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Robin Hood: Men in Tights (1993)

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"Um... what is a non-classic movie doing on Phyl's blog??" you might be asking yourself right now. You may even be accompanying it by the look above. Well, I'll tell you. It's because I couldn't pass up writing about one of my favorite comedies for The Mel Brooks Blogathon hosted by The Cinematic Frontier in honor of Brooks 90th birthday.

"But how are you going to justify writing about it on THIS blog?" Because I'm going to talk about how it is actually quite similar to the famous 1938 The Adventures of Robin Hood starring Errol Flynn!!



The story of Robin Hood: Men in Tights is your basic Robin Hood tale but with a Mel Brooks twist (If you don't like Mel Brooks humor but are intrigued in this film I suggest you watch it next time it comes on TV, as several parts that may offend are removed).

The film opens with Robin of Loxley in jail. He is given a fake beard so that he blends in with the rest of the prisoner, tortured, and finally locked up. There he meets a fellow prisoner, in for jaywalking, called Asneeze, father of Ahchoo. "Bless you.""No, no, no. Ahchoo is my son. He is an exchange student."

You must go now, or you will miss the tide!

Robin helps Asneeze (and the rest of the prisoners) escape from prison with a feat of great strength, or as Asneeze puts it, "Great strength of feet!" and swims back to England. When he washes up on the beach, he is met by this impressive sight.


Robin then rents a horse and begins his journey to his family home. On his way he meets Ahchoo, who is getting beat up by the Sheriff of Rottingham's men. He helps Ahchoo, who then joins him on his journey.


Upon arriving at Loxley Hall, Robin discovers that his entire family is dead, including his goldfish Goldy, and his family home is being taken away for failure to pay back taxes. All that is left is Blinkin, the family's blind, faithful servant.

 
 
Blinkin: I thought it felt a bit drafty!
 
As they continue on their journey, now to avenge what has happened to his family, they meet Little John and Will Scarlet. But wait! Scarlet is his middle name. His full name is Will Scarlet O'Hara. "We from Georgia."


Once Robin has earned the respect of Little John, they too join his group of Merry Men. Robin then visits the castle, bursting in on a feast in practically the same way was Errol Flynn did 55 years before. It was this scene that had the most similarities with the 1938 film. It also points out a very important difference:

Robin: I'll lead the people in a revolt against you.
 
Prince John: And why should the people listen to you?

 
This of course pokes fun that Errol Flynn was not actually from England, but from Australia.
 

 
Robin also meets Maid Marion at the feast (who can't hold a candle to Olivia). Later, she comes to visit him at his camp to warn him of a "foul plot afoot." There is to be an archery contest to lure Robin out of hiding and where Dirty Ezio (who just so happens to look a lot like Clint Eastwood) will shoot him.
 
 
Robin goes to the tournament disguised as an old man - he looks like Mark Twain! - and... loses. "What! I lost! I can't lose! Let me see the script. [pulls our script] I get another shot!"
 
 
Robin wins, using his Patriot Arrow, and is arrested. To save him, Maid Marion promises to marry the Sheriff of Rottingham, the "most disgusting thing I can think of." But don't worry, everything works out in the end.
 

 
Mel Brooks clearly loved the original Robin Hood film when he made this one. Though not in glorious Technicolor, the film still has the feel of the original, but with Mel Brooks' signature stamp of humor.  
 
Cast:
 
Cary Elwes....................................Robin Hood
 
Richard Lewis................................Prince John
 
Roger Rees.....................Sheriff of Rottingham
 
Amy Yasbeck...............................Maid Marion
 
Mark Blankfield....................................Blinkin
 
Dave Chappelle....................................Ahchoo
 
Isaac Hayes.........................................Asneeze
 
Megan Cavanagh...........................Broomhilde
 
Eric Allan Kramer...........................Little John
 
Matthew Porretta...............Will Scarlet O'Hara
 
Tracey Ullman.......................................Latrine
 
Patrick Stewart............................King Richard
 
Dom DeLuis...............................Don Giovanni
 
Dick Van Patton...............................The Abbot
 
Robert Ridgely...........................The Hangman
 
&
 
Mel Brooks..............................Rabbi Tuckman
 
Read the other posts on Birthday Boy Brooks here!
 

They Died with Their Boots on (1942)

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I took a while deciding what film to write about for the Olivia de Havilland Centenary Blogathon. I love so many of her films and wish I could write about all of them. I wrote about one of them last month for the Royalty in Film Blogathon - Princess O'Rourke.

After waiting and seeing what everyone else was covering, and seeing that no one was covering (by itself) They Died with Their Boots on (1942), the first Errol Flynn/Olivia de Havilland movie I saw (I saw part of The Adventures of Robin Hood when I was young but all I remembered from it was the balcony kissing scene and that Maid Marion was the most beautiful woman I had ever seen), I decided to go with it.


They Died with Their Boots on is the last film Errol Flynn and Olivia de Havilland made together, out of a total of eight beginning in 1936. Because of this, there is an added poignancy to the film that otherwise would not be there.
One of America's Immortals! Custer's last stand...and the story of his life...his love and his death-defying courage!

A somewhat loose biopic of General George Armstrong Custer, the film follows Custer (Flynn) from his early days at West Point up to the infamous Custer's Last Stand (1857-1876). Like all biopics, the film is long, especially for 1940s standards, running a total of 139 min. But with such a great cast, including supporting actors Hattie McDaniel, Sydney Greenstreet, Anthony Quinn, John Litel, Gene Lockhart, and Regis Toomey the film doesn't feel long.

The film also features a beautiful score by Max Steiner and is directed by the great Raoul Walsh (138 directing credits including several Flynn and de Havilland films, High Sierra (1940), and Battle Cry (1955). Hal B. Wallis produced the film and his brother-in-law, Wally Kline, wrote the screenplay, along with Aeneas MacKenzie. Kline also contributed to Hard to Get (1938) starring de Havilland and Dick Powell and a few other films. MacKenzie has a slightly larger resume, including The Private Lives of Elizabeth and Essex (1939), a couple John Wayne films, and The Ten Commandments (1956).


The film opens on Custer's first day at West Point. His entrance (above) says a lot about him. His reason for joining the army? That's where the glory is! One sees far more statues of soldiers than of civilians.


A year before his graduation, the Civil War breaks out. However, because of Custer' record - he has the lowest marks and the highest demerits in the history of the Academy - he is not allowed to graduate early with the rest of his class... at first. While the heads of the school are deciding who else to graduate early, Custer meets a very important young lady.


