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Since we're on a Cliff Robertson kick...

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Via


Yours truly has been on a Cliff Robertson kick. You start to notice a pattern over the course of some of his performances.

Robertson onscreen brings an atmosphere of risk. You are both drawn to him and cautious with him. He is both magnetic and dangerous. He's like a tightly-coiled spring that is ready to pop, a panther lying in wait for its prey.

There is bottled tension in many of his performances that seems best released in films like Autumn Leaves, where he's playing a man who could be insane. This is why he is perfect in Gidget (1960), playing the older man who, in the mind of Sandra Dee's sheltered surfer girl, represents something unsafe, something outside of her suburban bubble.

His tensions are unleashed inThe Big Show, where scene after scene finds him growling at his brother who wants more control over the family circus.

Even when he's playing a preacher who is kind to orphans in the light comedy My Six Loves, you're waiting for the clergyman to confess some haunting secret.

His estate's official website says that his unreleased autobiography will come out soon, but that announcement is from 2012. I'd really like to read it.  I'd like to know the person behind the screen. There is something pent up in this man that I cannot describe. Can't wait for the book.



Do you enjoy Cliff Robertson performances? Comment below; let me know.

Toast of the Town 4

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Let's take a look around the web for classic movie talk, resources and blog posts.
  • Journeys in Classic Film discusses the "three little girls in blue" movie called The Best of Everything with Joan Crawford in a small role.






  • The See You in the Fall Blogathon has some delightful, autumn-themed entries. It's hosted by Movie Movie Blog Blog.
 

Jack Lemmon in The Notorious Landlady (1962)

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Scotland Yard suspects a landlady of being a female Bluebeard. They ask her tenant to become an informant. Kim Novak and Jack Lemmon star in this morbid comedy, The Notorious Landlady (1962).

Though a comedy onscreen, there was drama behind the scenes. Neither of the two leads seem to have enjoyed making the film.  According to Lemmon: A Biographyby Don Widener, Lemmon said that the plot of this film,
 "...had so many twists and turns I couldn't follow it. A couple of years ago it came on television and I sat though it again and still couldn't get a handle on it. I delivered lines in that picture with absolute conviction- and I haven't the faintest idea to this day what they meant." 

Further, his father, John Lemmon was ill with cancer. The elder Lemmon visited his son on location in Carmel and was given a small nonspeaking part. See the two above with Novak and her mother on location in a picture for the Associated Press.

Novak also seems disenchanted with the film.

In a 2014 interview with The Telegraph, Kim Novak says,
" I pour all I have into my work. That’s who I am. I give everything I’ve got when I’m doing something that means something to me."

Although the actress is credited with designing her own wardrobe for The Notorious Landlady, this input into the film was not enough. Whenever Novak cannot put her own ideas into the story, the film means less to her; the star feels as if she's wasting her life. The star reveals in the interview that it was  movies like The Notorious Landlady which encouraged her walk away from films.

"Forgettable, salacious films like Boys’ Night Out and The Notorious Landlady became her bread and butter and Novak withdrew from acting. 'I might’ve stayed around and said, ‘I’m going to find a good vehicle for myself.’ But I’m not that kind of person. I’m all about expressing myself [although] I don’t really care what happens after I do. So when they suddenly started finding only sex-symbol roles, rather than say, ‘I’m going to fight for something,’ I left. I just walked away.'"

Novak has not bothered with a film since 1991's Liebestraum,
" a film by the director Mike Figgis,[where Novak] found, once again, another director reluctant to discuss and engage in the process with her. “I said, ‘Ah, same old Hollywood. I don’t need this.’"


The confusion and disenchantment off screen must have effected performance. The critics were out for blood with this one.

LIFE Magazine (July 20, 1962) gives a short summary of the film, calling it "Grade B Hitchock" and giving all praise to Lemmon as the only one who saves the film from complete disaster. Bosley Crowther of The New York Timessays basically the same thing.

The Notorious Landlady has an interesting and weird theme for a comedy; you can call it a Gothic comedy.  You can watch it for the (non-musical) performance by Fred Astaire as Lemmon's boss. Recommended for Jack Lemmon fans.

What did you think of The Notorious Landlady?

W.C. Fields in You're Telling Me (1934)

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If the Katharine Hepburn film Alice Adams were seen from the father's perspective, the film might be this one -You're Telling Me (1934).

Films like this (about a poor young lady who dates a wealthy man) showcase the ingenue and the male juvenile as star-crossed mates. The young man usually has stuffy, intolerant, wealthy parents. The young lady often has a pragmatic mother and an eccentric father who invents quirky things. You'll see this kind of story in Alice Adams, Hot Saturdayand You Can't Take It With You (except in the latter, the young lady's mother is just as loopy as the dad).

The story usually centers around the young people, but this time, with W. C. Fields in the lead, the story is all about dad.You're Telling Me is a remake of a W.C. Fields silent film from 1926 called So's Your Old Man. He wants to sell an invention to make more money so that his daughter will be acceptable to her prospective mother-in-law. He fails. Distraught, on the train home he meets a woman (Adrienne Ames) who cheers him. The lady happens to be a princess, but Fields doesn't know it.

Conveniently, the town gossips are also on the train and spread salacious rumors about the man, further ruining his daughter's chances. When the princess visits the man's family, she elevates their social status immediately. Will the family finally have everything they want?

Joan Marsh as the daughter presents a surprisingly upbeat and refreshingly confident character. Usually the daughter in this kind of tale is maudlin and full of self-pity about not fitting in with her perspective in-laws. You get the feeling she would enjoy eloping.

The critics praised the film, particularly Fields. Literary Digest critic says , "The new picture [You're Telling Me] offers a full-length portrait of [W.C.Fields'] talents and, on that score alone, it would be worth attention."

The Pittsburgh Post-Gazette (October 6, 1934) critic says,
"There is a growing suspicion that the loitering Mr. Chaplin will have a quite a time of it winning back the title of cinema's No. 1 funny man.The title, you know, has long since passed to the bulbous-nosed W.C. Fields, and if there has been any doubt about his claim to that distinction, You're Telling Me once and for all removes that doubt.
...
"It is this magic touch, this ability to merge a suggestion of pathos with his brilliant humor, that leads to the conclusion that Mr. Fields is not only an inspired comedian but also a fine actor....If you don't like  You're Telling Me, then there's absolutely no hope for you."
Fields triumphs here and is charming. You're Telling Me is a recommended film for those who enjoy one-liners, star-crossed lovers, and silent film-style physical comedy.

