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One Touch of Venus (1948) - Ava Gardner's comedy

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Before Mannequin (1987), another inanimate simulation of a female form comes to life in the movie One Touch of Venus (1948).

The kiss from Eddie the department store clerk animates a statue of the Roman goddess of love. Unable to explain to his employer why the statue is missing and unable to explain the new woman in his life to his fiancee ruins Eddie's personal life and career.

Why the guy would kiss a statue is never explained. In the play, he slips an engagement ring on her finger, which still makes no sense but is somehow less creepy... no, actually it isn't.



Robert Walker (now known for the Hitchcock thriller Strangers on a Train (1951)) stars as the hen-pecked clerk in this comedy. This is the type of juvenile role from which the actor was desperate to escape since the beginning of his career.

Says Hollywood columnist Bob Thomas on March 5, 1946 about Walker's desire to mature on the screen,
"  Robert Walker, a contentious character, says at last he is getting the chance to act.
    'So far I have been playing naive boys,' he told me.... He contended he is neither a boy (he is 27), nor naive (he didn't explain this).
    The Salt Lake City actor said his first chance to escape the gee-whiz type of role is in 'Till the Clouds Roll By,' the Jerome Kern biography....Walker is playing the late composer and he says it is a challenge to his acting ability."

And here he is two years later doing the very thing he detests.


Venus has a fun movie premise, but is executed as a sitcom. A very old sitcom. One where reaction shots consist of actors bugging out their eyes and committing to exaggerated double-takes.


Eddie and his fiancee Gloria (Olga San Juan) are especially fond of overacting. They are like live-action cartoons. They deserve each other.

On the other hand, you have Eddie's best friend Joe (Dick Haymes) who is a calming presence and never raises his voice above a hush. (Ah, that mellow crooner's sound.) He's the only sane one in the film and you don't get to see much of him.

He's also the only man in the movie who doesn't try to seduce the statue.  For some unfathomable reason, he's too busy making time with his best friend's intended - Gloria.

Now we come to Venus herself, played by Ava Gardner. All she has to do is stand around and look pretty. But she gives great reaction shots.

The actress would turn 26 in the year of this film's release. By this time, she had appeared in over 26 feature films and shorts, mostly uncredited. Working not so completely in the spotlight for so many years would serve her well (at this point, she was better known as the former Mrs. Mickey Rooney and as Artie Shaw's ex). She would use the time to focus on her craft and change herself from the little girl from the country, into a megastar onscreen.

This is the face of experience.


The actress is probably best known now for her work with gritty tales like The Killers, Show Boat and Mogambo. Still, she shows in Venus that she can handle comedy well.

Even with that, she's probably still better-known for her personal life, particularly her choice of mates, including Frank Sinatra. Gardner was the "other woman" -the Angelina Jolie- of the affair and Nancy B. Sinatra was the beleaguered wife- the Jennifer Aniston- of the triangle.

You'll also note that Gardner often plays "the other woman" in movies, including in the film we're discussing today. In any case, this is a megastar in the making, complete with tragedies both and on- and off-screen.

You could do worse than watch this film.




Breakfast in Classic Movies (and How it Drives the Plot) - Part 1

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Breaking bread with a person is an intimate activity. To do so first thing in the morning suggests the person carries a certain level of importance in your life (at least for that day or that moment).

When this morning ritual occurs in a movie, an audience has the time to be with the characters in their moments of vulnerability; we get to know them and like them (or not).

Hungry? Let's have breakfast with the stars.

Breakfast in Bed
Movie:All About Eve (1950)


The Breakfast

It's your usual tray of coffee, jam, toast and who knows what else.  What is being served for breakfast in this scene is not as important as where it is being served.

Birdie the maid (Thelma Ritter) brings breakfast to Margo the actress (Bette Davis) in the bedroom. They suspect the new personal assistant Eve (Anne Baxter) of nefarious plans.

A few minutes later, Eve, the potential villain, interrupts and comes in on the pretext of running errands.  The dialogue here could easily have been done in a different room, but they choose Margo's bedroom for a reason.


How it Drives the Plot


Breakfast in bed is a device to place a confidential topic in the most intimate spot in the house -the actress' boudoir- thus having Eve violate what is sacred.

Eve entering the room is a part of increasingly familiar maneuvers that this young opportunist will commit. Eve will later do much more than intrude on her boss' conversations, potentially threatening every aspect of Margo's successful life.

Breakfast in Bed, Part 2
Movie: One Touch of Venus (1948)


The Breakfast 

A secretary (Eve Arden) casually walks into her employer's bedroom, grabs a bite of toast and jam while waiting for him (Tom Conway) to finish a telephone conversation.

How it Drives the Plot

To share breakfast with someone  tends to be an indication of warmth and solidarity in old films. And to share breakfast in bed -even when one of them is standing up- shows another layer of a companionship between characters.

The employer and his right hand lady share a close-knit, seemingly platonic relationship. There's an indication that wedding bells might soon ring for this couple. Still, we don't know yet; he's about to be distracted by a living statue of Venus (Ava Gardner).


Breakfast on the Go

Movie: Breakfast at Tiffany's (1961)



The Breakfast 

Of course, we are obligated to include this famous breakfast scene. But it's a good one.

Audrey Hepburn as Holly Golightly leisurely eats a danish and coffee by herself in the morning as she gazes at shiny objects in the window of Tiffany & Co. jewelry store.

How it Drives the Plot
Holly's breakfast is notable as a solitary breaking of the fast. Meaning that everyone else we discuss today who consumes a meal does so with someone else nearby. That's not the case for this opening scene.

She's in an evening gown at dawn, which in classic movies suggests she's been to a wild party. The lady might be using this alone time before another mad round of soirees begins.

Holly hasn't said a word and already she's an intriguing character. Observing her silent meal whets the appetite for the rest of the film.


Breakfast in Bed with Jewelry
Movie:Ball of Fire (1941)/ A Song is Born (1948)


The Breakfast 
A timid professor proposes to a nightclub singer whom he doesn't know is on the lam. He places the engagement ring under the lid of a plate of toast and serves her breakfast in bed. But she's not hungry. She simply drinks the juice and black coffee ("Just jav, no cow").

It's an awkward few seconds as he stares at the plate's lid and tries to get her to pick it up. ("Won't you have some toast?")

In addition to that, this is a rather daring scene for a classic film, considering an unmarried man and woman are speaking to each other alone, in her bedroom, while she's still in her bed jacket ... and with the door closed! But the character bumbling around, making a fool of himself, distracts from what was considered risqué.

How it Drives the Plot
This awkward proposal over toast and coffee progresses the plot.

(1) The shy professor is stepping out of his comfort zone to pursue a love interest, even breaking societal norms to express his infatuation.
(2)The fugitive will use her potential nuptials with the professor to get away from New York City and away from the police.

Will he discover her true intentions? This guy is in for plenty of heartbreak. But not before breakfast.


