual. Nose; pretentious, ambitious, sensitive, aims high and demands social and artistic recognition”.
Here’s a favorite of mine: actor portraits in champagne bubbles! I can identify them all. Can you?
A hilarious photo of a young Lucille Ball (third from left) practicing for an upcoming polo match!
I love this one: the lips of sixteen actresses! No need to guess them, the answers are right underneath.
Loretta Young makes a…questionable…fashion choice
Loretta Young riding a dinosaur skeleton in the 1929 film “The Forward Pass”.
I love the caption that came with this photo: “Cary Grant acting tired, ca. 1940s”
Hahaha! Publicity still for His Girl Friday (1940)
Cary Grant and a nun. Enough said.
Cary Grant perched precariously on a balcony in Paris.
Carole Lombard, Cary Grant, and Kay Francis in publicity still for In Name Only.
When Cary Grant asked the RKO-Radio prop man to supply a mirror he would be able to distinguish from the one used by Katharine Hepburn, this is what he got.
Cary Grant in costume by the water cooler.
Oh my…
Katharine Hepburn wiggles her toes on the set of The Philadelphia Story (1940)
Katharine Hepburn stands on Cary Grant’s shoulders on the set of Bringing Up Baby (1938)
Cary Grant, Sally Eilers, Hal Roach, and Elizabeth Jenns English make for an interesting band!
Early 3D glasses!
Cary Grant tries (and fails) to balance a glass of water on his head.
Tallulah Bankhead beats the filthy NYC snow by being helped out of an automobile.
Clark Gable totally grilled the camera in his passport photo.
Clark looks pretty pissed here!
Garbo’s dress in Susan Lenox (1931) never fails to make me laugh
A hilarious scene in Hold Your Man (1933): Jean Harlow attempting to hide her purse in the garbage in the women’s bathroom. First and last time we’ll see Harlow with her hands in the trash.
Norma Shearer never passed up the opportunity to pose for a photo!
JUDY GARLAND WAS LEFT-HANDED!!!!!!!!! I have a slight obsession with left-handed people.
That better not be bubblegum, Ava Gardner
What is Ida Lupino trying to say? Well, she’s gesturing to director Alexander Hall that she can do the previous scene better, and would like another take!
Ida Lupino visits Harry Fink, bottle collector who used to lend out his collection to film studios so they can be used as props!
AHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!!
She needs to stop!
Question: why are celebrities always a million times more gorgeous than their siblings? Ida Lupino is here with her sister Rita. I thought it was Ida Lupino with her mother.
Lana Turner painting? You bet!
Is it me, or does Lana Turner slightly resemble Joan Blondell in this photo?
Lana Turner with the most adorable rabbits in the entire world.
Anne Shirley, Carol Stone, Rosina Lawrence, Lana Turner, Vicki Lester and Natalie Draper drink soda out of a pumpkin.
Spencer Tracy playing baseball.
No boys in this class would understand the Pythagorean Theorem.
HAHAHAHA!!!! Jack Benny counting his money
Errol Flynn, we feel your pain.
Only Jack Benny can wear this shirt and get away with it.
Oh my God, John Barrymore, close your eyes!
John Barrymore Sr and John Barrymore Jr.
LMAO John Barrymore at age nine
Carole Lombard and John Barrymore have the ultimate stare-down
PISSED.
Lucille Ball and Franchot Tone break the censors’ rule of the “anti-cuddle zone” between beds.
Once more, Lucille Ball and Franchot Tone.
Lucille Ball performing a stunt in a film
Jimmy Stewart performing a “handie”. Here, he’s supposed to be a low-browed Indian. Get it?
Another “handie” (Stewart could perform over 300!): China clipper
Desi Arnaz better watch his face.
Oh my!
Lucy in one of her many disguises from “I Love Lucy”
James Hall clearly enjoying a kiss from Jean Harlow
Jean Harlow was a carbon copy of her mother!
Marilyn Monroe posing in a potato sack.
Joan Crawford does some intense multitasking
Joan Crawford stylishly sipping a drink at a soda fountain
Joan Crawford checking herself out
The many moods of Joan Crawford
Joan Crawford doesn’t understand the meaning of “traveling light”
Both hilarious and quite scary
It’s impossible for me not to re-post this picture
Ramon Novarro and actresses he worked with (clockwise from left): Joan Crawford, Alice Terry, Barbara La Marr, Madge Evans, Lupe Velez, Jeanette MacDonald, Myrna Loy, and Greta Garbo.
Gloria Swanson, Eartha Kitt, and…some guy…
It’s Gloria Swanson behind that beard
Gloria Swanson with (a not-so-good, in my opinion) bust of herself
Debbie Reynolds is one lucky lady
Did the Pilgrims really dress that way, Debbie Reynolds?
Debbie Reynolds falls in the mud in the film The Second Time Around
HAHAHA this photo speaks for itself!
Debbie Reynolds gets attacked by thousands of ice cubes or something
Marlon Brando playing the conga drums
Marlon Brando shows guys the right way to skip rope
OUCH.
Marlon Brando never shied away from unusual roles, lets leave it at that!
Marlon Brando and Bob Hope fake fight
The Native American with the sunglasses is cracking me up
Did Marlon Brando fall asleep at the UN? I don’t blame him
Leslie Howard is beautiful in the nerdy look
Leslie Howard is quite dapper
Errol Flynn sharpening…hunting arrows…
Bette Davis in the strangest sunglasses ever
Bette Davis’ dog, Tibby, is quite a diva.
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Bette Davis cannot be bothered right now
A lovely photo of Bette Davis eating ice cream
Bette Davis is geek-chic!
Bette Davis getting her makeup done…
…and getting stuck in a cactus patch
Bette Davis in a most unusual hairstyle
This is what happens when Spencer Tracy goes to the circus
I love this.
Clark Gable pretending to beat up Spencer Tracy in Boom Town. Note the amazing hair flips
Spencer Tracy and his wife show us that it is possible to choke to death on those Hawaiian flower necklace things
Charlie Chaplin and Claire Bloom rock awesome eyebrows in “Limelight”
Does Charlie Chaplin always read his fan mail like this?
Charlie Chaplin with two young children.
Tyrone Power shows the typewriter some love.
Rudy Valentino needs to shave that thing off!!!!
HAHAHAHAHAHAHAHA!!! Valentino always did have the best reactions.
Umm…a little help here…
Orson Welles performing on the radio
A bust and a skull?! Too much to handle.
This was for the film “Falstaff”, but Orson Welles cracks me up too much here.
Orson Welles’ crown in Macbeth always gave me the giggles.
Orson Welles in costume
And again in costume, but this time with Betty Grable laughing in his face
Orson Welles is the boss in those sunglasses
I honestly don’t think he needs a beard for a radio show, but, you know, whatever…
Crazy hat contest?
See this gun?
Gary Cooper playing cards!!!
Nurses singing Christmas carols to Gary Cooper. I’m serious.
Gary Cooper makes knitting more manly by letting a cigarette droop between his lips.
Gary Cooper disciplines Shirley Temple.
AWWWWWWWWWW!!!!!!!!!
Baby Fred Astaire in the strangest ballet costume ever made.
You couldn’t ask for better dance teachers than Fred and Ginger!
Fred Astaire and Judy Garland
OLD FRED AND OLD GINGER!!!!
Fred Astaire playing mini golf in the middle of Manhattan.
The many moves of Fred Astaire and Ginger Rogers
Katharine Hepburn pulls off the masculine look perfectly
Katharine Hepburn doesn’t demand much
I don’t want to know what’s going on here…
FDR eating chowder with Katharine Hepburn
Jimmy Stewart in a clown costume entertaining hospital patients
Jimmy in “Harvey”. I’ve never seen this film, but it sure seems creepy.