Custer first meets Libby while doing a punishment tour for his latest "escapade." Libby is looking for Col. Sheridan's office and asks Custer where it is. Since he is not allowed to speak, he ignores her and keeps walking.
I've never been so outrageously treated in all my life!
Once he is allowed to speak though, he explains the situation and she is, of course, smitten with his charm and good looks.
Custer: Do you think if I were to come strolling past your house around nine o'clock at night you might be just sitting around on the veranda?
Libby: Life is full of surprises.
Custer: And if I did find you sitting on the porch perhaps you and I could go for a walk together.
Libby: [laughs] We seem to have been walking together ever since we met.
Custer: Well, I can't imagine, ma'am - if I may say so - any pleasanter journey, ma'am, than walking through life with you beside me, ma'am.
Even when he doesn't show up for that walk, Libby has definite plans for him. To her father, who is upset that the young man his daughter was waiting for didn't show up and threatens to report him:
Libby: You musn't talk about him like that!
Mr. Bacon: Why not?
Libby: Because he's the man I'm going to marry! 
The reason Custer didn't show up is because it was finally decided to graduate him, as he is their best swordsman and he is the kind of man that inspires loyalty in his men, and he must leave for Washington immediately. He has to overcome the spiteful actions (or inactions) of some enemies from West Point, but he eventually gets assigned to the 2nd U.S. Cavalry, just as he wanted. He is just in time to fight in the Battle of Bull Run, at Manassas (which I've been to). He disobeys orders to retreat and wins the battle, getting wounded in the process and receiving a medal for it (as well as a letter of introduction to Mr. Bacon).

Custer is a favorite of the nurses ;)

After Custer leaves the hospital, he heads straight to Monroe and the Bacon residence. On the way there he stops at a saloon and inadvertently meets Mr. Bacon, who is there to collect the rent, who insults him. Custer calls him a "fat little pip-squeak" among other things.

Libby, meanwhile, who has been waiting for Custer's return, is in the act of having her maid (Hattie McDaniel) read her tea leaves. It works, and Custer appears on the doorstep. Libby is excited to finally see him again but acts a little cold, at least, for a few minutes.
And I'm not really angry. I just thought I should pretend to be.
After hearing his explanation, she says wisely, "And a train won't wait, but a woman will."


When her father comes home, he discovers who he daughter's sweetheart is and kicks Custer out of the house. Custer sneaks back after dark and meets Libby on her balcony. Unfortunately he already has orders to rejoin his regiment, but not before he proposes marriage. However, he wants to become a General first, that way her father will be proud of him.


As luck, or fate, would have it, he is mistakenly made a Brigadier General of the Michigan Calvary Brigade, by none other then his enemy, the Adjutant General. By the time they realize their mistake, Custer is already leading him men in charge after charge against the enemy, contrary to the orders to go the other way. After winning the battle, and saving the war, Custer becomes a hero and returns to Monroe with a hero's welcome, including the welcome of Mr. Bacon. Custer and Libby marry that same day, with Col. Sheridan as best man.


After the wedding however, not all is rosy. Custer is frustrated at his inactivity, and living off of his wife's estate. Libby visits his old friend, General Scott (Greenstreet), to ask that her husband be put back into active service.


The next day Custer gets the letter that says he is assigned to a regiment at Fort Lincoln, where he will protect 100,000 square miles of territory from the Indians. He is overjoyed to be put in command once again. De Havilland as Libby is wonderful in this scene, as she eagerly awaits her husbands reaction to his appointment, which she got for him, and her enthusiasm for him, even though she knows this means she will have to leave her genteel life behind. She thinks only of her husband.


On their way to their new home, they are attacked by Indians, led by none other than Crazy Horse himself (Anthony Quinn).  Custer has him arrested and thrown in the guardhouse, from which he quickly escapes.

The Fort is in terrible disarray, with the soldiers drinking and rifles being sold to the Indians. He soon turns it into one of the finest regiments in the United States.


It doesn't take long for Custer's enemies to strike again. They fix it so that the treaty with the Indians, one protecting the Black Hills, is broken. Custer fights back and gets sent to Washington to be court marshaled. He talks President Grant into pushing back the date and reinstating his command.


The best and most touching scene of the entire film is when Custer says goodbye to Libby for the last time. He knows he won't come back and she knows it.


 

Walking through life with you, ma'am, has been a very gracious thing.
He then goes off to fight what became known as the Battle of Little Big Horn. The day: June 25, 1876 (140 years ago). You can watch the battle below.
To Hell or to Glory. It depends on ones point of view.
 
They Died with Their Boots on will air on TCM on the 8th at 9:45pm ET and again on the 27th at 4pm.
 

Trivia:
Because of new union laws, producers were forced to use regular screen extras without stunt experience. In the opening days of shooting 80 were injured and 3 were killed. The filming of the "Last Stand" sequence from this movie involved some 200 horsemen charging around in pretend battle and was so dangerous that one day during filming Anthony Quinn, who played Crazy Horse, arranged as a gag for a hearse to show up at the filming location.
Jim Thorpe, famous Native American athlete, was an extra in the film and had an off-camera fight with Flynn. He knocked Flynn out with one punch.
Another athlete, Louis Zamperini, Olympic athlete and subject of Unbroken (2014), was an extra in this film just before being drafted into the United States Armed Forces during World War II.
Libby Bacon Custer died in 1933, just eight years before this film was made. 
When shown on Swedish TV in the mid 90s there was an additional scene between the scene where Custer, California Joe and Lt. Butler leaves Custer's tent on the night before the final battle and when Custer subsequently frees Sharpe at the wagon where he is held "kidnapped". It contained two shots, first an Indian banging a drum, then a shot of Crazy Horse, on a hill overlooking the Indian camp, addressing the spirits. The scene is missing in present DVD copies.
 
If you want to learn more about the real General Custer, the Landmark book Custer's Last Stand by Quentin Reynolds is very good and an easy read. However, it barely mentions Libby.

If you want to read about the historical inaccuracies of the film, click here.

You can watch a lecture on Custer and this film here. I haven't had a chance to watch it.

Day 1 | Day 2 | Day 3 | Day 4 wrap-up

Happy Birthday, Olivia ♥
 
Olivia's 25th birthday

The Olivia de Havilland Centenary Blogathon Day 1!

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Olivia de Havilland's 100th birthday has finally arrived and I am excited to be celebrating this monumental day with my co-host Crystal of In the Good Old Days of Classic Hollywood.


I am looking forward to all of the excellent entries that have been written to celebrate the birth of this beautiful lady who has done so much. In Robert Osborne's essay to celebrate the birthday of his friend Olivia, he wrote, "It is her birthday but we're the ones who get the presents." How true that statement is. Not only has it given all of  us an opportunity to write about such a prolific and beloved actress, but we also get to enjoy many of her films showing on TCM throughout the entire month of July. You can view her page on the TCM website here to see the full lineup.

And now, what you've all been waiting for. The posts (updated throughout the day):

Yours truly reviews Olivia's last performance with Errol Flynn in
They Died with Their Boots on (1942).

Also, check out my post on Princess O'Rourke (1943) that I wrote for the Royalty in Film Blogathon last month.


 
Silver Screenings tells us what happens when Olivia de Havilland Visits the Snake Pit.


 
Love Letters to Old Hollywood writes a letter to Olivia de Havilland as Maid Marion.



Meredy.com is no stranger when it comes to Olivia in Not as a Stanger (1955), though the rest of us may be! She has also written a fantastic post detailing all of Olivia's films being shown on TCM this month. I highly recommend checking it out!



B Noir Detour gives us a double dose of Olivia in The Dark Mirror (1946).



The Big V Riot Squad does a broadcast on Olivia de Haviland on the Air.



Cindy Bruchman also tells us what happens when Olivia de Havilland is in The Snake Pit (1948)



Karavansara spends time with Olivia in Raffles (1939)



Wolffian Classic Movies Digest sympathizes with Olivia in In This Our Life (1942).



