Posted by Kimberly Lindbergs on August 27, 2015
TCM’s Summer Under the Stars programming ends on August 31st with a bang featuring a batch of movies starring Shelley Winters. The blond, boozy, ballsy and brash starlet is one of my favorite actresses and on Monday you can watch her ignite the small screen in a number of notable roles, including her Oscar winning turn as a bigoted and abusive mother in A PATCH OF BLUE (1965).
To celebrate Winters’s reign as Summer Under Stars closing act I thought I’d share some of the glamorous vintage advertisements she modeled for early in her career featuring the powerhouse performer selling everything from lipstick to beer. Shelley Winters may have been one of the greatest actors of her generation but much like her costar Barbara Stanwyck in EXECUTIVE SUITE (1954)—also airing on TCM this coming Sunday!—the streetwise dame wasn’t ashamed to pitch products to her adoring public if it put money in the bank.
Posted by Kimberly Lindbergs on August 20, 2015
FRANKENSTEIN (1931) airs tonight on TCM at 9:30PM EST/6:30PM PST
The name Mae Clarke might not immediately ring any bells but the fair-haired, spirited and sad-eyed beauty was a promising leading lady in pre-code Hollywood before personal disappointments, mental health issues and a disfiguring car accident took their toll. When Clarke died in 1992 at age 81 most classic film fans remembered her as the woman who gets a grapefruit smashed in her face by James Cagney during THE PUBLIC ENEMY (1931) or they might have recalled her daring leap from a window to protect the man she loves in THE FRONT PAGE (1931). Thankfully, many of Clarke’s earlier films have been restored and made available since then. We’re now able to get a much broader understanding of why a 1932 issue of Picture Play magazine prophesied a “brilliant career for her” and Modern Screen claimed, “Mae Clark deserves a place among the big names of filmdom and will get there before long–watch her!”
Today TCM is featuring Mae Clarke in their Summer Under the Stars programming and you can catch her in a number of films including James Whale’s WATERLOO BRIDGE (1930), where she plays the doomed Myra. Many consider it her best film and Clarke often referred to it as her favorite role but today I’d like to focus on her often-overlooked performance in Whale’s FRANKENSTEIN (1931), where she plays the sympathetic fiancé of Dr. Frankenstein (Colin Clive).
Posted by Kimberly Lindbergs on August 13, 2015
THE TRAIN ROBBERS (1973) airs on TCM August 12 at 4PM EST/1PM PST
When I spotted Ann-Margret on the August cover of TCM’s Now Playing guide I jumped for joy and then I pulled out my treasured autographed copy of her 1994 autobiography, My Life, and did some rereading. I hadn’t looked at the book in years and thought it might inspire me to write something about the actress for the Movie Morlocks and sure enough, it did. What caught my eye was a photo of Ann-Margret with John Wayne (pictured above) accompanied by the line “Duke always had me laughing on the set of THE TRAIN ROBBERS. He was an extraordinary man.”
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…
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