A Cup of Coffee and a Kiss
 Movie: Please Don't Eat the Daisies (1960)
 

The Breakfast
A busy wife (Doris Day) brings her husband (David Niven) a cup of coffee just as he wakes up from a late commute the previous evening. They kiss, which is good. He tells her about his work and she's too busy minding the dog to listen; this does not bode well for their relationship - the crux of the whole plot.

There is a potential threat to their marriage in the form of a stressful move to the country, the husband's new commuting routine and an ambitious actress waiting to pounce on the guy whenever he's in the city.

How it Drives the Plot
The movie is letting us know with this simple cup of coffee that, despite the impending turmoil, the couple is still together... for now.



You're Fired! (and Before Breakfast, Even)
 Movie: The Long, Hot Summer (1958)


The Breakfast 
 
Jody Varner has just discovered that his father has fired him from the family business. He dashes outside in his pajamas to the lawn where Mr. Varner, the elder sits consuming the morning meal.

Jody attempts to discuss the decision, then segues into whether his father loves him. Mr. Varner continues eating, then dismissively tells the son to go fishing.

How it Drives the Plot
Throughout this scene, the father rarely looks up from his breakfast as his son pours out his heart to the man who sired him. Mr. Varner's scrambled eggs are more important.

This tells you
(1) The decision is final, there will not be reams of discussion about Jody returning to his job.
(2) His not looking away from the meal might indicate the shame that the father has for a disappointing son.

It's a chilling scene.

What are your favorite classic movie breakfasts?
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Update
Read the second part here: Breakfast in Classic Movies (And How it Drives the Plot) - Part 2
Read the third part here: Breakfast in Classic Movies (And How it Drives the Plot) - Part 3







Enemy Agents Defect for Love in Classic Movies

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"An enemy agent defects for love" is a standard movie plot that has been around for a long time.  Omnia Vincit Amor, or some such thing. Often, though, the defector also has a hidden affinity for silk, chocolate, baseball, bubblegum, apple pie, freedom, etc. - that which is more widely available in the nation state that the hero of the film represents.

Often in films made during the early- to mid-20th century, it's a guy who wins over a female enemy agent.The man is played by a handsome, powerful movie star known for his romantic or dramatic acting chops.


These films are often laced with humor. Take Dirk Bogarde playing a British spy during the beginning of the James Bond craze. Yet unlike the more famous, well-kempt agent, the only tux we see Bogarde in is borrowed, dirty and ill-fitting. Take that, 007! (I guess.)

If you're in the mood for classic movies about defectors, here are a few to start you off:

  • Melvyn Douglas' singular charms win over Greta Garbo, a high-ranking official, in the award-winning film Ninotchka (1939). 
  • Fred Astaire and Cyd Charisse remake Nintochka as a musical inSilk Stockings (1957).

  • John Wayne's strapping presence is enough to make Janet Leigh forget her advancing career as a pilot for the other side inJet Pilot (1957).

  • Dirk Bogarde and Sylva Koscina both contemplate giving it all up for love in the serio-comic spy film Hot Enough for June (1964) (aka Agent 8 3/4).

What are your favorite classic defector movies?

Monsieur Beaucaire (1946) - Bob Hope vs.King Louis

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The king of France and his barber like the same woman - a chamber maid.  The king and a duke also like the same woman - the king's mistress.


The barber and the duke hightail it out of town before someone gets the axe. Through movie plotting, they are mistaken for each other just as the duke (Patric Knowles) must marry the princess of Spain. This means the barber (Bob Hope), pretending to be an aristocrat, could ruin everything.


Monsieur Beaucaire (1946) is a sumptuous costume comedy ripe for 20th century, fourth-wall breaking and humorous one-liners.

Too bad it's not in color. I'm dying to know the color of Madame Pompadour's gown.

If you like Bob Hope, you'll like this movie. It's a good one to have in your collection. However, for a more exciting Bob Hope period comedy (with Basil Rathbone and Joan Fontaine), watch Casanova's Big Night (1954).




Edith Head's Birthday Tribute from Google Doodle

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Edith Head, famed movie studio costume designer with a record-setting number of Academy Award wins, has a birthday today and Google remembers the artist with a Doodle.

Though there have been news items about the Google Doodle,  yours truly hasn't found an article that discusses the outfits that Google has chosen to display.


The Doodle is of six illustrations of the designer's costumes parading in a line while a drawing of the woman herself stands in the foreground in her trademark pencil skirt suit and glasses.

From left to right:

1. Outfit: White strapless gown with yards of skirt
| Movie: A Place in the Sun (1951)
| Actress Who Wears the Costume: Elizabeth Taylor
| One Costume Factoid: Started a trend of puffy ballgowns and prom dresses for females everywhere

2. Outfit: Red, floor-length gown with matching overlay lined in white fur with matching muff  |Movie: White Christmas (1954) 
|Actress Who Wears the Costume: Vera-Ellen
|One Costume Factoid: It's the finale dress.

3. Outfit:Canary yellow cocktail dress and coat 

|Movie: Sex and the Single Girl (1964)
|Actress Who Wears the Costume: Natalie Wood
|One Costume Factoid: After an accident on a movie set in which her broken wrist was left untreated, Natalie Wood preferred to cover her left wrist, usually with bracelets or gloves, to hide a slight protrusion.

 
4.  Outfit: Ice cool blue, one-shoulder ballgown
|Movie: To Catch a Thief (1955) 
|Actress Who Wears the Costume: Grace Kelly 
|One Costume Factoid: It is said to symbolize the character's aloofness since she has no dialogue while wearing the dress.

5. Outfit:  Green pencil skirt suit 
|Movie: The Birds (1963)
|Actress Who Wears the Costume: Tippi Hedren 
|One Costume Factoid:  Edith Head's insistence on simplicity means the suit ages well; there's little trendiness to make the suit dated

6. Outfit:Red, off-the-shoulder period dress with tassels

|Movie: Gunfight at the O.K. Corral (1957) 
|Actress Who Wears the Costume:Jo Van Fleet 
|One Costume Factoid: Edith Head was not nominated for an Academy Award for costume design for Gunfight. Instead, she received a nomination with Hubert de Givenchy for another movie released in the same year - Funny Face with Audrey Hepburn.

It's great to see people from classic filmdom still getting recognition.

Update:




Breakfast in Classic Movies (And How it Drives the Plot) - Part 2

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This is another round of breakfast in classic movies and its importance to a storyline. Read the first part here: Breakfast in Classic Movies (And How it Drives the Plot) - Part 1

Eating your first meal of the day with someone suggests the importance of that person. When it happens in the movies, the characters are often doing more than just eating to pass the time. They are often telling us who and what are important to them, with whom they are closest, etc.

Hungry? Let's have breakfast with the stars (again).


A Tale of Two Breakfasts
Movie: Giant (1956)


The Breakfast

At her childhood home in Maryland, Leslie (Elizabeth Taylor) is so busy talking, she barely eats the fluffy eggs at the table. Later, she takes a single piece of bacon from a chafing dish and strolls outdoors, forever nibbling.