Hamlette's Soliloquy reviews the little known The Proud Rebel (1958).



Goose Pimply All Over shows Olivia's wide range of acting skills in To Each His Own (1946).



The Motion Pictures talks about five of Olivia's films in her Overview of Olivia's Illustrious Career.



Silver Screen Modes talks about Olivia's outstanding performance in My Cousin Rachel (1952).



Cinema Cities covers Olivia de Havilland's Oscar-Nominated Performances.



The Cinematic Frontier talks about the chilling film Hush... Hush, Sweet Charlotte (1964).



Define Dancing wishes a Happy 100th Birthday to Olivia de Havilland with a lovely tribute post.


Click here for Day 2!


THANK YOU ALL FOR MAKING OLIVIA'S BIRTHDAY MEMORABLE!!!

The Olivia de Havilland Centenary Blogathon Day 2!

The Olivia de Havilland Centenary Blogathon Day 3!

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It's Day 3 of our Blogathon and the posts are still coming in strong! I only wish Olivia could see all the love she's getting in the blogging world!

Here's the posts for today! Here is Day 1 and Day 2.


Cinema Monolith tells us about the time when Olivia encountered Alibi Ike (1935).
 


All Good Things tells everyone about the little known and vastly underrated comedy Government Girl (1943) - check out this hilarious clip here if you need further proof.



Caftan Woman introduces us to The Male Animal (1942).



Danny’s Reviews reveals the evil side of Olivia in Hush Hush, Sweet Charlotte (1964).



Lauren Champkin talks about Olivia's most famous role in Gone With the Wind (1939).


THANK YOU ALL FOR MAKING OLIVIA'S BIRTHDAY MEMORABLE!!!

The Olivia de Havilland Centenary Blogathon: Wrap-up Day

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We have come to the end of a glorious blogging weekend honoring the beautiful, graceful, and hugely talented Olivia de Havilland on the 100th anniversary of her birth. Here's hoping she makes it to her goal of 110!
 
And now, the final posts:
 
 
Stars and Letters shares some of Olivia's Correspondence in Don't Mess with Olivia de Havilland.
 
 
 
Musings of a Classic Film Addict gives us her Analysis of The Private Lives of Elizabeth and Essex (1939).
 
 
 
Defiant Success explores all 8 of the films of Olivia de Havilland and Errol Flynn
 
 
 
Smitten Kitten Vintage takes us on the Santa Fe Trail (1940).
 
 
 
 
 
 
Movie Rob discovers a pre-1960s film he enjoyed in The Ambassador's Daughter (1956).
 
 
 
Pop Culture Reverie talks about the underrated To Each His Own (1946). Don't forget to sign up for her upcoming Hail to the Chief Blogathon!
 
 
 
I attempt to cover Olivia de Havillands TV Appearances on my other blog, Bewitched with Classic TV.
  
 
A HUGE THANK YOU to my co-host Crystal and to all of you for making this blogathon memorable!!!!
 
 

Shoutout for the Alfred Hitchcock Blogathon

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Just wanted to bring to the attention of the Classic Film Blogging World an Alfred Hitchcock Blogathon hosted by Coffee, Classics, and Craziness. I stumbled upon it through my blogger friend over at Hamlette's Soliloquey. Unfortunately it's in mid-August, right after the Classic Movie History Project Blogathon and ending at the same time as the Film Noir Blogathon and Second Annual Barrymore Trilogy Blogathon are beginning, not to mention the month long Summer Under the Stars Blogathon.

But... HITCHCOCK.

Sinners in the Sun (1932)

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Sinners in the Sun (1932) starring Carole Lombard lets it's viewers know right away that this is a film to get "hot and bothered" about. Not only is it evident from the title, but also in the opening credits - gorgeous girls parading around in glamorous gowns.

Once the credits end, we see a woman whose dress and demeanor ooze class, until we find out she's just a model that walks around until her frock catches the eye of some customer, whether or not they actually have the figure to pull them off.

With director Alexander Hall.

As she is changing, we see a room full of models wearing high couture - ok, actually most of them are in their underthings, proof positive that this is indeed a Pre-code film, in case you didn't guess already.


The model is Doris (Lombard), in love with a mechanic (Chester Morris) but wanting more out of life like security, but mainly clothes. While on a day trip to Long Island, Doris and Jimmy (Morris) have an argument over his lack of ambition. They end up parting ways and each finds themselves with a wealthy companion, Doris with a married man on the verge of divorce and Jimmy with a rich girl who would rather have love than wealth.

Jimmy and his wife, Claire Kincaid

The film then takes a rather depressing turn, especially for Doris. Her friend's wife commits suicide (Cary Grant is the friend in a small role) and the man she is with reconciles with wife and leaves Grant's character to give her the news. Both Doris and Jimmy go on drinking binges until a chance meeting at a restaurant. Jimmy's wife gives him up (quite big of her but she knew he wasn't in love with her when she married him) and he and Doris are able to get back together at the end, affirming that true love is always better than being wealthy.


I watched the film on Youtube (it's extremely blurry) but the main draw of this film, other than seeing Cary Grant in an early role, is Carole Lombard's wardrobe, designed by Travis Banton. She models one chic and glamorous outfit after another, a feast to the eyes of any Depression-era woman. The Times review said it was a "display of luxury," and that its chief merit was the "slickness of it luxurious accompaniment".


              
 
Lombard's most glamorous gown: sequin cross-over halter and bias-cut silk dress with matching sequin coat.
                
  
 
Another pretty gown with a peplum at the waist and a short, fur-trimmed cape.
 
  
 Two more looks. The white gown also had a matching hat with bow.
 
Smart suit and hat with lace blouse and fur.

This picture is blurry but I love the button detailing on her suit here.
 
Lombard's "Trilby bangs" were apparently also a selling point for the film.

There is also a fashion show, where Doris meets Eric Nelson for the first time (she sneaks off for a swim in the ocean and he joins her).


            
Lombard modeling one of the outfits from the film (seen on another model in the film and in the photo above).


Carole Lombard and Chester Morris made one other film together, The Gay Bride (1934). She made two more with Cary Grant, The Eagle and the Hawk (1933) and In Name Only (1939).

    

This post is for the Hot & Bothered Blogathon: The Films of 1932 hosted by CineMaven's Essays from the Couch and Once Upon a Screen. Be sure to read the rest of the steamy posts (which might be difficult if you wear glasses).


Ten Movies on an Island: William Powell

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William Powell is one of my top three actors, along with John Wayne and Cary Grant. However, unlike the other two who I grew up watching, Powell came along later.

The first films I saw of his were on a dvd from the dollar store, a double feature: My Man Godfrey (my first introduction to Carole Lombard) and Life with Father. I found Godfrey to be a bit too crazy for my tastes at the time, but my entire family loved Powell's Oscar-nominated performance in Life with Father. A couple years after that I saw the first four Thin Man films and I know I enjoyed them but I didn't go crazy over them. Then, a couple of years ago, I rewatched the Thin Man films and realized just how brilliant Powell and Loy were as a comedy team. It didn't take me long to try to get my hands on all of the other films they made together, as well as watch as many of Powell's films that I could find (thanks TCM and YouTube!). Since then I have watched almost all of Powell's "talkies." I think I just have around a dozen films left. I just discovered a couple of them here and keep hoping TCM will air some of the others.