Grace Kelly and Jimmy Stewart attempts to wow Jimmy Stewart with her accordion skills.
Ginger Rogers and Jimmy Stewart enjoying corn on the cob
Caption: “Sir Laurence Olivier singing”
This costume is hysterical
Viv and Larry’s makeup skills cannot be matched
THIS is how Laurence Olivier receives his Special Oscar?!
Why am I loving Laurence Olivier’s mismatched outfit?
Vivien Leigh clearly enjoys wearing an eyepatch
Eddie Cantor and Al Jolson crack me up
Paulette Goddard drowning in cellophane
The Roz has attitude. I love it.
Rosalind Russell is also very cool
Judy Garland and Mickey Rooney. I want her shoes.
Why is Judy wearing the mustache?
Judy Garland popping out of a baptismal font
Errol Flynn gives Dean Stockwell a bath in “Kim”.
Errol Flynn gets some throat spray on the set “The Adventures of Robin Hood”
Errol Flynn in the ultimate vacation outfit.
Caption: “Errol Flynn as a bum”.
Errol Flynn: Bumbling Detective
Errol Flynn is so right to close his eyes…
BITE ME.
Errol Flynn at a comedy reading
No, this is not an attack, it’s juts Errol Flynn participating in an Indian custom.
Peter Lorre multitasks making faces in the mirror and flipping the bird.
Peter Lorre squinting in the sun.
Peter Lorre using a skull to light his cigarette
Charles Laughton: perhaps the only man who would stay cool in such circumstances.
Did you know Olivia de Havilland had a pet parrot?
Mickey Rooney takes a tumble at Judy Garland’s pool party.
Early photos of Louis B Mayer always crack me up.
Frank Sinatra steals a kiss from Ginger Rogers
Ginger Rogers with a magnifying glass
William Powell and Ginger Rogers have lunch
Ginger Rogers and an incredibly ugly stuffed animal
Girls will be boys: Barbara Stanwyck, Marlene Dietrich, and Bebe Daniels.
James Cagney wrestles what seems to be a very hairy specimen of humanity.
James Cagney naps on set.
James Cagney was an excellent dancer.
A funny drawing of Cagney in “Yankee Doodle Dandy”
AWWWWW OLD CAGNEY! HE’S SO CUTE!
Clara Bow cannot stand the singing of her cousin, William Bow.
Clara Bow playing cards to accompany the Gary Cooper playing cards?
Clara Bow stepping through a calendar.
Myrna Loy aims for William Powell
An unrecognizeable Myrna Loy.
Robert Taylor and Clark Gable looking dapper.
Lucille Ball and Desi Arnaz paper dolls!
Just another day being Lucille Ball…
Lucille Ball kissing Bob Hope.
Lucille Ball quite enjoys using a jackhammer.
Lucy talks with her hands.
Lucille Ball attempts to walk in stilts while Vivian Vance looks on in horror.
Lucille Ball getting into more trouble.
Well, Norma Shearer, this is quite scary.
Mae West is one happy girl.
Juts in time for Halloween…a waxworks artist! Can you recognize all the wax dummies?
Charlie McCarthy: Mae West’s new lover?
All children should be like this.
Facial studies of Mae West and Greta Garbo.
Gene Kelly roller-skates in Paris
Gene Kelly dressed as a priest.
Janet Gaynor and Fredric March share a soda in “A Star Is Born”
Maurice Chevalier and a baby. Don’t you think he had a beautiful smile?
Maurice Chevalier on a television show.
Miriam Hopkins plays backgammon on the beach.
Maurice Chevalier, Audrey Hepburn, and a mountain of hats.
Marlene Dietrich may be leaning in for a kiss, but Maurice Chevalier is concerned with something else…
Claudette Colbert and her mother take a sleigh ride.
Ray Milland and Claudette Colbert in an adorable, romantic photo.
Greta Garbo hides from the photographers
Garbo was a real treat for the reporters…
Chico Marx and Harpo Marx play cards.
A possible Zeppo Marx replacement?
All you need to be a Marx brother.
Harpo’s frustration face.
I will not ask.
Buster Keaton in “The General”
Buster Keaton stares down a freaky little toy.
Buster Keaton is surprisingly ripped!
HAHAHAHAHAHA THREE YEAR-OLD BUSTER KEATON!!!
Vivien Leigh: dressed to the nines. Lauren Bacall: in a bathrobe.
HYSTERICAL photo of Frank Morgan and Hedy Lamarr.
Humphrey Bogart reading “Dark Passage”
Humphrey Bogart getting dressed. Hat and shoes before pants, of course.
Bogart is no wimp.
Bogey with…stuffed pandas?
Adorable photo of Bogey playing with his dog.
This is not a gay photo of Humphrey Bogart and George Raft. At all.
Marlene Dietrich attempts to critically injure Jimmy Stewart.
Non-blonde Dietrich.
Mary Astor with Marlene Dietrich
That’s all! I made it quite long to make up for all the days I haven’t blogged. Hope this was fun and entertaining!
Carole-tennial +3!!!: Carole Lombard and Fashion
Yesterday was Carole Lombard’s 103rd birthday. To celebrate, the lovely Vincent at Carole and Co (http://carole-and-co.livejournal.com/) is hosting a blogathon in her honor, Carole-tennial +3.
Carole Lombard was considered one of the most fashionable women of her time. She had a lean, lithe body, perfect for modeling clothes, was always seen wearing the latest trends, and was clothed by America’s most venerated couturiers. Of course, she was considered the best dressed woman not only in Hollywood, but perhaps throughout the whole country. However, Lombard never seemed too enthusiastic about her title as reigning fashionista: “I can’t imagine a duller fate than being the best dressed woman in reality. When I want to do something I don’t pause to contemplate whether I’m exquisitely gowned. I want to live, not pose!”. I think that this is exactly she was considered so fashionable. She was never a show-off about her clothes, and was never afraid to have fun and just be a regular girl, even when wearing an evening gown designed by Irene. She wore the clothes, and didn’t let the clothes wear her. Here are some of Lombard’s most popular fashion trends:
Evening Gowns:
As I mentioned above, Lombard had a perfect model’s body: long, lean, and feminine in all the right places. She was a couturier’s dream. When Lombard sported evening gowns, they were designed by the best: Edith Head, Travis Banton, or her personal favorite, Irene. Lombard usually wore clingy satins in light colors, but she also wore sparkles, feathers, and even fur trim!
A gorgeous dress with a sequin skirt.
A simply stunning photo.
One of my favorites: a classic satin gown.
Metallic and statuesque.
Lombard rocks both black and feathers!
Casual:
Of course Lombard, being a top actress, looked breathtaking in an evening gowns. However, unlike many of her peers, she looked just at home in casual, men’s-style clothing. During her relationship and marriage to Clark Gable, Lombard was seen more and more in casual sporty clothing than in glamorous, liquid couture gowns. She immersed herself in Gable’s favorite sports, and therefore popularized a less-dressy, yet always feminine, look for women.
Lombard in a simple yet elegant pantsuit. With Cary Grant, Marlene Dietrich, and Richard Barthelmess.
Lombard and Alice Marble in tennis whites.
Summer simplicity, with Clark Gable.
Another fave: in full hunting regalia.
At the gun club with Clark Gable.
Effortlessly glamorous at the MGM picnic with Clark Gable and Louis B. Mayer.
Lombard makes any simple outfit look like the height of fashion.
Doing yard work.
Lombard in trendy summer outfit.