Later, when married to Jordan (Rock Hudson) and living in Texas, her first breakfast as lady of the house includes a huge steak and other hardy fare. It's too much for the dainty lady to eat.

Not only what is being served for breakfast different, but how it is served has changed for our leading lady.

In the East, Leslie enjoys aleisurely morning meal around the dining table with the entire family. Out West, she must eat alone at a coffee table since everyone else has been up for hours and gone to work on the range.

In her new home, breakfast is fuel; it's not for lingering.

How it Drives the Plot
With two breakfasts, the movie plays up the cultural divide between husband and wife -he's formal and dogmatic, she's casual and challenges rules; he's a traditionalist, she's more suffragette,  etc. This makes for arguments and other drama for the duration of the movie.

The intensity of their differences at the beginning of the film contrasts with the peaceful family routine they later settle into. As the years wear on, they find common ground and become less selfish.



Morning Meal in a Motel  
Movie: It Happened One Night (1939)



The Breakfast

Two doughnuts, two cups of coffee, one fried egg. Our two leads (Claudette Colbert and Clark Gable) have very little money, so they split the motel rental the night before and they share an egg the next morning.

They also share a famous discussion about how to dunk a doughnut.("Say, where'd you learn to dunk? In finishing school?") Totally charming conversation.

How it Drives the Plot
It's only after this casual, humor-filled breakfast that the lady begins to relax around this veritable stranger who might become her love interest. Highly-recommended road trip movie.


Breakfast at the Kitchen Table
Movie: Indiscreet (1958)
 

The Breakfast
In Indiscreet, Ingrid Bergman is decidedly unhappy to have dinner alone at home. She wants a man and cannot seem to attract one. Enter Cary Grant. They have a lovely breakfast of bacon, coffee, etc. at her table, filled with sunlight and happiness.

How it Drives the Plot
This breakfast is a character development moment. The meal itself is not as important as are the accoutrements and what they mean.

It's a contrast of the lonely, paltry dinner of chocolate triangles and milk versus the bountiful breakfast with her new beau.

The lady has gone to the trouble of pulling out dishes and a tablecloth for this meal; she couldn't be bothered before. Sunlight is a huge part of this breakfast as well; before, she sat in a dark room alone with her dinner.

Life is fun again. However, we're only halfway through the film, so there's bound to be trouble ahead for the couple. For now, she's happy.

Almost No Breakfast
Movie: The Out-of-Towners(1970) 



The Breakfast

Noted for its lack of a morning meal, this comedy follows an Ohio couple (Jack Lemmon and Sandy Dennis) in New York City who have lost all their money to a mugger, they've slept in Central Park and George has to be at a business meeting at 9am.

Tired and hungry, they discuss that the kids back home are probably eating cornflakes and bananas right now. They talk about the room service that they could have had at the Waldorf-Astoria Hotel, if life had gone as planned.

They do manage to find a box of stale Cracker Jack that a dog slobbered over under an underpass.

How it Drives the Plot

There is very little plot. It's really a series of vignettes of the miserable things which beset this out-of-town couple. Writer Neil Simon has them starving while surrounded by some of the finest food in the world; it's all just played for laughs.

The through line is the husband's determination to arrive at that meeting. And -yes!- to get there he will eat stale, germ-ridden junk food if he must.


Definitely No Breakfast 
Movie: I Thank You (1941)


The Breakfast
A man (Arthur Askey) wakes up in a tube station in London where many have taken refuge in the night during an apparent blitz from enemy forces. During his morning ablutions underground, with a tiny cake of soap tied to his coat like a pocket watch, the man sings ("Hello to the Sun") and is generally cheerful.

He doesn't eat breakfast, but the song includes the following lyrics:
I stretch out my arms/ I try out my legs/I sample the coffee,/the bacon and eggs.
I'm way ahead of everyone,/the first one to say/ hello to the sun.

How it Drives the Plot
Mentioning rationed luxuries like coffee, bacon and eggs while clearly the character doesn't have any, sets him up as an everyman to his audience members, who were going through similar circumstances during WWII.

What's more, it's played for laughs and optimism - other commodities that people were short on at the time. This hilarious first scene sets you up nicely for a fun and frothy, pack-up-your-troubles-by-poking-fun-at-them movie.

Arthur Askey was a popular British movie star who often plays the comic average guy. His radio and movie appearances were welcome respite in times of great distress. So here he is again, serving humor sunny side up.




Have any more classic movie breakfasts? Tell me in the comments below.

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Update
Read the first part here: Breakfast in Classic Movies (And How it Drives the Plot) - Part 1
Third part here: Breakfast in Classic Movies (And How it Drives the Plot) - Part 3







A New Kind of Love (1963) - Newman and Woodward in a Fashion Show Comedy

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It's Funny Face (1957) meets Pillow Talk (1959) in this Paul Newman- Joanne Woodward comedy called A New Kind of Love (1963).

Deception, mistaken identity, the battle of the sexes are all wrapped up with a fashionable bow when a Seventh Avenue buyer named Samantha (Woodward) dons a wig and pretends to be a demimondaine to exact revenge on a New York columnist (Newman) who, before the disguise, thinks she's a man.
 
The title refers to a famous Maurice Chevalier song from the 1930s. Frank Sinatra swings in over the credit sequence to sing a jazzed up version of "A New Kind of Love."  And l'amour is the name of the game. Although, the Newman-Woodward husband and wife acting team are as charming as ever in this thin plot, it's the fashions that grab your attention and drive the story somewhat.

 
Throughout the beginning of the film, our heroine Samantha's cropped hair and penchant for pants leave her constantly mistaken for a man, then is stared at in revulsion. Bosley Crowther of the New York Times is spot on in his review when he counters that Samantha, "looks fetching even in cap, raincoat and trousers." Exactly. She doesn't need a makeover, but you know she'll have one.

 

In fact, it's during her "tomboy" phase that Samantha sports the most interesting accessory she has - her blue-tinted shades. The funky dark glasses, which Sam inexplicably wears everywhere, even indoors, unfortunately never reappear once she is pushed through her inevitable movie makeover.
 

Samantha and company are in the clothing business, after all, so everyone looks great in the film from start to finish. With fashion and Chevalier, you know we're going to Paris before "The End." And we're going to see actual Paris gowns.


Although, Edith Head has the sole costume credit in the film, the Paris fashion show sequences with models might be designs from real French houses, including Christian Dior.

 

However, we might be safe in assuming that most of the gowns on the actors are pure Edith Head.  Once setting foot in Paris, the characters don dresses that are stunning, but uniform - wide shoulder, short sleeve or sleeveless, nipped-in waist, full skirt and knee-length hem- suggesting a very busy designer is using mostly one silhouette.*


Samantha, then, has three separate wardrobes- androgynous (which she drops in Paris), full skirt silhouette and the party girl.


Her wild demimondaine disguise consists of voluminous capes that take up too much space, that horrible helmet of a blonde wigand a beauty spot that seems to skip around more often than a flea on a hot stove.