Narrowing down my favorite ten William Powell films is pretty much next to impossible. Just presume that all the rest are Honorable Mentions ;)
1. The Thin Man (1934)
2. My Man Godfrey (1936) - Carole Lombard
3. Libeled Lady (1936) - Myrna Loy, Jean Harlow, Spencer Tracy
4. After the Thin Man (1936)
5. Double Wedding (1937) - Myrna Loy
6. Another Thin Man (1939) - Myrna Loy
7. Shadow of the Thin Man (1941)
8. The Thin Man Goes Home (1945) - Myrna Loy
9. Life with Father (1947) - Irene Dunne, Elizabeth Taylor
10. Mister Roberts (1955) - Henry Fonda, Jack Lemmon, James Cagney
When did you discover William Powell? Have you seen all of his pairings with Loy? What's your favorite Powell film outside of the Thin Man series?

Ten Movies on an Island: Bob Hope

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Bob Hope is everyone's favorite comedienne. Or at least, he's one of mine. I can't remember the first film I saw of his. It was either Son of Paleface (1952) or My Favorite Brunette/Road to Bali (double feature dvd from Dollar Tree). Whichever film it was, I found Bob to be hilarious and now own several of his movies. His bromance with Bing Crosby is one of the greatest ever captured on film (Bing has a cameo in virtually every Hope film. If not Bob makes a crack about him). I still have lots of his movies to see, but here are my favorites:
1. The Ghost Breakers (1940) - Paulette Goddard
2. Caught in the Draft (1941) - Dorothy Lamour
3. The Princess and the Pirate (1944) - Virginia Mayo
4. My Favorite Brunette (1947) - Dorothy Lamour
5. The Lemon Drop Kid (1951) - Marilyn Maxwell
6. Son of Paleface (1952) - Jane Russell and Roy Rogers
7. Paris Holiday (1958) - Anita Ekberg
8. Alias Jesse James (1959) - Rhonda Fleming
9. Bachelor in Paradise (1961) - Lana Turner
10. The Road to... Series with Bing Crosby and Dorothy Lamour (except Hong Kong) - ok, I'm cheating with this one but I don't remember which ones I like best)
What film was your introduction to Bob Hope? Which of his films is your favorite?

Ten Movies on an Island: John Wayne

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John Wayne and Judy Garland were my first favorite actor and actress when I was little, and I still love both of them. However, I have watched John Wayne far more often. The following films have been seen so many times I can quote large passages from memory and throw them into ordinary conversations.
1. Angel and the Bad Man (1947) - Gail Russell
2. Fort Apache (1948) - Henry Fonda, Shirley Temple
3. She Wore a Yellow Ribbon (1949) - Victor McLaglen
4. Rio Grande (1950) - Maureen O'Hara
5. The Quiet Man (1952) - Maureen O'Hara
6. The Searchers (1956) - Jeffrey Hunter, Vera Miles, Ward Bond, Natalie Wood
7. Rio Bravo (1959) - Dean Martin, Ricky Nelson
8. North to Alaska (1960) - Stewart Granger, Capucine, Fabian
9. Donovan's Reef (1963) - Lee Marvin, Elizabeth Allen
10. McLintock (1963) - Maureen O'Hara, Patrick Wayne, Stephanie Powers
John Wayne film I will NEVER WATCH AGAIN: Wake of the Red Witch (1948) - his death at the end left me and my brothers depressed the rest of the day AND the entire next day!

Honorable Mentions: Stagecoach (1939), They Were Expendable (1945), Without Reservations (1946), Red River (1948), Blood Alley (1955), The Comancheros (1961), El Dorado (1966), The Shootist (1976).

What to Expect This Month

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If you have noticed the scarcity of posts over here, it is because I have been working on my blogathon posts for next month. I have taken off quite a bit more than I can chew with three posts for the Classic Movie History Project Blogathon, two for the Film Noir Blogathon, and two for the Second Annual Barrymore Trilogy Blogathon, all in August. I am also hoping to participate in the month-long Summer Under the Stars Blogathon, not to mention the Summer Reading Classic Film Book Challenge. Therefore I want to get a head-start on my other posts.

This month I do have a post on Crawford's Clothes Closet for the Joan Crawford Blogathon and I may do a few more "Ten Movies on an Island" posts featuring favorite directors.
I would also like to do a post on all of the new-to-me Olivia de Havilland films I have watched this month and another Classic Film Book review. Hope you enjoy all of the upcoming posts!

Crawford's Clothes Closet

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When Lucille LeSueur became Joan Crawford and burst onto the Hollywood scene, she immediately became a fashion sensation. When she appeared in that famous ruffled white dress in Letty Lynton, designed by Adrian, millions of copies were sold in clothing stores across the country (500,000 were sold by Macy's as soon as it hit the shelves). Crawford quickly put together her trademark look: bold brows, a wide smear of lipstick, and shoulder pads, setting a trend to over a decade.

Any actress who appears in public without being well-groomed is digging her own grave. ~ Joan Crawford

One of the reasons Crawford had to always look like a Movie Star when she went out was because she had some figure flaws. Her shoulders were much wider than her hips and the shoulder pads were able to hide that fact by highlighting them, so one's attention was brought to them on purpose. She also heavily relied on makeup to shape the contours of her face for the camera, and to hide her freckles.

A retouched photo of Crawford next to the original, circa BB (Before the Brows).

This photo really shows the difference between her hips and shoulder.
How cute are those wedges?!

In order to look like a movie star, Crawford had to dress like a movie star. She was obsessed with clothes and called them her friends. Therefore they had to be stored carefully. Everything was hung up and covered with plastic to keep them dust free. There were separate closets for hats, handbags, shoes (which were custom made and fabric covered to match each outfit), dresses, suits, and furs.

I look at them and I know that I'm a star.

    

Crawford's love of her clothes could easily be called an obsession. Just look at these astonishing tidbits:
    • would change clothes up to 10 times a day
    • traveled with around 35 suitcases
    • had special wardrobe trunks for her diamonds and earring sets
    • owned 16 fur coats at one point
    • would have favorite hats copied in 12 different colors
    • carried a hip flask of 100-proof vodka with covers made to match her outfits
    • would give guests a tour of her closets
And we though this was her only problem!


More money was spent on Crawford's personal wardrobe than on her movie wardrobes, with Adrian protecting her image with the glamorous gowns he designed for her both on and off the screen. And it was money well-spent, as Crawford's image is and always will be recognizable to millions.

Crawford with her luggage

Crawford's Five Fashion Rules:
1. Find your own style and have the courage to stick to it.
2. Choose your clothes for your way of life.
3. Make your wardrobe as versatile as an actress. It should be able to play many roles.
4. Find your happiest colors - the ones that make you feel good.
5. Care for your clothes, like the good friends they are!
Wearing a monogrammed suit at home

A couple more tips:
  • Wear bright colors to "give them something to look at."
  • "Underdress for a romantic scene, let your face and figure and your expression play the leading roles."
 