Turbans:
Turbans were all the rage in Old Hollywood, and if you haven’t noticed, they’re starting to make a comeback! Even though turbans are associated with exoticism, no one wore them better than all-American Carole Lombard! Once she started wearing turbans, others, such as pal Ginger Rogers, copied her too:
Lombard wearing a fancy turban in an early glamour portrait. At this stage of her career she was aiming for a more exotic look, like many of her fellow actresses.
Lombard makes the turban acceptable evening wear.
Hair:
Firstly, Lombard was blonde, a hair color that will always and forever be in vogue. But how Carole styled her h0ney-colored locks is what I’m concerned with here. When platinum was popular in the early 30s, she was platinum. When bangs were in during the mid 30s, she sported a heavy, waved fringe across her forehead. When long hair started to emerge in the late 30s-early 40s, her blonde curls tumbled down her shoulders. Lombard’s hair was always up-to-date:
Platinum Lombard
Carole in heavy, curled bangs
Side view of Carole in bangs. Love that braided knot at the base of her neck!
Another view of Carole in bangs
Platinum blonde Carole
In the late 30s-early 40s, Lombard’s hair was darker blonde and longer. She held it up simply, with clips on either side of her head.
In her last film, To Be Or Not To Be, Lombard’s hair was especially long, perfect for 1940s hairstyles.
Nail Polish:
Many of you must know that throughout the 20s and 30s, the trend was only to paint the middle of your nails, leaving the tip and half-moon blank. However, Lombard was amongst the first to do the unheard of…paint her full nails! It caused quite a stir at the time, but eventually everyone caught up with Lombard’s fashion-forward ways.
A beautiful color shot of Lombard (and Gable) and her pretty red nails
I would say this portrait is from 1934, when Twentieth Century was released.
Showing off her envy-worthy nails
Suits:
When Lombard was asked about her fashion essentials, one of those she listed was a suit. They’re smart, conservative, clean, and elegant. And Lombard sure knew how to wear them! She had plenty of suits,whether they be sporty, or the famous dove-gray suit she wore when she married Clark Gable.
Looking smart and demure outside the courthouse during her divorce from William Powell.
A fan photo of Lombard
Lombard at the gun club.
At a tennis game with Clark Gable
Playing golf with Gable and a friend.
Carole in her wedding suit.
Furs:
Once upon a time, wearing furs was actually cool. And if something was cool, Lombard was guaranteed to wear it. She wore furs of all kinds…even monkey fur!
Carole glams up a simple pants ensemble with a fur jacket.
In a fur shrug
Even a fur hat!
In a white fur wrap.
Fur trimmed dress and fur cape
Hats:
Carole and I have the same shopping weakness: hats. Lombard couldn’t get enough of hats, and she became quite well-known for buying several hats at once during a shopping excursion. She would even buy ugly hats, knowing that her husband Clark Gable would get annoyed. Despite her mischievous ways, she always looked glamorous, no matter how over-the-top her hats were.
In a cool fedora-style hat.
In a giant sunhat
A feather headpiece like that can only look good on her.
Looking sweet in a beret.
In a fedora with fur instead of the classic feather
In those floppy hats so popular in the thirties and forties.
In a small, head-hugging cap
Modeling a classic cloche hat.
Possibly the most over-the-top headpiece in Hollywood history.
A face-framing cloche
Here’s an interesting one!
Although she humbly tried to deny it, Carole Lombard was a fashion icon. She revolutionized women’s fashion, making it possible for us dames to be both causal and glamorous, simple and extravagant. She allowed us to have with our wardrobes and to be beautiful stylish ladies. Kudos to Carole!
Fashion In Film Blogathon: Singin’ In The Rain (1952)
Although Singin’ in the Rain is a film made in the 1950s, the action of the film takes place in the 1920s, making the fashion in this film a unique mix between classic 20s style and the splashy colors of the 1950s.
All the fashion in the film (both men’s and women’s) are defined by the same characteristics: glitz, glamour, and color. The film seems to overdo these characteristics, but hey, no complaints! It’s great fun and is one reason why Singin’ in the Rain is considered the quintessential frothy 50s musical. And ladies, it’s impossible not to want one of Debbie Reynolds’ or Jean Hagen’s dresses in this film!
The Guys (Gene Kelly and Donald O’Connor)
Sporty clothing was all the rage in the 20s (games such as tennis and golf were gaining popularity at the time) and most of the costumes worn by Gene Kelly and Donald O’Connor really reflect that:
For most of the film, the boys wear sweaters and baggy pants, typical 1920s casual clothing. But to make it more fun, the color of their sweaters match the color of their eyes! (O’Connor had blue eyes and Kelly had brown eyes) I’m not sure if that was done deliberately or if that’s just my brain noticing these things…
Again, Kelly wears a sweater vest (quite popular at the time) and high-waisted baggy pants. White was also a popular color for men to wear during the 20s. Debbie Reynolds’ dress has an ultra-low waist and straight silhouette, something that all 20s dresses were to help in getting the boyish look that was so in vogue at the time.
Of course, I couldn’t forget this famous scene! It’s a very basic suit, but it’s made to mirror the rainy, gloomy weather. Kinda to make Kelly blend in with his surroundings.
Again, basic colors such as black and white populated the men’s wardrobes. A matching hat is like the icing on the cake. As for Donald O’Connor’s, I found that many men at the time liked to juxtapose their dark coats with a light-colored scarf. I also love how the older woman is fashion forward too! As for Jean Hagen, she is always the picture of 20s opulence, with metallics, sparkles, and furs. Very much the kind of wardrobe I’d want to raid
Gene Kelly takes basic white to a new level with patterns. Plaids were incredibly popular.
I love this one! In the grand dance number of the film, the “Broadway Melody Ballet”, Kelly’s white, muted wardrobe is suddenly replaced by fluorescent colors and fun patterns (usually worn by the women in the film) but since this number is fun and glitzy, he gets in on the fun too. His outfit is charmingly mismatched: bright checkered jacket, striped shirt, and floral kerchief. Pink also seems to be a popular color: the man behind him is wearing it too.
One of my favorite outfits in the film: the green checkered suits worn by Kelly and O’Connor in the “Fit as a Fiddle” number. They’re fun, bright, and happy, reflecting the mood of the entire film. I also love how the shoes match the suits exactly.
This one is very simple: black and white, dark and light convey the emotion in this moment of the film. No attention to fashion trends here; the costumes are quite basic, and very “dance-y” especially Gene Kelly’s (who looks mighty fine in all black).
Of course, every dapper 20s man is able to rock a classic tux!
The Girls (Debbie Reynolds and Jean Hagen)
The girls of Singin’ in the Rain had fun, colorful costumes that all of us ladies wish to have in their closets too!
Everyone loves Debbie Reynolds’ dress in the “Good Morning” number! It’s simple and sweet, yet chic. It has a very clean silhouette and powdery-blue color and also incorporates Art Deco with the zigzag pattern. A drop-waist and pleats were quite popular, and the hemline is typical of many 20s dresses: at the knee or about an inch below it. Her shoes are to die for!
Every 20s dame had a cloche hat to offset her finger wave and frame her face.
A fun, lovely outfit! The colors are whimsical and cotton-candy like, and because it’s a showgirl costume, it’s quite short and scandalous. You still see the 20s element with the tight, head-hugging caps.
Another one of my favorite costumes: Debbie Reynolds’ green dress. Again, the silhouette is clean, straight, and simple, reflective of her character’s personality. The colors of the dress remind me of the suits Gene Kelly and Donald O’Connor wore in the “Fit as a Fiddle” number earlier in the film. This dress’ design is basically an exact replica of the one from “Good Morning” but it has a green leaf Deco pattern and a green sash to highlight the waistline. A beautiful, flattering dress.