When she's not pretending to be an overly-dramatic, high-priced prostitute, Samantha -and everyone else- wears perfectly serviceable clothes. This movie might contain one of the best movie makeovers because -forgetting her party girl disguises (if you can)-  the clothing style change is refreshingly not drastic.  It's merely as if everyone spruces up a bit when crossing the Atlantic.

 

The makeover is so wonderfully lacking in drama that Samantha's boss (George Tobias) doesn't notice the change until he looks into Sam's hair for a pencil -another of her New York accessories- but no longer finds one. Instead of writing implements, Sam now has a bow in her hair to match her full skirt. (Meh. Bring back the pencils.)

 

Eva Gabor - playing a European fashion consultant named Felicienne who has a thing for Samantha's boss - wears only the full skirt silhouette, and looks gorgeous in it, of course.  Through her clothes, she is the epitome of everything the movie wants for its characters - to loosen up a bit.







Thelma Ritter -who plays a buyer at the store- copies Felicienne's style. She starts off in tailored tweed in New York then winds up in silks and satins in Paris -fabric that catches the night lights.

She also moves from pencil skirts (relatively restrictive) to the full skirt look that Felicienne sports, suggesting she has become more free and easy. She's also competing against Felicienne for the boss' affections.

A New Kind of Love  is a romantic comedy between Newman and Woodward, but you'll fall in love with the fashions and what they mean for the characters.



* Edith Head was very busy putting the finishing touches on costumes for an epic comedy that would be released the following year -What a Way to Go!- which boasted seventy-three costumes for the leading lady alone. The designer's packed schedule might account for the lack of variety given to the ladies in  A New Kind of Love.







Artist Uses Ordinary Jpegs to Evoke Classic Movie Scenes

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Artist Adrien Parlange evokes famous movie scenes with a few, carefully-chosen, jpeg image files. On their own, each image is ordinary. However, carefully placed on a page in sequence, the images take on the essentials of an iconic frame or two from a film.


For instance, North by Northwest's famed scene of Cary Grant running through the field of corn being pursued by a faceless enemy in a cropduster ...



....is distilled down to ear of corn + ear of corn + man running +  four ears of corn + plane in the uppermost corner.

Adrien Parlange: CINEMA.JPEG: North by Northwest

It's art, it's movies, it's humor based on the audience knowing a specific reference.

These clever little references force you to consider only the necessary parts of the film, then distill the image down to it essence in imagery. It's a fun exercise. And isn't this really what a movie is anyway - a series of images in sequence?

Adrien Parlange: CINEMA.JPEG: 12 Angry Men

 This is fun. So I thought I'd come up with a few more myself. However, it's not easy to find what you need nor is it easy to make. 

I have the concept, but my execution is way off. I've been sitting on this story since June, trying to complete one that looks good. So I finally decided to post the info about the artist anyway and just tell you what I came up with. It's not as fun as an image, but... oh well.

  • It's a Mad, Mad, Mad, Mad World=  briefcase + woman running (for each female character) + man running (for each male character) + palm tree+palm tree+palm tree

  • Singin' in the Rain= umbrella+man singing +rain in top right corner

  • A Street Car Named Desire = torn shirt+ man yelling

  • West Side Story = man jumping + man jumping + man jumping + knife + man happy+heart+woman happy+knife +man jumping + man jumping + man jumping

I've learned that period pieces are especially challenging for this game because of the costumes, especially female costumes. Anyway, it's fun.

 

Further Reading



Breakfast in Classic Movies (And How it Drives the Plot) - Part 3

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This is the third and final installment of our series about that intimate morning meal as portrayed in classic movies, and what it means for the story.

Read the first part here: Breakfast in Classic Movies (And How it Drives the Plot) - Part 1
Second part here: Breakfast in Classic Movies (And How it Drives the Plot) - Part 2

Hungry? Let's have breakfast with the stars one more time.

Breakfast in a Tree
Movie: In Search of the Castaways (1962)


The Breakfast

Due to flash flooding, our adventure seekers are stranded in a large tree. 

As Maurice Chevalier and Hayley Mills harvest random bird's eggs in the tree and catch fish at the waterline for breakfast, they break into a song about finding the benefits of any situation.

Why care about bad weather?/Enjoy it.
Each moment is a treasure./Enjoy it.

The leader of the expedition, Lord Glenarvan (Wilfrid Hyde-White) is despondent that the group is off schedule and stranded. Chevalier will have none of that.

"Cheer up, Milord," says Chevalier, "We pay no rent. Mother Nature sets the table for us, and, fortunately, we have plenty of water."

How it Drives the Plot
The song and meal serve as a respite after several harrowing adventures in this film. It's also a nice life lesson in not being depressed by circumstances. Disney Studios for the win!

Hangover Breakfast
Movie: Teacher's Pet  (1958)


The Breakfast
A professor (Gig Young) has a hangover so he concocts one of the the most putrid liquid breakfasts known to man to deal with it - Tomato Juice, Hot Sauce, Raw Egg and Other Disgusting Things.

The night before, in an attempt to impress a fellow professor (Doris Day) he believes he can use the force of his own will to "hold his liquor." He can't.

How it Drives the Plot
Lesson 1: This binge knocks the professor unconscious and knocks him out of the running for his lady love's affections. He knows this and discusses it with our leading man, Clark Gable, while they make the beverage.

Gable is now freely able to pursue the lady without competition (and he certainly does).

Lesson 2: It's not the gin that's potent, it's the ice you have to watch.

Generational Differences Over Breakfast
Movie: Flower Drum Song (1961)


"Sit," says, Wang Chi-Yang to his sons, "Only cannibals eat standing up!"


This humorous directive at the breakfast table is one of pure frustration. The father (Benson Fong) has run out of ideas for keeping his sons under control.

Wang Chi-Yang has already eaten breakfast and is relaxing in his garden by the time the sons awaken and come to the table. The older son, Wang Ta (James Shigeta), drinks tea. The younger son, Wang San (Patrick Adiarte), heads straight for the milk and cornflakes.

How it Drives the Plot

So many things are going on here. Mostly it's showcasing the generational themes which are the thrust of the entire plot.

1. This scene sets up the next song, "The Other Generation," where parents and children complain about each other.

2. This scene shows differences in pace between generations.

    The father does not waste daylight;  he awakens early and he gives himself time to be methodical.
    The sons awaken later but rush outside with great energy to their appointments. This is why they are standing up. There's too much to do to have a leisurely meal.

3. The food choices flesh out the characters.

   The scene starts after the father has eaten this meal, but we do see the sons consuming food.  The younger son, San, chooses milk, corn flakes and (too much) sugar. This cereal was popular with children of the mid-20th century. He wears a baseball uniform and is going out to practice. He uses the latest slang. All of this plays up San's youth, vigor and modernity.

   The older son, Ta, chooses hot tea, suggesting his maturity and sophistication. He couldn't possibly drink hot tea in a rush without burning his mouth. However, he is still standing up like his younger brother.