This post is part of The Joan Crawford Blogathon hosted by In the Good Old Days of Classic Hollywood. Be sure to read all of the other posts on this legendary (yet obsessive) actress.

Mary Blair: Everyone's Favorite Disney Concept Artist

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Walt Disney has always been a leader in the animation world. From the first flickering images of his Laugh-o-Grams in the early 1920s to the creation of Micky Mouse in 1928 to the first full length animated film Snow White and the Seven Dwarfs (1937), Disney has been a pioneer in this unique form of entertainment (Visit this site to read a fascinating article on "The Building of the Disney Studio" from a 1939 publication of Valley Progress).

Hurter working on Pinocchio

The first Concept Artist hired by Disney was Albert Hurter. He joined the team in 1931, at the age of 48. His job was as Disney's first inspirational sketch artist, where he would design characters for the animators to then bring to life, since his talent lay in his "ability lay in humorous exaggeration and the humanizing of inanimate objects." He was the "spark that kept others inspired" (They Drew as They Pleased: The Hidden Art of Disney's Golden Age - The 1930s. Didier Ghez). Other "inspirational artists" were hired to work with Hurter, including Bill Peet who stayed on for several decades, but Hurter had the final say and was the one Walt Disney went to to draw and approve the concept art for Snow White and the Seven Dwarfs (1937). During his decade working at Disney, until his death in 1942, Hurter worked on many of the Silly Symphonies as well as the feature-length Pinocchio, Fantasia, Dumbo, and The Reluctant Dragon. Some of his sketches would be used many years later in Peter Pan and Lady and the Tramp. To learn more about Hurter, there is an excellent post here. The book mentioned above is also a great source (linked below).

Sketch by Hurter

Mary Blair joined Disney in 1940, along with her husband, Lee Blair. Born Mary Browne Robinson in Oklahoma on the twenty-first of October, 1911, Mary and her family moved to San Jose. As they were poor, Mary had to work very hard to realize her dream as an artist. She earned a scholarship to the Chouinard School of Art (later the California School of Watercolor). It was there she met and married Lee Blair.

 
After graduation in 1933, the Depression was in full swing, meaning that a job as a fine art watercolorist was out of the question. She worked for a time as a barmaid and later got a job at Ub Iwerks Studio as a cell painter.


1940 found her working as a concept artist at the famous Walt Disney Studios, working on such films as Saludos Amigos (1942) and The Three Caballeros (1944), both part of the U.S. "Good Neighbor" policy with South America (click here to see tons of photos from Disney's trip to South America with his artists, including Blair). It was on this trip that Blair's art took on it's distinctive look that had previously been lacking and launched her as an artist worth having at Walt Disney Studios. Before she went, Blair’s style had been "sturdy, fluid, and earthy"—lots of browns and blues and grays, but...
...the artwork that she produced on the trip–stunning, colorful, occasionally geometric, graphic, and modern–speaks for itself. She observed everyday South American life (a woman with a baby on her back, carrying a small basket of chickens; the way huts and homes made fascinating jagged patterns when aligned next to each other) and turned it into something dynamic and evocative. She didn’t emphasize the culture’s otherness or try to glamorize its exoticism. Instead, she found the inner beauty present in each passing moment. “She went inside herself to find how it felt, more than how it looked, and brilliantly communicated her emotions through imagery,” Canemaker notes. Even if you’ve never been to South America, you can look at Blair’s illustrations from the period and get a real sense of what it is like (source).
 
   
 
World War II was raging at the time and like all of the movie studios in Hollywood, Disney too did it's part, releasing an extremely diverse range of films that otherwise might never have been made. It was during this time that Blair was able to experiment and hone in on her unique style and flair for colors.

She was the first artist I knew to have different shades of red next to each other.
~ Frank Thomas

In 1950, Cinderella was released. Blair's concept drawings for the film are  "jaw-dropping without being showy" and had a "delicate, almost greeting card fashion." And while the angular characters that appeared in her sketches didn't make it into the final film, the overall feel and colors remain.


Blair's style is definitely apparent in Alice in Wonderland (1951), Lewis Carroll's whimsical tale of a little girl that dreams up a "world of her own."
Blair’s brand of colorful whimsy, upside-down conceptualizations, and angular sense of geography was not only essential to the film’s lengthy pre-production phase but much of it (in a modified sense) actually wound up in the finished movie. In a way, it was a movie made up entirely of the abandoned dream sequences she had devised for Cinderella (source).

Peter Pan (1953), Blair's last feature-length film at Disney, also ended up looking different than the artists original sketches. However, her mark can still be seen:
... her style took on an almost collage-like aesthetic; bold, chunky, with deep shadows and high contrast. While less of her work made it into the finished film, it certainly informed the way the movie looked, particularly in its color schemes and use of lighting. Mermaid Lagoon, Skull Rock, the mischievous pixie that is Tinker Bell, these are all 100% Mary Blair (source).
 
In 1953, Blair left Disney Studios to pursue her own career. In the following years, she illustrated Golden Books as well as "scarves and dresses for Lord & Taylor, designs for Radio City Music Hall holiday spectaculars, paper sculptures for the Bonwit Teller strorefront windows on New York's 5th Avenue, television commercials for toothpaste and ice cream, illustrations for greeting cards, and advertisements for Nabisco, Johnson & Johnson and Maxwell House Coffee" (source).
 
     
 
Walt greatly missed Blair and made a promise to himself when it came to his next concept artist:

“For years I have been hiring artists like Mary Blair to design the styling of a feature, and by the time the picture is finished, there is hardly a trace of the original styling left,” Walt said. So he made a steadfast commitment: Sleeping Beauty, the studio’s first attempt at an animated fairy tale since Cinderella (this time utilizing 70mm film projection and an exaggerated widescreen frame), would really stick to Earle’s style. And it did.
 
Blair wasn't through at Disney though. In 1963, Walt called her back to have her design the famous It's a Small World display for the United Nations Children’s Fund pavilion, part of the 1964 World's Fair.
 
 
Sadly, after Walt's death in 1966, art opportunities for Blair also ended. She was told that her art, once cutting edge, was no longer modern enough. She died of a cerebral hemorrhage on July 26, 1978, at the age of 66.

My favorite Blair sketches: Cinderella & Peter Pan
 
Mary Blair may be gone, but her artwork lives on, in the films she helped design, in her books, and in her artistic contributions to Disneyland. I could spend hours looking at her sketches which, thanks to the internet, are available by just typing her name. There are also books celebrating her contribution to the animation world.
(Magic Color Flair insides video - slightly different from above book)

 
 


              

              

Sources(click on the underlined words in the post for bonus material):

     They Drew as They Pleased: The Hidden Art of Disney's Golden Age - The 1930s. Didier Ghez. 2015. Disney Enterprises.

     Animation Resources - Design: Two Disney Concept Artists

     Filmic Light - Albert Hurter - Walt Disney's First Inspirational Sketch Artist

     Animation Resources - Biography: Mary Blair

     Huffington Post - One of Disney's Most Influential Female Artists Finally Gets Her Due. 2014.