My obsession with the villain continues. Although we aren’t supposed to like Jean Hagen’s character in the film, I couldn’t help but love her. She is hilarious, wonderfully nasty, and most importantly for this post, stylish! Check out her cream-colored coat trimmed with monkey fur (something that was quite trendy at that time) Her glasses are also envy-worthy. Overall, a very trendy yet elegant look.
Baggy silhouettes that hid a woman’s curves were all the rage in the 20s. The trend was to look as athletic and boyish in figure as possible. Jean Hagen shows the trend at its best, with colors that are totally on opposite ends of the spectrum that each one stands out on its own. I love how her tights are a sheer purple as well! Her friend is quite trendy too.
A closer look at the gorgeous mint green and silver sparkle dress Hagen wore in the beginning of the film. I own a dress that looks quite similar to this one and I love it with all my heart <3
Others/The ‘Beautiful Girl’ Number
How important was fahsion in Singin’ in the Rain? There is a fashion show within the film! The number ‘Beautiful Girl’ is an exhibition of bright, beautiful 20s fashions:
All the outfits featured in the fashion show: lounge pajamas (if only they still made them that way! I love them), a monkey fur cloak, tennis whites, a dinner party dress, beachwear, a garden party dress, a modern dress with a cloche hat, a tea party gown, a tweed suit with pearls, a dyed fox-fur cloak, a simple black dress, and an Art Deco wedding gown. Each outfit is an overdose and exaggeration on glamour and drama and 20s fashion, but oh what fun! The colors are deep and bright, and guaranteed to make any lady the center of the party. My personal favorites are the lounge pajamas, the swimsuit, the purple and light blue dress, and the fashion-forward, short wedding gown. The fashion show literally presents an outfit for every moment in a woman’s life.
Totally random extra who had one of the best outfits in the film. Sequins, bright green cape, feathers…it’s like my dream dress! Her role should’ve definitely been expanded, in my opinion.
THE DRESS…
Perhaps one of the most famous dresses in musical history was Cyd Charisse’s emerald-green sequined dress from the Broadway Melody number. The color is incredibly attractive, and the dress has an overall sexy, vampy look to it. I dare you not to wish for this dress! It is very iconic.
I hope you enjoyed this post! As Jimmy Thompson sang in the Beautiful Girl number: “A beautiful girl is like a great work of art. She’s stylish, she’s chic, and she also is smart”.
42nd Street (1933)
There’s nothing so wonderful as curling up with some fun classic films after dealing with a week’s worth of stressful college assignments. And 42nd Street is the perfect film for that purpose.
This lively film was the first of many “backstage musicals”: the hardworking, shy understudy/chorus member rises to the top and eventually snags the lead, and the resulting fame and fortune. And of course, you can’t forget the love story. In this film, the chorus girl is the adorable Ruby Keeler, her love interest is leading man Dick Powell, and the prima donna is Bebe Daniels. There are also hilarious supporting performances by Una Merkel and Ginger Rogers, as two chorines who keep the sexual innuendos flying in this film (and may I mention the constant references to the “casting couch”?).
42nd Street is a film that had many “firsts”: it was Ruby Keeler’s first film (sometimes you can tell…her acting is not on par with her singing and dancing), and the first time songwriters Harry Warren and Al Dubin and choreographer Busby Berkeley worked for Warner Bros. Despite that, 42nd Street became one of the most profitable films of the year (1933), launched countless of imitation films, inspired a Broadway musical, and has generally become a legend, being named as the 13th greatest film musical by the AFI.
How can I talk about a Busby Berkeley film without talking about the dance numbers? The numbers in 42nd Street go on to inspire Berkeley’s future musical numbers. The first one we see is the cute “Shuffle Off To Buffalo” which is about a young newlywed couple on their honeymoon. We see something similar to this in Footlight Parade, made that same year, in the “Honeymoon Hotel” number.
The next number is “Young and Healthy” featuring Dick Powell. This number made me laugh a little. There is something funny about that goofy, baby-faced guy romancing a blonde bombshell. Here we see the first of several Berkeley trademarks: scantily-clad dancers, aerial shapes, and kaleidoscopic formations.
Of course, the last number is the “tour de force”, and here it’s the title song. This number is fascinating, to say the least. We see Keeler’s signature dancing: tap and stomping mixed together. And the set is astounding! It’s New York City on stage, complete with buildings, traffic, and the wildly colorful people who make up the city. There’s even a fake murder. They don’t make musicals like this anymore. The number also has some sly, playful innuendo: “sexy” ladies, Ruby Keeler removing her skirt before her dance, and chorus girls, thighs exposed, being carried away by men in suits and tails. Many people are also confused by the end of the number, when Keeler and Powell pull down a curtain stamped with the word “asbestos”. This is supposed to symbolize that their love is so strong, only asbestos can put it out. All in all, a very fun musical number.
42nd Street is an excellent example of the whimsy and escapism that dominated Depression-era cinema. Don’t miss it!
Virtue (1932)
Sorry about neglecting my blog for so long…starting college is not easy task, and that’s putting it mildly!
On Sunday, when Hurricane Irene was supposed to come in with a bang but instead came in like a lamb in my area, I greatly enjoyed Carole Lombard’s SUTS day on TCM. Although I watched and recorded about five or six of her films that day, I want to focus on Virtue for now because not only did I love Lombard’s performance in it, but it was a very different role for her. Although it’s a Columbia picture, it’s pretty damn similar to a Warner’s Pre-Code!
The film focuses on the romance between ex-prostitute Mae (Lombard) and a cabby, Jimmy Doyle (Pat O’Brien). Despite her past, Mae changes for the better, settles down with Jimmy, and shows him that her past is forgotten and behind her. However, many things test their marriage, including a money scam in which one of Mae’s prostitute friends, Gert (Shirley Grey) fakes ill in order to get $200 to give to her pimp, Toots (Jack LaRue), and a murder. Will Mae and Jimmy’s marriage last, or will it fall apart?
I really enjoyed the film. It was quite fast-paced, and there was never a dull moment. I personally liked seeing Lombard before she became famous for comedy, and was kinda experimenting in different genres of film (here she was dabbling in drama/gangster films) and I thought she handled it perfectly (I even loved her dramas in the late 30s-early 40s, such as “In Name Only”. Many people feel uncomfortable seeing her in anything other than comedy, but I enjoyed watching her break out of that image.) This is the closest we’ll ever get to Lombard in a Pre-Code Warner’s film, and it was very interesting and engaging.
The supporting cast is quite great as well, especially the…colorful…Mayo Methot as Lil, another one of Mae’s prostitute friends.
I also really loved the fashion in this film. I even went out the next day to buy a dress and hat similar to the one worn by Lombard below:
Something that I found especially interesting in the film was a Clark Gable reference! At the time of filming, Gable and Lombard didn’t star in No Man Of Her Own yet, let alone begin their romance! Ah, fate.
One last observation: the dude was named TOOTS?! Seriously? It gave me a great laugh!
Virtue is an excellent film, one of Lombard’s best before she broke out as a comedy star.
Men In White (1934)
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Last night I FINALLY saw Men In White, a rare Gable/Loy pairing. This brings me one step closer to finishing Gable’s entire filmography. Was the movie worth it?
No, sir.
Yes, you read right. I did NOT like a Gable film. However, this isn’t the first time. I absolutely HATE The Painted Desert (1931). You couldn’t pay me a million dollars to watch that thing again. I also don’t like his character in Dancing Lady (1933). Much too crabby and easily irritated.