David Niven is TCM's Star of the Month- October 2015

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Let's delve into bits of trivia about TCM's Star of the Month for October 2015 - David Niven.


October 12, 1939 - Ed Sullivan for The Pittsburgh Press is thoroughly charmed by the young actor from Scotland. Recounts some of Niven's fascinating past, as many reporters  would enjoy doing throughout the actor's life.

July 10, 1944 - The Milwaukee Journal recalls an earlier interview with Niven, a liaison officer, in Normandy just before the invasion. Of the troops near a shattered French village in the background, the actor says, "It doesn't look too different from a Hollywood set...," then he moved toward the battle front.

Jan 9, 1955 -  TV producer Niven states that, "The laugh track is the single greatest affront to public intelligence I know of, and it will never be foisted on any audience of a show I have some say about."


Feb 2, 1955 - Niven explains why his Four Star Playhouse company is run by only three stars - Niven, Charles Boyer and Dick Powell.

June 30, 1963 - The Gadsden Times tells the story of Niven pulling out his cutoff shirttails during an interview in Italy and deems him "filmdom's most unpredictable actor." The article goes on to tell Niven's life story.

Jan 27, 1972  - The Associated Press gives a rave review of Niven's autobiography The Moon's a Balloon, praising it for giving equal time to non-Hollywood aspects of his life.

August 11, 1975 - Niven returns to the big screen after a 7 year absence. His first Disney film breaks the sabbatical - No Deposit, No Return. Says the actor, "I wouldn't work at all, except that I need a bit of scratch to support my style of living - it's ridiculous to have two houses."

August 22, 1982 -  Impressionist Rich Little is called in to finish David Niven's voiceover work for Trail of the Pink Panther, because of  "trouble Niven has been having with his voice."

July 29, 1983 - David Niven gives the thumbs up sign before dying.

January 1, 1984 -  Thomas Hutchinson’s book NIVEN'S HOLLYWOOD is released to the public. In the book, the author quotes David Niven, Jr.,

“As a father he [David Niven] showed no favoritism and was always there whenever we needed him. He never insisted we be ‘the best’ only to do ‘our best.’ He instilled in us the value of family unity, the importance of loyalty, humility and honesty. He loved us very much and I only hope we gave him as much love and pleasure as he gave us.”


Further Resources

What the Butler Saw (1950) - A Hammer Production

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After traveling around the world, an Earl and his butler return to England with a stowaway - an island princess who loves the butler.

The Film Has Its Moments of Hilarity


Lapis and Bembridge momentarily off guard

In this upper crust home of restraint, everything goes wild. At first, no one knows Princess Lapis (Mercy Haystead) is there, then the Earl and Bembridge the butler try to hide her, then the rest of the family members discover her and are remarkably inhospitable.

Then they must decide what to do with her. They discover her father, the island king, believes she's been kidnapped; a potential war is on the rise. All the while, the princess has only one thing on her mind - marriage to the butler.

In the meantime, the Earl's granddaughter (Anne Valery) may or may not be in love with the reporter who dropped into her house 10 minutes ago.

The grandson, Gerald (Michael Ward ) is hilarious, He's an unapologetic elitist who is always after the Earl to invest in his barley water idea. Gerald is "...in need of a little extra capital in order to give my background that surety which the dignity of my position requires."



Edward Rigby as Grandfather/The Earl gives a particularly winning performance. He's charming, enthusiastic about anything and everything. Forgetting himself, he stands up at the dinner table with a half-peeled apple in his hands as he describes his adventures. Everyone is horrified at his lack of decorum. I love this scene.

He's egalitarian and humble. His compassion for Princess Lapis' situation is quite lovely.


Henry Mollison did give me a chuckle or two as the stoic butler whose exploits away from home were apparently much wilder than anyone imagined. He is another version of Grandfather, but, considering his position, he is not allowed to express his thoughts very often. He plays the part earnestly, which makes his dialogue all the more fun. ("If the family should discover you, the fat WOULD be in the fire.")


Hammer Productions


What the Butler Saw is from the famed Hammer Film Studios (founded by William Hinds, whose stage name was Will Hammer). This studio is known for horror films of the mid-1950s to the 1970s.

However, before the Dracula movies, the studio produced film adaptations of radio shows, lightweight comedies all set in one spot and other inexpensive films. In Britain, filmmakers came under a legislative act that attempted to promote films -  The Cinematograph Films Act of 1927.  

According to journalist, Lawrence Napper in his article "‘Quota Quickies’: the Birth of the British ‘B’ Film"
"The Act stipulated that a certain percentage of films offered for distribution in Britain must be made in Britain..."

If you distributed films, you had to meet a minimum number of movies. The Act would not be repealed until the 1960s. Thus, in the early to mid-twentieth century, many British studios, like Hammer, began churning  out dozens of cost-effective films known as "quota quickies." These were fillers for the main feature.

To defray the cost of maintaining a permanent studio, Hammer often shot movies in rented mansions or country houses. (What the Butler Saw was filmed at Oakley Court, which is today a hotel on the River Thames.) As a result, many Hammer films of this era incorporate story lines involving drawing rooms, class differences and family disputes.

We recommend What the Butler Saw as a novelty, a bit of 1950s British B film cinema.

Evergreen (1934) - An Art Deco Extravaganza

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A struggling actress of the 1930s impersonates her legendary stage star mother.

Edwardian music hall star, Harriet Green (Jessie Matthews), retires to marry a marquis (Ivor McLaren) in Evergreen (1934). A past relationship haunts her as does the daughter of that union. Giving up everything, including her daughter and impending nuptials, Harriet runs away from London to die in obscurity.

Harriet, the Edwardian star

Fast forward to the 1930s and Harriet, Jr. (Matthews in a dual role) is also interested in stage performance, but is currently in the starving artist mode. The daughter uses a stage name because she wants to be a success on her own merit.

That will change.