     A True Contemporary: The Life and Work of Mary Blair

     Magic of Mary Blair - Official Website

     The Walt Disney Family Museum: The Latin America Tour

     Modernist Cute: Mary Blair’s Art For ‘Dumbo,’ Golden Books, ‘It’s A Small World’

Additional Sources:

     Filmic Light - Albert Hurter "He Drew As He Pleased"

     Animation Resources - Mary Blair (links to scans of books)

     Sullivan Goss: Mary Blair

     The Woman Behind the Curtain: Mary Blair at the Walt Disney Family Museum

     California Watercolor: Mary Blair Biography

     Los Colores de Mary Blair video

     Disney Artist's Tryout Book - fascinating!

     Deja View: Dalmatian Art

     How Walt Disney Brought The Jungle Book to the Big Screen


This post is part of the Classic Movie History Project Blogathon focusing on the System (How movies are made) hosted by Movies Silently, the Films (the movies themselves) hosted by Silver Screenings, and the People (the folks who made the movies) hosted by Once Upon a Screen.
Day 1: The Studios & the Publicity Dept.
Day 2: The Production Code & the Magic of Animation
Day 3: The Groundbreakers & Before They Were Stars
Day 4: The Technical Dept. & the Wardrobe Dept.
Day 5: Movie Disasters & the Wonderful World of Color
Day 6: The Family Business & a Foreign Affair

It's Snowing! Making Celluloid Winter Wonderlands

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What do you first think of when you see this scene? Did any of you think asbestos? How about cornflakes? If you're like me you most likely thought, "Christmas in Connecticut! I love that scene! The snow is so pretty."

Well, you're right, it IS Christmas in Connecticut and the snow is pretty! Wait, did I just say snow?

Everyone knows that Hollywood, California, is where movies are made. Everyone ALSO knows it doesn't snow there. So how did scenes like the one in Christmas in Connecticut come about? Did the entire movie set pack up and head to where the real snow was? Did they bring the snow to Hollywood? Or did they make their own?

Click here in case you now need to listen to "Snow."

Silent, and not so silent Snow

Snow scenes in films have been around since the beginning of movies themselves. In order to have them be as realistic as possible, the whole cast and crew would pack up in search of snow and ice.  And while it looked nice on film, there were numerous problems and accidents associated with it. Camera's froze, actors fell into ice waters or suffered hypothermia leading to lost toes and rheumatism, got lost in snow storms, fell down mountains... pretty much anything that could happen, did.

A popular silent film, The Gold Rush (1925) starring Charlie Chaplin, featured both real snow and fake. The film was shot in the Sierra Nevada Mountains and made to look like the famous Chilkoot Pass in Alaska. However, after Chaplin came down with pneumonia, the crew headed back to Hollywood and constructed snow-covered mountains with timber, chicken wire, and burlap covered with salt and flour. Other early snow scenes used everything from white pine sawdust, scraps of paper mixed with salt (thrown in front of a wind machine it made very convincing snowfall), cotton wool, paraffin (for ice) and crushed gypsum (from their own mine), the last of which probably contributed to the early death of actor Lon Chaney, who died of lung cancer in his mid-forties.


The most popular form of early movie snow was cornflakes painted white or bleached, mixed with shaved gypsum. Yes, cornflakes. However, once sound entered the picture, cornflakes posed a huge problem: when the actors walked on it you couldn't hear what they were saying! Dialogue had to be added later.

Hey, I've got an idea!

In the late 1920s, a firefighter had a "bright" idea. Why not use Asbestos? The chrysotile asbestos fibers were cheap, versatile, and thought to be harmless (we now know it causes mesothelioma as the loose fibers were easily inhaled). A huge plus was that it didn't make noises when actors walked on it, an important feature once synchronized sound in film was the norm. It also wouldn't catch fire, something that cotton batting was in danger of doing (though in reality not much of a threat). Films such as The Wizard of Oz (1939) and Holiday Inn (1942) feature the harmful substance, sold under the harmless sounding names of "Pure White" and "Snow Drift." It was used not only in movies, but on the stage, department store window displays, and as decoration in homes throughout the 30s and early 40s. The product was popular up until the start of WWII, when asbestos was needed instead for ships, planes, and other military equipment. However, the product was still used all the way up until the mid-50s.

Don't breath it in, Bing!

It's a Wonderful Idea

In the summer of 1946, a new "snowstorm" was brewing. The film was the now iconic classic It's a Wonderful Life starring the just-returned-from-the-war veteran James Stewart and it needed snow... lots of it. Shaved ice could be used for icy paths and plaster would be used for snowbanks and spryed on trees but for the snow they wanted something different. Russell Sherman, RKO studio's head of special effects and a much more brilliant man than that fireman, used his engineering skills and some post-WWII technology to come up with silent, unmeltable, and realistic-looking fake snow. The chemical mixture he came up with used foamite—a material used in fire extinguishers—and mixed it with sugar, water, and even soap flakes. It was sprayable and could be quickly blasted over set pieces using wind machines. The film used 6,000 gallons of the substance, which "clung convincingly to clothing and created picture-perfect footprints, while generating nothing like the sound of trod-upon breakfast cereal." Sherman, along with the rest of the RKO Special Effects Department received a Class III Scientific or Technical Oscar from the Academy of Motion Picture Arts and Sciences for "developing a new method of simulating falling snow on motion picture sets."


Sherman's snow, called Phomaide, revolutionized snow in film, yet as time went on, other methods were developed to meet different needs. Dr. Zhivago (1965) called for Siberian ice. Since filming in Russia was out of the question, special effects guy Eddie Fowler used hot wax and marble dust to create a glittering, frozen tableau.


Snowmaking Today

Today, the majority of snow in films comes from one company: Snow Business, located in Britain. They boast over 200 different types of eco-friendly snow made from a variety of materials, including recycled paper and plastics, that is both safe and comfortable for actors. Looking at all of the different types of "snow" on their website is amazing; one would swear it is real. There are pages for settled snow, falling snow, ice, frost, falling ash, icicles, dirty snow, clean snow, indoor snow, the combinations are endless! They also provide real snow, which can last up to three days if stored properly.

Digital Snow

The last kind of movie snow is digital snow. Technology has advanced so far since the advent of films. Where once studio workers would painstakingly make an entire field of individual poppies (The Wizard of Oz), now huge vistas, fields, mountains, building, bridges - all can be created digitally using green-screen technology. So when you see huge icy mountains in a film, they could be real or they could be digital! We've come a long way!


Sources:
Popular Mechanics: Snow Job - How Hollywood Fakes Winter on Film. 2013.
GIZMODO: Hollywood Invented a New Type of Fake Snow to Film It's a Wonderful Life. 2011.
Mesothelioma.com - Fake Snow
Wonderful Engineering: This is how they make snow in movies. 2013.
ImagineMDD: Fake Snow Bringing Winter to Silent Movies. 2014.
BLDGBLOG (Building Blog): The Snow Mine. 2014.
It's a Wonderful Life (1946)

This post is part of the Classic Movie History Project Blogathon focusing on the System (How movies are made) hosted by Movies Silently, the Films (the movies themselves) hosted by Silver Screenings, and the People (the folks who made the movies) hosted by Once Upon a Screen.
Day 1: The Studios & the Publicity Dept.
Day 2: The Production Code & the Magic of Animation
Day 3: The Groundbreakers & Before They Were Stars
Day 4: The Technical Dept. & the Wardrobe Dept.
Day 5: Movie Disasters & the Wonderful World of Color
Day 6: The Family Business & a Foreign Affair

Simone Simon ~ The Fetching Feline

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This post has been two years in coming. I first discovered Simone Simon shortly after creating this blog. The film was Cat People (1942) and there was so much I wanted to say about the movie and her performance in it but couldn't find the perfect words to describe it. The post would have just been me gushing about her accompanied by at least 30 photos of her adorable and bewitching face.
 