Men In White is about a young, hardworking doctor (Gable) who puts his job and his patients before everything else, much to the chagrin of his wealthy socialite fiance (Loy). He soon falls for a nurse (Elizabeth Allan, who was dating Clark in real life) who shares his passion for healing, but bad, bad, BAD things happen, landing the nurse in the hospital.
The movie is quite slow for me, and felt a lot longer than its hour and fifteen minutes. It was just so…boring. Even the parts that were supposed to be exciting were boring. And I’m sorry to say that Gable doesn’t really convince me as a doctor. He seemed to be in another world throughout the movie. Myrna Loy is also unconvincing as a shallow-minded heiress, and Elizabeth Allan is much too staid and uptight for my taste. Then again, that’s just her personality.
The only merit I saw in this film was watching Gable act with a young girl (acting as a patient suffering from diabetes). He had such wonderful chemistry with children, and it’s beautiful to watch. I LOVE LOVE LOVE a man who is good with kids.
This film was based on a play by Sidney Kingsley. It contained all the references to sex that were originally in the play, but the Legion of Decency demanded it be cut, leaving us viewers with the most confusing film of all time. Now, it probably isn’t so hard to figure out what exactly was wrong with Allan’s character since we have the power of research and the internet, but if I was a moviegoer in 1934 and seeing this for the first time, I’d be confused as hell.
I tried not to spoil anything for those of you that are curious about the film, but really, I don’t think I will be watching this again.
My Favorite Glamour Photos Of…Ruby Keeler
Happy 101 to Ruby Keeler! This adorable, petite brunette was famous for her performances in the Pre-Code Busby Berkeley musicals, particularly 42nd Street (1933) and Footlight Parade (1933), amongst others. She popularized a different style of tap dancing: one that was heavily influenced by clog dancing and stomping. Here are my favorite photos of this multitalented performer:
A still from 42nd Street
Showing off her great gams
A gorgeous photo of Keeler
A more mature look for Keeler
A very fashionable outfit!
A gorgeous photo!
Publicity photo for Dames
Her hair is gorgeous in this photo.
Nautical-themed photo
If we all had the body to work that little dress!
Probably my favorite photo of her
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A racy one for Footlight Parade
I always love her dance costumes
This girl knew how to work a beret! And her eyes are so pretty
Ruby always had this look of innocence about her
Every actress seemed to have a photo as a blushing bride
That dress is LOVELY!
Modeling an evening gown
That dress is a dream
Looking like a gamine in this glamour shot
She’s just so cute!
Her outfit is gorgeous!
Aiming a bow and arrow
A younger Ruby, ca. 1930
I love this photo. LOVE LOVE LOVE!!!!!
Happy Birthday, Ruby Keeler!
We’re One!
Today is a very special day here at An Elegant Obsession. Exactly one year ago, this bored dame decided to share her love of classic films with everyone, and thus, this blog was born! I never knew that it would still be going strong today, or that it would become such an important part of my life. I feel like it’s my child :’)
At first, we started small. But my, we’ve gone far in just one year! We’ve made a name for ourselves amongst all the other classic movie blogs that have been doing this for ages. We’ve associated with many top websites (The Kitty Packard Pictorial, DearMrGable, and Carole and Co, for example) participated in a blogathon (and will be participating in two more!) contributed research (we sent out a plethora of Gable-related articles to Michelle Morgan, author and creator of an upcoming Gable biography and documentary), and have associated with The Hollywood Heritage Museum in promoting their upcoming events. Whew!
Of course, none of this would be possible without you, the curious reader and film lover. Thank you to the hundreds of thousands that have viewed my work! I appreciate it, truly. But most of all, what I really enjoy out of this blog is speaking to you guys. I’m eternally thankful for the wonderful people I have met and befriended through this blog. You’ve really kept me going, and whenever I felt like giving it up altogether, you guys always encouraged me <3 Thank you thank you thank you!
To celebrate, I’ve given the blog a new look! I’ve always felt it was a bit dark, so I decided to brighten things up a bit. The background is now a poster of Jean Harlow’s famous film “Platinum Blonde” (1931) and the header is once again the Hollywoodland sign, but this time it is lit up at night 
I hope you like the new look, and will continue to read my blog! I love you, my wonderful readers!
The Phantom Of The Opera (1925)
I am a diehard Phantom Phan and I am so glad I got the opportunity to see this film last night (I haven’t seen it in five years!)
This film is one of Universal’s most famous and popular horror films (amongst Frankenstein, Dracula, The Wolfman, The Invisible Man, and The Mummy), and starred Lon Chaney, “The Man of a Thousand Faces”. Chaney, who always did his own makeup for each role, kept this face a secret until the release of the film, to better frighten film audiences. Of course, we all know this very famous face, and I can’t imagine how frightened 1925 audiences would’ve been, totally taken by surprise!
I’m sure many of you know the summary to this iconic tale, but for those who don’t: the story takes place in the Paris Opera House during the nineteenth century, and centers around opera singer Christine Daae (Mary Philbin) who is getting voice lessons from a mysterious person. It turns out to be the Phantom, who haunts the opera house and has an obsessive love for Christine, who is truly in love with Raoul de Chagny (Norman Kerry). Things take a dark and deadly turn. (There will be spoilers throughout my review, so if you care, stop and watch this wonderful work of art for yourself, if not, continue).
I would consider this film adaptation to be the most faithful. However, there are a couple of plot differences from the original novel by Gaston Leroux: the Persian is not in this film. Instead, the character is called Ledoux and is a member of the French secret police (I found this quite odd…the charcter wore a fez hat throughout the film…), Erik (the Phantom) does not have a past in Persia. Instead, he is an insane man who escaped from Devil’s Island. And last, but definitely not least, is the ending, which I am NOT a fan of. In the novel, Erik dies of a broken heart in his lair, the Persian by his side. But since this ending was received poorly by the preview audience, it was re-filmed into something more exciting: a climactic chase scene in which the Phantom kidnaps Christine in his carriage and runs away with her, and the townspeople go after him, torches ablaze. Christine falls out of the carriage and is rescued by Raoul. The unlucky Phantom is cornered by the townspeople, beaten to death, and thrown in the Seine. It was such a sudden, heartless ending, especially for one who sympathizes with the Phantom, like myself. But we have to keep in mind that Universal at this point was hitting the jackpot with horror films, therefore there is no room for sympathy or delving into the psychological nature of the Phantom. You were supposed to be scared of him.
Lon Chaney’s makeup is by far the most accurate to the book’s description of the Phantom. Erik was supposed to have skull-like features, no nose, and a few wisps of hair on his head. Chaney, who learned the process of makeup application through vaudeville and watching the professionals, did exactly that. He painted his eye sockets black to give himself a sunken, skull-like appearance, pulled up the tip of his nose to de-emphasize its appearance and to make it look like the nostrils in a skull, and he wore a set of crooked false teeth. The overall effect is truly horrifying, and according to legend, audiences of the time screamed and fainted at the sight.
The Phantom of the Opera had a special soundstage built for it: Stage 28, which still stands today as it did almost nine decades ago. Some of the opera house set actually still exists today. But of course, the most intriguing thing about Stage 28 is reports about it being haunted by its own Phantom! Some speculate that it is Chaney, in costume for his most famous role.
Probably one of the most rare and special things about this film is its use of the 2-strip Technicolor process. Originally, all of the Faust scenes and the masquerade were in color. However, only the masquerade remains today. During the rooftop scene, the Phantom was colored using the Handschiegl color process, which has since been replicated in restorations by using computers. Like many films of the time, it was tinted to provide mood.