A publicity agent/love interest named Thompson (Barry MacKay in a charming performance), and two old friends of Harriet the elder - director Leslie Benn (Sonnie Hale, the real life husband of Matthews) and Lady Shropshire (Betty Balfour) - convince the daughter to impersonate the legend.

"I'm sure if [your mother] knew, she'd be ever so pleased that you're keeping her memory green, and not meaning any puns either," one of the friends says.

They claim to the public that Harriet, the returning star, has simply retained the glow of youth. It's all about the stunt, the hype. The novelty might save Benn's failing show.

The possibility of indictment for fraud, plus old boyfriends of Harriet the elder pop up to endanger the enterprise.

 Evergreen is a story about time


Evergreen is a story about time - savoring time, stopping time, changes over time, similarities over time, the trends of the day, the music of an era, the ultimate dominance of time, fighting time.
Marjorie is upset with her director and publicity agent.

Harriet Jr. will replace Marjorie Moore (Marjorie Brooks) who is a mature actress of a certain age. Marjorie refuses to admit she's a day over 21 so that she can continue her reign in Benn's plays as an ingenue. It's a comic version of Margo Channing in All About Eve. However, instead of  a young replacement for the sake of changing tastes, Harriet is the youth of the past preserved.

In this film, the public is presented as an entity that never wanted to change tastes from the music hall days. However, modernity and competition around the world to be the fastest, the most stylish, the most efficient, forced its hand.
 
The film reaches respectfully to the past, to Edwardian times. The stage for Harriet the elder is small and intimate, the music is languidly paced, men wear handlebar mustaches (but not in a costume-y way). They even have a scene where someone drinks champagne from a slipper. The film refers to these moments with Harriet, Sr. as "Yesterday."


Later, a title card pops up over a pan of modern day London that reads "Today." Jump cut to a chorus on a huge stage rehearsing a tap dance number to the latest music. It's more impersonal, but it's grand.

The director-producer-choreographer of the show, Benn, comes out and, in a rapid-fire reading of the lines, expresses his complete dissatisfaction with the rehearsal. He's an efficient man who must keep pace with the times. Everything must be whipped into shaped, everything must be modern.

There's even a man who's entire job is to follow Benn around with a stool and time when the director will sit down.

There is a dazzling, art deco extravaganza showcasing the song, "Springtime in Your Heart."



Harriet, Jr. starts in the 1930s, flips a giant hourglass and is transported to the 1920s, the 1910s and the aughts. At each juncture in time, Harriet and chorus showcase a popular dance of the day.


(However, in the 1914 era, a machine simply mass produces young ladies, changing them into vaguely military-like automatons.)



Harriet then smashes the hourglass, holding us suspended in 1904 forever, and ends the song.



Harriet, Jr. feels trapped in the memories of 1904 in her personal life as well. Pretending to be her mother, she must deal with questions about the past. She's well coached by her mother's old friends, but the strain is getting to her. In private, she expresses herself in modern dances, flits about her  streamlined, art deco house in a new negligee like Ginger Rogers.

This film has been compared to many of the extravagant MGM and RKO musicals of the day. You are struck by how huge the sets are, the shear number of extras in any song...


...the gentle curve of the handles on this over-sized door...




...the slim, gorgeous gowns and jaunty little hats that the ladies wear (as you might see in a movie with Jean Harlow - another person who seems forever suspended in the 1930s).



 Behind the scenes


Evergreen is a Rodgers and Hart  musical whose film bares little resemblance to its stage show roots. However, its original star was cast for the film. Often stage stars do not have the chance to preserve their performance on film once a movie adaptation is in the works. Jessie Matthews wisely had a foot planted in both stage and film. She was a popular performer. By the time Evergreen was pitched as a film, there could be no one else but Matthews in the role.


The Gaumont British Picture Corporation, maker of this film, was the largest motion picture company in the UK in the 1930s, according to its official website. At the time, Jessie Matthews was its most famous star with international appeal, according to Sarah Street,  author of Transatlantic Crossings. American studios came a-courting the popular Miss Matthews, but no contract was to her liking across the pond.
 
According to Steve Chibnall, author of the biography J. Lee Thompson, Fred Astaire was originally set to star in this this film opposite Mathews, but could not due to contractual obligations with RKO Studios.

Look for a small speaking role as a barmaid from Norma Varden. (She plays Lady Beakman in Gentleman Prefer Blondes.)



A respite from the breakneck pace of modernity
Despite its name, Evergreen, is anything but, and that's ok. Ultimately, in being so modern, the film has become less evergreen itself and is instead a lovely time capsule of its era. It does well in big numbers, but one can also enjoy the smaller, more intimate times, like when Thompson and Harriet drink a cup of tea.

Beneath the 12-Mile Reef (1953) w/ Robert Wagner

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An underwater Romeo and Juliet story.


Beneath the 12-Mile Reef follows two sponge fisherman families who war over a dangerous, deep reef that has the best sponges. Meanwhile, a young man from one family (Robert Wagner) and a young lady from the other (Terry Moore) make like a modern-day Romeo and Juliet and indulge in a forbidden romance. 


Apparently, the two stars got along well.LIFE Magazinefollowed them about for a day as they frolicked in the Pacific Ocean at home in California, 5 months before the release of the film.  It's a short piece that is meant to boost Moore's stardom. "Now at 24," says the reporter, "her admirers say she is being groomed to challenge Marilyn Monroe. Terry can't see this at all. 'Marilyn,' she explains,' is an indoor girl and I am an outdoor girl.'"

LIFE Magazine


Then Terry Moore must have felt right at home during the location shooting for this film.

Beneath spends several interludes underwater, engulfing you in the waters off the Florida Gulf Coast. They take advantage of the wrap-around screens of CinemaScope. These shots must have been absolutely enchanting during its first run in theaters. Even Bosley Crowther of The New York Times, never one to blandish compliments, waxes lyrical about the technical process, saying,

"Here the special color camera with the anamorphic lens goes under water to picture marine life around the tropical Florida keys and comes up with scenes of the floor of the ocean that are bigger than any of the sort you've ever seen.
"Coral reefs and jewel-colored fishes and gentlemen in bubbling diving suits loom through the opalescent water that stretches from wall to wall across the front of the theatre within the frame of the panel screen, and the inevitable octopus slithers out of the sub-aqueous gloom. Fishermen rake rubbery sponges off the ocean bed, and everything looks both large and fearful down there beneath the watery blue-green sea."