 
When the Classic Movie History Project Blogathon was announced with a category for foreign stars, I decided it was the perfect opportunity to learn more about this little known star that captured my attention so quickly.
 
Simone Simon was born in France on April 23, 1910 of a French father and an Italian mother. Raised in Marseilles and Madagascar, she moved to Paris when she was 19 and worked as a model, cabaret dancer, and briefly a fashion designer. She got her start in motion pictures there in 1931 when she appeared as a singer in the film Le Chanteur Inconnu. Then, in 1934, she appeared as a " a mysterious child of nature called Puck, who entrances Jean-Pierre Aumont, the swimming instructor at a mountain lake resort," in the film Lac Aux Dames. She was noticed by 20th Century Fox and made her English film debut in Girls' Dormitory (1936). Over the next two years, she made four more films: Ladies in Love with Janet Gaynor, Loretta Young, and Constance Bennett (it can be viewed on TCM on the 12th), Seventh Heaven (1937) with James Stewart - a remake of a Gaynor film, Love and Hisses (1937), and Josette (1938) with Don Ameche.
 
Simone Simon Films on YouTube:
 
 
 
 
Tired of the silly fluff she was being given, and her low salary, Simon returned to France and 10 days later started filming on La Bête Humaine (1938). The producers had a different actress in mind for the role of femme fatale Severine, but the director, Jean Renoir, insisted on Simon.
I claimed, and still claim, that vamps have to be played by women with innocent faces. Women with innocent faces are the most dangerous ones! Also, you don't expect it, so there is an element of surprise! I insisted we use Simone Simon, which we did, and I don't think we were sorry.
 
Simon made one other film in France and then, because of the war, returned to Hollywood, this time to RKO, where she appeared in The Devil and Daniel Webster (1941) - also known as All That Money Can Buy.  
 

Her next film paired her with the master of shadows, Val Lewton, in the cult classic Cat People (1942). Simon plays Irena, a fashion sketch artist who believes that the people of her Serbian ancestors village have a curse on them that if aroused sexually they will turn into a panther. This tale doesn't stop the handsome Oliver Reed (Kent Smith) from marrying her. He understands she is fearful of intimacy and lets her take her time before consummating their marriage. When she can't seem to get past her superstition, he enlists the aid of a psychiatrist, Dr. Louis Judd (Tom Conway). He also spends more and more time at the office with his pretty co-worker, Alice Moore (Jane Randolph). As time goes on, Irena becomes jealous of Alice and Dr. Judd tries to make a pass at his pretty patient.
 
 
With it's spectacular use of shadows and sounds to arouse terror in its audience, rather than showing that which is terrifying, the film remains Simon's best known film. Just watch this pool scene with actress Jane Randolph. It's terrifying without actually showing anything:
 

Here is what I wrote the day I watched it for the first time (8/12/14):
I just watched Cat People (1942) starring Simone Simon and its sequel, Curse of the Cat People (1944). First off, I really liked the first one. It was unusual and different from what I normally watch. I saw this movie listed in a film history book and its description intrigued me so I watched the trailers, which looked interesting, and then checked the film out from my library.
I think Simone Simon is so cute! I love her hair in the movie and she really does have a "cat" face. Not an evil cat but a cute cat. I liked her accent too.
 
Some screenshots and a gif:

 

This is NOT a look you want to see...


Trivia:
Because of the small budget (only $150,000), sets from Orson Welles'The Magnificent Ambersons were used.
The entire film was shot in 18 days. The crew worked in shifts around the clock.
Was Lewton's directorial debut. He went on to make several more successful low-budget horror films for RKO.
It is included among the "1001 Movies You Must See Before You Die" list.  
Based on the success of the film, a sequel titled Curse of the Cat People (1944) was made. It focused on the friendship of Oliver and Alice's daughter with the ghost of Irena. The title is misleading, as it's really just about a lonely little girl.



Even with the success of Cat People, Simon never achieved critical acclaim in Hollywood. She made three other films at RKO - Tahiti Honey (1943), Johnny Doesn't Live Here Anymore (1944), and Mademoiselle Fifi (1944) - before returning to Europe. She appeared in only ten more films, taking a break from 1956 to 1973, when she made one more film. After that she disappeared from the public eye, refusing to give any interviews as she was now a "very old woman" and didn't want to appear on camera.

Her personal life is clouded in mystery and myths. Her maid, who was caught stealing from Simon, spread around an untrue story that she gave men to whom she was attracted a gold key to her boudoir. She also, according to IMDb, had an "affair with a famous WWII spy, Dusko Popov, who was Yugoslavian and thought by the Germans to be a spy for them but in fact was a spy for the British. Popov was a very successful double agent and a well-known ladies man, and during WWII was also acquainted with another spy, Ian Fleming, who later used Popov as the basis for James Bond." Simon never married and died of natural causes at the age of 94 in her Paris apartment. She was buried at the Cemetery, Chateau-Gombert in the Cote d'Azur region of France.


This post is part of the Classic Movie History Project Blogathon focusing on the System (How movies are made) hosted by Movies Silently, the Films (the movies themselves) hosted by Silver Screenings, and the People (the folks who made the movies) hosted by Once Upon a Screen.
Day 1: The Studios & the Publicity Dept.
Day 2: The Production Code & the Magic of Animation
Day 3: The Groundbreakers & Before They Were Stars
Day 4: The Technical Dept. & the Wardrobe Dept.
Day 5: Movie Disasters & the Wonderful World of Color
Day 6: The Family Business & a Foreign Affair

5 Reasons You Should Watch "The Trouble with Harry" (1955)

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After wanting to watch The Trouble with Harry (1955) for quite some time, I was finally able to get my hands on a copy last month. It did not disappoint.

This isn't your typical Hitchcock film, and the viewer shouldn't go into it expecting one. Just watch the trailer and you will see what I mean.


That being said, here are five reasons you should watch The Trouble with Harry:

1. It's Hitchcock's only comedy. Yes, he also directed Mr. and Mrs. Smith (1941) but that was at the request of Carole Lombard and doesn't really have his "stamp" on it. Hitch's droll humor is unmistakable in this one.

 

2. Edmund Gwenn and Mildred Natwick. They are the REAL leading couple of the film. Without them, it would not be the delightful and unique film that it is! And who said falling in love over a corpse is only for young people?


3. Shirley MacLaine. It's her film debut and she nails it. It's not easy to play in a black comedy but her performance feels like that of a veteran.

 

4. Little Jerry Mathers of Leave it to Beaver fame. Only 6 years old, Mathers sprouts some of the most memorable lines and because he's so little they are all the more humorous.

This is a two-muffin rabbit.


5. The scenery. The fact that it was filmed in Vermont during a glorious autumn is more than enough reason to watch this movie. Okay, so some of the scenes ended up being shot in California with fall colored leaved glued on the trees, I couldn't tell the difference!