This film is and always will be a horror classic. It is an essential not only because of that, but because of its artistry and historical significance.
Midnight (1939)
It’s our 200th post! Yay for us!
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Yesterday was Claudette Colbert day on TCM, so what better way to celebrate than to watch one of her most famous comedies, Midnight?
Colbert is showgirl Eve Peabody, who is stranded in Paris on a rainy night, without a sou and only owning the evening gown on her back. She meets Hungarian taxi driver Tibor Czerny (Don Ameche, who kinda physically resembles Errol Flynn). As he drives her from nightclub to nightclub to help her find a job, he begins to fall in love with her. However, she shakes him off to crash a wealthy society party. There, she attracts the attention of eccentric millionaire Georges Flammarion (the wonderful John Barrymore). He hires Eve to pose as Hungarian royalty to attract the attentions of playboy Jacques Picot (Francis Lederer), who is affairing with Flammarion’s wife, Helene (Mary Astor). Suddenly, Eve lives in a hotel room at the Ritz, has tons of beautiful clothes, and is chauffeured in a limousine. Will the plan work?
If you are a fan of screwball comedies, then this one is for you! Light, breezy, and fresh, Midnight is a near-classic. Thanks to Billy Wilder and Charles Brackett, the screenplay is hilarious and snappy. Thanks to director Mitchell Leisen, who started out in Hollywood as an art director and costume designer, the production has a lush, extravagant, Old-World feel to it. You really feel for American chorine Eve Peabody as she’s stuck in a world she’s unfamiliar with.
Ameche and Colbert are perfect together.
The cast is first-rate. Colbert is in tip-top comedic shape here, and she is quite charming and adorable as the stranded, lost girl. Ameche is hilarious as well, and has great chemistry with Colbert. But my favorite by far is John Barrymore. Although Barrymore’s alcoholism was a major problem and that he is obviously reading off cue cards during his scenes, he is so unbelievably funny. He may have been drunk during his scenes, but it gave his character more cartoonish flair in the end! Also watch for scene-stealer Hedda Hopper as a socialite named Stephanie.
My favorite scenes are definitely the ones that take place at the Flammarion estate, where Eve, and her “husband” Baron de Czerny (actually the cabby in disguise!) spend the weekend. eager to reveal Eve’s real identity, Tibor fabricates a child, Francie, and since their “daughter” Francie is ill, they must leave France. But Eve and her partner in crime dash his plans. Guess who’s Francie?:
Don’t you love their faces in this picture?
Our pal, Georges Flammarion. In the scene, Colbert gives Ameche the phone, telling him his “daughter”, wants to speak to him. Then we cut to Barrymore hiding in his room, yelling in a high-pitched voice, “HELLO, DADA!”. Then we cut to an absolute look of horror on Ameche’s face. Afterwards, when Barrymore runs into Czerny, he shouts “Dada!” in a high-pitched voice, causing Czerny to practically spit, “Hello Francie!” at him. It’s priceless! And exactly why Barrymore owned this film.
Then there was the scene in which Eve claimed that Czerny is insane and thinks he’s a taxi driver. Of course, Czerny emerges in his uniform, hoping to foil the entire sham. Not. So. Fast. He’s practically clobbered by the entire estate:
By the way, that isn’t blood. It’s just gravy from the kidneys :’D
Then cut to the divorce court, which is more like a circus! Bearded Monty Woolley shines as the judge who isn’t shy to make his opinions known. The freak-out he has when Ameche’s character emerges shaving is quite funny to.
Midnight is a screwball comedy gem. Don’t miss out on it!
Three On A Match (1932)
I’ve been wanting to see this Pre-Code gem since February, when my best friend recommended it to me. Ever since, I’ve been relentlessly looking for it on the internet and waiting for it to play on TCM. I finally got the chance last night, when it was shown in honor of actress Ann Dvorak, whose films were playing all day yesterday as part of Summer Under The Stars. I have to say, it was amazing, and I’m glad I recorded it to my tv so I can watch it whenever I please.
This film is about three childhood friends who meet again by chance. Mary (Joan Blondell) has done some time in a reformatory, but comes out with a new outlook and stability on life. Ruth (Bette Davis) works as a stenographer. And Vivian (Ann Dvorak) is wealthy, married to a successful husband (Warren William), and has an adorable son. Her life seems so perfect, and the other two women secretly envy her.
When they meet, they light their cigarettes with one match. They then discuss that such an action is unlucky, and that Vivian would be the first to die, since she was the last to light her cigarette. Vivian then talks about how dissatisfied and empty her life is, and brings it up to her husband. He suggests that she go on a cruise to clear her mind, and she takes up his suggestion, taking her son with her. On the ship, Vivian meets gambler/gangster Michael Loftus. She then runs away with him, her son in tow. She soon becomes addicted to alcohol and cocaine, parties until the wee hours, and becomes a negligent mother to her son.
Concerned about Vivian’s behavior towards her son, Mary tells Vivian’s husband Robert where to find the boy. He divorces Vivian and marries Mary, giving his son a stable life once more. Meanwhile, Vivian’s money runs out and Michael owes $2000 to a group of gangsters (one of which is a young Humphrey Bogart). He has to pay up or else. So he threatens Robert to give him money or else he would reveal Mary’s criminal past. But that doesn’t work, so he kidnaps Robert’s son. In an act of atonement, Vivian scrawls where her son is in lipstick on her nightgown and jumps out of the window, saving her son’s life at the cost of her own and making the superstition about three on a match true.
This film is an essential Pre-Code, and is everything you’d want a pre-Code to be. It is rampant with sex (running away with a man behind the husband’s back), drugs (Vivian becomes addicted to cocaine), alcohol, and of course, gangster activity (something most Warner Bros. films were famous for). It’s about a good girl gone bad, a girl who loses it all to a life of debauchery. It’s seedy. It’s oh. So. GOOD.
Warner Bros. Pre-Codes are interesting for that very reason. They threw in the realism and dirt and grit when other studios like MGM loved class, cleanliness, and perfection. The three leads all came from different walks of life: Blondell’s character cut class to smoke with boys, went to jail, and became a showgirl (no other occupation would seem so fitting for the spunky, feisty, city girl Blondell), Davis’ character was the smart one, always good and studious (Davis’ talent seems a bit wasted here…she has nothing much to do), and Dvorak’s character was popular and beautiful, destined for the good life (we all know what happens later in the film, due to a cruel twist of fate).
Beautiful Dvorak…and not-so-beautiful Dvorak. Looks like two different people
If given the chance, Dvorak’s career would’ve rivaled that of costar Bette Davis’.
As I stated before, Davis was unfortunately given a weak character. However, kudos to Blondell and Dvorak, whom the film places more of a focus on. Blondell is the feisty, snappy girl we all know and love. But Dvorak was excellent as the spoiled-wife-turned-druggie. That transformation alone is enough to show how versatile an actress Dvorak was. Seeing the beautiful actress in couture gowns, perfectly coiffed hair, and immaculate makeup and then becoming a sickly, dirty, poor urchin is fantastic to watch. It’s a darn shame that Dvorak’s career was cut short due to salary conflicts, and that she is so forgotten today. She was so talented.
A young Humphrey Bogart, and the most adorable movie kid ever!
Warren William was also a delight as a slick, urbane, successful man of the world, a role he played often in many films. A fun one to watch was Humphrey Bogart. His role may have been small, but boy was it powerful. He was fantastically sinister and nasty. And I LOVED the little boy who played the son. He was so cute, and quite a good actor!
CREEEEEEPPPYYYY….