 The Academy of Motion Picture Arts and Sciences certainly noticed and nominated this film for an Academy Award for Best Cinematography, Color.

Reviews for this film also give effusive praise to the lush score by Bernard Herrmann. Author Steven C. Smith (A Heart at Fire's Center: The Life and Music of Bernard Herrmann) quotes Fox producer, Darryl Zanuck, who says, 

"I thought 'Beneath the 12-Mile Reef' was one of the most original scores I have ever heard. It really gave me a thrill. The manner in which Bernard handled the underwater sequence[s] was simply thrilling. The entire picture has been enormously enhanced by this wonderful score. It gives the picture a bigness it did not originally have - yet the music never interferes but adds to the dramatic values." 


 Screen Beneath the 12-Mile Reef  - based on a story by A. I. Bezzerides- for the cinematography and the score.


Further Resources


An Affair to Remember (1957) w/ Cary Grant

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A shipboard romance docks on dry land. It's saccharine sweet, but you love it anyway.

Cary Grant and Deborah Kerr play two strangers onboard the luxury liner, the S.S. Constitution (the movie would premiere onboard that same ship). They fall in love despite their engagements to other people back home. They agree to meet at the top of the Empire State Building, but -due to convenient plot points- the meeting never happens, so they get on with their lives.

The first part of the film - the cruise- is filled with humorous dialogue and fun. It's a comedy. On dry land, the movie is a tragedy filled with misunderstandings and unfulfilled dreams.

It's amazing how two people who have never met before a cruise, people who are not in the same social circles, suddenly keep bumping into each other afterwards. It's the kind of plot where if one character would just talk -"Say, I couldn't make it to the meeting because..."- the whole thing would be over in about an hour.

Also during this latter hour, there is a cloying Christmastime scene where Kerr directs children who sing, hearkening back to similar scenes in the actress' musical triumph in The King and I.  The latter part of the film is a bit too saccharine at times.

They stretch the tragic bits a little too long. However, the end scene - which I won't spoil for you- makes up for it. You are so choked up, you forget about the interminable last hour of the two hour film.

Leo McCarey directs this remake of his earlier filmLove Affair(1939). This was a comeback for the director after  a 5-year absence. According to Michelangelo Capua (author of Deborah Kerr: A Biography), a car accident, physical pain, and time out of the limelight might have ruined his career. Nevertheless, he charged ahead with a revamped classic with two charming stars.

Kerr and Grant co-starred before in an odd, feminist, geopolitical comedy called Dream Wife (1953). Their chemistry in both films is unmistakable. The two always seem to be having fun.

Even The New York Times' Bosley Crowther enjoyed some parts of the romance, saying,

"... the attraction of this fable is in the velvety way in which two apparently blasée people treat the experience of actually finding themselves in love. This is an immature emotion that is loaded with surprise. And the old script of "Love Affair," worked over by Mr. McCarey and Delmer Daves, provides plenty of humorous conversation that is handled crisply in the early reels by Mr. Grant and Miss Kerr. "

According to Geoffrey Wansell (author of Cary Grant: Dark Angel), McCarey compares the film and its remake,
"The difference between Love Affair and An Affair to Remember is very simply the difference between Charles Boyer [star of Love Affair] and Cary Grant. Grant could never really mask his sense of humor -which is extraordinary- and that's why the second version is funnier."

The film was extremely popular, grossing more than its predecessor and garnering 4 Academy Award nominations. Crooner Vic Damone sings the title song; people rushed to buy the album.

In 1993,Sleepless in Seattle(starring box office stars Tom Hanks and Meg Ryan) made several references to An Affair to Remember, resurrecting the older film in the public eye.  The next year saw another remake of the film  -Love Affair with Warren Beatty (and Katharine Hepburn in one of her last cameos. Read about her performance here.).



You've watched An Affair to Remember before. Watch it again for the sheer pleasure of the dialogue and humor of the first part. Then fast forward to the end and weep like a baby.

The Experiment Concludes

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.. and she limps over the finish line!




The experiment to blog 6 days per week about classic movies for one month is now over. Yours truly will return to weekly features.

The best thing about publishing every day for a blog is the routine, the rhythm you get into as you write. You look forward to getting up in the morning, finding something useful and informative, presenting it to your audience. Viewing the responses in the afternoon is also fun. Even when you're exhausted, habit takes over, and you begin to enjoy the process again.

You find yourself thinking of topics to discuss while in the car, the shower, the store - the same thing you always do, but more often.


The worse thing about publishing every day for a blog is the mental flogging when something goes amiss. Solution: write plenty of blog posts ahead of time and publish them piecemeal. That was my plan, but I simply didn't do it. I did enjoy having that rush of excitement every day, but the scheduled posts would have helped during the couple of times that I missed a day.

Here are the entries. Thanks for hanging in there.














Forever Female (1953) w/Ginger Rogers

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If All Above Eve were told as a zany comedy, this film might be it. Forever Female (1953) follows the career of a  (Shall we say "mature?") Broadway actor named Beatrice Page (Ginger Rogers) who refuses to give up a new role that is too young for her.


Enter a somewhat younger and less-experienced actor named Sally (Pat Crowley) who pursues Beatrice's job and her man - the playwright Stanley Krown (William Holden). She also gets some mild interest from Beatrice's ex-husband, the producer of the play, E. Harry Phillips (Paul Douglas).


It's not unlike many such stories about life in the theater, the short lifespan of a woman's stardom in the theater because of her age. However, coming as it does only three years after a similar story that won the most Academy Awards ever, at the time, it seems Paramount Studios was riding a trend made popular in recent years by All About Eve (1950) from Twentieth Century Fox Studios.

The director of the movie, Irving Rapper, encourages Ms. Crowley to be energetic to almost frightening proportions. Phillips takes in all this boundless youth and says, "Who are you? Or might I ask, WHAT are you?" You know that puzzled look Cary Grant has anytime Katharine Hepburn  says anything in the screwball comedyBringing Up Baby?  In Forever Female, Stanley and Phillips look befuddled any time Sally widens her eyes and squeals out her lines. It's hilarious. She's meant to be weird.


