Caftan Woman

CMBA Comedy Classics Blogathon: "Sons of the Desert" and "Way Out West"

2012-01-22T06:15:00.000-08:00

It is time for a week of merriment and memories as the Classic Movie Blog Association celebrates Classic Comedies with a Blogathon running January 22 - 27.

"You may be a movie buff if … you have more pictures of Laurel and Hardy about the house than of actual relatives." - Caftan Woman

Stan Laurel (1890-1965) and Oliver Norvell Hardy (1892-1957)

Stan Jefferson was born in England to a show business family so it is no surprise that the acting bug bit early in life. His father, A.J., was a theatre manager, writer, producer, director and actor. Stan’s mother acted in her husband’s plays. Stan’s comedic ambitions were encouraged and nurtured by his parents wo found him an apprentice job with a touring pantomime company during his teen years. Eventually Stan became a member of Fred Karno’s well known music hall troupe, honing his craft alongside young Charlie Chaplin. It was on his second tour of the U.S. with Karno that Stan decided to stay on the Vaudeville circuit in acts with various partners and changed his name to the more euphonious and, hopefully lucky, Laurel. Stan had some moderate success in film, notably with producer Joe Rock, but by the mid 1920s was happily and busily engaged as a gag man and director at the Hal Roach Studio and seriously considered giving up performing.

Norvell Hardy was the adored baby in his Georgia family. His father, Oliver, passed away when Norvell was a baby and in his teens Norvell took the name Oliver as his own as a tribute. While his family had no theatrical background, young Oliver’s musical ability and longing for the spotlight led to his mother agreeing to let him travel with the Charles Coburn (cousin of the future Academy Award winning actor of that name) Minstrel show before he was even 10 years old. Later, Hardy opened a movie theatre and studied music seriously for a time. Eager to enter the movie business, he moved to Florida where he learned about the movies from the ground up working for the VIM comedies while singing in nightclubs. He gained a reputation as a good “heavy” and inspired comedian. In fact, while Hardy was working with the popular Billy West, it was suggested to Stan by producer Joe Rock that he should consider working with “Babe” Hardy. Still seeking to establish his own screen persona, Stan thought it unwise to team with such a scene stealer.

The Roach Studio in the 1920s could boast of their Little Rascals and their Comedy All Stars including Charley Chase, Billy Gilbert, Edgar Kennedy, James Finlayson and Oliver Hardy. Leo McCarey, James Parrott, James Horne, Frank Butler, Stan Laurel and others were crafting the movies audiences loved. Stan was prevailed upon to return to the screen and when he appeared with Babe found their styles and dedicated approach to comedy were a perfect match. The creative minds on the lot, especially McCarey, the happy exhibitors and audiences took to the evolving team and the All Star Comedy output became the Laurel and Hardy films.

The Laurel and Hardy characters of the screen are a couple of well-meaning dolts. Well, aren’t we all at one time or another? Stanley of the halting thought process is the dumb guy. Ollie of the grand manners is the dumber guy because he thinks he is smarter than Stanley. Stan immersed himself in the creating, timing and editing of their films. Babe contributed his thorough preparation technique and total commitment to the team. The congenial working relationship between the two men grew into an abiding friendship during their years in film and most certainly their stage tours when movies thought they could do without Laurel and Hardy.

Stan always felt that the short subject best suited the team because it is difficult for comedy – their type of comedy - to carry a feature length story. I’m not one to argue with a genius about his business, but there are copious laughs to be found in the Laurel and Hardy features such as the two remembered here.

Sons of the Desert (1933)

Laurel and Hardy did not create the domestic comedy, but there was no better match for their naïve characters than the Battle of the Sexes and Sons of the Desert is that battle played out to perfection. The director was William Seiter, well known for Roberta, Shirley Temple pictures and Wheeler and Woolsey’s Diplomaniacs. The story is by Our Town’s famous stage manager Frank Craven and the screenplay was worked on by Seiter, Stan, Babe, Eddie Welch, Jack Barty and Glenn Tryon.

Members of the fraternal order the Sons of the Desert, Los Angeles Chapter, have sworn to one hundred percent attendance at the annual convention in Chicago. Stan is worried about having taken the oath without his wife’s permission causing a frustrated Ollie to remark: "Why don’t you pattern your life after mine? I go places and do things and then tell my wife.”

Few things are funnier than watching Ollie’s transitions from coy to assertive to cowed as he tried to wrangle his way to Chicago over the objections of his wife played by Mae Busch. The Australian born Mae has an interesting filmography having worked with Lon Chaney in While the City Sleeps and The Unholy Three, and Erich Von Stroheim in Foolish Wives, Souls for Sale and The Devil's Passkey. She joined Laurel and Hardy for 14 pictures and was a great foil for the boys in pictures such as Them Thar Hills, Tit for Tat, Their First Mistake and Oliver the Eighth.

In Sons of the Desert, Ollie gets no support from the dough-headed wax-eating Stan who is most certainly under the thumb of his rifle toting wife played by Dorothy Christy. Clearly a Byzantine plan involving a feigned nervous breakdown, a veterinarian and a cruise to Hawaii is the only way to fulfill the oath.

The diversions of the convention are joyously and innocently enjoyed by our heroes. Much admired comic actor Charley Chase is a loudmouthed practical joker who almost blows the boy’s cover. The night club floor show features a catchy Island inspired tune (they were all the rage at the time), Honolulu Baby performed by Ty Parvis with some bright-eyed and clunky chorus girls. The tune was written by Roach music director Marvin Hatley, who also composed the Sons of the Desert Song and the beloved Laurel and Hardy theme, Dance of the Cuckoos.

The boys return to hearth and home with a song of the islands and some pineapples. What could possibly go wrong? Well, what if the cruise ship was caught in a storm with the safety of the passengers in doubt? What if Mrs. Laurel and Mrs. Hardy were to see a newsreel of the Chicago convention highlighting two familiar fez-topped fellows? What if it rains? Rain can dampen even the most “finely formulated machinations in extricating us from this devastating dilemma”. Each complication, each reaction and the capper to it all always brings forth gales of laughter after 70 years.

Way Out West (1937)

Stan and Babe both felt that costume pictures such as The Devil’s Brother, The Bohemian Girl and March of the Wooden Soldiers were a perfect setting for their none too bright, but optimistic screen characters. Along that line we come to the oh-so-funny singing cowboy/melodrama/spoof Way Out West written by Jack Jevne, Charley Rogers, Felix Adler and James Parrott, and directed by James W. Horne, whose collaborations with Laurel and Hardy include Liberty, Laughing Gravy, Beau Hunks, Big Business, The Bohemian Girl and others.

Our heroes (they must have been the only ones around for miles) are entrusted with delivering the deed to a gold mine to a sweet-faced, sweet natured heroine working as a servant in a rough and wild western town. Canadian born Rosina Lawrence, who graced many Little Rascal shorts plus Charlie Chan’s Secret, plays Mary Roberts. Mary works for penny pinching saloon keeper Mickey Finn. Naturally, frequent and favourite co-star James Finlayson plays that role with his accustomed bluster. A beauty contest winner who appeared in pictures in the 1920s and 1930s, Sharon Lynn plays Finn’s wife, saloon singer Lola Marcel. Like her hubby, Lola is looking for a windfall to better their social position and honesty is not a factor.

The villains will have much to do with the boys, but first Stan and Ollie must reach town. Stan utilizes Claudette Colbert’s system from It Happened One Night to hitch a ride on a stagecoach. Upon reaching town, the boy’s find a mixed reception. The sheriff is not their friend as his wife was annoyed by their feeble attempt at flirting during the trip. On a more pleasant note, Chill Wills and his Avalon Boys are loafing and singing in front of the saloon leading to an impromptu dance that is one of the delights of this or any movie. I find a certain musicality in all that Laurel and Hardy present, a rhythm to their physical gags as well as their dialogue. The At the Ball, That's All (Commence to Dancin’) number showcases the two performers at their best, light on their feet and communicating pure joy to their audience. In second place for charm is the rendition of The Trail of the Lonesome Pine where we are treated to Ollie’s lovely voice and a little vocal trick from Stan with dubbing help from Rosina Lawrence and Chill Wills.

Swindled out of the deed by the duplicitous Finns, Stan and Ollie (like all true heroes) do not hesitate for a moment upon learning of their mistake. However, their efforts to retrieve the stolen document are doomed to hilarious failure especially when Lola traps a ticklish Stan in a locked room. Thrown out of town by the still irate sheriff, the boys must resort to burglary and their catlike tread resembles a Roman Legion in full attack mode. Success is ensured through the demand for a happy ending and includes a bucket as camouflage, a grand piano and a flying donkey.

The popularity of westerns is equaled by the popularity of western spoofs. Way Out West can be counted among the best and you need look no further than its stars to know why.

“People have always loved our pictures. I guess that's because they saw how much love we put into them.” - Stan Laurel

My Ultimate Geek Moment

2012-01-15T08:56:00.000-08:00

Five Doctors
William Hartnell, Peter Davison, Tom Baker, Patrick Troughton, Jon Pertwee

Since 1963 the BBC serial adventures of a Time Lord from the planet Gallifrey known as Doctor Who and his various companions have enthralled and excited viewers of all ages. I watched the program with my younger sisters when it aired on TVOntario and it became a delightful habit.

The Doctor was first played by the dour and professorly character actor William Hartnell. When he left the program, the role was recast, and The Doctor regenerated into the quick-witted Patrich Troughton. His leaving brought the dashing and caped Jon Pertwee into the mix. When Pertwee moved on, the rascally personality of Tom Baker made The Doctor an international phenomenon. The trouble with these British actors is that they are all so darn good at what they do. As each new Doctor stepped into the role, there would be anguish from fans followed by wholehearted acceptance of the most recent interpretation.

Four Doctors
Peter Davison, Colin Baker, Paul McGann, Sylvester McCoy

Following Baker was the wonderful Peter Davison who must hold some sort of record for TV series roles with 18 and counting, among them All Creatures Great and Small, Campion, The Last Detective and Law and Order UK. After Davison went on his busy way, Colin Baker became an enegmatic Doctor and then Sylvester McCoy's bemused Time Lord. Paul McGann played The Doctor in a 90s TV movie after the cancellation of the series in 1989.

In time Doctor Who became part of my past with a nostalgic glow and the occasional discovery of a paperback novel adaption found in a box in the back basement. In 2005 the series was relaunched by the BBC Wales with co-production from the CBC. I considered myself mildly curious about the whole thing, but thought my daughter Janet, who likes her sci-fi, might be interested. I think it was one second (well, maybe two or three) into the first episode of the new series starring Christopher Eccleston when they grabbed my imagination and Doctor Who became my only must-see television program.

Daleks!

The trailer for episode 6 spurred my ultimate geek moment. An old enemy was about to reappear in the form of - gasp! - the Daleks. My daughter smirked at the salt and pepper shaped adversary and commented "They don't look like much of a much." It was then I saw myself rise up to full height and point a shaking finger in Janet's direction. I heard my voice, coming from the depth of my being, coldly announce "You haven't lived through a Dalek invasion, Missy. I have!" Well, one man's demented is another man's cool. Luckily for me, Janet places the moment under the "cool" category, saving me from possible commitment. Embracing your inner geek does have benefits.

Caftan Woman's Choice - One for January on TCM

2012-01-03T08:49:00.000-08:00

New year, same deal. Looking over the wonderful selection of films scheduled on TCM in January, if there were only one to watch I heartily recommend 1949s Intruder in the Dust, an adaption by Bed Maddow (The Asphalt Jungle, No Down Payment) of William Faulkner's 1948 novel filmed by director Clarence Brown on location in Oxford, Mississippi.

I find in Clarence Brown's best work an empathy for the outsider, particularly as represented by youngsters in such films as Ah, Wilderness, Of Human Hearts, The Human Comedy, National Velvet, The Yearling and Angels in the Outfield.

The young star of The Yearling, Claude Jarman Jr., here plays teenaged Chick Mallison whose preconceptions about life and people are forever changed by his relationship with Lucas Beauchamp played by the commanding Juano Hernandez (Trial, Young Man With a Horn, Stars in My Crown). When the young Chick tries to pay Lucas for rescuing him from an accident he is rebuffed by the proud individual. It is behavior that is beyond Chick's comprehension of what is the norm between himself, a white boy, and a black man. Lucas continually confounds Chick's ideas, as he does most people. Lucas is not a communicative and friendly man to anyone. He lives life on his own terms. Lucas is also the prime suspect and is arrested when a racist bully played by David Clarke (The Set-Up, The Narrow Margin) is murdered. The outrage in the town is easily manipulated by the victim's father played by Porter Hall, in a stand-out performance, and brother played by a brutish Charles Kemper.

Chick, fulfilling an obligation he knows he owes Lucas, convinces his lawyer uncle played by David Brian to defend Lucas. The law, in the form of the reluctant defender and the sheriff played by Will Geer, know that the day will end in a lynching and things are beyond their control. It is Chick with the enlisted help of his friend, the son of his maid, Aleck played by Elzie Emanual who takes a dangerous nighttime trek to a burial site to find forensic evidence that will clear Lucas. Only one thing will give the boys and the law the time they need by holding back the mob. A dozen years before the celebrated scene with Gregory Peck in 1962s To Kill a Mockingbird, we have the frail Elizabeth Patterson as schoolteacher Eunice Habersham setting up her rocking chair and facing down brutal mob mentality. It is a spirited and inspiring role that should have more acclaim.

Intruder in the Dust is an exciting, thought-provoking, unsentimental story that will live with you long past the viewing. TCM has the film scheduled for Monday, January 16 at 2:30 pm.

The Curious Incident of the Woman Who Changed Her Mind

2011-12-27T12:56:00.000-08:00

In your travels through life, if you are suddenly beset upon by an unemployed game show host who asks who, in your opinion, is the most influential and durable character in English Literature, I would be very surprised if you didn't answer Sherlock Holmes. Of course, a pass will be given if you are one of those people who believes Holmes was a real person. You can talk all you want of Poe's C. August Dupin, but it's Conan Doyle's 1887 creation who captured the world's imagination and never let go. We cannot get enough of the Victorian era consulting detective whose popularity eventually came to so bedevil Sir Arthur. The character whose basis is four novels and 56 short stories took on a life of his own. People who have never read a Conan Doyle story know of 221B Baker Street, of the devoted chronicler Dr. John H. Watson, of Mrs. Hudson and Professor Moriarty.

For over a century the character of Sherlock Holmes has been subject to uncountable adaptions, homages and pastiches of varying success and quality. Actors as diverse as Peter Cushing and Matt Frewer have assayed the role. Some such as Basil Rathbone and Jeremy Brett, despite their wide-ranging careers, are indelibly associated with Sherlock Holmes. One of the first and best to tie his name and image with that of Holmes was the American actor William Gillette (pictured left) who, with Sir Arthur Conan Doyle's permission, adapted Sherlock Holmes for the stage in 1899. While Gillette was working on the project and appearing on stage in San Francisco a hotel fire destroyed both the original Conan Doyle manuscript from which he was working and Gillette's own finished play. He patiently rewrote the entire play which is a lesson for those of us stymied by computer crashes. It was Gillette who gave Holmes his deerstalker cap and magnifying glass, and the line "Elementary, my dear fellow." William Gillette played Holmes for over 30 seasons on the stage and gave his last performance for radio at the age of 79. Orson Welles is to have said “It is not enough to say that William Gillette resembles Sherlock Holmes, Sherlock Holmes looks exactly like William Gillette.” It is not a stretch to imagine that Basil Rathbone must have seen Gillette and been influenced when he first played Holmes in 1939s The Hound of the Baskervilles and, surely, Rathbone has influenced future performers.

The mania for all things Holmesian continues into the 21st century. Fans of television mysteries see the clear line from 1880s stories printed in The Strand magazine to David Shore's House, MD, Bruno Heller's The Mentalist and Steven Moffat's Sherlock. My book shelves contain not only my annotated and illustrated original Holmes stories, but many of the homages and imaginings of other writers from Eve Titus' Basil of Baker Street, August Derleth's Solar Pons, Steve Hockensmith's Holmes on the Range series, Laurie R. King's engrossing Mary Russell novels, and more.

A couple of years ago when Guy Ritchie's Sherlock Holmes movie starring Robert Downey Jr. and Jude Law was announced, I was intrigued because I am one of those who can't get enough of Holmes. However, I frequent certain areas of the internet (the IMDb) which suddenly and frightfully became a breeding ground of Holmes purists who were aghast at the thought of the movie. I am someone who didn't object when an animated Holmes was frozen and brought back to life in the future in Sherlock Holmes in the 22nd Century. I have no purist scruples because it has been proven that Holmes is untouchable. I was keen on the project until I saw the trailer. My trailer judgements are swift and irrevocable. Strike one, the cinematography had an annoying greyish tint which I supposed was to accommodate CGI. Strike two, there was no discernible plot. Strike three, an alarming amount of slow-mo and an over-reliance on smart-assery. The entire thing left me with an overwhelming sense of "meh". I sighed and dismissed the movie from my universe.

The Harry Potter movies are a tradition the family shares at the theatre so early last autumn I made a rare trip to a movie theatre. It is a rare trip nowadays because I resent the cost, the piped in pop music I spend most of my life trying to avoid, and the commercials. Time was you went to the movies because there were no commercials, but that pleasure can now only be enjoyed in the comfort of your own home. I wept my way through the trailer for War Horse, much to the amusement of my loved ones, and next came a sequel to Sherlock Holmes. I steeled myself for the onslaught of "meh" which did not come. I was amused. I was intrigued. How could this be so? I puzzled and puzzled till my puzzler was sore. Then I thought of something I hadn't before. What if Sherlock Holmes (2009) wasn't a bore? What if Sherlock Holmes (2009), perhaps, was a little bit more?

A couple of weeks before Christmas after a hard day of shopping, I gave Sherlock Holmes (2009) a chance. The family is well aware of my intractable trailer judgments so I bore with good grace my daughter's smirk and raised eyebrow. She does it because she can and because nothing is more annoying to someone who can't raise one eyebrow and whose smirk looks like a grimace of pain.

Back to the movie. The darn thing did have a plot. A wackadoodle peer played by Mark Strong was manipulating a secret society and fear of the supernatural in a plan to TAKE OVER THE WORLD. Cool! Who else but a wackadoodle private consulting detective could defeat such a villain?