The end was excellent: heart stopping, chilling, something that would make you shout “What’s going to happen next?” And the scene in which Dvorak’s character jumps out of the window is so scary and graphic, even for today’s standards. Nothing in this film is softened up or watered down. It may have been short (it doesn’t even clock in at an hour and ten minutes) but it is so fast-paced and there was never a dull moment.
Now here’s a creepy tidbit of trivia: the superstition came true for Dvorak in real life. Not only was her character the first to die in the film, but she was the first to die from amongst the three leads, in 1979, followed by Blondell in the same year, then Davis a decade later.
I’m SO glad my friend told me about this little-known gem. It’s definitely a favorite.
My Five Favorite I Love Lucy Episodes
TODAY IS LUCILLE BALL’S 100TH BIRTHDAY!!! Beautiful, funny, and loved by millions, she is being celebrated today in a big way: a blogathon, a day devoted to her on TCM’s Summer Under the Stars, and a Google animation. In honor of the world’s greatest comedienne, here are my top five I Love Lucy episodes:
Lucy Fakes Illness (1952)
When Ricky doesn’t allow Lucy to be part of his show, she fakes a mental illness so he can feel bad for her. But when he finds out of Lucy’s trickery, he hires an actor friend to pose as a doctor…and convince her that she’s gravely ill.
I love Lucy’s impersonation of Tallulah Bankhead in this episode. It was simply DAAAHLING, DAAAHLING. This is quite funny since Bankhead would guest-star in the Lucy-Desi Comedy Hour six years later (the episode is HILARIOUS). And the entire part with the doctor leaves me in stitches, especially when Lucy exclaims, “I got the go-bloots from the boo-shoo bird?” Not only that, but she will turn green, and in order to cure her, the doctor must remove her zorch :D
Lucy Hires An English Tutor (1952)
Lucy wants her unborn child to speak perfect English. With her constant use of “slang” and Ricky’s accent, this seems impossible. She hires an English tutor to teach her, Ricky, and the Mertzes how to speak proper English. However, the tutor will give them lessons in exchange for one thing…
Let’s go in order here: the scene in which Ricky tries to read is CLASSIC. I laugh so hard I cry every time I see it! It’s also nice to see Desi Arnaz shine on his own like that as well. Fred’s costume is hilariously ridiculous (I adore Fred!!), and where do I start with this tutor? His voice is enough to make me crack up. But the best part is his song, “Tippy Tippy Toe”. Here’s the words (well, the basic lyrics anyway, since they seem to change each time he sings it):
I tippy tippy toe through my garden,
Where all the pretty flowers dwell,
There’s a rare perfume in my garden
And I just love to stand there and smell.
And as I tippy tippy toe along,
All the pretty flowers seem to sing this song:
Ricky: Derry down pip pip
Lucy:Dilly dilly day
Ethel: Ah nani nani
Fred: Rippity pippity ay
Fred:Derry down ding dong
Ethel: Dilly dilly do
Lucy: Ah nani nani
Ricky: Rippity pippity poo
It speaks for itself!
The Indian Show (1953)
Being a new mother did not kill Lucy’s dreams of getting into showbiz. She’s eager to get into the Indian act at the Tropicana, baby or no baby!
This episode is full of funny moments: Fred’s little Indian song and dance (complete with a feather duster) makes me giggle every time, and the part in which the Indian actors come to the Ricardo apartment is hilarious. First, they get the door slammed in their faces by Lucy and Ethel. Then they get hit over the head with vases by Lucy and Ethel. Then Lucy tries to apologize for what she did: “Me heap sorry me smack ‘em on coco!” The episode also has some pretty good music, such as “Pass That Peace Pipe”, sung by Ricky and the Mertzes, and “The Waters of the Minnetonka”…that is, if Lucy didn’t so hilariously butcher it! The punch line is when she turns around, and there’s Little Ricky, a pappoose on her back!
Bonus Bucks (1954)
This episode is craaazy! The Ricardos and Mertzes read about a Lucky Buck newspaper contest. If you have the winning dollar bill–the “bonus buck”–you will win $300! (a lot at that time) Turns out Ricky has the winning buck, but always the gentleman, he slips it in Lucy’s purse, so she can win. However, Lucy doesn’t realize and spends the buck in the grocery store…and Ethel ends up getting it as change! Who does it belong to now?
You can guess that the couples fight over the bill and it ends up being ripped in half. But then they decide to glue the bill back together and split the prize money. But of course, when Ricky gets into the shower (seeing his medallion in his hairy chest makes me laugh every time), Lucy takes his clothes to the laundry, not realizing their half of the buck is in his pocket! The whole laundromat scene is hilarious, from the nasty workers to Lucy and Desi sneaking in inside laundry bags…to Lucy getting the starch treatment! All this zaniness for one dollar bill.
Harpo Marx (1955)
The gang’s having fun in Hollywood while Ricky is making a movie. But when Lucy and Ethel’s nearsighted friend Carolyn Appleby visits from New York, Lucy finds herself having to impersonate celebrities, from Gary Cooper to Jimmy Durante. But when she decides to impersonate Harpo Marx, the real Harpo comes in!
Don’t they look like twins in the first picture? Anyway, the impersonations were hilariously spot-on! Gary Cooper only spoke in “yep”s and “nope”s, Clark Gable smoked a pipe and called Carolyn Appleby “baby”, and Jimmy Durante’s gravelly voice was imitated perfectly. Although the impersonations are quite famous I Love Lucy moments, the standout scene here is when Lucy, dressed as Harpo, and the real Harpo recreate the mirror scene from Duck Soup. And of course, it’s always nice to hear Harpo play the harp!
Happy 100th, Lucy!!!
Modern Times (1936)
I apologize for being out for a while. A couple of days ago there was a severe thunder and lightning storm that messed up all the technology in my house, including the computer. But now I’m back, and reviewing a great, essential classic.
Charlie Chaplin’s masterpiece, Modern Times. It was on TCM last night as part of its Summer Under The Stars event (yesterday was dedicated to Paulette Goddard). This time, I wanted to conduct a little experiment. I was going to let my seven-year-old cousin watch it with me and my sister. My cousin is a spoiled brat. Everything is her way or no way, has an incredibly short attention span, and can throw a temper tantrum faster than the blink of an eye. She’s narcissistic, enjoys flipping her long black waves in other people’s faces, and loves to model for a million pictures. She’s also one of those people who think something is boring purely because it’s black and white. But I wanted to prove that anyone can enjoy a classic, and particularly with Chaplin, they can be enjoyed at any age.
I am VERY happy to say, she loved it! She laughed hysterically at him, rooted for him when she had to, got nervous for him when she had to, tried to predict what he would do next, and so on. I’ve honestly never seen the girl enjoy herself so much. She was hooked! And to top it off, she asked me to watch ”the little man” again this morning!
So you see, you really can instill some class in the youth of today. There is still hope! I’ve decided to get her a copy of the DVD for her birthday in February.
“Modern Times” is another chapter in the life of the world’s favorite Little Tramp (although it was the last time he appeared in a film). This time, he is a factory worker, oppressed by the modern machine age. After suffering a nervous breakdown, he is taken to the hospital, but immediately upon his release, he is mistaken for a Communist leader and is jailed. But to his joy, prison life is comfortable and he does not mind it in the least. When he is released, he realizes that the outside world is tough and merciless, and cannot find work. Eager to return to having food and shelter in prison, he takes the blame to stealing a loaf of bread to save a homeless orphan gamin (Paulette Goddard). The plan backfires and they are both arrested. They escape the police car, and together they dream of building a home together and living a normal, middle class life. The Tramp finally finds a job as a department store night watchman. He and the gamin play amongst the luxuries in the store. One night, burglars break into the store, and the tramp is arrested once more. When he is released, the gamin tries to make a home for him in a decrepit, abandoned old shack. He then finds out the factory has reopened and goes back to work there. Unfortunately, a strike lands in prison again. While the Tramp is in prison, the gamin finds work as a cafe dancer. When he is released, she gets him a job as a singing waiter. He is a great success, but the police try to arrest the gamin for vagrancy. The two escape and set out on the road, hoping to find work and achieve the American Dream.
