Posted by Kimberly Lindbergs on June 25, 2015
You can catch Arlene Dahl in a number of films airing on TCM in July:
Arlene Dahl was a stunning redhead and a capable actress who I’ve enjoyed watching in a number of films including REIGN OF TERROR (1949), SCENE OF THE CRIME (1949), WOMAN’S WORLD (1954) and JOURNEY TO THE CENTER OF THE EARTH (1959). However, her most successful career was in the multibillion-dollar beauty industry where she started as a syndicated columnist offering advice on dieting, plastic surgery, make-up, fashion and the latest hairstyling trends. By 1954 she was managing her own line of lingerie and cosmetics under the Arlene Dahl Enterprises banner and in 1965 she published her first of many books titled Always Ask a Man: The Key to Femininity. Dahl’s book capitalized on her Hollywood credentials and dished out beauty tips along with suggestions on how women could best attract and keep their men.
With the women’s movement on the rise and the sexual revolution bubbling loudly under the surface of polite society, the mid-sixties was a challenging time. Especially for women like Arlene Dahl who had accepted her place, no matter how begrudgingly, in a society that often treated her like a second-class citizen. And although she had admirably managed to create a successful business for herself at a time when American women still weren’t allowed to get an Ivy League education, Dahl makes it clear in Always Ask a Man that she was no bra burning radical. Her antiquated ideas about womanhood are supported, and in some cases weakened, by a surprising number of male actors who are quoted throughout her book. These beloved film figures, including Cary Grant, Marlon Brando, Bob Hope, Richard Burton and Burt Lancaster, freely offered their thoughts on femininity and beauty to Arlene Dahl, which she undoubtedly hoped would help sell her book and boost her arguments. 50-years-later, many of the actor’s casual comments are cringe-inducing reminders of a bygone era while others are more thoughtful and enduring. As history, particularly Hollywood history, their observations on women in 1965 makes for fascinating reading so I decided to collect some of the more provocative quotes and share them here.
Posted by Kimberly Lindbergs on June 4, 2015
Maybe it was the Hollywood homes featured in my last post or the ongoing worldwide celebration of Orson Welles 100th birthday? Whatever the reason, I spent a great deal of time thinking about William Randolph Hearst and his massive estate at San Simeon last week. As any classic film fan worth their salt knows, the newspaper mogul once played host to many Hollywood stars and starlets at Hearst Castle and his life was brilliantly satirized by Welles’ in CITIZEN KANE (1941). For better or worse, the film has forever colored our view of Hearst as well as his mistress, actress Marion Davies, while his home remains a mythical Xanadu currently opened to the public as a state run museum that I once had the pleasure to visit.
I was at the impressionable age of 10 or 11-years old when I got the opportunity to explore Hearst Castle and the experience left an undeniable mark on my young mind. My late grandmother, who lived a short distance away in Goleta, California, planned the trip and I knew nothing about the place until we arrived at the entrance and I was bombarded by guide books and picture postcards that featured familiar faces from the movies I’d grown up watching. Charlie Chaplin, Greta Garbo, Cary Grant, Bette Davis and Clark Gable were just a few of the recognizable celebrities that had once graced these hallowed grounds while participating in private sporting events and attending extravagant parties.
If you have patience for yet one more Cinderella story, I’ve got a 1935 romantic comedy with an interesting behind-the-scenes twist.
This week’s Cinderella is Alice Adams, a Katharine Hepburn vehicle by ex-Laurel & Hardy cameraman George Stevens, adapted from a Booth Tarkington novel of the same name. It garnered Academy Award nominations for both Best Picture and Best Actress, and revived the moribund career of Hepburn (or at least until the next time her popularity hit the rocks, or the next time after that) and was a breakthrough career moment for Stevens, who reinvented himself as a serious director of significant Hollywood pictures and not just that guy who used to make “Boy Friends” comedies for Hal Roach (never heard of ‘em? You’re not alone). And yet, both Hepburn and Stevens fought to prevent the film from being as successful as it came to be. And therein lies our story.