My eyes became accustomed to the grey tinted cinematography which may have been to accommodate CGI and might also have been to indicate a smokey, foggy London. At any rate, after a while I stopped wishing someone would squeegy the screen.

Robert Downey Jr. rarely puts a foot wrong as an actor for me, and his Holmes continued in that vein. Jude Law exemplified the perfect Watson. The characters are so firmly established in our imaginations that we had no need to go back and be introduced to them, there they were, fully formed waiting for us to enjoy the adventure. The brilliant and arrogant Holmes, both admirable and aggravating, and the loyal and understanding Watson. Dr. Watson is the friend we all should be or should have - someone who puts up with us.

If there must be a woman in the picture, and there must, then it must the "the" woman and it was. Canadian gal Rachel McAdams played the adventuress Irene Adler as if she were the long lost grandmother of Emma Peel of The Avengers. The spirited action worked in the style of the story told. We even had a peek at a mysterious professor pulling strings from the shadows. Oooh!

I enjoyed an amusing bit wherein Holmes would imagine his next move prior to carrying it out. It was clever and not overdone. All the plot lines tied up nicely at the end for a satisfying movie experience. I thoroughly enjoyed the entire romp and look forward to the sequel. I am only concerned about my heretofore reliable trailer judgment. What else have I been missing out on? Perhaps that movie with the boxing robot - but, no. Let's not be silly.

Six Degrees of Separation

2011-12-09T13:34:00.001-08:00

MacGuffin Movies Round: link Her Serene Highness Princess Grace to the Clown Prince Charlie Chaplin.

Classic Becky began the festivities with a link from Chaplin to lovely Virginia Cherrill in City Lights and passed the baton this way.

Aha!

Virginia Cherrill appeared in the 1936 feature Troubled Waters with...

...none other than the man of the month, Alastair Sim.

Now, let's see ... who shall I ... Hey, Vincent (Carole & Company), remember back when you knocked on my door and I wasn't home to play the game? Well, tag!

PS: It should be an easy three links to Grace from Sim.

Caftan Woman's Choice - One for December on TCM

2011-12-07T11:41:00.000-08:00

Honestly, I don't know how Ben Mankiewicz does it. It's the fourth month of my self-imposed challenge to choose one film to recommend each month from TCM's schedule, and I'm a nervous wreck. December is a month filled with endless movie delights, but if only one movie is watched during the month it must be 1951s A Christmas Carol. I hear you. "Really, Caftan Woman? You must know that we all watch A Christmas Carol and who doesn't love the 1951 feature?" True, but Christmas is a time of tradition, not originality. A Christmas Carol has been a Christmas Eve tradition since my girlhood some fifty-odd years ago and this gives me a chance to sing its praises. It regularly plays on Canadian television on that night, and when VHS tapes hit the market it was my first purchase in case of any unforeseen distractions. It's not Christmas without that annual viewing with a hot pot of tea and something sweet (Nanaimo bars, anyone?).

Alastair Sim as Ebenezer Scrooge

It starts with the story and Charles Dickens was one of the best story men of all time. His novels delighted audiences in the 19th century and still do in the 21st. Mankind being what we are, we haven't changed that much. The story of Ebenezer Scrooge shown the path to make his and others lives better by the spirits of the past, present and future is a lesson in faith, hope, charity, redemption and grace that speaks to our core.

Brian Desmond Hurst produced and directed the "potboiler" in the summer of 1951 to cash into the Christmas market, challenging the idea that you have to spend two years in the desert to make a masterpiece. The Irish born Hurst was a veteran of WWI who studied film under John Ford in Hollywood before returning to Europe to create his well-regarded films. Hurst's A Christmas Carol is presented with a sense of authenticity in setting and characterization that sets it apart and above the countless other versions of the story.

Noel Langley adapted the screenplay. His 40 year career on both sides of the Atlantic includes Maytime, Edward, My Son and Shirley Temple's Storybook on television. Some of the changes and nice touches he brought to the story include making Ebenezer the younger brother of Fan and having his mother die in childbirth make a symmetrical connection to the story of nephew Fred. Langley added to the business relationship between Scrooge and Marley. Instead of Ebenezer seeing his lost love enjoying the family life he might have shared, Scrooge saw his former fiance a single woman assisting the poor. When Scrooge asks the Ghost of Christmas Present if the people are real or shadows, the spirit responds "We are the shadows. Did you not cut yourself off from your fellow beings when you lost the love of that gentle creature?" I can't help think that Dickens himself would nod and smile at that line.

Michael Hordern as Jacob Marley's ghost
Alastair Sim as Ebenezer Scrooge

The crowning jewel is the casting of Alastair Sim as Scrooge. Sim had been stealing scenes and delighting film and stage audiences for years. They couldn't get enough of his plummy voice, pop eyes and the unique way he had of insinuating himself into a character yet at the same time letting us in on the joy in his work. Michael Hordern (not yet Sir) is truly eerie and heartbreaking as Jacob Marley. Hordern would also play Scrooge in a 1977 TV version of the story. Sim and Hordern would reprise their Scrooge and Marley roles in Richard Williams' stunning 1971 animated version of the story.

One of the most memorable characters is Mrs. Dilber. In the story that is the name used for the laundress, however Langley gave it to the charlady and Kathleen Harrison ran with the role. Ms. Harrison had as long a career as a life, and she lived to be 103, with one of her last television roles in another Dickens adaption when Our Mutual Friend appeared as part of Masterpiece Theatre.

Mervyn Johns is my favourite Bob Cratchit. He plays a sweet soul, but not cloying, who is servile to a mean master only because he must. Hermione Baddeley is a perfect match as the loyal Mrs. Cratchit, and it tickles me to think that in over a decade she would be cavorting with Johns daughter Glynis in Sister Suffragette when Mary Poppins hits the screen. Ernest Thesiger (the infamous Dr. Pretorious from Bride of Frankenstein) is droll as the undertaker and Miles Malleson (the sultan from The Thief of Bagdad) unforgettable as Old Joe the junk man. The entire film is an embarrassment of riches when it comes to Britain's fine character actors. As Old Joe says in the movie, "We're all suitable to our calling."

Glyn Dearman (Tiny Tim), Alastair Sim (Ebenezer Scrooge)
Francis De Wolff (Ghost of Christmas Present)
John Charlesworth (Peter Cratchit), Mervyn Johns (Bob Cratchit)
Hermione Baddeley (Mrs. Cratchit)
Assorted Cratchits champing at the bit for Christmas to begin.

The music for the film is from Richard Addinsell whose popular Warsaw Concerto is from another Hurst film, Dangerous Moonlight. The booming introduction to the movie never fails to produce goose bumps, and the imaginative use of familiar Christmas tunes and of the folk song Barbara Allen as a theme for Fan still brings a tear to my eye. In the Dickens story he mentions only a "familiar air" in relation to Scrooge's sister and the sweetly melancholy Barbara Allen is a perfect choice.

In the story Dickens mentions Sir Roger de Coverley, a traditional Christmas dance tune and it is featured prominently at Fezziwig's party. Our local classic radio station in Toronto has the tune as part of its' Christmas playlist. I never can hear those fiddles start up without hearing Alastair Sim, with excitement in his voice, say "Look, there's Old Fezziwig and Mrs. Fezziwig - top couple." We are back to Mr. Sim whose transformation from "a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner" to "as good a friend, as good a master, and as good a man as the good old city knew" is total and touching and real. It is all that is all we can ask and more from any performance of Scrooge and any adaption of A Christmas Carol.

If your 24th is already booked and hasn't room for this personal and Canadian tradition, TCM is screening 1951s A Christmas Carol for the first time on the network on Monday, December 12th at 8:00 pm.

Ode to Mine Host

2011-12-05T13:55:00.000-08:00

Ease of manner

A twinkle in his eye

A fan and a scholar

Sigh. What a guy!

Dear Robert Osborne,

I hope you enjoyed your recent time away from TCM. Don't do it again!!

Sincerely,
Caftan Woman

Listening is important.

2011-11-24T13:05:00.001-08:00

Irene Dunne as Vinnie and William Powell as Clarence Day, Sr.

Life With Father

A scene in the Day household -

Clarence: I'll tell you one thing, I'll never be baptized as long as that hideous monstrosity (pug dog statue) is in this house.

Vinnie: Alright. Alright. Clarence (Jr.). That pug dog goes back this afternoon and he is christened first thing in the morning. You heard him didn't you, Clarence? You heard him say that he'd be baptized as soon as I got this pug dog out of the house.

A scene in the Nolan/Hall household -

He: Don't tell me you're listening to Christmas music! The Americans haven't even had their Thanksgiving yet.

Me: You heard him didn't you, kids? He said as soon as it was American Thanksgiving it was all Christmas music, all the time.

What many people (meaning husbands) don't understand is that Christmas music, like the Christmas movies and books, must be started early or the season will pass without seeing reading or listening to all your old favourites.

I have a box full of tapes and CDs, and a shelf lined with LPs that call out to me. These are a but a few of the many.

Vince Guaraldi's soundtrack to the 1965 television special combines a true sense of childhood innocence with a touch of adult nostalgia that is at the same time a part of and transcends the iconic Charles Schulz characters of Charlie Brown, Lucy, Linus, Schroeder and Snoopy. For many youngsters it is their introduction to jazz. A happy introduction that will influence a lifetime of musical enjoyment.

Round and round the Christmas tree
Opening presents with the family
One for you and two for me
Oh, what a Christmas day!

Bing's classic Merry Christmas album with White Christmas, Silver Bells with Carol Richards, the fun tunes with the Andrews Sisters and the hymns gets a major workout this time of year, but I always start out with A Time to Be Jolly. It is a joyous album with a party feeling that I find irresistible.

Released in 1986 with Milt Hinton, Ralph Sutton, Gus Johnson, Jim Galloway going to town on traditional Christmas songs, The Sackville All Star Christmas Record became an immediate classic in our family. I was "adopted" into a family simply by virtue of reading Harpo Speaks. If you listen to the Sackville album, you automatically become one of us.

The album cover alone is comforting, but add Nat's voice and you are immediately enveloped in a sense of wonder and the best that Christmas has ever meant to you, or will ever mean.

Perry Como. Just thinking about him makes me smile. His heart seems to be in the Christmas music, both joyous and reverent. I must hear Perry recite The Night Before Christmas every year.

Another album I consider an instant classic is the eclectic Christmas album from the glorious Maureen McGovern. A contemporary take on traditional music that retains all of the old-fashioned heart.

It is one of the tragedies of my life that the Hi-Lo's never made a Christmas album. Gene Puerling, being kind of heart as well as genius of mind, made up for it when he took his Singers Unlimited, Don Shelton, Len Dresslar and Bonnie Herman into the studio for this must-have, must-listen-to album. It is what you point to when you want to scoff at those who claim perfection cannot be achieved.

Many of the wonderful tracks on the Singers Unlimited Christmas are the Christmas songs of Alfred Burt. Jazz trumpeter and composer Burt originally collaborated with his father Bates Burt, an Episcopal minster on Christmas songs presented as gifts to family and friends. After his father's death he continued the tradition with organist Willa Hutson.

Al Burt was a member of the Alvino Rey (married to Louise King) orchestra and through that association his carols were popularized by the King Family, first at their personal Christmas parties and on their television specials. His wonderful carols were recorded by Columbia records (company president James Conkling was married to Donna King) shortly before Al's untimely death from cancer.

Al Burt's lovely songs include Christmas Cometh Caroling, Jesu Parvule, Ah, Bleak and Chill the Wintry Wind, Bright, Bright, the Holly Berries, The Star Carol, Caroling Caroling, We'll Dress the House and Some Children See Him.

Al Burt's carols have come to mean Christmas to me more and more as the years go by. Along with the Singers Unlimited album they are front and centre on Bing's A Time to be Jolly and Maureen McGovern's Christmas.

Composer/arranger LeRoy Anderson's thrilling medleys of familiar carols are my traditional Christmas wrapping soundtrack. The album was saved from cutout limbo at the old Sam the Record Man on Yonge Street in Toronto.

Why, oh why isn't this fabulous TV special from 1979 available on DVD?!?

Yeah! Christmas on the Pondersa. Wanna make somethin' of it?!

Old-time opera recordings are my happy place. I think I am reincarnated from the gramaphone set. This compilation features songs mainly from radio broadcasts and cover years ranging from the 1920s to the 1970s. Every year I find a new favourite.

I love the Christmas compilations like this misnamed CD from Publisher's Clearing House. Not all of the tracks are from the 1940s, but I'm not going to quibble if they want to give me Mel Torme and Jack Jones from The Judy Garland Show along with Buddy Clark, Joe Williams and Benny Goodman.

There's also the Robert Shaw Chorale and the Chieftains and Doris Day and The Mills Brothers and Peggy Lee and Jim Reeves and Roger Williams and The Platters and ...

Happy Thanksgiving to my American friends, and thanks for the often mentioned, but seldom followed guideline to when it is appropriate to listen to all Christmas music, all the time.

What's that guy's name? Christian Rub.

2011-11-18T13:09:00.000-08:00

Christian Rub
1886-1956

We were watching Jeopardy. The category was Things Related to Wood. Two of the "questions" were "What is Tales from the Vienna Woods?" and "Who is Pinocchio?". I turned to my husband and commented that this was a good night for Christian Rub (pronounced and sometimes spelled "Rube") fans because in 1938s The Great Waltz he played the carriage driver who helped Strauss and the soprano compose that song, and in Disney's 1940s Pinocchio Rub was the human model and voice for Geppetto. The breadth and depth of my knowledge stunned my beloved into silence. I'm sure he was in awe.

Sadly, even my cherished character actor books could provide no details on Mr. Rub's life personal life other than his birthplace in Bavaria and that his wife's name was Amy, but his movie career places him in a number of bona fide classics and personal classics.

Christian Rub, Cliff Edwards and Dickie Jones cut a rug

Pinocchio

Some actors become famous for playing butlers. In Christian Rub's case he played more than his fair share of janitors and groundskeepers. Check out Princess O'Rourke with Olivia de Havilland, Once Upon a Time with Cary Grant, Mary Stevens MD with Kay Francis, Murder on a Bridle Path with James Gleason, AllThis, and Heaven Too with Bette Davis, Henry Aldrich for President and Rhapsody in Blue among many others. The one valet credit I could find was the Warren William picture Outcast. I have yet to see it, but it looks like a dandy.

Miliza Korjus, Christian Rub, Fernand Gravet make music history
The Great Waltz

When not sweeping up, Christian Rub played a number of musicians and music lovers. He's a cellist in the Charles Laughton segment of Tales of Manhattan, a trombone player in Tovarich and is featured in two Deanna Durbin movies Mad About Music and One Hundred Men and a Girl. He's adorable as a sympathetic innkeeper in The Cat and the Fiddle with Jeanette MacDonald and Roman Navarro.

Above is my favourite performance of a title song of a movie, 1940s Rhythm on the River starring Bing Crosby. Christian Rub is the pawnbroker in the background who can't keep from grooving.

While searching for photos of Christian Rub online I found him misidentified on a couple of sites. He is not now nor never has been Ian Wolfe or Donald Meek. Such an infraction against all three gentlemen would be considered criminal in my family!

Look for Christian Rub the next time you watch You Can't Take It With You where he is one of the Vanderhoff's neighbours or Captains Courageous as one of the shipmates. Soon you'll compile your own list of personal classics.

Remembrance Day

2011-11-11T05:42:00.001-08:00

In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie,
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

John McCrae was born in Guelph, Ontario on November 30, 1878. His family background of Scottish immigrants was military with a strong sense of duty and Presbyterian with a strong sense of spirituality. McCrae joined the Guelph Militia while in High School and when attending the University of Toronto in 1892 joined the Queen's Own Rifles. He studied medicine on a scholarship and tutored to defray expenses. Two of his students became the first female doctors in Ontario. McCrae also studied medicine in England. In 1899 he fought as a Captain in South Africa, but resigned because of what he felt was poor treatment of the ill and injured.

John McCrae was a noted physician who filled his leisure time with poetry, sketching and a love of the sea. Many times he signed on as a seaman to travel between North America and England. In 1914, not unlike many of his generation, for a sense of duty and a sense of adventure McCrae reenlisted for King and Country, a field surgeon with the rank of Lieutenant Colonel.

McCrae's former student and friend Lt. Alexis Helmer was killed at the Second Battle of Ypres, also known as Flanders Fields. Amid the carnage and sadness John McCrae found an outlet by composing his most famous poem. In Flanders Fields was published in the magazine Punch in December of 1915 and immediately struck a chord with the grieving families and battle weary soldiers. The poppy was adopted as a symbol of remembrance throughout the Commonwealth.

John McCrae suffered from asthma most of his life and passed in the field on January 28, 1918 from complications from pneumonia. His life and work, including his poetry and medical text books, is honoured in museums and schools throughout Canada.

On the 11th hour of the 11th day of the 11th month of 1918 Germany signed the armistice. It is on this date we pay tribute to the sacrifices made during the war to end all - and those which followed.

Where Are My Manners?

2011-11-09T07:09:00.001-08:00

The bustle of day-to-day life is no excuse for not mentioning that Caftan Woman was invited to spend some time at the most comfortable spot on the net, the Classic Film and TV Cafe, where some movie memories are shared. Please join us.

Caftan Woman vs. Garbage Truck

2011-11-03T15:44:00.000-07:00

"Take That!" by Janet C. Hall

November got off to a flying start. My lingering cold had progressed from the "cuddled under a quilt on the couch with chicken soup watching Bend of the River" phase to the "need more moisture laden tissue and pizzazz in my life" phase. I can think of no better way to add pizzazz than to mix club soda with orange-tangerine juice (it's pizzazz on a budget). The grocery store is only two and a half blocks from home, but who knows what else I might pick up so I took my cart aka bundle buggy to pick up the necessaries.

Middle-aged women who take a cart to pick up two items at the store are notoriously cautious pedestrians. I had finished the first half block on the return home south on Royal York Road and stopped at Van Every noting the garbage truck stopped at the crosswalk and the worker loading garbage. The truck was stopped. I assumed the driver had seen me because isn't being aware of your surroundings part of the driver's job? I calmly started through the crosswalk. I was in front of the truck when I realized it had started and was moving!! Moving!! I shouted. I started to run in a loop out into the street. Middle-aged women who take a cart to pick up two items at the grocery store are not noted for their swiftness. I don't believe I have ever been more frightened. I think I heard people on the street shouting. I'm not certain what alerted the driver, but as the truck struck my back it stopped. I went flying and tried to dig a hole in Royal York Road with my face. I didn't lose consciousness. I was crying. I was bleeding. My cart was totaled. I hate to think that that would have been me if I hadn't brought the cart along, but I can't stop thinking about it.