In his last silent film/first talking film, Chaplin is true to form, using his art to depict society’s issues. This time he attacks the machine age: how it promises progress, but yet it is the cause of a rise in unemployment, homelessness, hunger, crime, etc. Chaplin lightly, brilliantly, hilariously shows the ills of society and the struggles of living in the modern world. This film must have struck a deep chord with Depression-era audiences. Although they were living through hard times, They can “Smile” (this famous song, composed by Chaplin, made its debut here) and live through it. It is, ultimately, an immensely positive film.
Everything about the film is brilliant, the actors, the music, the plot, everything! It’s quite artistic (deftly combining silent film with sound) and of course, it was full of unforgettably funny scenes (just about every scene in this film is famous):
An iconic scene. The tramp has a penchant for getting himself (and others!) stuck in the machinery.
My personal favorite scene is when the Tramp is used as a guinea pig for the Automatic Feeding Machine, which feeds you a full-course meal (and wipes your mouth to boot). Of course, everything malfunctions and takes the inventors of the machine quite a while to figure out that “it isn’t practical”.
Another favorite: when the Tramp accidentally gets high on cocaine, or as the film discreetly puts it, “nose powder”. Cue Chaplin funny faces, and spinning like a wind-up toy. Of course, I had to fend my cousin’s questions on what exactly is nose powder…
The Dream Sequence. The Tramp and the Gamin dream of living a middle class life as husband and wife, happy and free of the stresses of the fast-paced, modern world. Within two seconds, the Tramp trips over a chair. He also manages to pick an apple and eat grapes like he’s some kind of Roman emperor, and milk a cow without touching it.
The entire department store scene. It’s cute to see them frolic amongst the luxuries, and the roller skating scene is hilarious.
The shack. Some dream home, huh? The entire house falls apart on them, and Chaplin attempts to swim in muddy shallow water. Very funny!
Okay, actually, this is my favorite scene…Chaplin SINGS! This is the first time he vocalizes on-screen, and it is pure comedic gold. He wows the crowd with a gibberish nonsense song, and he actually has a pretty good voice! But the scene goes so much deeper than that, telling the audience that the Tramp is an everyman. He doesn’t speak because he represents all of us. Therefore, Chaplin makes his voice heard without destroying that integrity by making his character sing gibberish, something that everyone and no one understands.
And how poignant is the ending? It kinda makes you choke up. All Chaplin movie endings make me choke up, to be honest. It’s so positive and cute and sweet. This is the best way to say goodbye to the beloved Tramp.
My Favorite Glamour Portraits Of…Clara Bow
Clara Bow’s 106th birthday was a couple of days ago. To celebrate, here are my favorite glamour shots of this iconic little flapper and fellow Brooklyn dame. She was a beauty in her own right:
I know it’s odd, but I love her hair like this. It’s so natural and no-fuss.
If that sign was true, the world would be paradise.
She makes me feel great when my hair gets messy!
She had a great smile
I love how her hair is a little askew in this photo
Clara pulled off the masculine military look nicely
Flapper-chic!
Clara also pulled off the exotic look great, however, many people do not know that about her, remembering her as a flapper
She had this hauntingly sad stare…her life was quite unlike those carefree ones she portrayed on film, and that’s putting it lightly
As an angelic flapper bride
A very sumptuous photoshoot!
This photo is quite reminiscent of a famous Gloria Swanson glamour shot
Always lovable and mischievous!
An elegant winter look
Here’s a rare one, depicting the more mellow, pensive side of Bow
A very famous flapper shot of Bow
I love her hair here. Clara was a redhead
A shot from one of her rare talkies, “Call Her Savage” (1932). She was unsuccessful in talkies for a few reasons, including false, destructive rumors about her lifestyle and her heavy Brooklyn accent. Unfortunately, her star power just died out.
I LOVE this outfit! Why don’t they make clothes like this anymore?
A more serious pose for Bow
She had such a cute baby face!
Prima ballerina? Absolutely!
An older, wiser side of Bow, no more of the troublemaking flapper
One of my favorites of Bow
Lovely outfit, as usual
Clara modeling an evening gown
A famous photo…and why headscarves are cool again, in my opinion
Love that wing of hair framing her face
Another rare photo: modeling a short boy cut!
Her famous pout
Clara Bow was a truly beautiful, glamorous star!
The Call Of The Wild (1935)
Many people know The Call of the Wild only as the film during which Clark Gable knocked up costar Loretta Young. But there’s so much more to this adventure film than the scandalous behavior that went on behind the cameras.
Clark Gable stars as Jack Thornton, who, with his sidekick Shorty Hoolihan (the loveable Jack Oakie) is on the search for a gold mine in the Klondike. The two set out with a map that Shorty drew from memory and struggle through the cold, the snow, and the mountains. They then meet Claire Blake (Loretta Young) whose lost husband owns the original map. They take her along because of the information that she knows, but she and Jack end up falling in love. Of course, we can’t forget the real hero of the film: Buck, Jack’s trusty dog.
This film has a lot of different elements, but it is still very much similar to other films. For this 20th Century Fox film, Gable was loaned from MGM and Young was loaned from Warner Bros. In many Gable films, he is shown braving the great outdoors, but really he is on a studio lot. For The Call of the Wild, however, shooting was done on location in northern Washington state, a rare thing during the studio era, where a good 99% of filming was done in studio lots and soundstages. As a matter of fact, the only other time I can think of Gable doing location shooting in the 1930s was for Mutiny on the Bounty, where some of the Tahiti scenes were shot on Catalina Island.
However, when the Call of the Wild is stripped of the whole adventure element, it has the structure of your average Gable romance film: he’s the brave tough guy with a goofy sidekick that provides the comic relief, and he always makes the girl swoon over him. In this case, Loretta Young’s character must choose between her husband (who turns up again at the end of the film, sorry for the spoiler) and Gable. Of course, some of the original elements of the book by Jack London were changed for the film. I read this book a loooong time ago, but I can safely say that there was no woman or romance at all, Buck was the central character, not the people, Jack Thornton does not show up until the latter part of the book, and if I remember correctly, he is killed in the end. But hey, it’s no Gable film without a dame, and getting shot down by Indian arrows and being trampled in the mud is not a Gable kind of death.
A bit of trivia about Jack Oakie’s character in the film: he was actually supposed to die in the end. But during a preview of the film, the audience wouldn’t accept it, so a happy ending was filmed instead. I don’t blame them. Jack Oakie was one of the best things in the film. Although not the most handsome guy around, he certainly is charming and hilarious. His lame jokes: classic.
And of course, Gable is a hot tamale in this film, sporting slightly tousled hair and a five o’clock shadow throughout:
This was one of my favorite scenes. God, he’s so adorable.
All what I have to say is, no wonder Loretta Young fell for him like that.
And may I mention the most memorable line of the film?:
“BUCK! COME ‘ERE!”
“BUCK! COME ‘ERE!”
“BUCK! COME ‘ERE!”
Next time I watch it, I’m going to count how many times Gable says this line. Easily in the double digits.
As a rendition of the book, this film pretty much stinks. But on its own, it’s great, with a good cast, good cinematography, and good eye candy!
Carole Irene
Baby Jean
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