This post is part of The Alfred Hitchcock Blogathon hosted by. Be sure to read all of the other posts on the Master of Suspense!

The Alfred Hitchcock Blogathon Tag

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Eva of Coffee, Classics, and Craziness is hosting a fun Alfred Hitchcock Blogathon right now that started today and ends Saturday. She has also posted a fun tag for everyone of the following questions and since I love answering questions like this, here they are! (Btw, my post for the blogathon can be found here.)

1. What was the first Hitchcock film you ever watched? I don't remember but it was probably Rear Window that I watched first in one sitting.


2. What’s your favorite Hitchcock film? There's several that are up there: Rebecca, Mr. and Mrs. Smith, Shadow of a Doubt, Notorious and The Trouble with Harry but it was Strangers on a Train that started my interest in Hitchcock. I had only seen his more famous films before (Rear Window, To Catch a Thief, Vertigo, North By Northwest) none of which I particularly like. Psycho and The Birds are favorites too but not really ones I would want to watch a lot.
 
3. What’s your least favorite Hitchcock film? Vertigo. I've never been a huge fan of James Stewart, though I like several of his movies, and I don't really like Kim Novak.
 
4. What’s your favorite Hitchcock cameo? Either Lifeboat or Strangers on a Train.
 
 
All of Hitchcock's cameos
 
5. Who’s your favorite Hitchcock villain? Joseph Cotton in Shadow of a Doubt.
 
 
6. Hero? Rod Taylor in The Birds.
 
 
7. Heroine? Ingrid Bergman in Notorious.
 
 
8. What’s your favorite Hitchcock quote? Edmund Gwenn in The Trouble with Harry [after Dr. Greenbow trips over the body]: Couldn't have had more people here if I'd sold tickets.
 
9. And, finally, how many Hitchcock films have you watched? 21
 

Dead Men Don't Wear Plaid (1982)

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The Parody film, or spoof - a "humorous imitation of something in which its characteristic features are exaggerated for comic effect," are nothing new. They have been around since the dawn of film. In recent decades, the output of parody films has risen, with some of the best made in the 1980s and 90s. The films of Mel Brooks immediately spring to mind: Blazing Saddles (Westerns), YoungFrankenstein (Horror), Robin Hood: Men in Tights (Swashbucklers & Action), and several of his other films. Brooks of course isn't the first one to spoof those genre's and he certainly isn't the last.

One of my favorite spoofs is Dead Men Don't Wear Plaid (1982), a spoof of the Film Noir genre and directed by television's great Carl Reiner (The Dick Van Dyke Show). Not only is it hilarious, but it's full of familiar Film Noir faces: Humphrey Bogart, Edward G. Robinson, Barbara Stanwyck, Fred MacMurrey, Ava Gardner, Burt Lancaster and several more. And yes, this movie is from 1982.

The film stars Steve Martin (whose birthday was Sunday). Filmed in black and white, the movie uses clips of Classic Films Noir and intersperses them with new footage of Steve Martin, to make an entirely new film. The editing (by Bud Molin) is fantastic in this film as the old and the new blend seamlessly. The idea came to Martin, Reiner, and George Gipe during a lunch meeting where they were discussing a script that Martin had written. "What if we used a clip from an old movie in this thing?" quickly became "What if we did a whole movie using old clips?" It was an idea liked by all. Reiner and Gipe sifted through hours of film to find singles and over-the-shoulder shots that they could easily incorporate Martin into. They also listened for dialogue that could be worked into an original story. They ended up using clips from 19 different films and 18 different Noir actors. "We came up with a plot that certainly wasn't any more confusing than The Big Sleep."

I knew it was a one-in-a-million idea.

To do the costumes for the film, Edith Head came on board. "When Edith Head said she'd take the assignment, I knew we had a good movie," Reiner remembered. Martin said, "I felt a sense of history working with her and I wanted to live up to what she presented." Head made over 20 suits for Martin alone, injecting classic 40s style suits with a little bit of the 80s. She was also called upon to recreate costumes she had designed over 40 years ago. In one scene, Martin dresses like Barbara Stanwyck in Double Indemnity. She had come full circle in her career. Two weeks after production wrapped, Head passed away.


The over 85 sets used in the film were created by Production Designer John De Cuir. He recreated sets to match the clips used in the film as well as original sets in the style of Classic Film Noir, like the quintessential cluttered detectives office. The Director of Photography watched Noir films to study the lighting and camera angles so that the old and new would match.

Martin with Cary Grant (Hitchcock's Suspicion)

The only person who didn't watch a lot of Noir films during preparation was it's star. His reason? "Simply because I didn't want to act like Humphrey Bogart. It is very easy to pick up his style. I consciously stayed away from them because I didn't want to be influenced." The result was one of the most unique films ever made, with Martin bringing the perfect amount of humor that the film called for.

Your typical Noir detective

In the film, Martin is a detective named Reardon hired by the beautiful Juliet Forrest (Rachel Ward) to investigate the murder of her father, who was a prominent scientist and cheesemaker. In Dr. Forrest's office, Reardon finds two lists: Friends of Carlotta and Enemies of Carlotta. He also finds a signed photo of Kitty Collins (Ava Gardner). The lists are stolen from him by Alan Ladd, who shoots Reardon in the arm (he gets shots in the same arm multiple times throughout the film). After Juliet removes the bullet, he begins to look up the people that were on the lists. The investigation eventually leads to South America (where his pajamas get dirty). He also falls in love with Juliet, despite the warnings of his partner Marlowe (Bogart).


I won't tell you how it ends (it involves cheese and Nazis). You'll have to watch the movie yourself (or look up the synopsis), but if you love Film Noir, you will love guessing what film all the clips come from (or you can scroll to the bottom of this post). Carl Reiner and Reni Santoni also star in the film.

The beautiful Juliet Forrest (Rachel Ward)

Note: Unfortunately this film is not appropriate for children - unless you're good with the mute button - as there are several references to female body parts.

         

         

This post is part of The Film Noir Blogathon hosted by The Midnite Drive-In. Be sure to read all of the other posts! Also, check out my other post, Not Your Typical Noir: Nobody Lives Forever (1946).


Sources:
 
Scroll down to see all the actors and films used (or don't and just watch Dead Men Don't Wear Plaid and test your knowledge of Noir films)
 

















Free TCM Slapstick Class!!!!!!

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Just discovered TCM is offering another free online course in conjunction with Ball State University and Canvas Network on Slapstick films!! If you took their Film Noir class last summer, you know we are in for a real treat!! It even has the same teacher!

During the month of September, TCM is focusing on Slapstick films and lucky for us, also having this class. I have been hoping they would offer another class soon but when they didn't announce anything for the summer I was afraid there wouldn't be anything until next year. So I am very excited right now!!!!! I really just want to put a ridiculous amount of exclamation points here right now...

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

There. It's not a ridiculous amount but it will suffice ;)

Here's the page where you can find out all you need to know about the class and enroll. And FYI: you DO NOT need to have TCM to take the course. They provide links to free movies online for those who don't have access to TCM.

Can't wait to "see you" all there!!!! August 28th can't come fast enough!!!!

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