The odd bit is that the story tries to give Stanley and Sally a tender love story which doesn't quite work for the character. She's ambitious, crafty and -like Eve Harrington in All About Eve- is only concerned about herself and her career.

When she chases a powerful guy, you're not exactly sure of her motives. Is this meant to be genuine or a career move?  As Stanley and Sally dance, the violins swell, and Sally seems so heartbroken over the guy as he rejects her. Sally flees the scene sobbing, like an actress who has been given perfect dramatic direction. Is she really crying or is this emotional manipulation?

Beyond the story promoting Sally as an up-and-coming new star, this film was meant to launch the actor herself, veteran Broadway performer Pat Crowley, into film stardom. The ingenue gets a stand-alone credit at the beginning of the film, then another one just before the words "The End" pop up.



In the trailer for Forever Female, words immediately splay across the scene, "Paramount gives a little girl a great, big job." Crowley is the first person you see, seated with her back to the camera in a director's chair with her name on the canvas. She turns to camera, gives a perky greeting, introduces herself, brushes her name with her elbow and introduces the movie.

"Well, the odd part is you know all the stars," she says, "and you don't know me from Adam. Well, maybe from Adam because I'm a girl. And that's what Forever Female is all about - girls and, naturally, men. Well, of course, that's what everything is all about, but in Forever Female we've got a new slant on it."

The slant isn't new at all, and that's fine. The trailer emphasizes the romance in the story to induce movie-goers to buy tickets - there are more people interested in romance than in a Broadway career, perhaps.

However, the film itself is most definitely about working on Broadway (though we spend more time out of the theater than in it). As much time is given to Sally's new career as is given to Beatrice's long one. There's some space given to Stanley's writing career and his angst about compromising his play to get the best actor in the role.


Pat Crowley did well in this, her first film. The star would have a prolific career in movies and television (including the hit TV shows "Please, Don't Eat the Daises" and "Dynasty"). She still performs today.

The next year after Forever Female, LIFE Magazine would make the budding film star its cover girl in the March 29, 1954 edition. They also tried to make this show biz veteran relatable to its readers.

The magazine follows her around a California apartment complex, stating that, when she's not making films, she babysits for the neighbors, likes to hang around the community pool, does her own laundry. But these common domestic scenes are interrupted when the actor says about her career, "I was going just as big when I worked in New York." Then you're knocked back in a world of a very knowing, capable performer who seems slightly frustrated with being the new kid in town.

Forever Female is a delightful backstage romp. The three big names are fun to watch. Paul Douglas as the producer is an anchor, a rock in this film about angst-ridden artists. William Holden mostly gets some wonderful reaction shots as everything seems to go wrong for the character. Ginger Rogers makes an interesting little speech about the trials of aging women in show business. At the end of which she briefly stares accusingly at the camera (and therefore at the audience. Well done.). And Pat Crowley's  broad theatrics work well for the part, especially when her character is expressing ambition.

Watch Forever Female (and other fine films) in its entirety at the official Paramount Youtube channel called The Paramount Vault.

Make Mine Mink (1960) w/ Terry-Thomas

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A motley crew of  London apartment dwellers become mink thieves.



An altruistic Dame (Athene Seyler), a former Army major (Terry-Thomas), an etiquette teacher (Hattie Jacques) and a nervous pot mender (Elspeth Duxbury) all live in the same, dull apartment complex and all crave excitement. After replacing a stolen mink, they decide to steal fur, convert it to cash and give it away to charities.

Make Mine Mink (1960) banks on one joke - the dichotomy between stuffy tea times and scruffy black market dealings- but it works. The earnest line reading brings hilarity to this film.

Athene Seyler as Dame Beatrice is absolutely winning as the main thief with a heart of gold. There is a scene in which she wants to get into a secret backroom to steal fur coats. She smile prettily and says in loud voice, "Is this the place where the illegal gambling goes on?" She's also wearing a garment from speakeasy days - a visual joke that had me in stitches.



Terry-Thomas is the popcorn-selling name here. He runs his gang of misfits with military precision (or tries to). His murmured cracks and breathless one-liners gave me a chuckle or two. It would be another three years before he would play his most famous version of a late-blooming thief in It's a Mad, Mad, Mad, Mad World.

Dame Beatrice meets her upscale "fence."



There is an endless stream of funny and strange characters introduced whose story lines never go anywhere, including Kenneth Williams as a friend of Dame Beatrice's family who is secretly an upscale black market furrier. (His modern office is to die for!) You really want each of the odd, little, side moments to expand into their own separate movie.



We recommend Make Mine Mink (1960) for a rainy afternoon.

What's your favorite Terry-Thomas film?

Madame Bovary (1949) w/ Jennifer Jones

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Gustave Flaubert's controversial novel of an unfaithful wife comes to life with the help of MGM Studios inMadame Bovary (1949).


Emma (Jennifer Jones) loves excitement. She has married a small-town physician, Dr. Bovary (Van Heflin) to leave the confines of her provincial childhood home. Madame Bovary grows dissatisfied with her new life and wants to live in a bigger city and with a more exciting man. As her disdain for her husband grows so does her passion for any man who is wealthy enough to take her away from town.

She runs through a series of secret suitors (including Louis Jourdan as Rudolphe a dashing man of means who finds marriage destructive to his bachelor life) and creditors to fund her trysts. Meanwhile, her long-suffering husband awaits her with a tender heart, like a Biblical Hosea.

James Mason makes a brief appearance as the book's author Flaubert who is on trial for writing a character from his "depraved mind." His explanation of the story bookends the film. Flaubert narrates the story here and there through voice over. At the conclusion, Flaubert accuses the court of trying to squelch truth.

There is no reason to present the book's author, the film would have done nicely without the court scene. You get the idea that the filmmakers may have been speaking directly to the code office, which censored all of its scripts. So Flaubert is foisted high with reverence as the ultimate hero in this movie.

Bosley Crowther of The New York Timeswonders if there is a need for a defense of Madame Bovary since many "ladies much like her have been seen on the screen for many years." Perhaps there is no need to defend her to the audience, but there may have been the necessity to defend her to the code office. Filmmakers often felt on trial when having to submit their ideas for censorship.