Posted by Kimberly Lindbergs on May 28, 2015
Regular readers might remember a blog post I wrote last year about Hollywood portrait photographer Eliot Elisofon. I’m a huge admirer of his work so I decided to track down used copies of some of the books he wrote and one of my most interesting recent purchases was a lavish coffee table photo collection titled The Hollywood Style originally published in 1969 and co-authored by film historian Arthur Knight. The book provides an intimate look at the luxurious homes of various classic film actors and directors while combining three of my personal passions, history, photography and pre-80s interior design, into an impressive triumvirate that revels in Hollywood extravagance.
If you’ve ever pondered the design of Cecil B. DeMille’s home office or wondered what Jennifer Jones’ bedroom might look like you should find the following photos as curious and captivating as I did.
“One of the dullest towns in America is the dreary community of Hotchkiss Falls in the mid-Hudson Valley. The odds are 1000 to 1 against our finding anyone there with an interesting story. However that’s where we are, so let’s take a look around.”
Screwball comedies generally came in one of two flavors. The Heiress On the Run, as the name implies, presented rich girls fleeing their lives of privilege to take up with working-class men (see It Happened One Night, Next Time I Marry, Lady in a Jam, My Man Godfrey, Holiday). The Cinderella Story is also self-descriptive: a destitute and desperate girl is mistaken for a rich debutante, pampered by an older Sugar Daddy, and ultimately takes her place among the social set (see Easy Living, Midnight, and Fifth Avenue Girl, and Ruggles of Red Gap is a gender-reversed variant).
But once, the world of screwball combined these two flavors: Slightly Dangerous is both an Heiress on the Run film and a Cinderella Story, and it gives us a chance to dig into what made these two screwball subgenres work.
Posted by R. Emmet Sweeney on May 19, 2015
In 1936 Leo McCarey drank some expired milk. It was part of an ill-advised publicity stunt that had the crew of the Harold Lloyd comedy The Milky Way (1936) imbibe daily amounts of dairy. One of those fateful sips incapacitated McCarey with undulant fever, after which he went to Palm Springs to get healthy. As part of his unique recovery process he visited a casino, which is where he met playwright Viña Delmar, who would go on to write the screenplays for both Make Way for Tomorrow (1937) and The Awful Truth (1937). So we have food poisoning to thank for two of McCarey’s, and thus Hollywood’s, greatest films. They are both acutely observed movies about marriage that deal with the sacrifices required to maintain that union, with Make Way taking a tragic viewpoint from that of old age, and Awful Truth a comic one from youth. It was the latter, of course, with its joyous happy ending, that won the Oscar and the accolades, while the devastating Make Way was also a critical favorite but a popular failure. But when a film is released on the Criterion Collection, it can no longer be called under-appreciated. Make Way For Tomorrow was released earlier this month on Blu-ray from Criterion, in a crisp transfer that faithfully renders the thick grain of William C. Mellor’s naturalistic photography.
Gregory La Cava’s 1939 comedy Fifth Avenue Girl is an excellent example of the 1930s style of romantic comedies, and possibly my favorite Ginger Rogers film of all. It is also a decidedly deviant 1930s romantic comedy that breaks more rules than it follows, and uses Ginger Roger’s natural downtrodden deadpan persona to tamp down the usual screwball shenanigans in favor of something altogether more quiet, and bitter. And if that doesn’t quite sound like comedy to you, then read on…
Posted by R. Emmet Sweeney on May 12, 2015
When sound came to cinema, the musical came along with it. The tremendous box office returns of The Jazz Singer (1927) had producers reeling, and the market was soon flooded with song and dance. But the Depression-era audiences began tuning them out, preferring the patter of William Powell to the tapping of another chorine. By 1931 the studios had slashed musicals from their slates and were brainstorming what went wrong. In the May 1931 issue of the Motion Picture Herald, Paramount’s Jesse Lasky was optimistic about the future of the genre:
In 1933 all questions were dropped after the massive success of WB’s 42nd Street, a snappy, streetwise backstage musical that introduced the world to the symmetrical spectacles of Busby Berkeley’s dance choreography. Now out on a sparkling Blu-ray from the Warner Archive, it’s clearer than ever why this was the film that brought the musical back into the spotlight.