  Ta wants to be like his father - stalwart, respectable, traditional- yet he also wants to be like his younger brother - hep, up-to-the-minute, modern. This kind of pull on Ta, this dichotomy, will continue throughout the film in larger themes (like whether he should he marry a traditional woman or a modern one ).



Morning Meal for Two in a Studio Apartment
Movie:On Our Merry Way (1948)


A young couple named Oliver and Martha (Burgess Meredith and Paulette Goddard) live in a crowded little apartment and go through their morning routine. He showers; she prepares breakfast. He shaves while standing over the breakfast table and guzzling juice and coffee; she summarizes the news headlines aloud. He admires her artistry with a paintbrush; they banter.
Oliver: When is the common man going to catch up to your style of painting?
Martha: You just did.
Oliver: In spite of your insults, I love your wit, I love your paintings, but most of all, I love... yourcoffee.
Who are these people? How did they meet? What's their story? We don't know. Husband goes off to work shortly after this.


How it Drives the Plot
This breakfast scene does not drive the plot any further than the front door of their apartment, which is a shame. They are charming, amiable people. You want to spend ninety minutes with them, but instead you get about ten minutes.

This is an anthology film - a series of vignettes connected by a theme. What this means is husband will go out the door and go to one adventure after another leaving wife (and anything interesting) behind.  This is a promising breakfast gone totally wrong.


Breakfast in the Old West
Movie: Seven Brides for Seven Brothers (1954)
 

The Breakfast
Newlywed Millie makes the first breakfast in her new home with her husband and brothers-in-law who are "seven slumaky backwoodsmen." At supper the night before, the men are coarse and greedy, noisily grabbing anything that's not nailed down and shoving it into their faces.

So this morning she has a plan. Millie secretly washes her brothers-in-law's clothes in the night, leaving them with their underwear and later with nothing to wear. These barbaric men have an odd sense of propriety - they'll eat like hogs in front of a woman, step on top of her dinner table, not acknowledge her presence, but they won't appear in long underwear in front of her (that would be a bridge too far).

She tempts them with breakfast to get them to behave, saying, "I've got hot muffins waiting. Steak. Fire potatoes. Flap jacks. Fresh-ground coffee."

How it Drives the Plot
This meal is the beginning of Millie's rightful reign as the lady of the house. (Note that the night before at dinner she stands around in horror; this morning she is seated at the head of the table.)

Her brothers-in-law will be tamed -at breakfast and otherwise- so that she can get them out of her house and into their own families. At this point, it's Millie who wants those six other brides to show up more than anyone else ... ASAP!


--------------
Meals really do tell a lot about a character.
The next time you see a movie breakfast, pause and consider what the set designer, director, actors and script are telling you. It could be some deep psychological theme all tied up in bacon and eggs. Or it could be just breakfast. You never know until you think about it.

Ciao for now,

Java
P.S.This series has been fun. It's not really over, it's simply taking a hiatus.

Further Reading
Read the first part here: Breakfast in Classic Movies (And How it Drives the Plot) - Part 1
Second part here: Breakfast in Classic Movies (And How it Drives the Plot) - Part 2












In Search of the Castaways (1962)- Hayley Mills/Maurice Chevalier in a Jules Verne Adventure

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Disney is so great at marketing that one usually doesn't usually lump its older movies in with "classic films;" Disney films just ARE films. This, in part, accounts for their longevity.

Today's movie -In Search of the Castaways - celebrates its 51st anniversary this year; it certainly qualifies as a classic here at Java's Journey.
 


Disney megastar Hayley Mills at the age of 16 is our leading lady, playing opposite a cast of legends -legends, I tell you!- in the entertainment industry.
 
It's as if the Mickey Mouse company asked itself, "how can we get the entire family to buy tickets?" The result is to cast Maurice Chevalier -who's heyday was a generation or two prior- to make grandma and grandpa nostalgic. Cast George Sanders and Wilfrid Hyde-White -who lit up the screen during the the 1930s, the war years and beyond- for mom and dad. Cast the charming Disney princess of the moment for the teens -Mills. And throw in a small-ish child (Keith Hamshere) and an animal or two for the youngest kiddies.


Well, it works. The entire family can enjoy this film.

Mary Grant (Mills) and her brother Robert (Hamshere) are searching for their father Captain Grant (Jack Gwillim) who is missing at sea. This being a Disney film, the mother is nowhere to be seen, thus driving up the stakes of finding father.

A professor (Chevalier) and the owner of the captain's missing ship, Lord Glenarvan (Hyde-White) agree to help find the captain, and thus begins the adventure.

 

Lord Glenarvan has a son named John (Michael Anderson, Jr.), whose mother, like Mary's, is also nonexistent in the plot. He's on hand to make goo-goo eyes at Hayley and make all the boys in the audience green with envy.

(Anderson says in a 1963 interview that he is smitten with the teen queen in real life. "Of course I'm in love with Hayley Mills," says Anderson. "Who isn't?")

Right. On to the adventure.



Since this is a Jules Verne adaptation, the movie skips about here, there and everywhere all over the globe and encounters fantastic natural occurrences. Floods in a drought, earthquakes, erupting volcanoes, avalanches, ice caves, wild cats in trees with humans, giant birds carrying children away - this is par for the course in the ninety-eight minute film.

 

With all this mayhem stirring around, we don't really need a human villain, but we get one (and we appreciate the luxury). Sanders shows up with his singular talent for portraying quiet menace. Then, in addition to man vs. nature, we get to man vs. man and all that entails -betrayal, deception, captivity, all sorts of things to ravage the senses.  It's a thrilling movie.


In Search of the Castaways boasts dated (but still excellent) film technology for those natural disasters, fabulous period costumes, great adventure, family-friendliness and interesting performances for all ages. Highly recommended.


Further Reading:







The Reckless Moment (1949) - Joan Bennett/James Mason Suburban Drama

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When you think of 1940s movies, what comes to mind?

Casablanca? War films? Romance and intrigue under distance skies? Betty Gable in red, white and blue? Film Noir where a shady gumshoe picks up a doll-faced dame whose alibi is as thin as the paint on her cheeks?

Well, among those images should be the suburban drama. Post-World War II  movies are great for psychological thrillers, mysteries and tension in ordinary places.

 

The Reckless Moment (1949) is set in the quiet, unassuming peninsula of Balboa, CA. Lucia Harper (Joan Bennett) is a loving mother who seeks to protect her rebellious daughter from suspicion of murder.

The teen daughter has a secret affair with an adult boyfriend. The lover is found dead, a criminal acquaintance, Martin Donnelly (James Mason), has acquired their love letters and blackmails Mrs. Harper.

Raising a large sum quickly and without raising suspicion takes up the bulk of this drama. Mrs. Harper must move through her genial, placid world as if all is well. It's a comment on the facade behind which many people live every day.