Vincente Minelli's artful direction creates a sumptuous feast for the eye. Particularly impressive is the waltz scene, where the audience feels as if it is dancing with Emma and Rudolphe, and thereby swept off your feet with the heroine.

Crowthersays,
 "... Vincente Minelli has kept it [the film] moving with a smooth and refined directorial touch. The high point of his achievement,indeed, is a ballroom scene which spins in a whirl of rapture and crashes in a shatter of shame. In this one sequence, the director has fully visualized his theme."

Crowther is less than enthusiastic about Jennifer Jones' performance, calling it "a little bit light" for the anguish. However, yours truly found her performance appropriately wrought and dramatic.

According to Paul Green, author of Jennifer Jones:The Life and Films,Lana Turner was first choice for this MGM film. The author surmises that the salacious content plus Turner's voluptuous reputation wouldn't make it past the censors.

Others in the MGM stable were considered, including Greer Garson (too conservative) and Elizabeth Taylor (too young).  MGM asked Selznick Studios to loan Jennifer Jones, who was demure enough to get past the code, but mature enough to play the role. They agreed to the deal if  MGM would also find parts for other Selznick contract players, including Jourdan, Mason and Christopher Kent.


Madame Bovary is a great costume drama with sensitive performances. Recommended.

Have you seen the film? What did you think of it?

Pillow Talk (1959) w/ Doris Day

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Story

Pillow Talk follows an interior decorator named Jan (Doris Day) who shares a party line with a rude man named Brad (Rock Hudson) who hogs the phone with romantic calls to other ladies at all hours of the day.

When Brad discovers that the woman that he's harangued on the other end of his phone is gorgeous, he deceives her. Brad creates a new identity and starts to date the lady. Will Jan discover Brad's rouse? Will they fall in love?

Hudson, Randall and Day


Translated in other countries as Midnight Confessions or Bedroom Problems, Pillow Talk would be the first of three popular, slightly racy films starring Doris Day, Rock Hudson and Tony Randall, who usually plays Hudson's friend and sounding board in these movies.

According to Rock Hudson: His Story by Sara Davidson, Randall said,
 "[Pillow Talk] was brilliant. When you've tried all the lousy material I've had to do, you jump way in the air, your head hits the ceiling, when you get good material like this."

The movies are light comedic romps with fabulous costumes and fun music. However, Hudson was nervous. According to Hudson,
"Shooting Pillow Talk was like going to a party. I t was a day's work of fun; it wasn't work at all. [However, at first] I was quite apprehensive, nervous and scared, because I'd never played comedy."

He asked the director, Michael Gordon, how to play comedy. Gordon said," just treat it like the very most tragic story you've ever portrayed.... If you think you're funny, nobody else will."

Hudson said of Day,
"Doris was an Actors Studio all by herself. When she cried, she cried funny, which is something I couldn't even try to explain; and when she laughed, her laughter came boiling up from her kneecaps."
Doris Day was nominated for an Academy Award for this humorous performance.


Reviews were good. The Times Daily calls the film, "one of the season's most delightful comedies." Further, the writer proclaims that Thelma Ritter, "steals a good portion of the comedy playing Miss Day's perpetually hung-over maid."

Author Christopher Sergel would later adapt the screenplay by Stanley Shapiro and Maurice Richlin  into a play.

Harold Hill and Hamilton

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In The Music Man, Harold Hill's theme song is "76 Trombones," which has the same melody as Marian's song,"Goodnight, My Someone."The movie (as well as its stage version) creates a moment when the two leads alternate singing lines from their own songs, then they start singing each others' tune. This shows their connection and oneness. (You'll see that in dances in the movies as well - the two create separate patterns of movement around the floor, then they dance in unison.)


This pairing of songs reminded me of something similar in a different Broadway show.

Currently, on Broadway is a popular and critically-acclaimed show: Hamilton: The Musical, created by Lin-Manuel Miranda (Tony-winning creator of In The Heights). The story follows the life of Alexander Hamilton, the first Secretary of the Treasury in what would later be called the United States.


There is a lovely intricacy of songs and storytelling. Alexander has several songs, parts of which can be heard throughout the songs of other characters. The first one, "Alexander Hamilton," sums up his story to the age of 19. It has a throbbing bass line, hard hitting to express the young man's determination to become an influential man.

That same through line of music can be heard several scenes later in his wife's ballad, "Burn."There has been heartache in the marriage and she's burning his letters. They are as separated as two married people can be, and yet, in a subtle way, his song makes its presence known in hers. Later (as in real life) Elizabeth Schuyler Hamilton would bear her husband's legacy; she is still inextricably interwoven in his life, and he in hers.

It's a heartbreaking reminder that, for better or for worse, they are one.


Is this a constant pattern in musical storytelling, interweaving one person's song into another's? Probably. Movies have helped me to understand and appreciate subtleties in musicals.



January Favorites

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Every time you blog, older posts are buried in your archives and often are not read again. So today, we are combing through our classic movie archives like Scout in To Kill A Mockingbird, opening her treasure box and scooping out memories.

Here are a few favorite blog posts from previous Januarys.

January 2011

    As a part of James Bond January, I took a look at 007 pop culture in 1967. This is the year of You Only Live Twice with Sean Connery. It's also the year his brother performed in a spoof of the Bond franchise.

Click here for James Bond in 1967: Bits of Trivia.





January 2012

This is the year we continued discussing The Heiress, starring Olivia De Havilland, about a woman who doesn't know if a guy loves her for herself or for her wealth.

This movie is a well that never runs dry. It bears repeat viewings. So Java's Journey talked about the symbolism of the garden muse in this film. How it represents new beginnings for the protagonist.

Click here to read The Heiress (1949): The Garden Muse.

January 2013

This year we took a look at classic movie remakes that are in development. Two of these films have made it to the big screen: Annie and The Secret Life of Walter Mitty (Read a comparison of old and new Mitty here.). The rest are still in development.

Read Classic Movie Remakes in Development.






 

 

January 2014

I happened to be watching an episode of the Lucy-Desi Comedy Hour  ("Lucy Hunts Uranium") and noticed similarities in both plot and framing in a later film - It's a Mad, Mad , Mad, Mad World (1964). I just had to share it.