Good Samaritans abounded. One fellow got napkins from the nearby (Gavin's favourite) pizza restaurant for the blood. My new friend Crystal turned her car to stop oncoming traffic and phoned my daughter Janet, two blocks away blithely working on her art. (Janet will be attending the art program at Sheridan College in January. Her goal is animation.)

The police arrived to take the accident report. The Emergency Medical Services arrived with the ambulance.

EMS guy: "So, how straight was your nose this morning?"
Me: "What the Hell?!"

The Emergency Room at St. Joseph's Hospital was very crowded. Nothing but patients in neck braces on boards as far as the eye could see.

Me: "Is it like this every garbage day?"

Our admitting nurse was competent and funny. Hubby thinks she's cute.

Janet: "You have Stephen Fry's nose."
Me: "What's he breathing with?"

CT scan. Full body x-ray. Only issues are slight fracture of the nose and abrasions on the forehead that did not need stitches after all. I had been looking forward to the Frankenstein look. I have a dressing on my forehead, two blackened and bruised eyes - and it's tough to have a cold when your nose has a slight fracture, even if you do have moisture laden tissue.

My friends, in the words of Sgt. Phil Esterhaus on Hill Street Blues: "Be careful out there".

Caftan Woman aka The Luckiest Gal in the World

Caftan Woman's Choice - One for November on TCM

2011-11-01T07:04:00.000-07:00

The hemming and hawing has been done offstage and the honourable mentions clamouring for attention are being ignored as the self-imposed challenge to recommend one film from TCMs monthly line-up continues. The November choice is the film version of John Patrick's play The Hasty Heart directed by Vincent Sherman in 1949.

The Hasty Heart is set at a convalescent hospital in the jungles of Burma at the end of WW2. The few remaining men are awaiting the unraveling of red tape or the healing of injuries before they are to be sent home. Young Scot Corporal Lachlan, known as "Lachey" won't be going home. The doctors prognosis is "no hope" and they ask nurse or, as the Brits say, "Sister" Margaret Parker played by Patricia Neal and the men in her ward to keep the tragic news from the young man and make his last days happy. Most of the men are uncomfortable being placed in this spot, but agree. The most vocal opponent is Sister Margaret's sweetheart "Yank" played by Ronald Reagan. He is quite eloquent when describing his feelings about the Scots in general and his hidebound grandfather in particular. Lachey does nothing to dispel Yank's doubts. The young corporal is an embittered loner who trusts no one. It is at Sister Margaret's urging that the pretense is kept up. Very slowly and very painfully Lachey opens up to the people around him. He even falls in love with Sister Margaret which complicates things for everyone. Eventually, the feelings of friendship among the group deepen and, ironically, at a time when lies might make things easier they become harder to tell because genuine feelings require honesty. Honesty is also a military order when the Colonel must tell Lachey of his fate and send him home. A heart can break very quickly, but can it heal as easily, especially when precious time is almost gone? The Hasty Heart is an emotional movie, and a worthy one.

Author John Patrick (1905-1995) was born in Kentucky. He began working for radio in the 1920s writing over 1000 comedy scripts and Streamlined Shakespeare for NBC. His early work in Hollywood was a mix of crime dramas such as Fifteen Maiden Lane and 36 Hours to Kill in 1936, 1938s Mr. Moto Takes a Chance and comedies like the prison send-up Up the River, also from 1938.

In 1942 John Patrick began volunteer service for the American Field Service providing medical support for the British Army serving in Egypt and the India/Burma campaigns. His experiences formed the idea for his play The Hasty Heart which had over 200 performances in the 1945 season.

Back in Hollywood he would contribute screenplays and/or stories for, among others, such familiar titles as 1946s The Strange Love of Martha Ivers, 1947s Framed, 1948s Enchantment, 1954s Three Coins in a Fountain, 1955s Love is a Many-Splendored Thing, 1956s High Society and the adaption of his Pulitzer Prize Winning Teahouse of the August Moon, 1957s Les Girls, 1958s Some Came Running, 1960s The World of Suzie Wong and 1962s Gigot.

Richard Basehart (He Walked by Night, Moby Dick) was the original lead in the Broadway production and his replacement was young British actor Richard Todd (1919-2009) who would be cast in the movie version. Todd's burgeoning theatrical career had been interrupted by duties as a paratrooper in WW2. In that way that the movies have of intersecting with real life in 1962s The Longest Day Todd portrayed his commander Major Howard in a scene with his own character. In a career which included stage and over 100 combined movie and television roles, Richard Todd favourites of mine include 1950s Stage Fright for Hitchcock, 1952s The Story of Robin Hood and His Merrie Men for Disney, 1955s A Man Called Peter and The Dam Busters. For his War Service Todd was made an Officer in the Order of the British Empire in 1993.

Ranald MacDougall's adapted screenplay was nominated by the Writer's Guild of America for Best Written American Drama. The other nominees were winner All the King's Men, Battleground, Champion, Intruder in the Dust, The Heiress and The Window.

Richard Todd was nominated for Best Actor for his portrayal of Lachey. The other nominees were winner Broderick Crawford - All the King's Men, Kirk Douglas - Champion, Gregory Peck - Twelve O'Clock High and John Wayne - Sands of Iwo Jima.

Set your recorders because TCM is showing The Hasty Heart on Friday November 18th at 12:15 am.

Boo! Boris in The Black Room (1935)

2011-10-27T14:30:00.000-07:00

Boris Karloff
1887-1969

Boris Karloff lived his dream through commitment and hard work. The English born William Pratt was destined for government work if his family had had their way, but his heart belonged to the stage. Moving to Canada and working in many jobs including farm labourer, he eventually joined a Stock Company and found his place in the theatre. In films from 1919 first in bit parts and slowly working his way into larger character roles any early dreams of stardom were probably long gone by 1931 when he took on the role of the monster in James Whale’s production of Frankenstein. The combination of Jack Pierce’s make-up and Boris Karloff’s commitment to the character created a horror movie icon and assured the 44 year old actor a niche in movies and in the hearts of fans. The years ahead would feature many roles in, as he called them, “chillers” and lead to Broadway successes and television popularity.

Roy William Neill
1887-1946

Roy William Neill was romantically born on board a ship captained by his father off the coast of Ireland. Born the same year as Karloff, he entered film around the same time in 1916 as a busy and prolific actor, writer, producer and director. His directing credits include a mix of all genres including action, mystery, horror, comedy and westerns, directing Buck Jones in several silent features. I like him best in mystery mode with such movies as 1933s The Circus Queen Murder starring Adolphe Menjou, 1935s The Return of the Lone Wolf starring Melvyn Douglas, all but the first of the Universal Sherlock Holmes series starring Basil Rathbone and Nigel Bruce, and his last and maybe best feature, the exemplary film-noir classic from Cornell Woolrich’s novel, Black Angel starring June Vincent and Dan Duryea. Roy Neill died of an unexpected heart attack while visiting England after completion of the Woolrich picture.

Holmes star Nigel Bruce, in his unpublished autobiography Games, Gossip and Greasepaint, said this of Neill:

"Roy was an Englishman by birth who had become an American citizen. He was a little man, very fussy about his clothes and like myself, he always smoked a pipe. He was an extremely kind and friendly person and all his assistants and the crews who worked for him were devoted to him. Roy was an extremely able director, having a great knowledge of film technique and of the use of his camera. During the many pictures we made under his direction we found him a joy to work for. Basil and I nicknamed him 'mousey' during our first picture and the name stuck to him from then on. We both became extremely attached to Roy Neill.”

I can’t help but think from that description that 1935s The Black Room directed by Roy William Neill and starring Boris Karloff was as felicitous a teaming between director and star as it was of star and co-star. You see, in The Black Room Karloff plays twins. It’s a movie trick that seems to fascinate both actors and audiences. Why settle for one Bette Davis when you can have two (A Stolen Life, Dead Ringer) or two of Olivia deHavilland (The Dark Mirror) or two of Hayley Mills (The Parent Trap) or two of Jeremy Irons (Dead Ringers), etc.?

Let’s have a somewhat spoilerish look at The Black Room.

Baron Frederick de Berghman (Henry Kolker) refuses to celebrate the birth of his twin sons because, as he explains to his young friend Lt. Hassel (Colin Tapley), it means the end of the family. There is a curse of the family of de Berghman that they will end the way they began, with the younger of twin brothers murdering the older in the black room. The young lieutenant cannot believe in such nonsense, but sensing his friend’s sincerity suggests that the solution lies in sealing up the cursed black room, which is done immediately.

Time passes and forty years later the younger brother Anton has been gone from home for many years, driven away by the curse, although being born with a withered right arm may preclude his bringing any harm to his brother. Anton has been a student, a traveler and has grown into a thoughtful and kind man. The Baron Gregor de Berghman has remained in charge of the family estate with the assistance of family friend the now Colonel Hassel (Thurston Hall). Colonel Hassel has become adept at hiding his fear and loathing of Gregor. Gregor is the sort of man who engenders fear and loathing. The local peasantry are of two minds about the Baron, some say he is a tyrant, others that he is a fiend. It is known that women who have ventured to the castle have never been heard of again.

Gregor has called his brother Anton back to the family estate asking for help with affairs which have become too difficult to handle. The obliging Anton returns to find the peasants on the brink of revolt, his brother a volatile sort, and Colonel Hassel’s niece Thea (Marian Marsh) a lovely and charming young woman. Thea is in love with Lt. Albert Lussan (Robert Allen) and frightened by the attentions of the Baron. Gypsy girl Mashka (Katherine DeMille) isn’t frightened by the Baron, but she should be.

Anton’s return is part of Gregor’s scheme to quell the rebellion and gain lovely Thea as his wife. It is a cunning plan involving murder, deception and the black room. Gregor will murder Anton and take his place subduing the angered peasants. He will worm his way into Thea’s good graces through her uncle. Gregor will have everything he wants. Gregor is not afraid of the curse of the de Berghmans.

The Black Room is a “little” movie with an epic feel. Boris Karloff is a joy to watch as both the adorable Anton and the grim Gregor. The atmosphere of dread and gloom is palpable and the pace is brisk. Recurring visuals that highlight the story are the use of mirrors that can't help but reveal truths, and graveyards and iconic religious statues that reinforce the spiritual nature of the curse and the belief.

In Karloff's Baron Gregor de Berghman we have a villain of the highest order and his comeuppance is as delicious as a splash of Irish in a cup of coffee to dispel a dark, dank October evening. Happy Hallowe’en!

Rex Stout Causes Unrest in Marriage

2011-10-20T10:49:00.001-07:00

The brownstone on West 35th Street, New York City wherein resides the over-sized genius who may or may not be the illegitimate offspring of Sherlock Holmes and Irene Adler is as well known to mystery fans as Middle Earth is to Lord of the Rings devotees.

Nothing fills the mystery bookworm with such anticipation and dread as when a favourite detective makes that leap from the page to the screen. Sometimes perfection is achieved. Joan Hickson was born to embody Jane Marple. Sometimes the artistic license taken may leave you shaking your head, but the casting is heaven sent, as in the Basil Rathbone and Nigel Bruce pairing in the Universal Sherlock Holmes movie series.

Nero Wolfe should have been a lock for film. Rex Stout's detecting team of Wolfe and legman Archie Goodwin combine that unfathomable genius we appreciate with the witty observations we like to think we would make, plus joyous helpings of action, labyrinth plotting and quirky characters.

Rex Stout (1886-1975) wrote his first Nero Wolfe novel, Fer-de-Lance in 1934 and his last, A Family Affair was published in 1975. It was that last novel that was my introduction as a teenager to the series. I read an obituary of Stout in the Sunday paper and straightway bought the book. Fans will realize this greatly coloured a lot of my later reading. Thankfully, there was a lot of reading to catch up on in the Nero Wolfe canon of novels, novellas and short stories.

Lionel Stander, Edward Arnold

Hollywood first came calling in 1936 with Meet Nero Wolfe starring Edward Arnold as Wolfe and Lionel Stander as Archie. I have yet to see the picture, but knowing Edward Arnold's work I do applaud that aspect of the casting. Lionel Stander as Archie. H'm, let me see. No! A wiseacre from way back was Bronx born Stander, but I just can't see him as Ohio born Goodwin. Did the producers miss the part about Archie's fatal attraction for the ladies?

Another Wolfe picture followed in 1937 based on The League of Frightened Men. Walter Connolly was cast as Wolfe (I can't call him Nero. Can you?) and, again, Connolly is a fine actor. Did he and the writers know what to do with the character? Again, Lionel Stander was Archie. Yeah. Sure. Lily Rowan would invite him for a weekend with her tony friends.

Radio might be just the thing! We can imagine the brownstone and environs in our minds eye and if the voice is right, and the scripts are up to snuff then radio might be just the thing.

The Adventures of Nero Wolfe, in 30 minute episodes, ran in the 1943-44 season and went through three leading actors. The first was British born J.B. Williams, followed by Santos Ortega with John Gibson as Archie. Mexican born Luis Van Rooten was the last actor to play the role on this program. A note here from a gal who misses her "stories". John Gibson appeared on The Guiding Light in the 50s, in some way connected with the Reverend Fletcher. Santos Ortega I remember well as Pa Hughes on As the World Turns in the 60s. Luis Van Rooten was also on As the World Turns at that time playing the dad of the legendary Lisa (Eileen Fulton).

The Amazing Nero Wolfe ran in the 1946 season and starred old Messala himself, Francis X. Bushman.

The New Adventures of Nero Wolfe in the 1950-51 season scored the casting coup of Sydney Greenstreet (the fat man!) as Wolfe. Can't you just hear him? Well, you can on OTR on the web. The program went through a succession of Archies including future directors Lawrence Dobkin and Lamont Johnson, Harry Bartell, Wally Maher and Gerald Mohr. Inspector Cramer on this program was played by William Johnstone who was dignified Judge Lowell on As the World Turns. I think Greenstreet and Mohr had great possibilities as a screen team. Ah, what could have been.

Don Mitchell, Barbara Anderson, Don Galloway, Raymond Burr

The television series Ironside ran from 1967-1975. The wheel-chair bound Chief of Detectives Robert T. Ironside was smarter than your average cop and inclined toward the gruff side upon occasion. I've always felt that The Chief and Sgt. Ed Brown had a quasi Wolfe-Goodwin relationship. For many years it was Don Galloway I would picture as Archie when reading the stories. Also, Johnny Seven who had the recurring role of Lt. Reese on the series would have made a fine Cramer.

Tom Mason, Thayer David

Frank Gilroy wrote and directed the 1979 TV movie Nero Wolfe starring Thayer David and Tom Mason. I only saw this the time it aired, but it looms large in my memory as quite the movie. Thayer David seemed to perfectly embody the irritating genius that is Wolfe and Tom Mason grew on me as Archie. The movie may have been a pilot, but sadly Thayer David passed from cancer after giving us this performance. The movie was nominated for an Edgar Award in the category of Best TV Feature or Miniseries. The winner was Levinson and Link's Murder by Natural Causes and the other nominee was Paul Monash's adaption of Salem's Lot.

Lee Horsley, William Conrad

Ivan Goff and Ben Roberts produced the 1981 series Nero Wolfe which ran for only half a season. I'm crazy about Conrad, but he really was just a grumpier Cannon waiting for Jake. Lee Horsley I prefer on the plain, as in Paradise, although he grew into a credible crime fighter in the short-lived Bodies of Evidence. What really worked for me in this series was the supporting cast. George Wyner was born to play Saul Panzer. George Voskovic as Fritz, Robert Coote as Theodore Horstmann and especially Alan Miller seething with irritation as Inspector Cramer were worth the price of admission.

Timothy Hutton, Maury Chaykin

Return with me to a decade ago when A&E was a regular channel surfing stop. You could count on an interesting Biography or an innovative original series such as A Nero Wolfe Mystery. Paul Monash scripted the 2000 pilot movie based on The Golden Spiders (see above Edgar Award mention). Hopes were high and hopes were met. The series became a personal project for actor Hutton who was one of the executive producers when the program began its unfortunately limited run on the network. Each episode was adapted from one of Stout's stories with scripts by William Rabkin and Lee Goldberg (Diagnosis Murder, Psych, etc.) and Sharon Elizabeth Doyle.

A repertory company of talented actors appeared in the episodes as different characters (Kari Matchett, Christine Brubaker, Francie Swift, Debra Monk, Julian Richings, Robert Bockstael, etc). Core characters were impeccably cast with Bill Smitrovich the cigar chomping Cramer, Colin Fox as a fussy Fritz coping with the world's most demanding gourmand. The busy Saul Rubinek showed up occasionally as Lon Cohen. He had played Saul Panzer in The Golden Spiders.

Attention to set and costumes was beyond reproach. Just as Stout's stories had his characters static in age while time swirled around them, the series was the same with Archie making quips about Nazis in one episode, and mini-skirts in another.

At the heart was, of course, the relationship between Archie and Wolfe. Timothy Hutton was just right as Goodwin. Sometimes I felt Maury Chaykin gave me too much of the petulance and not enough of the genius, but perhaps that was only because he hadn't lived with Wolfe as long as I had. Overall, I enjoyed his work and looked forward to seeing more of it. Unfortunately, A&E pulled the plug after only 27 episodes of A Nero Wolfe Mystery citing production expenses. If you want something done right, you are going to have to pay for it. We were taken to paradise, in this case West 35th Street, and turned away.

You are probably thinking to yourself that this is all well and good, Caftan Woman, but what has this got to do with Rex Stout causing unrest in your marriage? It's not what you may think. Garry has known about my thing for Archie since day one and he's cool with it. Last weekend my Honey Bunny was heading out the library and it being a blustery day here in Toronto and me being a soft-hearted sap, I pointed out that we had a multitude of books around the house and suggested perhaps a Nero Wolfe would fit the bill. His response: "No. I've read them all. They'll only make me hungry and, Sweetie, you're no Fritz Brenner." Nice to know what he really thinks of me!

Oh, happy day!

2011-10-18T14:57:00.000-07:00

Above is a party with Bing and Jane Wyman. Why a party? We are celebrating the most deserving winners of this year's CiMBA Awards.