Sometimes a movie wants to redeem its villain and show that he or she is not an incorrigible crook. Mason, portraying the blackmailer who begins to empathize with the family as Mrs. Harper struggles to gather the money, is perfect casting. As they wait for the cash, he observes Mrs. Harper's daily life, and expresses sentiments about her slightly claustrophobic familial existence, sentiments that she will never utter, but doesn't deny.

Though the definite article is used in the title -suggesting there is only one reckless moment that changes everything- in truth there are many reckless moments onscreen and ones merely alluded to by the characters.

 

Is the reckless moment allowing the daughter to apply to an art school (where she meets the shady boyfriend) against the parents' better judgement? Taking up with a guy she knows her parents would never approve of? The mother meeting the boyfriend in person to breakup the relationship? Tossing the man's body into the water? Agreeing to be blackmailed instead of going to the police? Wanting to tell her husband but deciding against it?

These, and many other decisions made in an instant, twist the plot this way and that. To which reckless moment does the title allude? That's for you to decide.

The Reckless Moment is a tense drama in ordinary spaces, meant to make the audience think, "this could be me." Chilling.












On Agnes Moorehead: A Blogger Writes a Fun Review of the Actress' Career

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The blogger at Movie Star Makeover writes a fun and interesting review (with lovely, sharp photos) of Agnes Moorhead and her acting career in "Who Are You Today, Agnes?"

I had never researched Ms. Moorehead's background (she's on that "someday I'll read all about her" list). So I didn't know many things about the actress.

Here are a few bits of trivia:
  • Agnes Moorehead  was the daughter of a minister. Later in her radio career she would recite the books of the Bible in 14 seconds as a sort of parlor trick.
  • She originated the role of the unsympathetic invalid in "Sorry, Wrong Number" for radio.
  • The actress attended Columbia University to earn a  PhD in speech.
  • She could impersonate Eleanor Roosevelt and won plaudits from the then-First Lady herself.

Now that I've whetted your appetite, go read "Who Are You Today, Agnes?"



Bette Davis vs.Tallulah Bankhead (Radio Shows Embedded)

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Bette Davis recreated her famous film role as Margo Channing in All About Eve (1950) for Lux Radio Theater in 1951. (Hear it or download it below.)


Among the actors originally considered for Margo in the film is Tallulah Bankhead. Ms. Bankhead also stepped into the part of Margo for a radio show - Theater Guild on the Air in 1952. (Hear it or download below.)

It's one of the rare times you can hear a movie character peformed by an earlier casting choice.


All About Eve tells the story of a Broadway actress panicked about losing her career and her beau to an interloper.

Both Ms. Davis and Ms. Bankhead play the character with the ferocity and abandon for which they are each known.The biggest difference between the two performances is Ms. Bankhead's tendency to speak quietly where Ms. Davis roars.

These occasional hushed tones lend Bankhead's Margo a steely resolve. You get the idea that were she to lose her career and her beau, she'd still be fine, perhaps even better off without them. This gives the audience a feeling of relief.

Unfortunately, that means Bankhead's Margo has less to lose, no skin in the game. Sometimes she seems so annoyed with Bill you'd think she would prefer to live without him. That would be interesting take on the character, but that would be a different play.  The tone here sometimes goes against a central conceit of the plot - that Margo cannot imagine her life without Bill or the theater.

Bette Davis' Margo, on the other hand, weeps uncontrollably, practically bursts a blood vessel shouting. There are other ways to showcase grief or fear, but this is how Davis does it. She stands to lose everything, that's why you empathize with her, even when she's throwing a loud, childish tantrum.

Or maybe I'm just accustomed to Bette Davis' performance in the film. Decide for yourself. Listen to or download the performances below. Enjoy!



Listen Now to the Lux Radio Theater production of  
All About Eve (with Bette Davis from October 1, 1951):
(Flash player required) (Duration: approximately 60 minutes)



Or save for later by right clicking this link:
http://archive.org/download/Lux16/Lux_51-10-01_All_About_Eve.mp3





Listen Now to the Theater Guild on the Air production of  
All About Eve (with Tallulah Bankhead from November 16, 1952):
(Flash player required) (Duration: approximately 60 minutes)
 













Fake Classic Movie Star Print Ads

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I recently saw James Dean - or, rather, a photo of him- standing next to a car. The picture was used to hawk some brand of motor oil in a new banner ad.



Why not make a few ads myself, I thought. As Deanna Durbin sings, it's foolish but it's fun. Here we go...


















fake ads






















Is Katharine Hepburn Irrelevant in Love Affair (1994)?

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When a movie legend's career comes to an end, you wish them to go out with a bang.

Deanna Durbin left her career on top - having always played the lead after her first film. James Dean's abbreviated career left behind the epic movie Giant.

In the case of movie star Katharine Hepburn, after a ten year absence from theater releases, the 87-year old legend was coaxed onto the big screen again, for a classic movie remake - Love Affair (1994).  Though she filmed the occasional TV movie, and would complete another small screen story later that year, Love Affair would be her last role for a major film.

Unfortunately, Ms. Hepburn's role in her cinematic swan song is made irrelevant.


Love Affair (1994) is a remake of two earlier films -Love Affair (1939) and An Affair to Remember (1957). It's the story of two strangers who meet on a trip and flirt, but are engaged to other people.

In all three movies, the couple's budding relationship receives a nod of approval from a matriarchal figure -a grandmother in the first two films, Aunt Ginny (Hepburn) in the latest film. This authoritative figure is in place to engender audience approval, so the heroes won't appear egregiously unfaithful to their fiances (even though they actually are cheating).


But there are two significant differences betweenHepburn's role in Love Affair '94 and that of her predecessors.

Because There is Little Scandal, Aunt Ginny's Blessing is Irrelevant in Love Affair '94 

In Love Affair '39 and An Affair to Remember, infidelity to a fiance is treated as a battle:  societal norms vs. personal feelings. To avoid gossip, the couple takes care not even to be seen dining at the same time in the cruise ship's restaurant. Their reputation in the world means a lot to them.

However, in Love Affair '94, infidelity to a fiance doesn't really bother anyone so there's very little tension. This is not the grand battle between society's expectations and individual desires as it is in the first two films. In this movie, society at large doesn't care what the characters do. Plus, their fiances are perfectly serviceable alternatives who remain friendly throughout and don't give ultimatums.

Thus, in Love Affair '94 there is little at stake (and nothing for Katharine Hepburn to do).

Should our heroine Terry (Annette Benning) chose the attractive guy (Pierce Brosnan) who has loved her for so long, or the new attractive guy (Warren Beatty) who is also willing to devote himself to her exclusively?

Who cares? Do whatever you want. Without broad-based social scandal in the mix,the leads in Love Affair '94 cannot lose with either decision, making their story a completely isolated, internal and insignificant tug-of-war. 

Watching them mull over their decisions is like being in line behind someone at Starbucks. Just choose something, already! Your options are all about the same and I'm getting restless enduring your indecisiveness.