Click here for Lucy Hunts Uranium vs. Mad World


 

January 2015 


Last January was pretty tough for me, so I joined a Joan Crawford Facebook group. (Naturally.)  I had rarely ever watched Crawford films; I couldn't shake from my mind her alleged scandalous child-rearing skills.

The group convinced me (1) that there was room for doubt in the scandal and (2) that I'm missing out on some great theater. They were right on both counts.

So I watched a smattering of Crawford and was blown away! What a talent! In January 2015, I  reviewedHumoresqueand was acquainted with some of the earlier work of Issac Stern, the violinist who made the fiddling in The Fiddler on the Roof so distinctive. In the Crawford film, it's Stern's work you hear when John Garfield fingers the violin.

Even in the strange circus world of Berserk!, Crawford stands out as the best part of the film - the concerned ring master who's workers are being mysteriously murdered.

Read Humoresque
Read a review of Berserk.

Marge Champion's Documentary is Available to Watch Online

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The Marge Champion and Donald Saddler documentary Keep Dancing (2009) is on Vimeo for a short while as of January 27, 2016. Watch it here: https://vimeo.com/153283760

We've discussed before that Marge Champion is not only a wonderful dancer on film (Show Boat, Jupiter's Darling), stage and supper club, but she also has a wonderful outlook on aging. "You can adjust," she says. "You can celebrate each decade for what it gives you, not dwell on what it takes away."

Further Resources

Toast of the Town - Ben-Hur Remake/Robert Osborne/Citizen Kane/Film Preservation

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BEN-HUR

With the news of a remake of Ben-Hur  (coming out in August 2016), what could be better than a look to the past to get our bearings?




Musician-composer Stewart Copeland discusses with Valley Performing Arts Center editing the silent film Ben-Hur: A Tale of the Christ (1925). Watch the 5 minute interview here: Editing Ben-Hur.

Bosley Crowther of the New York Times sings high praise of  the 1959 version of Ben-Hur starring Charleton Heston in his review of the film. He lays particular stress on the effective personal relationships within the vastness of the film.

Variety's review agrees that, "The big difference between Ben-Hur [starring Charleton Heston] and other spectacles, biblical or otherwise, is its sincere concern for human beings."




Here is the official trailer for the new film by Paramount Pictures, starring Jack Huston and Morgan Freeman: Ben-Hur (2016)   

Looks like they are going for a Gladiator (2000)/Christopher Nolan's Batman/ heavily- CG video game version that will get the younger generation into the seats. This should be interesting. Let's hope the human quality is not lost in the action.

 

Robert Osborne


This month, Theater Talk uploaded to its official Youtube channel an interview with Turner Classic Movie host Robert Osborne.This interview originally aired on CUNY TV in 2010. They discuss the film and Broadway connection.

Watch it on Youtube here:  https://www.youtube.com/watch?v=osMxkMdszDU

Who Penned Citizen Kane?

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In February 2016, Thomas Dunne Books posthumously published screenwriter Frank Mankiewicz' memoir. It was not without controversy.


Mankiewicz claims in his book So As I Was Saying, that his father, Herman Mankiewicz wrote the classic film Citizen Kane and not Orson Welles (the star and director of the film). This is according to Lou Lumenick of the New York Post: My dad wrote ‘Citizen Kane’ — not Orson Welles.

Ray Kelly of Wellesnet, an Orson Welles online database, disputes this claim here: Mankiewicz book repeats lie that Orson Welles did not co-write ‘Citizen Kane’.

Film Preservation Library



A film preservation facility by David Packard of Hewlett Packard is nearing completion.

According to the LA Times, the building "houses vintage movies in the UCLA Film & Television Archive, including The Maltese Falcon, the Flash Gordon serials, Laurel & Hardy's Way Out West, Cecil B. DeMille's personal collection and producer Hal Wallis' own print of Casablanca."

5 Classic Movies on an Island Blogathon

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Which five movies would you choose to take with you on a deserted island? Clearly, if you could prepare, you'd  throw out the movies and take survival guides and other useful items. But this is fantasy. You might choose films from five different decades and from multiple genres. That's what we've done here.

1. A Silent Film - Cinderella (1911)

http://www.thanhouser.org/films/cinderella.htm?utm_content=bufferbb4ac&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer
Charles Perrualt's classic tale  -Cinderella- comes to life in this silent film  from 1911 directed by George O. Nichols. It stars Florence La Badie as the title character - a daughter forced to work in her own house as an abused servant who wishes to attend the royal ball.

Though only 14 minutes long, you would still take it with you on the island when you want a simple and short story. It's a brief respite from your island woes; you can quickly return to your hut-making, chopping wood, or whatever it is you're doing to survive.

Click here to watch Cinderella (1911).

2. An Epic - Ben-Hur: A Tale of the Christ (1925)


Moving up a decade to a bigger budget and a longer running time, we have Ben-Hur: A Tale of the Christ  (1925). The Lew Wallace novel roars on to the screen with Ramon Novarro as a young man who seeks revenge on a childhood friend (Francis X. Bushman) who has betrayed his family.

This is another silent film, it runs for over 2 hours. The pageantry, the action, the epic-ness of it all bears repeat viewings, making it perfect to have on rotation.

3. A RomCom - Evergreen (1934)

http://javabeanrush.blogspot.com/2015/10/evergreen-1934-art-deco-extravaganza.html
This Gaumont British Picture is a romantic comedy, a film about time, stage craft and aspiring actors. Above all, it's an Art Deco extravaganza!

Evergreen (1934) so encapsulates 1930s films it almost seems a parody of its own modernity. Starring Jessie Matthews in a dual role, we find a young actress who pretends to be her late mother coming out of retirement.  

Evergreen is a story about time - savoring time, stopping time, changes over time, similarities over time, the trends of the day, the music of an era, the ultimate dominance of time, fighting time.

Great for a deserted island because you'll have some time on your hands to be nostalgic.

4. A Drama - The Heiress (1949)


A Paramount Pictures adaptation of a Broadway play that is based on a Henry James novel cannot help but have layers.

In this taut drama, Olivia De Havilland stars as a wealthy young lady who does not know whether her new beau (Montgomery Clift) loves her (as she believes he does) or her money (as her father, Ralph Richardson, believes he does).