I have had the privilege this year of voting in Canada's Federal election, Ontario's Provincial election and Toronto's municipal election (and the privilege of 3 election campaigns!). I must say that no voting experience has given me as much pleasure as the CiMBA's. Congratulations one and all!

Reginald Marsh's "Red Buttons", 1936

2011-10-17T14:11:00.000-07:00

Today's post is something a little different. In a rash act, Caftan Woman signed up for Patti Abbott's flash fiction challenge to write a story of under 1000 words based on any painting by Reginald Marsh. Patti will donate $5.00 for every story submitted to Union Settlement, a social service agency in East Harlem serving 16,000 people, with a minimum contribution of $100. Check out Pattinase.

“Loretta. I really should be a Loretta. Like the actress with the big eyes. It’s a name with allure. Not like plain old Jean.”

“Very nice. How would your grandma Jean feel about you changing your name?”

“Easy. I’ll change her to Loretta too. After all, she’s been living with Jean a lot longer than me. She must be even sicker of it. I’ll get her dolled up in a dress just like mine with snazzy red buttons and won’t we be a sight?”

“You certainly will.”

“Gee, Mary, aren’t you a chatterbox today. It’s Saturday afternoon, we look fabulous, and you act like you’re going to the chair.”

“Oh, don’t mind me.”

“Oh, I don’t. I think you’ve been working too hard, that’s what. Old man Simpson is a slave driver and I’ll tell him so one of these days. He’s even wrecking our day off. Wally should have been here by now. Bill too.”

“Bill?”

“Yes. Now don’t get mad. You said you didn’t want to come out because you felt like a third wheel so I told Wally to get Bill Hammond to come along.”

“I wish you and Wally wouldn’t discuss my personal life. And why Bill Hammond of all people?”

“What’s all this about personal life? We’re best friends, aren’t we? Besides, Bill Hammond is crazy about you.”

“Oh, really?”

“Yes, really. I don’t know why you can’t see it. I can. I suppose it’s because I’m a woman in love. Gee, if I was working in Accounting with all those guys I’d have dozens of dates. Before Wally of course. The first time I laid eyes on that smile of his I knew he was the one for me. I wonder what’s holding the guys up anyway.”

“Probably something to do with setting up the new branch.”

“Gee, they’ve got all week to do that. It’s Saturday afternoon! Oh, Suzette!”

“Suzette?”

“Now that’s a name with real allure, French allure.

“Sure. For a French Poodle.”

“Oh, you. Everything is more alluring in French. Someday I’m going to go to Paris, and if I ever have a daughter I’ll call her Suzette.”

“Okay. You put an “ette” on anything and suddenly it’s French. You could put an “ette” on Jean, you know.”

“Jeanette! Like the singer. Wouldn’t it be wonderful to sing like that? Hey, you can be Mariette. Jeanette and Mariette out on the town.”

“Eating baguettes.”

“Ha ha ha – oh, I’m sorry, Mary.”

“What for?”

“I did that snort thing that happens when I laugh.”

“Yeah. You’ve done that since you were a kid.”

“Well, last week Wally and I were listening to Jack Benny and well, my snort thing really got on his nerves. Honestly, he’s been cranky as a bear lately. Have you noticed anything at work?”

“No. Why should I?”

“I tell you that old man Simpson is a slave driver.”

“Actually, Mr. Simpson is really nice.”

“Mary, really? Old man Simpson!”

“Now listen. This is important. Big news.

"Okay. I'm listening. What's the big news?"

"I’m taking a promotion.”

“Mary, that’s swell! Gonna be in the money, huh? Care to lend me a tenner?”

“Listen, I’m going to be the office manager at the new branch in Buffalo.”

“You’re moving?!”

“If a gals’ going to work, she might as well look for advancement.”

“You wouldn’t have to work if you gave Bill Hammond a tumble.”

“Oh, will you get off Bill Hammond! I want more. I want the challenge, the adventure.”

“Mary, most people leave Buffalo and come to New York for adventure. Aren’t you going about this a little backward? . I can’t believe you’re really going to move. I won’t believe it. Can’t old man – Mr. Simpson give you a promotion right here?”

“But, Jean, I want to go. I really do.”

“You want to go? Well, I don’t get this at all. Wally will have a thing or two to say about this.”

“Wally will have nothing to say about it! Look, Jean, it’s my life and it’s none of Wally’s business, or yours for that matter!”

“Mary, what’s gotten into you? I’m the best friend you’ve got. I have every right to…”

“Oh, forget it.”

“Mary? Honestly! Oh, Mary. Mary, you’re not…not you and…”

“Hey, there are my patiently waiting girls. Sorry about this and I have to get back, but here’s $5 for the afternoon and Bill and I will – hey, what goes on here?”

“Secrets.”

“Secrets? What kind of secrets?”

“Big secrets. Mary secrets.”

“Mary secrets?”

“Yes. Did you know that our Mary is really America’s greatest career gal? It’s true. She’s going to run the whole shooting match in Buffalo. She’ll probably be running the whole company before we know it. Imagine that. You think you know a person. Isn’t that a kick in the pants? And Wally, no one is going to talk her out of it.”

Favourite movies: Ruggles of Red Gap (1935)

2011-10-14T10:07:00.000-07:00

Charles Laughton as Marmaduke Ruggles
You can call him "Bill" or "the Colonel" if you like.

Some novels are meant to be seen as well as read. Harry Leon Wilson was successful in that way. His novel His Majesty, Bunker Bean was a Broadway play that was filmed three times in 1918, 1925 and 1936. Merton of the Movies also made it to Broadway via George Kaufman and Marc Connelly, and to the movies in 1924, 1932 (as Make Me a Star with Joe E. Brown) and in 1947 starring Red Skelton. Wilson’s most popular success Ruggles of Red Gap came to life on Broadway with music by Sigmund Romberg and was filmed in 1918 starring Taylor Holmes (Nightmare Alley, Quicksand, Mr. Belvedere Goes to College), father of Phillips Holmes (An American Tragedy, Broken Lullaby, The Criminal Code). Edward Everett Horton had the title role in a 1923 version of the story. Fond though I am of silent movies, and I’m more than fond, it does seem a shame to see and not hear Edward Everett Horton. In 1950 the story was given the Technicolor slapstick treatment in Fancy Pants with Bob Hope playing an actor who played a butler. A television production in the 1950s gave Michael Redgrave a chance at the role of Ruggles.

In 1935 frequent movie goers might have reached the conclusion that Charles Laughton was the greatest and most versatile actor in Hollywood. He could be seen in Les Miserables as the obsessive and tragic Javert. He was Oscar nominated for iconic and still imitated turn as Captain William Bligh in Mutiny on the Bounty. Perhaps the most likeable and sweetest role he ever played was Marmaduke Ruggles in Leo McCarey’s version of Ruggles of Red Gap.

Charles Laughton, Roland Young

Ruggles is a third generation valet loyally serving the family of the Earl of Burnstead (Roland Young). It comes as quite a shock to Ruggles to learn one morning that his profligate employer has lost Ruggles in a card game to the Flouds of Red Gap played to perfection by Charles Ruggles and Mary Boland. Effie and Egbert are the sort of nouveau riche couple of whom Noel Coward would write “Why do the wrong people travel, travel, travel and the right people stay at home?”

James Burke, Charles Laughton, Charles Ruggles

Egbert is as extreme in his lack of pretension as his wife Effie is in her desire to conquer society. Ruggles is not only aghast at the thought of traveling to an uncivilized part of the world; he is at a loss with how to deal with his employers. Egbert insists on referring to Ruggles as “Colonel” or “Bill”, and actually encourages him to sit at the same table and quaff a few. Following the dictates of duty, Ruggles joins in the merriment with “Sir” and thus begins the breakdown of all moral order.

Charles Laughton, Mary Boland

“Madame” at least understands the differences in their stations, but “Sir” doesn’t have a clue.

A word here about "Madame" and the Travis Banton designed the costumes for the movie. Effie is a vision, always done to the nines and close to over-the-top. The way Mary Boland can kick that train out of the way and pace the room in agitation is truly awe-inspiring.

Charles Laughton, Mary Boland, Charles Ruggles
The silent reactions in this scene are very funny.

Ruggles of Red Gap is filled with what I think of as the eloquent silences of Leo McCarey. Like many directors of the era, McCarey’s career began in silent cinema. His comedic instincts were honed at the playground known as Roach Studios where he worked as a writer and director with comic greats such as Laurel and Hardy (Big Business, Hog Wild, Perfect Day, Brats, etc.). In 1937 when filming The Awful Truth his improvisational style first intimated then inspired leading players Irene Dunne and Cary Grant. McCarey’s Oscar winning Going My Way is a nice example of a leisurely paced film that almost belies his sure hand. Much screen comedy is pushed at us, and pushed successfully. McCarey pulls the audience along like a packet boat on the Erie Canal. We will get where are supposed to, to the payoff – the laugh, and we enjoy it more for the trip taken.

When we reach Red Gap we are introduced to Ruggles’ new extended family. The money belongs to Effie’s mother, Ma Pettingill played with gusto by Maude Eburne. She has no problem spending her riches to delight her kin, although she is more like her son-in-law Egbert in that she doesn’t worship the green stuff. Her other son-in-law is a rat named Charles Belknap-Jackson (Lucien Littlefield). He came west from Boston when he heard of the windfall and married into the family. He is, unfortunately, Effie’s tutor in all that means high society.

Zasu Pitts, Charles Laughton

Effie has high hopes of impressing all and sundry with her genuine English valet. The first step is for Egbert to inform the local press so that the jealousy among her set may begin. Back from what he felt were the confines of Europe, Egbert reverts to his comfortable attire and heads to Nell Kenner’s place. Nell (Leila Hyams) runs an open house with free flowing beer and is frequented by the crowd that would not be impressed by a genuine English valet. Egbert introduces Ruggles as “the Colonel” and the local press embellishes that title with imagined feats in exotic climes in the service of His Majesty. Ruggles even stops his protestations at the misunderstanding when he meets fetching widow Mrs. Judson (Zasu Pitts), who helps Nell out from time to time. First beer, then carousing, now romance for Ruggles?!

Lucien Littlefield, Maude Eburne, Charles Laughton, Mary Boland, Leota Lorraine

The muckety-mucks are all agog and anxious to meet Effie’s distinguished visitor. Effie is mortified. Belknap-Jackson is outraged. Ma Pettingill and Egbert think the whole mix-up is a hoot. Ruggles, for the first time in his life, is a somebody.

Charles Laughton

Belknap-Jackson pulls some dirty work to get Ruggles out of town and out of the way. Above note the look of joy and relief on Laughton's face when Ruggles discovers that those he believed were truly his friends were not behind his dismissal. Sharing lunch in the saloon with Egbert and Ma leads to a justly lauded scene where Laughton/Ruggles movingly recites President Lincoln’s Gettysburg Address.

Ruggles is no longer a third generation servant. Ruggles may not know exactly who he is, but he is a man. A man at the crossroads. The Earl of Burnstead has found life pretty tough on a fellow who has to pick out his own clothes and will soon be arriving to set the universe aright by bringing Ruggles back to the fold. The Earl’s visit will also place Effie and the Belknap-Jacksons back at the top of the social ladder, where they belong.

Tradition and duty is thoroughly ingrained in Ruggles' character. What will become of Ruggles and his dreams? What would you do if you were he? What does Mrs. Judson think of her beloved's secret life? What do you want to happen for Ruggles? What about poor Effie? If you can watch the perfect ending to this charming movie without both smiling and shedding a little tear, you are made of sterner stuff than this writer.

A Celebration

2011-10-05T14:11:00.001-07:00

Happy CMBA Members

Casual readers of this portion of the blogosphere know that by clicking on the Classic Movie Blog Association icon to the right that they are in for a world of fun, interesting and informative reading on the only subject that really matters. These days the link will lead you to the nominees for this year's CiMBA Awards. Awards are an important part of any organization to promote and encourage excellence. 2011 will be a particularly memorable year for me as it is the year I became a member of the CMBA and, I am chuffed to say, a nominee in two categories. "Chuffed" hardly covers it. I'm busting my buttons and you can lay odds that the news will be in this year's Christmas newsletter!

In a couple of days I will attend to the harrowing part of this process - the voting. Nominee time was tough enough. My scratch pad is full of so many arrows, circles and x's that it looks like a treasure map. For now, my leisure time is filled with reading and appreciating a year of quality and creativity.

One question: Are there loot bags?

The Dick Van Dyke Show Blogathon - Two from the Heart

2011-10-02T20:56:00.001-07:00

Light the candles and let the streamers fly. Thrilling Days of Yesteryear is the host for a blogathon party celebrating 50 years of The Dick Van Dyke Show aka “Rob” as in “Are we watching Rob?”, “Is Rob on?” “Which Rob is it today?”

When a series is full of so many highlights as The Dick Van Dyke Show, how do you choose one episode to write about? Well, I didn’t choose one, I chose two - two episodes written by series creator Carl Reiner. Two episodes that say a lot about the respect and affection Mr. Reiner has for his profession, its history and performers, and also for comedy fans.

The Return of Happy Spangler (Season 1, episode 30)
Directed by John Rich

Morey Amsterdam, Dick Van Dyke, Jay C. Flippen, Richard Deacon

The friendly, wise-cracking tie salesman Laura ran into while shopping just happens to be Happy Spangler, the radio show writer who gave Rob his start in the business and who pushed him toward his eventual success. “Hap” left the business 15 years ago due to personal problems and Rob, feeling a debt of gratitude, hires his old boss for The Alan Brady Show. Pleased with the opportunity, but afraid of failure, Hap spends the business hours reminiscing about the good old days. We also get a funny routine on his first day on the job from Rob who impersonates Alan Brady’s reaction to a script. After all, if there is one thing at which writers excel, it is at not writing. Eventually, Rob is placed in the position of having to let Hap go. His old mentor is more than understanding while admitting that “like an old ball player, he doesn’t want to play every day, but would like to know he can still hit one out of the park”. Putting on his boss hat, Rob picks Hap’s brain and together they come up with a sketch for a four minute script hole. It is the classic Lecturer on Comedy explaining why slapstick doesn’t work, all the while paralyzing us with slapstick gag after gag.

Guest star character actor Jay C. Flippen (1899-1971) as Happy Spangler not only had the friendly face and persona of how you would imagine an admired mentor, he had a background in Vaudeville as a monologist, musician and master of ceremonies. His years of experience gave weight to the role. A familiar face from movies such as Winchester ’73, A Woman’s Secret, Down to the Sea in Ships, Bend of the River, he usually played gruff, but friendly fellows. Of course, if your first experience with Mr. Flippen was They Live by Night or It’s Always Fair Weather, you can be forgiven for not thinking he’s the greatest guy ever. Later in the decade, Mr. Flippen lost a leg due to a diabetes related amputation. It didn’t put an end to his career as he appeared in movies with old friends John Wayne in Hellfighters and James Stewart in Firecreek. We hear a lot about the cutthroat side of show business, but friendships are still important as evidenced by Flippen’s career and Carl Reiner’s script for The Return of Happy Spangler.

The Return of Edwin Carp (Season 3, Episode 27)
Directed by Howard Morris

Bert Gordon, Richard Deacon, Arlene Harris, Mary Tyler Moore
Dick Van Dyke, Richard Haydn, Rose Marie

Alan Brady is on vacation, but does his writing staff take a well-deserved rest? No, Rob has committed them to a replacement hour of television and they are stumped until inspiration strikes.

Rob: What’s the one thing that's never been done on television?

Buddy: You can’t do that on television.

Rob: No. Radio!

That’s right, it is the middle of the 1960s and Rob wants to revive old time radio. He’s sure audiences would love to see favourite old stars and a younger audience would appreciate it as well. Buddy, Sally and even Laura aren’t as convinced, but what else do they have?

The line up starts to come together with Arlene Harris (1896-1976). The Canadian born comedic actress and her Chatterbox character were very popular on Al Pierce’s program where she appeared with Morey Amsterdam. Bert Gordon (1895-1974) aka The Mad Russian who performed with Eddie Cantor is eager for the television gig. No, he’s not a wrestler, he’s a dialect comic with priceless delivery.

The crowning jewel in Rob’s mind will be to get Edwin Carp, the fish expert and deadpan philosopher. Carp was a character created by the great Richard Haydn (1905-1985) in the 1930s. It was a character with legs. In 1954 he wrote The Journal of Edwin Carp, illustrated by Ronald Searle, and in this 1964 episode Carp won fans all over again. Haydn, of course, is the nasally character star of memorable roles in Alice in Wonderland, And Then There Were None, Ball of Fire and The Sound of Music. In our story, Haydn portrays Carp with a domineering mother and a drinking problem. You see, he gave up the show business because of stage fright. He can’t perform publicly unless he is smashed on elderberry wine. Edwin Carp is a naughty wino! Some tough love from Rob puts things to rights and all three guest stars have their moment to shine in a winningly funny episode of The Dick Van Dyke Show.

In these days of fragmented entertainment options and declining quality on network television, we are lucky to find ourselves in the position of being our own programmers. How it might surprise the pioneers of radio to know that in the 21^st century, people are turning to old time radio through the internet to enjoy their leisure time. Also, in 2000 animator Richard Balzy (The Iron Giant, Pocahontas) produced and directed a short film based on material from The Journal of Edwin Carp with Hugh Laurie voicing our intrepid hero.

An appreciation for quality never goes out of style, and that is why we celebrate 50 years of The Dick Van Dyke Show with the happy thought that it will always be a part of our lives.

Caftan Woman's Choice - One for October on TCM

2011-09-30T13:45:00.001-07:00

The challenge continues. Once again, with no hemming, hawing or honourable mentions I recommend one movie from TCM's October line-up. A word about that line-up, it's a dandy!

The 1949 release The Set-Up is my litmus test for film critics. If it is anywhere on any of their “tops” list, they pass muster. Local Toronto cable critics called it “an interesting little noir” upon its release in a Film Noir dvd set. Recently, a print critic for the Toronto Sun called The Set-Up a “second-tier boxing picture”. I approve of labels. They are a fine shorthand for the basis of understanding. However, someone who thinks they know all there is to know about film-noir may be disappointed at not finding a femme fatale in The Set-Up. Someone may read “boxing picture” and think to themselves, “I have seen Rocky.” A label is like a 10 second sound byte on the evening news. It hardly tells the whole story. The most important thing to note about The Set-Up is that it is a fine movie.