In the earlier two films, the decision to throw caution to the wind and finally pursue each other is weighty and dramatic, making the elder woman's "benediction," as the New York Times calls it, a necessary boost to the couple's plans. In Love Affair '94, the fraught drama isn't there, making Ms. Hepburn's role and Aunt Ginny's blessing superfluous.



Does Aunt Ginny Actually Approve?

Since Aunt Ginny mostly serves one function in this story - to approve of her nephew's relationship with this new love interest- the elder relative must make her approval clear (or at least implicit) otherwise there is no point in her existence in the plot.

However, there's a problem with tone in Aunt Ginny's scenes. Since they share only about 10 minutes of movie time, Aunt Ginny and Terry must establish a rapport and a life-long bond quickly.

What do we get instead?

The New York Times critic describes Ms. Benning's Terry as "usually peevish."  It's arguable that this character is a part of the times. 1990s movies are overflowing with cynical, biting and no nonsense female leads, which are quite fun to watch. It's just a style.

However, for the scenes of female bonding with Aunt Ginny, it's not necessary to be aggressive. In fact, it's detrimental. Terry is not easy to like in these scenes.

Meanwhile, Aunt Ginny isn't helping. With elbows on knees, she absently slaps her hands together, trying to think of conversation with her guest. It seems she's ready for Terry to leave. (You're burning up precious bonding time, Aunt Ginny.)


No one -not the director, not Ms. Benning, not Ms.Hepburn- allows Terry and Aunt Ginny to like each other. The words are there but the expressions and gestures are that of people enduring each other.

Come on, movie! I want to like you. I want to love you. I want to point to you and say, " See, all you doubters? There is a decent classic movie remake after 1968."

But I can't.

Is Aunt Ginny necessary? No. The script has forced the older woman to become obsolete, a relic left over from the earlier films. Further, the tone of her scenes makes visiting Aunt Ginny unpleasant.

Except for showcasing what a nice guy the nephew is towards women in his family, Aunt Ginny's presence is, at worst, detrimental to the film, at best,superfluous. This is one of the great Katharine Hepburn's last roles; it's a shame that the character is irrelevant.








8 Lessons from John Wayne's McLintock! (1963)

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When you live in a wild West movie, you can either do things the McLintock! (1963) way or the wrong way.

This movie was released half a century ago and holds 8 timeless lessons from John Wayne and company by which we may all profit.


1. Whatever You Do, Don't Be Neighborly.
 
Young rancher Ben (Edward Faulkner) assumes the new settlers in town won't be able to feed themselves and might start slaughtering his herd without permission. He threatens to kill the farmers.

Teaching your new neighbors the ways of the West won't do. Just kill them; it's quicker.


2. Try to Punch Your Boss


Rancher McLintock (John Wayne) has no use for farmers, so he rejects farmer Devlin Warren (Patrick Wayne) who incessantly asks for a job. In Warren's last attempt, he explains why he needs a job - he's the sole supporter of his mother's family- and McLintock hires him.

Sickened that his plan for employment works, Devlin punches at McLintock, misses and keeps his job.

What does this tell you? Always, without exception, punch at the face of the guy who helps your family. Maybe knock out a few teeth and you could get a raise.


3. Wear Your Futuristic Salon Treatment in the Settlement Camp

Devlin's mother, Louise Warren (Yvonne De Carlo), is always ready for her closeup. She's traveled thousands of miles over rough terrain, has no money and has lost her husband, but -boy!- does she look like she just slinked out of an Elizabeth Arden chair.

The Jackie Kennedy bouffant, the false eyelashes out to there, the lip rouge all traveled backwards almost 70 years to rest delicately onto Mrs. Warren in the dingy settlement camp. Dust wouldn't dare cling to her; she's Future Mom -Pristine Visitor From Another Century!

4. Threaten Death to Your Loved Ones and Friends; It's Funny


Within the first few hours of McLintock's day, either he or someone he does business with threatens the lives of several people that he likes.

Family Cook: "If you fire me, I'll kill myself."
McLintock: "I may save you the trouble."



Our hero, folks. Our hero.


5. Flirt With a Guy, Then Don't, Then Flirt, Then Don't, Then Push Him Away. Next Guy. Rinse. Repeat.


McLintock's daughter Rebecca (Stefanie Powers) is home from school and she is fickle. One minute she's flirting outrageously with a guy, the next she wants nothing to do with him.  It's like her romance switch flips on then off again without warning.

Then it turns back on. She picks up another guy and does the same routine. Then falls back on the first guy...

Swallow a Dramamine to keep up with her motivations without becoming dizzy and nauseous.

6. A Fistfight Will Change Anyone's Mind




Ben knocks out Davey (Perry Lopez) for daring to want to marry Ben's sister.  Davey loses, so, obviously he cannot marry the woman with whom he has been mutually flirting for years.

The law of the fist has spoken.

Devlin starts a fight with rancher Ben because... he has an itch? Who knows. It's not clear. Fight-happy farm boy Devlin wins. After his concussion, Ben suddenly admires the farmers he wanted to murder.

The law of the fist reigns supreme.

[That's why the story won't let Devlin's fist make contact with McLintock's face earlier; it might completely change the plot.]

Then, an uncle -who has nothing else to do with this movie before or after this scene- thrashes Devlin for belting nephew Ben. I'm convinced this last fight only happens so we can have the frame above of all the young guys with black eyes. Let's call it "Three Blind Mice."

7. Paddle the One You Want to Marry; She'll Love You



Just as Devlin loves to punch a guy for no reason, he's also not above striking a woman (on the other set of cheeks).

He and Rebecca argue over nothing. She demands that her father shoot the guy; that will stop the argument. (Wow, Rebecca! What were they teaching you at school? I hope you were not allowed on the debate team.)

McLintock shoots the guy with a blank cartridge and scorches Devlin's shirt. Learning his lesson earlier that McLintock's face cannot be punched, Devlin spanks Rebecca instead.

Ah! Puppy love.


8. Paddle Your Estranged Wife; She'll Return to You


Katherine McLintock (Maureen O'Hara) has been a sourpuss the whole time. She's demanding a divorce but secretly wants to stay. How does McLintock respond? He spanks her... in her underwear ... in public... as everyone laughs.

This is a seriously screwed up family. Devlin will fit right in.

--------------------------------------
Who says movies are not educational? What lessons have you learned from McLintock!?



Step Lively (1944) - Young Frank Sinatra in a Musical

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Today, we review a film from Frank Sinatra's early movie phase.

Step Lively (1944), a film version of the Broadway play Room Service, follows a "Let's put on a show" movie formula. George Murphy gives it panache as struggling producer  Gordon Miller who gets his musical onstage by a series of fast-talking grifts. He fools the manager of a hotel (Walter Slezak) into keeping his stable of performers in the best suites without payment.

Gordon  also cons dramatic playwright Glenn Russell (Sinatra) out of thousands of dollars, then flatters him by asking Glenn to sing.

Of course, Glenn actually can sing well, which leads to a few numbers for Sinatra to croon.