Discovering all the lights and shadows of the characters would be like unwinding the inside of a baseball; you'll never run out of concepts to explore within this film.


5. A Musical - A Star is Born (1954)

A rotation of deserted island movies would not be complete without a musical. Why not one from the 1950s when they were just hitting a peak before they fizzled out?

And why not one of the most massive, well-acted, well-choreographed musicals in the English language? I'm talking about A Star is Born  (1954) with Judy Garland in her Oscar-nominated role as an aspiring film actor whose career ascends as that of her husband (James Mason) descends.

It's a long film with a variety of great moments and musical numbers which you could treat as their own little movies within a movie. This is a film you can watch again and again



What 5 Movies Would You Take with You? Leave a Comment Below.

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This post is in celebration of National Classic Movie Day (May 16, 2016) with the
5 Movies on an Island Blogathon hosted by Classic Film and TV Cafe.

Robert Wagner's You Must Remember This (Book Review)

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In 2008, movie legend Robert J. Wagner released an autobiography, Pieces of My Heart, which details  his life from childhood to the present day. In 2014, the star of  Prince Valiant released a memoir (co-written by Scott Eyman) titled You Must Remember This: Life and Style in Hollywood's Golden Age.

This is not a followup to the previous tell-all offering. You Must Remember This is largely a stream of consciousness, reminiscent of Tony Randall's Which Reminds Me. The book offers a hodgepodge of memories (and tales told to the author) from the 1900s to the 1960s in Southern California.

These are glances of Hollywood stars outside of work - their houses, their parties, their personal wardrobe. However, the book does not dive too deep into anyone's life. You're offered the ambience of early Hollywood more than anything.


These are cobbled together in sections, including "The Houses and Hotels" and "The Land."


You Must Remember This travels up and down the highways and byways of early Hollywood, filling in details of its architecture, economic history, how Hollywood actors and moguls lived and played. These are Wagner's own memories as well as those of older people (with whom he spent a great deal of time) who were on their way out as Wagner was on his way up into stardom in the 1950s. the author also acknowledges help from a few history books to round out his tales.

The chapter titled "The Land" discusses early Hollywood, the surrounding towns, the social and physical divisions (early Bel Air was off limits to nouveau riche people of the film industry), the drivers of the economy (agriculture and real estate, then movies) how people traveled (horse, trolley, then cars), the feel of the place (leisure and open spaces, sage brush and bridle trails).


Wagner discusses a part of the surrounding area and then will mention someone he has met there. For instance, in Palm Springs, the author discusses having a conversation with a retired William Powell (The Thin Man), having Christmas parties at Frank Sinatra's compound, and his own years living there near a favorite childhood author- Zane Grey. Then the author swiftly moves on to other places where denizens of Southern California might live or vacation.

In the "Houses and Hotels" section, Wagner discusses Hollywood architecture , that the place is filled with people from all over the world, bringing with them their own tastes and ideas . This creates a mish-mash of architecture, so there is no one solid house tradition. Architect Frank Lloyd Wright decried it all in resignation saying that California's, "eclectic procession to and fro in the rag-tag and cast-off of the ages was never going to stop." This is a designer in defeat.

Wagner also discusses early city planning. Explaining that it was by design that in Beverly Hills, the Santa Monica and Wilshire Boulevard areas were for lower income families, Sunset Boulevard and the hills above were given wider plots and were meant for the very wealthy. Anything between these streets were for the middle classes. This explanation gives a better understanding of movies such as Sunset Boulevard and what it means to characters in that film to travel into the hills and visit a movie star's house.


Wagner says that Beverly Hills was largely barren until major movie stars, Douglas Fairbanks and Mary Pickford married and created their vast compound - Pickfair. That's when, "the world began beating a path to Beverly Hills."

Other famous names make appearances in this book.

Movie mogul Jack Warner lived in refined elegant homes, not the gauche trappings that Wagner expected of a man who made gangster films. Fred Astaire's last home was not decorated with art of famous painters, but that of family and friends.

James Stewart's Tudor home on Roxbury Drive was understated inside, featuring photos of family and friends with a few frames of some of his films. He and his wife bought the house next door, tore it down and planted a garden.

Wagner was surprised to learn that legendary film star James Cagney owned a house in Cold Water Canyon that was a relatively unpretentious farm; there were no wild Hollywood parties there; the Cagneys kept to themselves.

But there were those who did give parties. Wagner mentions Carole Lombard's hospital themed party where guests ate from an operating table.

You were still invited to A-list house parties even if your star no longer shone bright in Hollywood, says Wagner. You were simply not seated at the A table.

There is an entire section on wardrobe titled "Style". These Discussions of Cary Grant's Kilgour suits on and off screen and how Fred Astaire copied the Duke of Windsor's clothing choices.


There are also plenty of golf memories. Wagner's father was a member of the Bel Air Country Club, Wagner became a caddy there (and met Cary Grant, Gary Cooper and others, which solidified his determination to be in movies) and eventually became a member himself.

There is a handy index to help you find names of stars or streets.

The author playing golf in the 1950s

 Though this is mostly a book about movie star residences and play time, the author does swing through work life a little in the section titled "The Press."

A run-in with a gossip columnist -who could kill your career with a breathe of scandal- was often greeted with strained gentility. Wagner recounts the tale of how he heard of Marilyn Monroe's death. Columnist Sheilah Graham yelled the news of the film star's demise out of her window in "exactly the same way she would have announced that her building was on fire."

However, an actor could not afford to make disdain for the press obvious; the press had power. Wagner would court them, send flowers. "It was part of the game," says Wagner, "You could get tired of it, but you couldn't show it. That's why they call it acting."


Wagner changes topics frequently and swiftly in the same manner that Hollywood  reinvents itself from year to year. You Must Remember This is a slim volume. However, it is ultimately a love letter to a time when Hollywood felt like a big small town, a place where you could pop into a restaurant or be invited to a house party and bump into the innovators of your industry.

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This post is part 1 of 6 of Raquel's Summer Reading Classic Film Book Challenge Blogathon. Read more at the Out of the Past website.
2016 Summer Reading Classic Film Book Challenge
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