The "real time" element is established at the beginning of the movie.

The Set-Up is based on the epic poem of the same name by Joseph Moncure March. The poem published in 1928, and set in that tumultuous decade, details the story of Pansy, a black boxer with all the odds against him. Doomed not to reach the top because of jealousy and racism, he becomes a pawn of crooked gamblers after a prison term.

The movie screenplay by Art Cohn has the contemporary setting of 1949 and our lead character Stoker Thomson is a white boxer, unable to accept that he is nearing the end of his career. True to his own personal code he fails to see the duplicity that surrounds him.

It is fitting that director Robert Wise chose to film the story in real-time. He used his editor’s eye like a poet, choosing the perfect moments to put across the gritty and dramatic story.

Audrey Totter, Robert Ryan

Prior to directing The Body Snatcher, his first feature film on his own, Wise attended acting classes to better understand the mind-set and expectations of actors. The Set-Up provides viewers with a wonderful example of great ensemble performances. All the performers work together to create a cohesive sense of story, yet all get to shine individually.

Journeyman boxer Stoker Thompson is holding on to a way of life he understands, while his wife Julie played by Audrey Totter wants a way out of what she sees as a dead end street. On the night we meet them, she must decide if the way out will be for both of them or only for herself. Her dilemma is heartbreaking.

George Tobias, Edwin Max

At the arena are others whose decisions will impact Stoker. His manager and trainer, George Tobias and Percy Helton, have made a deal with gangsters for Stoker to throw the evening’s fight. They haven’t let Stoker in on the deal because they don’t expect him to win. Stoker always fights to win and Alan Baxter as the sadistic gangster "Little Boy" is not a man to cross.

David Clarke, Darryl Hickman, James Edwards

We get to know and understand Stoker's "co-workers" including the punch-drunk "Gunboat" beautifully played by David Clarke, the anxious rookie Shanley played by Darryl Hickman, the sympathetic trainer Gus played by Wallace Ford, and the proud and ambitious Luther played by James Edwards.

Robert Ryan, Hal Baylor

Ryan was a boxer at Dartmouth College and Baylor attended Washington State on an athletic scholarship. His pro boxing record was 15-8. The choreographed match in The Set-Up is a thing of authentic grit and beauty.

Fight fans

The crowd is a major part of the story as presented by Robert Wise. They are the reason the fights go on, the bums in the seats, the profit. They are no part of what goes on behind the ropes, the individual boxer's fight with himself.

Julie - alone

The loneliness in the crowded arena is matched by the loneliness of Julie's wait for another night, another fight to finish. We stroll with her through town, returning to another nondescript hotel room as she struggles with the most important decision of her life.

Stoker - alone

The arena deserted after the fight where Stoker's victory places him in danger. The danger and fear is uncomfortably palpable.

In 73 minutes, we live a lifetime with the myriad characters of The Set-Up. The setting is a boxing arena, yet we all face the same problems with the decisions we make versus the decisions that are made for us. The Set-Up is a movie of heightened emotions - uncertainty, fear, excitement, elation, despair, deceit, greed, ambition, hope, hurt, love.

TCM is showing The Set-Up on October 11 at 4:15 pm.

Donald Duck

2011-09-23T12:15:00.001-07:00

“The stars can change their courses, the universe can go up in flames and the world crash around us but there will always be Donald Duck.”

- Trevor Howard as Dr. Alec Harvey, Brief Encounter (1945)

We are Donald Duck, Donald Duck is us. In close to 200 animated shorts and features, plus comic books and television, the duck known as Donald faced life’s travails in an all too human and relatable manner.

“Mickey was on a pedestal while the duck could blow his top.”

- Walt Disney

Yes, Donald has a temper. So do we all. We may start out with the best of intentions, but Fate with a capital “F” conspires against us.

In 1938s Self Control Donald does his best to follow the simple, kindly advice of a radio psychologist, but all things that buzz and crawl and peck stand in the way of peace and contentment.

In 1940s Donald’s Vacation it is an inanimate object, a *&*^(*)!!* folding chair that obstinately refuses to work as advertised. We cannot cast stones at Donald for losing his temper. We’ve all run across those *&*&&*Q!j** easy-to-work items that refuse to work, easily or otherwise. Poor Donald!

We all love our families. Donald loves his family. However, sometimes little angels aren’t all they are cracked up to be. Sometimes kids like Huey, Dewey and Louis misbehave. Sometimes. Sometimes the psychology books and all the patience in the world gets you nowhere. Sometimes you have to yell!

"Is there anything we didn't do to poor Donald?"

-Ward Kimball, animator

A little "white magic" in The Three Caballeros had Donald changing shape and size. A couple of gods with too much time on their hands gave Donald powers beyond his ken and abruptly took it away again in Trombone Trouble. Donald was hatched by a condor in Contrary Condor. He was attacked by a rooster in Golden Eggs. He couldn't enjoy a ball game on a radio because of a music loving bee in Slide, Donald, Slide. He was beset upon by Chip 'n Dale for no reason at all...well, okay, sometimes it was Donald's fault, but honestly those little creatures were diabolical in Toy Tinkers, Corn Chips, All in a Nutshell, Three for Breakfast, The Lone Chipmunk, etc. Diabolical!

“With all respect to Clarence Nash, I think if he had spoken more clearly, Donald Duck would have been a more popular character.”

- Mel Blanc, actor

According to the Gallop Research Institute, by the end of the 1940s the American public ranked Donald Duck as its favourite cartoon character, followed by Bugs Bunny and Mickey Mouse.

Since 1959 Swedish television has aired Disney cartoons on Christmas Eve and any mention by the network of tampering with this tradition is met with outrage. Donald Duck, known as Kalle Anka, has become a Swedish symbol of Christmas.

"On our first date I bet you wished I looked like Donald in Mr. Duck Steps Out."

- Garry, the man who married Caftan Woman when she was Blouse Babe

"Hi, Toots!"

- My son Gavin learns how to talk to girls from classic Disney shorts

Life, and the Disney animators and directors, gave Donald Duck a lot to cope with, but they also gave him friends that stick by him through thick and thin...

...and loved ones that make the journey worthwhile. Yes, we are Donald Duck. Donald Duck is us.

CMBA Guilty Pleasures Blogathon - The Greatest Show on Earth (1952)

2011-09-18T21:01:00.001-07:00

You watched a movie. You knew it wasn’t very good. But you loved it anyway!

The premise of the CMBA’s Guilty Pleasure Movie Blogathon makes me feel guilty about my participation in said blogathon because I don’t think The Greatest Show on Earth is a bad movie. I don’t! Plus, I don’t feel guilty about watching and loving it. I don’t! Well, I used to…well, not always…not every time...

Betty Hutton (Holly), Cornel Wilde (The Great Sebastian)

When I was a kid in what I recall as the sunny sixties and The Greatest Show on Earth came on television, it was an event! In my eyes it was the most glorious movie. It was big, bold, emotional and exciting. Brad was such a good guy. Sebastian was so charming. Klaus was so bad. Angel was so interesting. Holly was so brave. Buttons was so wonderful. Oh, Buttons was the most wonderful man in the world.

James Stewart (Buttons), Cornel Wilde (Sebastian), Charlton Heston (Brad)

When I was a teen in the seventies I started reading everything I could get my hands on that concerned the movies including those Best and Worst lists. There it was, time after time, in black and white, worst Best Picture Winner of all-time into perpetuity, The Greatest Show on Earth. Why? Apparently because The Greatest Show on Earth was big, bold, emotional and exciting. Only the words were changed to corny and overblown. While my affection for the movie never changed, guilt and shame wracked my heart. The Greatest Show on Earth was no longer a movie celebration, it was something to be watched on the sly.

The only way to travel.

In 1950 as Cecile B. DeMille neared his 70^th birthday, he felt the desire to run away and join the circus. He spent months with the Ringling Brothers Barnum & Bailey Circus at their Winter quarters in Sarasota, Florida learning all he could about the operation of a circus and about the people who populate the big top, their way of speaking, the way they come together year after year as a troupe of traveling players. Perhaps only DeMille with his expertise in big pictures could relate to that same grandiose quality in the circus and have the guts to tackle the logistics and complications of the location shoot which would not only give his film the air of authenticity he experienced, but capture for us all a passing way of life.

Cecil B. DeMille

The Greatest Show on Earth was an honoured box office success. It’s Best Picture Oscar was from a group of nominees including High Noon, Ivanhoe, Moulin Rouge and The Quiet Man. Another win was in the Best Writing, Motion Picture Story category from among My Son John, The Narrow Margin, The Pride of St. Louis and The Sniper. Other nominations were for Costume Design, Color (winner Moulin Rouge), Best Film Editing (winner High Noon) and Best Director (winner John Ford). DeMille was one of 18 directors nominated by the Director’s Guild where the winner was again Ford. The Greatest Show on Earth was the Golden Globe winner for Best Motion Picture, Best Director and Best Cinematography, Color.

James Stewart (Buttons), Emmett Kelly as Weary Willie

DeMille was making a circus picture. Hollywood was filled with lots of folks with a desire to run away and join the circus. Jimmy Stewart called. He’d always wanted to be a clown. “We have Stewart” DeMille told his staff. “He wants to be a clown.” Jimmy’s clown, Buttons, would be the heart and soul of the story. Jimmy Stewart helped to create his own clown make-up for Buttons. He was helped by Wally Westmore, but had final choice. He also learned routines and worked with the best including International Clown Hall of Famer Emmett Kelly and the man known as King of the Clowns, Felix Adler.

Gloria Grahame (Angel), Minyak the elephant, Lyle Bettger (Klaus)

Lucille Ball was DeMille’s original choice for Angel, the elephant trainer. Under contract to Columbia with one picture left, Harry Cohn offered her a contract breaker, a picture so bad the actor would bail and could be sued. Lucy, anxious to do The Greatest Show on Earth, agreed to The Magic Carpet and her work was completed in five days for $85,000. Lucy and Desi then had to report to Mr. DeMille that she couldn’t take the role of Angel because she was now pregnant. Famously, the director said “Congratulations, Desi, you are the only person in the world to screw Harry Cohn, Columbia Pictures, Paramount, Cecil B. DeMille and your wife, all at the same time.”

Gloria Grahame took on the role of Angel, a circus temptress with a heart of gold. I think she deserved a medal for some of her stunts with the huge animals. The girl had guts. There is not one man of my acquaintance who doesn’t look at the Oscar winning (The Bad and the Beautiful) actress and turn into Bert the Cop. There’s always an exception to the rule and in The Greatest Show on Earth that exception might be circus manager Brad Braden played by Charlton Heston. He’s not immune to ladies, after all he has a thing for trapeze artist Holly, but the circus comes first. He has sawdust in his veins.

Where's my hat, you damn dirty ape?
Unidentified player at left, Cornel Wilde, James Stewart
Betty Hutton, Charlton Heston, John Ridgely, Gloria Grahame

Heston was driving off the Paramount lot one day and stopped to wave at DeMille. DeMille had met the young actor in the studio dining room once. His secretary reminded him of the actor’s name and the movie he had screened, The Dark City, and hadn’t liked. “Umm, I liked the way he waved just now. We’d better have him in to talk about the circus manager.” The big thing about Brad was choosing the hat. DeMille told him “Shoes don’t matter so much…usually, you don’t even see them. But if you wear a hat, it’s in every shot, and featured in every close-up.” They looked at dozens before the right hat clicked, but click it did.

The Flying Concellos

Genuine circus performers such as The Zoppes Equestrian act, The Flying Concellos and The Alanzas of the high wire are featured in the film and the cast was expected to fit in. Dorothy Lamour learned her iron jaw act. Olympic caliber fencer Cornel Wilde and energetic Betty Hutton worked hard to look plausible on the trapeze. Cornel was doubled in some scenes by arielist and clown, the son of circus performers, Jackie LeClaire. The bubbly Hutton was also a woman of fragile emotions, and she found in DeMille a supportive and understanding director. The role of Birdie, the circus costumer, was one of the better ones bestowed on Julia Faye. At one time DeMille’s mistress, she appeared in all of pictures after that relationship ended.

Our movie follows the fortunes of The Ringing Brothers, Barnum and Bailey Circus from the opening of their season. As long as the manager, Brad, can keep the finances in the black they can play a full tour including the smaller cities. A gangster played by top movie scary guy Lawrence Tierney plants John Kellog with a crooked sideshow game on the lot to mess up the works and cheat the rubes. He’s got plans to take over. Another guy with plans is elephant trainer Klaus played by Lyle Bettger (Has anybody ever seen him play a good guy?), but as his plans involve pretty Angel and her plans involve Brad…well, you can see trouble coming. Brad’s girl, Holly is distracted by fellow flyer Sebastian. First she wants his centre ring and then she’s not so sure it isn’t something more personal. Buttons the perpetually made-up clown is a doctor on the run. He killed the thing he loved. (Oh, heartbreak!) All of this angst and intrigue is but a background to the day to day work of putting up, taking down, and putting up again the greatest show on earth. The movie is the circus.

The real audiences caught coming and going are moments in time that are a joy to share. Those Hollywood folk who didn’t get to be clowns or barkers like Edmund O’Brien got to be spectators. It is especially fun to see Bing Crosby and Bob Hope as their Road picture comrade Dorothy Lamour does her stuff. William Boyd as Hopalong Cassidy leads a parade. He first worked for DeMille in 1927's King of Kings. Among the spectators it is fun to spot or try to spot many favourite character actors including Kathleen Freeman, Mary Field, Dorothy Adams, Clarence “Ducky” Nash, Arthur Q. “Elmer Fudd” Bryan, Stanley Andrews and Peter Hansen. Pretty future leading lady (Comanche Station) Nancy Gates makes an impression. Yes, that is her. You’ve been right all these years.

This poster simply screams "melodrama". I love it!

DeMille does nothing small. The gangster plot crosses with the thwarted lover plot and that can only mean one thing, a train wreck. A circus train wreck with wild animals on the loose and ruination in the offing. Also, there’s a detective closing in on Buttons, a paralyzed Sebastian, and fateful decisions all around. Ooh, it’s good stuff. Yes it is. It’s good in the way a banana split is good. A banana split with extra whipped cream. Extra! Why, I feel no more guilty about watching The Greatest Show on Earth than I do about eating a banana split with extra whipped cream. And I don’t feel guilty about the ice cream. I don’t. Well, I used to…well, not always…not every time...

All Around the Town

2011-09-10T06:01:00.001-07:00

Yes, this is my town. It's not new to you. You've read books about it, you've seen movies. People are always talking about New York. It's the most exciting city in the world they say - the most glamorous, the most frightening and, above all, the fastest. You hear a great deal about the tempo of this city - its speed, its pace, its driving heartbeat. Perhaps it's true for visitors, but I was born here, I live here. The only pace I know is the pace of my own life. The only beat I hear is the beat of my own heart. For me, and for millions of others, New York is home. The days follow each other quietly as they do in most places. Only rarely does any one time stand out so that we remember it and say "That's when everything changed. After that nothing was the same."

Barbara Stanwyck as the character Jessie Bourne reads the above narration to begin Mervyn LeRoy's 1949 crime romance East Side, West Side based on a Marcia Davenport novel with a screenplay by Isobel Lennert.

I am one of those visitors Jessie mentioned. For me, New York City is a place of learning, a place of fun, a place to glut myself on theatre and a place to honeymoon. All of those memories are augmented by those books and movies she mentions, the titles of which conjure up enduring feelings that make New York City an emotional home to many who reside outside its boundaries.

Classic movie fans were brought up in the nostalgic glow of Henry King's Little Old New York and Michael Curtiz's Life With Father, with Raoul Walsh's The Bowery and The Strawberry Blonde. We learned harsh lessons through William Wyler's Dead End and Michael Curtiz's Angels With Dirty Faces.

We enjoyed and were inspired by the endless show business stories such as Lloyd Bacon's 42nd Street and Robert Mulligan's The Rat Race. We glimpsed the business world in Jean Negulesco's The Best of Everything and Woman's World, as well as Billy Wilder's The Apartment and Fielder Cook's Patterns.

We reveled in NYC noir of Otto Preminger's Laura, Alexander Mckendrick's Sweet Smell of Success and Samuel Fuller's Pick Up on South Street.

Of course, to the annoyance of sports fans from other cities, there is the New York as centre of the universe in movies like Sam Wood's Pride of the Yankees.

Any place, but especially a place like New York City, changes us and changes with us. Neil Simon gave us his optimism in Barefoot in the Park, laughs in Come Blow York Horn and The Odd Couple, memories in The Sunshine Boys and nightmares in The Prisoner of Second Avenue and The Out of Towners.

In East Side, West Side Jessie Bourne spoke of the one time that changed everything. Ten years since the September 11 terrorist attacks on the World Trade Centre have brought changes to each of us personally, and to the world we live in. What has not changed is the resilience of New Yorkers and the affection and support from those of us with mythical ties to the city that never sleeps.

Caftan Woman's Choice - One for September on TCM

2011-09-02T10:50:00.000-07:00

Turner Classic Movies - Heaven on Earth for classic movie fans or a cog in the evolutionary wheel which will see us one day morphed into a wide-bottomed cyclops with one rectangular eye in the middle of our foreheads?

I've been intrigued by TCM host Ben Mankiewicz's task of recommending one movie per month from the schedule. A lot of film fans find it difficult choosing one movie for any sort of purpose. There is the nagging feeling that you are being disloyal to all of the other films you love with equal fervor. Nonetheless, I decided to challenge myself with that very task. No hemming, hawing or honourable mentions. One movie.

Frank Capra's 1932 release American Madness is scheduled on TCM for Saturday, September 29 at 6:30 pm est. Capra was a very busy director at Columbia in the 1920s and early 30s. Just prior to American Madness his output included the action adventure romance Dirigible, the social commentary drama The Miracle Woman, the class conscious romance Platinum Blonde and the woman's picture Forbidden. His success with these varied pictures represents Frank Capra's mastery of his calling.

American Madness was among the first collaborations between Capra and screenwriter Robert Riskin which would give us such well-remembered titles as Lady for a Day, It Happened One Night, Mr. Deeds Goes to Town, Lost Horizon and Meet John Doe. The goal with American Madness was to meet the Depression head on and kick it in the pants while addressing the fears as well as the optimistic spirit of everyday people.