Posted by Kimberly Lindbergs on April 23, 2015
Next month marks the grand opening of the John Wayne Birthplace Museum in Winterset, Iowa. During the last 30 years more than one million visitors have reportedly journeyed to Winterset to tour the small house where Wayne was born on May 26, 1907 but now fans of the much beloved movie star will be able to enjoy a brand new 5,000 square facility built alongside Wayne’s original home. The museum features the largest collection of John Wayne memorabilia in existence including original movie posters, film costumes, props, scripts, photos, personal letters, original artwork, sculptures, a customized automobile and a movie theater where visitors can enjoy a documentary about Wayne and watch his films. The grand opening will take place between May 22-24 and includes a ribbon cutting ceremony presented by Scott Eyman (author of John Wayne: The Life and the Legend), a rodeo show and a guest appearance from actor, rodeo competitor and politician Chris Mitchum (Robert Mitchum’s son) who appeared with Wayne in BIG JAKE (1971). Color me impressed! I think it’s encouraging to see small towns like Winterset celebrating their film history. For more information, please visit their official website: John Wayne Birthplace Museum
In light of this news, I started thinking about other smaller museums outside of Hollywood dedicated to preserving the memory of classic movie stars. I follow some of them on Twitter and occasionally try to share information about their fundraising efforts but now that spring’s arrived and many of us are starting to plan summer vacations I thought I’d put together a list of the small hometown museums that have sprung up across the U.S. honoring their local celebrities. It should be of interest to classic film fans who are planning a road trip soon or it just might surprise someone who unknowingly has a museum dedicated to a Hollywood personality in their own backyard.
Posted by Kimberly Lindbergs on April 16, 2015
Next Tuesday (April 21st) TCM is celebrating the illustrious career of Sophia Loren with a tribute that includes three important TCM premieres beginning with the first U.S. television screening of HUMAN VOICE (La voce umana, 2014). This bittersweet 25-minute film is directed by Loren’s son Edoardo Ponti, and is based on the iconic Jean Cocteau play about a woman whose final telephone conversation with her lover reflects her despair over losing him. This is followed by THE GOLD OF NAPLES (L’oro di Napoli, 1954), an anthology that gave Loren one of her first starring roles; and the saucy comedy drama MARRIAGE ITALIAN STYLE (1964), made at the height of her reign as a leading screen goddess.
Some of my fondest childhood memories are the times I spent visiting with my Italian nonna or as I affectionately called her, “Nana.” Nana was my great grandmother who was born in the Piedmont region of Italy and arrived in America around 1915 when she was a young woman. Nana never learned how to speak fluid English and preferred her native tongue, which sounded like pure poetry to me. Unfortunately, this meant we couldn’t communicate very well due to my lack of Italian language skills but her warm eyes and welcoming smile spoke volumes. I can vividly remember watching Nana cook Italian meals for large family gatherings and the smells coming from her kitchen were always intoxicating. Although I didn’t know it at the time, my great grandmother was a culinary artist and she taught many of the women in my family how to cook as well, including my own mother who learned how to make some great Italian meals thanks to Nana’s expertise. My great grandmother passed away long before I became interested in cooking but I often wish she was still around to offer me some tips. Instead, I’ve had to rely on cookbooks and cooking shows to learn the ins and outs of Italian cooking and I’ve recently found myself turning to the lovely Sophia Loren for advice. Loren is one of my favorite actresses and the curvaceous Italian beauty also happens to be an accomplished cook who wrote a number of successful cookbooks.
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