Gloria DeHaven, seasoned pro, is on hand as Christine Marlowe, the star of Gordon's musical. Christine's charms are Gordon's main method of keeping Glenn from squawking to the police about the misappropriated funds.

In reel life as in real life, Sinatra gets the star treatment in this film. His name is first and above the title, despite having fewer acting credits than his co-stars.

As he glides through the door, making his entrance, there's a respectful eight seconds without dialogue. Can't you hear the fans in the audience screaming? This is followed by a few more seconds of inconsequential dialogue (just in case they haven't finished yelling their lungs out), before the meetcute with Ms. DeHaven.


Though a charming celebrity, and a well-known crooner (ensuring ticket sales to Bobby-Soxers in the cinema) in Step Lively, Sinatra is still learning the ropes as an actor; his delivery is a bit wooden. Later in his career, he would make film performance seem easy.

Sinatra is not the only one who gets a star's entrance. A bevy of chorus boys and girls surround Gloria DeHaven as a curtain opens from the hotel balcony during a rehearsal.

Ta da!
Ms. DeHaven and George Murphy were under contract with MGM, who boasted having more stars than there are in the heavens. Their studio loaned them out to RKO for this movie.

Sinatra would soon join them at MGM, the studio which produced some of the best musicals in the world, including the innovative screen hit Sinatra would play in the following year - Anchors Aweigh (1945), with Gene Kelly.

Step Lively is a great film to study early Sinatra and marvel at how far he progressed in the craft of acting.

The Courtship of Eddie's Father (1963) - Glenn Ford in a Dramedy

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Glenn Ford plays widower Tom Corbett who raises his young son, Eddie (Ron Howard), alone, but the son has other ideas in The Courtship of Eddie's Father (1963).


Perhaps Dollye could be his father's new wife. Dollye Daly (Stella Stevens) is a random stranger Eddie meets in an arcade. Dollye is going through a confidence course and Eddie helps her break through her debilitating shyness. Her unassuming presence also relaxes Tom enough to reintroduce the idea of romance.
  



Dina Merrill is Rita Behrens the "other woman" in our play. This is the inevitable "evil" gal whom father dates but child doesn't like. Though this is the type of character who often muses cattily about shipping children off to boarding school to have daddy all to herself, the script wisely stays away from this bent, casting Rita as your average, lovely socialite. She seems evil to Eddie mostly because she resembles the villains in his comic book.

Plus, Eddie considers someone else for his father to marry.




That someone else could be Elizabeth. Shirley Jones plays Elizabeth Marten, a  neighbor, friend of the family and a nurse, who is on hand to soothe physical and emotional ailments in both father and son. Since Elizabeth knew the late Mrs. Corbett, she is the one with  whom Tom shares his most intimate thoughts about how to raise Eddie and deal with grief.


Howard as precocious little Eddie, is particularly winning with his deadpan delivery and double entendre. Ford is gentle and impatient, yet warm - many of the conflicting emotions necessary to play a father and grieving widower.

Courtship is based on a novel by Mark Toby and is directed by the great Vincente Minnelli. A highly recommended tender comedy which does not shy away from the elephant in the room - death.



Recommendations
Other movies which handle the widower angle pretty well are these:  
The Sound of Music, Jane Eyre, Corrina, Corrina and Houseboat.







A Tale of Two Thanksgiving Scenes

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There are a couple of memorable Thanksgiving scenes in Giant(1958). This is the big budget film adaptation of Edna Ferber's novel about a young couple from two different states who have two different opinions on almost everything.


Usually Thanksgiving movie scenes involve having the entire family gathered together in one house, eating and being merry. Giant turns that notion on its head by making its two Thanksgiving scenes about a family broken.
 
Leslie (Elizabeth Taylor) wants to leave her husband Jordan (Rock Hudson), because she believes they are incompatible- he is a traditionalist from the Lone Star state and she's more liberal and from the East.

Leslie leaves, citing Thanksgiving with her parents as an excuse. She takes the children with her. What follows are two of the saddest Thanksgiving scenes on film.


Jordan just sits there in front of his Texas-sized turkey, by himself at home, at a long empty table, not eating. The towering dark walls, sparsely decorated table and heavy wood engulf him, making this tall man seem tiny. He's almost hidden behind the dead bird.

He doesn't say anything but you get it;  Jordan misses his family.

Leslie misses her husband, but will not admit it.  The two are both stubborn.

Since the parents do not express the pain of separation in tears or in any other way, the movie gives their children something to cry about.

The children love the pet in their grandparents' backyard. They feed him and name him Pedro. There's a convivial atmosphere in the East. It will soon be interrupted.



On Thanksgiving Day,  the children get the shock of their lives when Pedro is served baked on a platter for dinner. Their loud cries over the dead bird  are, of course, a substitute for the tears their parents have not shed over a possibly "dead" marriage.


Having the family split during this holiday makes the suffering more pronounced for the characters than if this was just a regular day of the year. This ratchets up the tension. We've seen how well Leslie and Jordan get along when they choose to do so; we want this marriage to succeed. But will they reunite? What's the conclusion?

You won't know for several agonizing minutes. It's gut-wrenching, and, like the kids, you just want to cry.



May your family live in unity and may your grandparents never carve up your pet for the holidays.


 
Happy Thanksgiving








Double Crossbones (1951) -Donald O'Connor in a Pirate Movie

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Through a series of complicated plot points, store clerk Davey Crandall (Donald O'Connor) pretends to be the dread pirate Bloodthirsty Dave, scourge of the Carolinas.





The Brotherhood of the Coast, a band of famous pirates, welcome Bloodthirsty Dave and begin planning their next criminal move. Will Davey become caught up in their cutthroat plans? Will the authorities ever believe that he's not really a pirate? Will his lady love spurn him for his fictional past?


The outlawed group includes Alan Napier as Captain Kidd, Robert Barrat as Henry Morgan and Hope Emerson as a lusty (and hilarious) Ann Bonney who makes eyes at Davey.

Historical inaccuracies aside, this is a fun film that's not meant to be taken seriously. There are sword fights, people saying "shiver me timbers," and other movie pirate tropes.

To speak with his love interest Lady Sylvia (Helena Carter), this non-outlaw outlaw must disguise himself as a dandy, attend a party and risk being caught. It's a series of comic scenes like those found in Bob Hope comedies, like Casanova's Big Night or Monsieur Beaucaire. Only this is one of the few times in a comedy when a disguise actually works for the plot and the audience in the cinema. O'Connor is absolutely unrecognizable in his white wig and facial hair.


For fans of O'Connor's dancing, we are given one mere morsel of a backstage musical dance number on the pretext that Davey will earn escape money by singing and hoofing onstage at a tavern. It's a delightful little ditty that includes running up a wall - a feature of the famous "Make 'Em Laugh" dance the comic would later perform in Singin' in the Rain (1952).


Double Crossbones (1951) is a great comedy, fun for the entire family. Recommended.





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