Walter Huston stars as a bank president, respected by his workers and often at odds with his Board of Directors. His business success has come from his belief in the character of the his customers and the simple idea that money must be put to work if it is to do any good. What has made him a success is considered a great failing by the Directors, too frightened to take chances in an iffy economy and too enamoured of an offer of quick profit on a deal which would close out Huston and his brand of banking.

A bank employee played by Gavin Gordon is in debt to local gangsters and can only save himself by becoming the inside man on a robbery. The plan goes awry when a watchman is murdered and blame is placed on an ex-con, Huston's protege played by Pat O'Brien. Gordon, a roue as well as a gambler, uses his boss' wife, lovely Kay Johnson as an alibi further complicating the situation.

Capra really grabs a hold of the pacing in this film with overlapping dialogue and quick cuts. It moves. The grapevine scene which starts with the robbery and from telephone call to telephone call leads to a run on the bank is top notch. You feel for Huston and Johnson as their personal relationship gets mixed up with banking and legal disaster. Can nothing save Pat O'Brien and his trusting girlfriend played by Constance Cummings? The only distraction in the cast may be Gavin Gordon's drawn on eyebrows, but the story gathers steam that carries the audience along and makes them easy to overlook (eventually).

American Madness
The run on the bank.

Two other frequent Capra collaborators worked on American Madness with great skill. Architect and Oscar winning (Lost Horizon) set designer Stephen Goosson, with his incredibly detailed eye, created the bank set that is breathtaking as we take in the lobby, the offices, the safe. It's a perfect setting for the drama that takes place and a reminder of the reverence with which our institutions were built. Innovative Hall of Fame cinematographer Joseph Walker works his usual Black & White magic with his hypnotic images.

A few years ago, along with one of my movie loving sisters, I caught a theatrical screening of American Madness thanks to Cinematheque Ontario. A couple of young fellows were sitting in front of us, a film student and his friend. After the movie, the friend commented that he had only come along out of curiosity, but he became really caught up in the story and wanted to see more movies like it.

I think that whoever coined the phrase Capra-corn has done an injustice to the director. Frank Capra was, first and foremost, a gifted storyteller and one who knew how to tell his stories cinematically. He knew how to move an audience. He did it all with a gentle, insightful humour and true affection for all kinds of people.

Timely and engrossing, American Madness is worth watching on TCM this month, whether it be for the first time or a re-visit.

For more suggestions on our favourite channel check out Laura's Miscellaneous Musings and The Great Entertainer's Media Archive for September alerts from those in the know.

Officer O'Hara, Mr. B. and Hugo Barnstead

2011-08-21T19:50:00.000-07:00

Jack Carson
1910 - 1963

Born in Carmen, Manitoba, raised in Milwaukee, Wisconsin and schooled in Vaudeville, Jack Carson is one of classic Hollywood's most beloved character actor stars. Arriving in California in the mid 1930s Carson can be spotted in small roles in many films as he worked his way up the ladder including Stage Door and Bringing Up Baby, and gradually larger supporting roles in Carefree and Destry Rides Again. He's outstanding as a gangster's henchman with an unusual sense of humour in The Saint in New York.

Jack was very busy at Warner Brothers during the 1940s where he would make his mark in a number of well-remembered films, including a number with genial singing star Dennis Morgan such as Shine on Harvest Moon and It's a Great Feeling. Jack is a well-meaning salesman in Larceny Inc., a no goodnik in Blues in the Night (Really, what kind of a guy would stomp on Priscilla Lane's heart?) , the loquacious would-be playwright Officer O'Hara in Arsenic and Old Lace, a former college football hero in The Male Animal, a romantic vaudevillian in The Hard Way, Rosalind Russell's helpmeet in Roughly Speaking and Mildred Pierce's slimy patsy Wally Fay. Jack also had radio success with a series called Everybody Loves Jack which ran from 1943-1947.

In the 1950s Jack would turn in exemplary performances in movies such as Phffft with Judy Holliday, Jack Lemmon and Kim Novak, Douglas Sirk's The Tarnished Angels, George Cukor's A Star is Born and Richard Brooks' movie of Tennessee Williams' Cat on a Hot Tin Roof (Where is Jack's Oscar nomination? Recount!) .

For all his screen success, Jack Carson still needed a live audience. During the 40s he would take a break from the studio to perform as a clown with the Clyde Beatty circus. In 1952 he starred as John P. Wintergreen in a Broadway revival of the Gershwin's Of Thee I Sing. It was during rehearsal in 1962 for a production of Critic's Choice that Jack fell ill and eventually was diagnosed with a stomach cancer which took his life at the age of 53. Jack had been married four times and was the father of two.

Rita Hayworth, Olivia de Havilland, James Cagney, Jack Carson
The Strawberry Blonde

A role that typifies Jack's prevailing screen image is that of Hugo Barnstead in Raoul Walsh's 1941 version of actor/playwright James Hagen's successful 1933 play One Sunday Afternoon. Set at the turn of the 20th century The Strawberry Blonde stars James Cagney as Biff Grimes, a dentist and an ex-con who, one Sunday afternoon, ruminates on his hard luck in life and love. Most of his hard luck can be traced back to his friendship with Hugo, a sneaky, lying, ambitious, two-faced friend to no one whose comeuppance is a long time coming thing of beauty. The billigerent softy Biff is one of Cagney's finest characterizations. Olivia de Havilland is warm and lovely as Amy, the right girl for Biff. Rita Hayworth would make audiences remember her as Virginia, the girl of Biff's dreams. Jack Carson was a force of nature as Hugo roared through the movie. In his autobiography Cagney by Cagney, Jimmy speaks of the movie with fondness and of how his mother, who appeared as an extra in the beer garden scene, thought it captured the New York of her youth. The Strawberry Blonde is a movie of much charm and heart.

Don DeFore
1913 - 1993

The world is full of baby boomers with fond recollections of television, among them Don DeFore as the neighbour "Thorny" on The Adventures of Ozzie and Harriet and "Mr. B" (Baxter) on Hazel. The image of Don DeFore in those sitcom roles is a hearty and pleasant one. His career in films is equally pleasant to contemplate. The Iowa native was studying at The Pasadena Playhouse when he went east to Broadway in a limited run of a play called Where Do We Go From Here? In 1940 Don found success in the role of Wally Myers, a college football star, in James Thurber and Elliott Nugent's The Male Animal. Nugent directed the film version for Warner Bros. with Henry Fonda playing the role Nugent himself had played in New York. Coming west to repeat his stage success was Don DeFore as Wally. In the set-up of the play, there is an older counterpart to the footballer and that role was taken by Jack Carson. In the 1952 revamp She's Working Her Way Through College, Don would play the Jack Carson role. (Trust me, it makes sense.)

Don's film appearances in the 1940s include A Guy Named Joe with Spencer Tracy and Irene Dunne, Without Reservations with John Wayne and Claudette Colbert and My Friend Irma with Marie Wilson. He stars in Roy Del Ruth's impossible to dislike Christmas perennial It Happened on Fifth Avenue and as Betty Hutton's exasperated love interest in The Stork Club. Don crosses paths with Jack Carson again in Doris Day's debut film Romance on the High Seas. I'm particularly fond of his hot-headed young gunslinger in Andre de Toth's Ramrod and of his role in 1960s The Facts of Life as Lucille Ball's neglectful husband. He also impressed in later TV appearances on St. Elsewhere and Murder, She Wrote.

In real life, Don and his wife Marion were married for 51 years and the parents of five children. Don passed from a heart attack at the age of 80.

Don DeFore, Dorothy Malone, Janis Paige, Dennis Morgan
One Sunday Afternoon

In 1948 Warner Bros. revamped The Strawberry Blonde as a Technicolor musical with songs by Ralph Blane, Raoul Walsh once again directing and a return to the original title. Dennis Morgan was given the role of Biff in which he performs earnestly. It is not fair to compare any performer to Cagney. Janis Paige is a bright and brittle Virginia. Dorothy Malone is every inch the equal of de Havilland as the sympathetic Amy. Guess who plays Hugo! Yes, Don DeFore tackles the sneaking, lying, ambitious...we've been down this road before, haven't we? Really, who else would they cast? One Sunday Afternoon should work, but unfortunately the songs are weak and the energy and heart that make The Strawberry Blonde such a winner is nowhere in evidence. If you're not familiar with the 1941 version, it is a passable time-waster, nothing more.

James Hagen's Broadway success of One Sunday Afternoon ran for 322 performances. Steely-eyed Rankin Mansfield (To Hell and Back, The Brothers Rico) played Hugo. Lloyd Nolan (A Tree Grows in Brooklyn, Somewhere in the Night) was everybody's favourite dentist, Biff Grimes.

Paramount Studios filmed the first version of the play in 1933. The role of Hugo Barnstead was played by handsome Neil Hamilton. (So sue me - I had a crush on Commissioner Gordon!)

Gary Cooper made an oddly unlikeable Biff. It is a movie I would recommend for comparison purposes only.

How did she know?

2011-08-19T04:03:00.000-07:00

When Dawn of Noir and Chick Flicks (http://dawnschickflicks.blogspot.com/) chose this blog among her honorees for The Irresistibly Sweet Blog Award, did she know of my overwhelming admiration for strawberry shortcake? Of all the awards in all the cyberspace, what could be more appealing than that fruity, creamy, flaky goodness?

Of course there are certain provisos with being greeted by a picture of the desert to end all deserts, namely linking back to your host, sharing with and notifying 12 worthy bloggers, plus the dreaded "7 random things about me". Even though, for some reason, I'm feeling a little shy about the sharing part today, I can't help but think that bringing shortcake will mean an automatic welcome.

Bloggers, new and old, who brighten my day:

Laura's Miscellaneous Musings, http://laurasmiscmusings.blogspot.com
The Great Entertainment Media Archive, http://greatentertainersarchives.blogspot.com
The Second Sentence, http://thesecondsentence.blogspot.com
in so many words, http://yvettecandraw.blogspot.com
Tales of the Easily Distracted, http://doriantb.blogspot.com
Take Two, http://kimsblogtake2.blogspot.com
Gold Hollywood, http://goldhollywood.blogspot.com
The Ancient Pelican, http://purpleladyj.blogspot.com
Resilient Little Muscle, http://resilientlittlemuscle.blogspot.com
Fang Shih-yu and the "Trivia Wing" of the Shaolin Temple!, http://fangshih-yutriviawingshaolintemple.blogspot.com
Saddles and Spurs: The Great Westerns, http://chickflickswesterns.blogspot.com
Two Through Twelve, http://twothroughtwelve.blogspot.com

Seven random things about Caftan Woman:

I live by Lake Ontario.
I spend $6 a week on the lottery. Not so much a gambler, as a dreamer.
I'm a very sloppy eater. The friend who made my wedding dress used extra material to fashion a bib that looked like the bodice, just in case of slopped gravy.
I get a kick out of singing Brahms.
My childhood dreams included becoming a poet (people laughed), a police officer (too much Dragnet), and a big band singer (born too late).
My family likes to put things I need on shelves I can't reach. They think it's funny.
My husband claims he was tight the night he proposed and if I'd been a gentleman I'd have forgotten all about it.

Well, folks, I'm off to the fruit market to fulfill my strawberry shortcake dreams. Thanks, Dawn.

Born in a trunk: Ethel Griffies

2011-08-14T16:06:00.000-07:00

Ethel Griffies
1878-1975

On April 26, 1878 in Sheffield, England actress Lillie Roberts presented her husband actor-manager Samuel Rupert Woods with a daughter, Ethel. Three years later the couple presented the girl on stage and a 80 year career began. Known professional as Ethel Griffies (A youthful bid for independence? A youthful indiscretion? Ethel Woods sounded too much some ancient king? Advice from a fortune teller to have a 13 lettered name?), the actress learned her craft in the provinces and made her London debut in 1899 at the Haymarket. Her Broadway debut would occur in 1924 in a short run production of Havoc directed by and co-starring Leo G. Carroll.

Forty-three years on the New York stage would see some also rans including The Shop at Sly Corner featuring Boris Karloff and Una O'Connor which closed in one week in 1949 and The Natural Look featuring Gene Hackman, Zorha Lampert, Jerry Orbach, Doris Roberts and Brenda Vaccaro which opened and closed on March 11, 1967. Ethel did enjoy successes such as Irving Berlin's Miss Liberty in 1949-50, The Criminal Code in 1929-30 (filmed by Howard Hawks), Frederick Knott's Write Me a Murder in 1961-62 and John Galsworthy's Old English directed by and starring George Arliss. Ethel Griffies would make the film version with George Arliss, also appearing in his movies The House of Rothschild and The Millionaire.

Old English was not Ethel's first foray unto the silver screen. In 1917 she appeared in The Cost of a Kiss and that same year she married the movie's co-star, Edward Cooper. Five years Ethel's junior, the marriage would last 40 years until Edward's death in 1956. This was Ethel's second marriage. Her first husband, Walter Beaumont passed in 1910.

Edward Cooper's Broadway career encompassed roles in plays as varied as Hay Fever and The Hasty Heart. He appeared in Lady Dedlock with Ethel in the 1928-29 season. On-screen the couple are featured in, besides The Cost of a Kiss, Torch Singer, The Mystery of Edwin Drood and Holy Matrimony.

Edward Cooper has over 75 movie/tv credits to his name, most often uncredited in the role of a butler as in Clive of India, On the Avenue, Small Town Girl, Crack-Up, The Dark Angel and more. The next time you spot the prison clerk in 1935s Les Miserables, the BBC official in The Life and Death of Colonel Blimp or the Indian Chief in Diplomaniacs say to yourself "That's the guy who married Mrs. Whack!".

Ethel Griffies, Zeffie Tilbury
Werewolf of London

Mrs. Whack may be my favourite character in Ethel Griffie's movie career. She and the incredible Zeffie Tilbury as Mrs. Moncaster in 1935s Werewolf of London steal the picture as Horror's best comedy relief. Obsessed botanist Henry Hull was bitten by werewolf Warner Oland in Tibet and now, jaunty scarf around neck and walking stick in hand, Hull stalks the streets of London by the light of the full moon. Competing landladies and drinking companions Whack and Moncastle are alternately curious and frightened by the philosophical and dangerous stranger in their midst. You never saw a flirt like Mrs. Whack!

Ethel didn't always require an acting partner the likes of Miss Tilbury to make her presence felt. In 1944s The White Cliffs of Dover she dominates fellow train travelers Irene Dunne and Frank Morgan with nary a word. While her forceful personality is played for laughs in that British flag waver, in John Ford's 1941 Oscar winner How Green Was My Valley she is quite intimidating as the tyrannical housekeeper, Mrs. Nicholas.

Ethel played another tippler, Grace Poole in the 1934 and 1943 versions of Jane Eyre. She played as many landladies as her husband played butlers, in fact, playing that role in both the 1931 and 1940 versions of Waterloo Bridge.

Well-remembered titles from the 1930s include Alice in Wonderland, Doctor Bull, Four Frightened People, The Painted Veil and Anna Karenina and from the 1940s you can see Ethel in Stranger on the Third Floor (landlady), Billy the Kid, A Yank in the R.A.F., The Keys of the Kingdom, Forever and a Day and The Horn Blows at Midnight.

In Caftan Woman's universe actors get an extra gold star for appearing in a Charlie Chan picture and Ethel has two to her credit in the waning days of that series' run at 20th Century Fox.

Ethel Griffies, Sidney Toler
Dead Men Tell

1941s Dead Men Tell finds Ethel as Patience Nodbury, a superstitious eccentric with a treasure map and a murderous ghostly ancestor. Sidney Toler's Chan is so patient in his scene with Miss Nodbury that he might be channeling Warner Oland, that is when Oland isn't biting botanists in Tibet.

Ethel Griffies, Sidney Toler, Oliver Blake
Castle in the Desert

1942s Castle in the Desert gives Ethel another eccentric in Madame Saturnia, a mystic, a busybody and, of course, a murder suspect. She seems almost sane compared to some of the crackpots the Inspector and Jimmy (Sen Yung) are dealing with in this outing.

The Chan series notwithstanding, to the general public an actor's bid for immortality comes through an association with either Walt Disney or Alfred Hitchcock. Ethel certainly has her Hitchcock connection as Mrs. Bundy, the emphatic amateur ornithologist in 1963s The Birds. She is most enjoyable in the diner scene where, at 83 years old, Ethel has lost none of her ability to dominate a scene and hold your attention.

In his IMDb mini-bio on Ethel, Hal Erickson, All Movie Guide, states: "Presumably at the invitation of fellow Briton Arthur Treacher, Ethel Griffies was a frequent guest on TVs Merv Griffin Show in the late 1960s, never failing to bring down the house with her wickedly witty comments on her 80 years in show business."

Doesn't that make you long for a specialty channel devoted to retro talk shows? I would love to hear Ethel's story in her own words. Luckily we still have decades of movie work to enjoy.

The Sopranos (Really.)

2011-08-09T09:37:00.000-07:00

From time to time I have mentioned my son Gavin whose challenges with autism/developmental delay are offset by the gifts of a tremendous memory and talent for mimicry. Gavin remembers every line from every beloved movie, and when he gets going you would swear that everyone from Phil Harris to Kathryn Beaumont to Jerry Colonna was in the room with you.

Lately Gavin has been spending a lot of time on YouTube looking up the movies that Family Channel Canada used to screen in the days of his youth. He was overjoyed to come across this clip of Jeanette MacDonald and Ramon Navarro in 1934s The Cat and the Fiddle. He spent the entire weekend enjoying the Jerome Kern music to the exclusion of any other diversion.

My youngest sister Tracey at six. She was and always will be 16 years my junior. She was and always will be a woman of strong opinions.

It was at this age, and in response to what I can only assume were some annoying scales and arpeggios issuing from my throat, that she declared (with hands on hips) "If you can't sing like Jeanette A-Donald, forget it!"

Well, maybe I can't sing like Jeanette A-Donald...

... but my son sure can!

Honours and Benefits at My Age!

2011-08-08T17:51:00.001-07:00

Isn't that the prettiest thing? "Liebster", as I know (or somewhat guessed) from singing Brahms in "my" choir, means favourite or beloved. Starting in Germany, this token of esteem has traveled the internet world, and this site is lucky enough to be among those chosen by the wonderful Becky of Becky's Classic Brain Food (http://classicbeckybrainfood.blogspot.com/) to receive and continue the electronic pat on the back.

I have found the blogging world to be full of the type of people you would like to meet in every day life. In fact, I shouldn't be surprised if the five bloggers I am going to forward the "Liebster" to have already been selected by another of their fan/friends. However, if I stop to check, I might be here forever like some sort of demented Flying Dutchman.

Skeins of Thought
http://moirasthread.blogspot.com

Moira was one of the first bloggers I started following regularly. She has heart and, boy, can she write!

Another Old Movie Blog
http://anotheroldmovieblog.blogspot.com
Jacqueline is amazing - a fine and interesting writer, and a woman with an inquiring mind and the spirit of a teacher.

A Guinea Pig's Tale
http://aguineapigstale.blogspot.com

Autobiographical vignettes by Carolyn Davis. When those commercials say more relations are starting online, I don't think this is what they have in mind, but I'm proud to call Carolyn a friend of long-standing.

Kevin's Movie Corner
http://kevinsmoviecorner.blogspot.com
The more I read Kevin's take on classic film, the more fun I have. Liebster!

Miss Tracey Nolan
http://www.misstraceynolan.com

Okay. We're related. However, even if she wasn't my baby baby baby sister, reading her blog would make her somebody I'd want to adopt - or at least have a glass of wine with.

Loving Lucy Blogathon: Lucy and Bob Hope

2011-08-04T16:06:00.000-07:00

True Classics (trueclassics.wordpress.com) is hosting a blogathon salute to Lucille Ball on the occasion of the centenary of her birth on August 6. In Caftan Woman's universe Lucy has a prime spot on the ruling counsel.

A few years ago, Carlton Cards issued a Bob Hope Christmas ornament that featured Bob dressed as Santa with three gifts. One was labeled for Dolores, another for Bing and the third for Lucy. In my memory it seems Bob Hope was always popping up on one of Lucy's programs and she was was always popping up on one of his. They always seemed as delighted with each other as the audience was to see them. While their output as a big screen team doesn't rival that of Loy & Powell or Rogers & Astaire, Ball & Hope made four movies together from 1949 - 1963.

Lucy and Bob's first movie was 1949s Sorrowful Jones, a remake of the Shirley Temple vehicle Little Miss Marker based on Damon Runyon's Markie in which an orphan girl is left with a bookie as collateral and changes everyone's life. I'm a sucker for a Runyon story and while the earlier version has a raw originality, this version has an adorable Mary Jane Saunders and Lucy and Bob working their magic.

In her posthumously published autobiography Love, Lucy, she wrote:

This year was the beginning of my great association with Bob Hope. Going to Bob's set every day was like going to a party. I couldn't wait to get there. And I loved working with him.

Bob is predictable and never moody. He's fun, sweet, kind, good; a gentleman and a trouper. I can bounce vitriolic remarks off his big chest and they come out funny, not like acid. Because he's such a strong male figure, he makes me appear more feminine.

Like everything Damon Runyon wrote, Sorrowful Jones had pathos as well as comedy, and Bob at first was rather afraid of the straight scenes. "What if the audience laughs in the wrong place? he worried. He was feeling his way, and so was I. And this was the first movie I'd ever made with Bob. But after a few days, when he still seemed a bit uneasy, I found the courage to take him aside and say, "Don't be afraid to play it straight. If you believe in the scene, the audience will, too."

The following year saw the dynamic duo in another remake as Fancy Pants turned Ruggles of Red Gap on its ear. The director was George Marshall, a Hope veteran of The Ghost Breakers and Monsieur Beaucaire, who had worked with Lucy on Valley of the Sun. He would also work on her series Here's Lucy.

The 1935 movie starred Charles Laughton in a funny and touching story as a misplaced butler finding a new sense of self in the new territory of the old west. In Fancy Pants Hope is an actor pretending to be a butler and turning tomboy Lucy into a lady. It's loud, garish and filled with zany slapstick. Lucy rides, ropes, tumbles and fights. It's also very funny by not trying to ape the earlier classic. John Alexander has a chance to trot out his Teddy Roosevelt impersonation. They even throw in a couple of songs by Livingston and Evans of Buttons and Bows fame. Lucy is dubbed by Annette Warren, but Bob gets to do his own singing.

My favourite of Lucy and Bob's collaborations is 1960s The Facts of Life, a movie I call "Brief Encounter with Laughs". This is my slightly worn review first posted 2008.

Directed by Melvin Frank and written by Frank with Norman Panama, The Facts of Life is an adult love story that will surprise you.

Kitty Weaver and Larry Gilbert are two perfectly nice suburbanites. If Kitty's husband (Don DeFore) seems a little preoccupied with work and his gambling habit, and Larry's wife (Ruth Hussey) a little too caught up with the kids - well, that's life. They have no thought of straying. They certainly have no thought of straying toward each other. However, Fate (in that way of hers) forces these two perfectly nice people to spend time together. Kitty discovers that "the jerk who tells the lousy jokes at the country club" is a genuinely warm and funny fellow. Larry sees a softer side to that stuck up Kitty. Love blossoms with the added complications of vows and conscience.

How Larry and Kitty deal with their feelings, their need to be together and the realities of their lives is played out in a frank, touching and very funny manner. It is wonderful to see two actors who happen to be bona fide comic geniuses working together in such perfect sympathy. The humour of character and situation also involves some gut grabbing slapstick, and some quiet moments that will make you smile or sigh a sentimental sigh for two perfectly nice people.

Lucy and Bob's final movie is 1963's Critic's Choice based on a Broadway play by Ira Levin. Lucy is Angie, a devoted wife and stepmother. Bob plays her husband, Parker Ballantine, a renowned and ascerbic theatre critic. He treats Angie's playwriting ambition as a whim to belittle. Sweet Angie turns stubborn at this and the household routine is thrown to the wind in the cause of art. Parker pans the completed play and scathingly backs up his opinion. Angie forges ahead by taking the play to their producer friend (John Dehner) and while he thinks it needs work, he also thinks it is doable. Family life becomes more unsettled with a little sideline help from Parker's ex, an actress played by Marilyn Maxwell and an egocentric director played by Rip Torn.

The climax of the story concerns whether or not Parker should or will review the play on opening night. He has already stated he doesn't like it. He has also turned down a plea for help from Angie. Parker looks upon it as a matter of self-respect. For Angie it is all about love and support. Our couple finds common ground by the end, but how this is achieved left me a little unsettled, however I think the movie is still a worthwhile watch. Lucy is marvelous in the role of a loving and determined woman trying to come out of her shell. The funny stuff is mostly left to Bob with nifty one-liners and a drunk scene.

Lucy's legacy of movie work is a tribute to her talent, her versatility and her commitment as an actress. All this can be found in the four movies she made with her most felicitous co-star, Bob Hope.

Monster Mash Blogathon: This Island Earth (1955)

2011-07-28T21:12:00.000-07:00

Today's post is an entry in the Monster Mash Blogathon. The Forgotten Classics of Yesteryear/Monster Mash icon will bring you to a world of movie mayhem. What follows is a chock-full-of-spoilers look at:

This Island Earth was brought to the screen by Universal in 1955. The director was Joseph M. Newman, who also gave us the noir drama 711 Ocean Drive, the adventure Red Skies of Montana, the somber western Fort Massacre and the matinee favourite of my youth, The Big Circus. The effects crew on This Island Earth is exemplary. The cinematographer was Clifford Stine whose work is seen in Written on the Wind, The Incredible Shrinking Man, Battle Hymn and Patton. The art direction team was led by 14 time Oscar nominee and 3 time winner, Alexander Golitzen. Those Oscar honoured pictures include Foreign Correspondent, Phantom of the Opera, Spartacus, To Kill a Mockingbird, Flower Drum Song and Airport. David S. Horsley worked on the special effects photography and the visual effects team was Roswell A. Hoffman and Frank Tipper. Their work is outstanding.

RAID!

What is that thing? Why, that’s a Mutant. That is "Mutant". They have been breeding them on ages on Metaluna to do menial work. They are similar to some insect life on Earth, but larger and with a higher degree of intelligence. Would you like one to help out with those pesky chores? Too late. Metaluna is no more. The Metalunians struggled valiantly through years of war and even looked to Earth as a possible key to their energy problems, but all to no avail. Perhaps the real monster was they thought too much. All this was told by prolific science fiction storyteller Raymond F. Jones in three stories entitled The Alien Machine, The Shroud of Secrecy and The Greater Conflict, eventually novelized as This Island Earth.

The first of the impressive effects.

Notice the green glow around the plane? In the movie it is also accompanied by an eerie whistling sound. Mere minutes before the glow appeared our pilot and he-man scientist Cal Meacham (Rex Reason) lost total control of the plane. Some unseen force helped him to land safely. He-men scientists always fly themselves back from conferences to their home lab.

Rex Reason, Robert Nicholls

Strange equipment has been making its way to the lab and fueled with the curiosity that makes good scientists, our boys take the packages that have been arriving from the Acme Space Depot and their handy dandy Allen key and before you know it they have themselves an interocitor.

Regrettable remark #1: When assistant Joe Wilson (Robert Nichols) mentions his wife wishes they would come up with some housekeeping devices, Cal responds that she’d only pack on the pounds if she didn’t have to work. Golly!

Robert Nicholls, Jeff Morrow, Rex Reason

Building the interocitor was a test and the prize was communication with a fellow named Exeter (Jeff Morrow) and the chance to discover more incredible scientific advancement at an unspecified compound. Cal jumps at the chance. His assistant Joe is more cautious. Besides he has that wife to take care of.

Rex Reason, Russell Johnson, Faith Domergue

There are other scientists at the compound. Girly-girl scientist Dr. Ruth Adams (Faith Domergue) and professorly type Steve Carlson (Russell Johnson) among them. Wouldn’t you know that Cal and Ruth have a past? The present and future isn’t looking too bright. Their fellow scientists seem to be under some sort of mind control, and our intrepid trio is getting a little fed up with the whole deal. The audience is let in on things in a conversation between Exeter and the Monitor (Douglas Spencer) of Metaluna. The home planet’s defences have been depleted and no matter the stage of the research being done on Earth, it is time for Exeter's return.

Lasers and explosions highlight the race to freedom.

Our trio makes a break for the outside world. Carlson, the other scientists, and the entire compound, including a pet cat named Neutron are obliterated as Exeter has been ordered to leave no trace of Metaluna behind.

Eye-popping view of the captured plane.

Cal and Ruth attempt to fly away from the destructive scene, but instead are pulled up into the spacecraft and on their way to the doomed planet.

Open concept spaceship.

On board the ship we are treated to regrettable remark #2 when Exeter asks Ruth if “as a woman” she isn’t curious about Metaluna. Geez!

Breathtaking rendering of Metaluna.

Once on Metaluna, it is all too apparent that the end is near although the Monitor still holds out hope for colonization on Earth. Exeter has gained a knowledge of and fondness for his human companions and all three escape before the planet explodes. Unfortunately, a single-minded "Mutant" also finds his away aboard ship, mortally wounding Exeter and, in the way of all 50s movie monsters, does his best to terrorize pretty Dr. Ruth until he is destroyed. Whew!

Exeter knows his time is running out, but hangs on long enough to see his companions safely back to This Island Earth.

"Home"

This Island Earth drags at the beginning and is too rushed at the end. It has plot holes the size of bomb craters on Metaluna. Tragically, due to office politics, Edward Muhl fired effects wizard David S. Horsley when he fell behind schedule on the picture, leaving some effects worthy of applause and others lacking. On the plus side is the sensitive performance of Jeff Morrow as Exeter, the glorious Technicolor, the polished effects and stunning set design. While not good enough to be a classic, I think This Island Earth is a movie to cherish for its’ obvious design inspiration for future screen science fiction. It reached for the stars.

Favourite movies: The Farmer Takes a Wife (1935)

2011-07-20T16:10:00.000-07:00

Erie Canal Song

(Chorus)

Low bridge ev'-ry bod-y down,
Low bridge for we're com-in to a town,
And you al-ways know your neighbor,
You'll always know your pal,
If you've ev-er navigated on the Er-ie can-al

Walter Edmonds (1903-1988) was the award winning author of popular historical novels and children's books. Edmonds brought the 19th century, in particular the 19th century of his home state of New York, to life for generations. He received the Newbery Medical in 1942 for The Matchlock Gun. His first published novel, Rome Haul, was his first commercial success. It was such a success that Frank B. Elser and Marc Connelly adapted it for the stage as The Farmer Takes a Wife and it played on Broadway for 104 performances.

The sentiment expressed in Thomas Allen's 1905 Erie Canal Song echo those feelings of the heroine of Edmond's story set a half century earlier. Molly Larkin is a young woman who loves everything about her life on the canal. She works as a cook on a barge owned by the rough and tough Jotham Klore. She loves the excitement of travel, of meeting different people. She loves the river and the land, and can picture no life for herself other than the one she knows.

June Walker (1926-1943) brought Molly to life on stage. Miss Walker enjoyed a 40 year career on Broadway with roles ranging from Myra in the original production of Waterloo Bridge to a concerned mother in Blue Denim. She can be seen in a few movies and popular television programs including Robert Montgomery Presents and My Three Sons. Her own son is actor John Kerr known for South Pacific and Tea and Sympathy.

Creating the role of Dan Harrow was young Henry Fonda (1905-1982). The Farmer Takes a Wife wasn't his first Broadway outing, but it was his first success. Dan is a fellow who knows all about the canal as it was his father's business. However, Dan has mapped out a different course for his life. He wants a farm of his own, and he means to have it by working on the canal to raise his needed capital. One look at Molly, and Dan means to have her as well, working the farm by his side.

It may seem a slight thing, this story of a stubborn gal and a sensitive fellow overcoming obstacles of their own making on the road to romance, but it is in the telling that we find the pleasure.

Fox Studios bought the rights to film the story for their number one leading lady, Janet Gaynor. It was thought at the time that Joel McCrea or Gary Cooper would be a suitable Dan, seeing as no one knew this Henry Fonda chap. When first and second choices were unavailable, it was decided that Gaynor was enough of a draw that a chance could be taken with Fonda. Victor Fleming (A Guy Named Joe, Captains Courageous, Gone With the Wind, The Wizard of Oz) directed with a leisurely pace befitting the gentle, rustic setting and story.

Janet Gaynor was perfect as the appealing and spunky Molly Larkin. Her boss and Dan's rival Jotham Klore was played with all his blustery gusto by Charles Bickford. One of the "issues" Molly had with Dan was that he kept backing away from a fight with Jotham. To Molly's way of thinking this evinced a lack of character on Dan's part. Dan thinks himself a highly sensible fellow.

Packet Boat on the Erie Canal

Molly wanted Dan, but she wanted the life she loved on the canal. Dan wanted Molly, but he could foresee a time when rail travel would replace the mule drawn barges, and his love of the land and farming ran deep. Loving each other wasn't enough. That other had to love what she or he did. Compromise is a terrible thing to the young.

Cinematographer Ernest Palmer (Cavalcade, Charlie Chan in Paris, Broken Arrow) helps to create the sense of the past in this movie version of the story with the sumptuous feel of an old-fashioned print springing to life.

Just as important to the pastoral and small town setting are the faces who populate Molly and Dan's world. Margaret Hamilton, also from the Broadway production, recreates the role of widow Lucy Gurget, a woman of estimable pride and sense. This roll call of character names will give you an idea of the authenticity of look and feel achieved in The Farmer Takes a Wife: Andy Devine, Slim Summerville, Roger Imhof, Jane Withers, Kitty Kelley, John Qualen, Irving Bacon, William Benedict, Esther Howard, "Gabby" Hayes, J.M. Kerrigan, J. Farrell MacDonald, Eily Malyon, Zeffie Tilbury. These friends and neighbours support and chide our young couple, while going on about their own lives.

A very funny moment occurs when through a thick fog Andy Devine's character shouts a "good morning" to the barge and Janet Gaynor as Molly responds, "Who is it?" Now, Andy Devine, no matter who he is playing, sounds like Andy Devine. Somehow, I can imagine Victor Fleming looking at the script and saying "Janet, can you say that with a straight face?" The actress in her rose to the task.

Henry Fonda credits Victor Fleming for kindly and patiently introducing him to the concept of scaling back his stage mannerisms for the prying eye of the camera. With this first movie, Fonda established himself as an earnest screen presence - a young man of ideals and integrity. He would appear in two other films based on Edmonds' novels, Chad Hanna and Drums Along the Mohawk.

The Farmer Takes a Wife is a true time machine of a movie, transporting us to a unique time and place, with an undeniable charm for the viewer of today.

The Farmer Takes a Wife was made into a musical film in 1953 with songs by Harold Arlen and Dorothy Fields. Betty Grable played Molly, Dale Robertson was Dan, Thelma Ritter played Lucy and John Carroll was Jotham Klore. If I have seen it, it didn't leave a major impression on my memory. I'm fond of Betty, and she certainly has lots of spunk, but I always see her as a city girl. Somehow I can't see her pining for life on the Erie Canal.

Ginger Rogers Centenary

2011-07-16T07:21:00.001-07:00

July 16, 1911 - April 25, 1995

According to her mother, Lela, Virginia Katherine McMath (Rogers was her stepfather) was dancing before she was born. At 14, Ginger was learning the ropes in Vaudeville and at 18 she was appearing on Broadway, first in Ruby and Kalmar's Top Speed followed by the Gershwins' Girl Crazy. Next stop Hollywood where she epitomized the show business baby.

Her many musicals, especially her fabled pairing in 10 films with Fred Astaire, had Ginger cast as an actress to accommodate the plots, but it is interesting to note that Ginger played entertainers in 35 of her 77 movies. She played models, showgirls, chorus girls, singers, dancers, radio stars, screen stars and stage stars at various points in their careers. Ginger was the hungry kid looking for a break (Stage Door), the working entertainer (Professional Sweetheart) , a success longing for more (The Barkleys of Broadway), a success trying to hold on (Forever Female). Hoofer Anytime Annie (42nd Street) may not be the type of gal a fella would take home to mother, but night club singer Francey (Vivacious Lady) won everyone over.

Ginger was Joan Blondell tough with a dollop of sweetness. She had Katharine Hepburn's versatility, but with the common touch. No matter how elegantly turned out, Ginger was always that pal who made it big.

These are just some of my favourite Ginger Rogers movie moments:

1952's Monkey Business, Howard Hawks

Ginger plays Edwina Fulton, the mature, warm and supportive spouse of an absent-minded professor (Cary Grant) who ingests a fountain of youth formula concocted by a lab chimp in this very funny comedy with a script by Ben Hecht, Charles Lederer and I.A.L. Diamond. When Edwina reverts to her younger self she is stripped of all pretense as she pursues her love and kicks up her heels in a joyfully wacky performance.

1943's Tender Comrade, Edward Dmytryk

Dalton Trumbo's script about defense plant workers during WW2 sharing a house while their husbands are in the Service is a mix of the heavy-handed with nuggets of real truth. In a very honest scene newlyweds Jo and Chris Jones have a fight. He is working a lot of overtime, brooding about the future and being stolidly male. She is sulky and feeling neglected. Ginger Rogers and Robert Ryan's work is so raw and real that I was torn between wanting to walk into the screen and knock their heads together and wanting to turn away because it felt I was intruding on their privacy.

1935's Roberta, William A. Seiter

Ginger is Lizzie Gant, an American entertainer in Paris marketing herself as the Comtesse Schwarwenke, who crosses paths with old partner, band leader Huckleberry Haines (Fred Astaire). The created-on-the-spot feeling of I'll Be Hard to Handle (Kern, Harbach & Fields) is thrilling. It is a prime example of Ginger's response when asked for the thousandth time if she and Fred got along - "How can anybody watch us and not know we were having fun?"

The Eternal Question: Chester or Festus?

2011-07-13T05:45:00.001-07:00

Parley Baer

1914 - 2002

Norman MacDonnell and John Meston's successful radio drama Gunsmoke ran from 1952 - 1961, overlapping the television phenomenon by six years. On radio the role of Chester Proudfoot was played by that consummate character actor, and former circus ringmaster for Barnum & Bailey, Parley Baer. Baer was also familiar to audiences from television roles such as those on The Adventures of Ozzie and Harriet. His career spanned radio, television and movies from 1950 to 1996. Parley Baer's Chester was a good-natured counterpoint to William Conrad's tortured Marshall Dillon.

Dennis Weaver
1924 - 2006

The television version of Gunsmoke debuted in 1955 with a new cast of faces for the medium. Struggling 30 year old actor Dennis Weaver impressed the producers enough to obtain a call-back with a request to add some humour to his reading. Hoping to stand out from the crowd, Weaver also added a limp to his characterization. Would he have done so if he had known he'd have to keep it up for the next 9 years? Dennis won acclaim and an Emmy Award (1959) for his portrayal, and also stretched his creativity by directing a few episodes. The year of his Emmy win he also had an interesting role working with Orson Welles in Touch of Evil. By 1964 Dennis Weaver's need to move away from Chester led to a final break with the show and he moved on to movie roles, singing, and more series work including Kentucky Jones (1964), Gentle Ben (1967-1969) and the popular, Emmy-nominated McCloud (1970-1977). He remained a busy working actor all of his life. Dennis was also actively involved in environmental causes and was President of the Screen Actor's Guild from 1973-1975.

Chester's most endearing traits were his devotion to his friends and his unwavering faith in Marshall Dillon (James Arness). He was a keen observer of human nature and intractable when it came to his own opinion. Chester's needling of Doc Adams (Milburn Stone) was part of their strong friendship. Chester was quite gallant where all ladies were concerned and an unfortunate, yet optimistic romantic. Chester could always be counted on to help in a crisis, although whether his efforts would be of any actual help was another matter. Chester prided himself on his coffee making abilities, but few visitors to the marshal's office ever asked for seconds.

Ken Curtis
1916 - 1991

Ken Curtis was a singer (Shep Fields, Tommy Dorsey, The Sons of the Pioneers) who entered movies at the end of the singing cowboy era. A natural fit for the John Ford stock company, especially after marrying the director's daughter Barbara, Ken first used his trademark twangy accent in the 1956 classic The Searchers. Ken's acting credits included a few episodes of Gunsmoke prior to the role of Festus Haggen. Director Andrew McLaglen had worked with Ken playing the role of a bounty hunter on Have Gun, Will Travel and recommended him for the part of Festus in Us Haggens. In the episode Festus is seeking revenge for the death of his brother by a cousin played by Denver Pyle. Festus began to recur on the series during 1962, while Ken was also involved in the series Ripcord (1961-1963) co-starring Larry Pennell. In 1964 when Dennis Weaver struck out in new directions, Festus Haggen became a full-time resident of Dodge City. James Arness remarks on the anniversary DVD set that they were worried when Dennis left as to how they would fill the "sidekick" spot and how the audience would react, but once Kenny took hold they knew they had nothing to worry about.

Hailing from somewhere out of the hills, Festus had his own unique speech patten ( "A little's a little, and a lot's a lot, there ain't no little lot, or lot of little, don't you see?" ) and an inexhaustible supply of quirky relatives and tall tales related to same. Festus got under Doc's skin even more than Chester, and that took some doing! Like Chester, Festus was extremely loyal to his friends and as a deputy could be counted on to hold his own when trouble came calling. As time went by, the comic aspects of the character overtook his toughness, yet I think Ken Curtis' supreme Festus moment is the dramatic turn in the 1974 two part episode Island in the Desert guest starring Strother Martin. Memorable television from a memorable character.

Some Gunsmoke fans are quite adamant about their preference for half hour episodes vs. hour, or B&W vs. colour or Meston/MacDonnell years vs. Leacock/Mantley years or Chester vs. Festus. I unabashedly adore all the seasons of Gunsmoke, but if push comes to shove, as it often does, you would not be wrong in considering me the captain of Team Festus.

Buck Taylor

Newly O'Brien (1967-1975)

I've never indulged in any Quint/Thad/Newly scuffles. I hope we're all in agreement that Newly trumps all. I'd hate for things to get ugly.

George Marshall and Tom Destry

2011-06-29T12:33:00.000-07:00

1891 - 1975

Chicago born George Marshall hit Hollywood at the age of 25 and for the next 50 years worked in that industry town as a director/writer/actor. In the era of learn as you go, George Marshall wrote and directed his first western short for Bison Pictures in 1916. It was called Across the Rio Grande and starred Harry Carey. For the next 15 years Marshall excelled at the short films which provided much of the entertainment of the silent era - westerns, comedies and action thrillers. He worked with western stars Neal Hart and Tom Mix, with legendary golfer Bobby Jones and with serial star Pearl White's rival, spunky Ruth Roland.

Ruth of the Rockies
Will she escape these dastardly fiends?

It wasn't until the 1930s that George made his first feature films including Life Begins at Forty with Will Rogers and Hold that Co-Ed starring John Barrymore. Action and comedy, entertainingly dished out to the public, are the hallmarks of George Marshall's pictures. Audiences of the day, and audiences who grew up in the time when studio movie fare was prevalent on local television, have fond feelings toward such westerns as Texas with young Bill Holden and Glenn Ford, Valley of the Sun with Lucille Ball and When the Daltons Rode with Randolph Scott. Comedies in George Marshall's resume run from the Laurel & Hardy classics Pack Up Your Troubles, Towed in a Hole and Their First Mistake to The Ghost Breakers, Monsieur Beaucaire and Fancy Pants with Bob Hope and the zany Murder, He Says starring Fred MacMurray, Pot o' Gold with Jimmy Stewart and Scared Stiff with Dean and Jerry.

Among Marshall highlights I would include the perfect little noir The Blue Dahlia starring Alan Ladd, the oddly likable musical-western Red Garters with Rosemary Clooney, the Technicolor actioner The Forest Rangers with Fred MacMurray, the low-key comedy-western The Sheepman with Glenn Ford, Papa's Delicate Condition with Jackie Gleason and the railroad portion of the all-star epic How the West Was Won.

Most of Marshall's pictures can be described as solidly entertaining, but only one has ever been acclaimed as a true classic and it is 1939's Destry Rides Again based on a Max Brand story of a lawless town and the man who would try to tame it without guns. It has that unmistakable combination of comedy and action which was George Marshall's forte.

James Stewart was becoming America's favourite image of itself in 1939 as Jefferson Smith in Mr. Smith Goes to Washington and Tom Destry in Destry Rides Again. The 30 year old actor had trained and paid his dues, and the film gods had smiled as he cemented his image of the appealingly shy, yet honest and determined screen hero.

The story moves at a fine clip as the audience is introduced to the town of Bottleneck and the folks who run the whole, if you'll pardon the expression, shooting match. Brian Donlevy is the brains and the money who keeps a crooked judge/mayor played by the usually sympathetically cast (think Peter Bailey) Samuel S. Hinds in his back pocket. Great comic support is supplied by Mischa Auer as a hapless Russian immigrant married to a strong-minded, possessive Una Merkel. Irene Hervey is a nice girl who charms our lead and Jack Carson is her obnoxious brother. The town drunk, and former lawman, Washington Dimsdale, is played with all his well-known charm by Charles Winninger. It is "Wash" who calls on the son of his famous boss Destry to help clean up Bottleneck.

All the elements are in place for a memorable movie including the queen of all the dance hall gals. Marlene Dietrich revitalized her career with her portrayal of "Frenchy". Her box office appeal had waned as it seems audiences had grown tired of the allure of the fascinating foreigner. With her vibrant and touching "Frenchy", Miss Dietrich became a relatable and earthy screen presence.

No Academy Award nominations came Destry's way in that crowded year of excellence, but it played to big box office and quickly and consistently became a film fan favourite. In 1996 Destry Rides Again was placed on the National Film Registry.

Universal Studios was having success with medium budgeted westerns in the 1950s starring Audie Murphy and the property of Destry Rides Again seemed like a perfect fit. Indeed, the character of Destry was natural for the 30-year-old Texas born war hero turned actor. George Marshall was again tapped to direct and was happy to do so, "filching the best parts" from his greatest success.

James Stewart was at the major breakthrough point of his career when he gave up Hollywood to enlist in the Army when the United States entered World War II. Audie Murphy was a school drop-out from a family of poor sharecroppers when he enlisted in the Army. James Stewart had his acting career to return to after the war. What becomes of America's most decorated soldier, the winner of the Medal of Honor? In hindsight we might think of Hollywood as a natural step for Murphy, but it wasn't in his thoughts. It was James Cagney and his brother William who saw potential and who signed Murphy to a contract and brought him to the movies. Audie Murphy's acting training would come from learning on the job, keeping in mind Cagney's advice to "look the other guy in the eye and tell the truth". Murphy had over a dozen starring roles to his credit when he took on Destry. He had become a confident actor with a natural instinct, and the ability to use his background and experience on screen.

Mari Blanchard played saloon hostess and resident bad gal "Brandy". It was not to be expected that she give something akin go the iconic turn given by Dietrich in the earlier film, but she does bring a certain zing to the proceedings. Lyle Bettger takes over Brian Donlevy's job of head baddie. Edgar Buchanan does his scene-stealing best as the crooked politico. The comic character couple is played in this remake by Wallace Ford and Mary Wickes. Oscar winner Thomas Mitchell takes on the role of "Wash", only here called "Rags". Lori Nelson plays the nice girl rival for Destry's heart.

Both films run at a brisk 95 minutes. Both films have popular and talented character actors in support. Both films have an ideal western hero in their leading man. Destry Rides Again also has the star power of Dietrich, the breathtaking black and white cinematograhy of Oscar winner Hal Mohr and the freshness of the story. It is truly a classic. Destry relies on the familiarity of the story, the novelty of the Technicolor and the appeal of leading man Murphy. Destry was the expected success, but not a classic.

Both movies have had a place in my heart since childhood. It is fun to spot the little differences between the pictures.

Destry Rides Again: they are investigating if the sheriff has died.
Destry: they are investigating how the sheriff died.

Destry Rides Again: the good girl is the sister of the cattleman.
Destry: the good girl is related to the rancher cheated in the card game.

Destry Rides Again: funny subplot with the "Callaghans" (Auer & Merkel).
Destry: a doctor and his wife take over the comic duties (Ford & Wickes).

Destry Rides Again: final shootout a free-for-all involving the whole town.
Destry: final shootout involves only the bad guys, Brandy and Tom Destry in the saloon.

Destry Rides Again: Tom whittles.
Destry: Tom whiles away the time with a piece of string.

Destry Rides Again: Tom always related a story he heard.
Destry: Tom always related something he read in a book once.

Dig that cap!

George Marshall's career went from silent shorts to sound features and then to television where he directed old friend Lucille Ball in Here's Lucy and frequent star Glenn Ford in Cade's County, as well as shows like Daniel Boone, Hec Ramsay and The Odd Couple. His last screen credit is in 1972, just three years before his passing.

By the way: western movies/musical theatre buffs will be happy to know that a musical version of Destry Rides Again directed by Michael Kidd with songs by Harold Rome and starring Andy Griffith and Dolores Gray ran for almost 500 performances on Broadway (1959-60 season). My favourite song from the show is the lovely ballad "Anyone Would Love You". Perhaps the time is right for a revival.

Lenny's Lesson Plan #4

2011-06-22T11:17:00.001-07:00

Using some of TCM's Essentials Jr. summer programming as a guideline, I have appointed myself Grand Poobah of my niece Lenny's introduction to classic film.

It is never too early to begin opening your mind to the riches of entertainment and art available to us.

Big news, Lenny. This week's entry for TCM's Essentials Jr. is a musical. Not just any old musical, but one considered by a lot of folks to be the musical, 1952s Singin' in the Rain. Critics and film historians feel that way about the movie because it is a perfect combination of a truly funny script that could stand on its own and skilful, entertaining musical numbers. A lot of fans feel that way about the movie because it may have been their first favourite musical or favourite classic movie. Your cousin Janet has loved it since her toddlerhood and had quite a crush on Gene Kelly who plays Don. (Since those days her affection has turned to Dana Andrews as Lt. MacPherson in Laura, but that's another lesson.)

Singin' in the Rain is bright and beautiful as it was filmed in Technicolor that we spoke of in the The Adventures of Robin Hood lesson. The story is set in Hollywood as movies make the transition from the silent film days, as we looked at in the The General lesson, to the era of sound pictures.

Lenny, you will like the characters in Singin' in the Rain, Cathy Selden (Debbie Reynolds), Don Lockwood (Gene Kelly) and Cosmo Brown (Donald O'Connor) and think of them as your friends. They are your singing and dancing friends. People love to sing and dance, and love to watch other people sing and dance. In Singin' in the Rain your friends make music for their job, and when they are happy and sad.

Most of the songs in the movie were written by Nacio Herb Brown with lyrics by Arthur Freed. Mr. Freed was a producer at MGM, the company that made Singin' in the Rain. He wanted a movie featuring his songs and the writers Betty Comden and Adolph Green came up with the idea of the story and all the funny lines that the actors say. In the story of Singin' in the Rain, your friends Cathy, Don and Cosmo have a big problem, but by the end of the movie they discover that they have the answer to their problem and the ability to solve it with their own skill and work. Lenny, when you are faced with problems remember your friends from Singin' in the Rain and you may find the answers right at your finger tips.

Lenny, it has been fun for me to talk to you about these movies. Here is TCM's Essentials Jr. line-up for the rest of the summer:

King Kong - A Caftan Aunt fave
Mr. Smith Goes to Washington - Uncle Garry and cousin Janet love this one
Horse Feathers - Ask Aunt Mo about the Marx Brothers
The Thing from Another World - A Caftan Aunt super fave that frightened Janet when she was little
Road to Utopia - Liking Bing & Bob is a family requirement
The Hunchback of Notre Dame - Broke Janet's heart when she was little
His Girl Friday - A Caftan Aunt essential
Gunga Din - All your aunts and your mommy enjoy this comedy-adventure movie
My Man Godfrey - All your aunts and cousin Janet love William Powell

For Father's Day - TV's Best Pappy

2011-06-18T06:23:00.000-07:00

Jack Kelly, James Garner

Legends of the West, Bart and Brett Maverick, of the perpetually popular Maverick TV series (1957 - 1962) roamed the TV west with a deck of cards and a ready wit, conning con men, romancing pretty Warner's contractees and being generally adventurous. How did they become these dashing, rascally rogues with their peculiar brand of honour? Anyone familiar with Maverick knows that the greatest influence on these boys was their oft-quoted "Pappy".

The third season of Maverick featured the episode Pappy wherein James Garner, under age make-up, played Brett and Bart's father, and also Brett in disguise as Brett and Bart's father. Are you with me?

The story, written and directed by Montgomery Pittman, finds the boys forced to extricate Pappy out of a complicated situation involving a young woman. Well, they think they have to extricate Pappy out of a complicated situation involving a young woman. Youngsters seem to strongly hold to the position that old folks require constant guidance and assistance. Brett and Bart should have had more faith in the man who handed them a legacy of sage advice. After all, they quoted Beau often enough to make him the real Legend of the West.

- As my old pappy used to say, "work is fine for killin' time, but it's a shaky way to make a living."

- As my old pappy used to say, "a man does what he has to do - if he can't get out of it."

- As my old pappy used to say, "if at first you don't succeed, try something else."

- As my old pappy used to say, "son, the best time to get lucky is when the other man's dealin'."

- As my old pappy used to say, "a fox isn't sly; he just can't think any slower."

- As my old pappy used to say, "you can be a gentleman and still not forget all you know about self-defense."

- As my old pappy used to say, "faint heart never filled a flush."

- As my old pappy used to say, "man is the only animal you can skin more than once."

- As my old pappy used to say, "love your fellow man, and stay out of his troubles if you can."

- As my old pappy used to say, "marriage is the only game of chance I know of where both people can lose."

- As my old pappy used to say, "never play in a rigged game, unless you rig it yourself."

- As my old pappy used to say, "if you haven't got something nice to say about a man, it's time to change the subject."

- As my old pappy used to say, "never cry over spilled milk... it could've been whiskey."

- As my old pappy used to say, "early to bed and early to rise, is the curse of the working class.”

- As my old pappy used to say, "if the Lord had more respect for money, He would have given it to a higher class of people."

Lenny's Lesson Plan #3

2011-06-16T01:04:00.001-07:00

Lenny, be warned, Caftan Aunt is about to go total movie geek on you like you've never seen her before! This week TCM has scheduled the perfection that is 1939s Stagecoach. Why is it perfect? Number one, it is directed by John Ford. Number two, it is a western. Number three, it is a western directed by John Ford.

Storytellers are often told "show, don't tell". Storytellers, particularly cinematic storytellers, sometimes find this rule a challenge. John Ford was not one of them. With an artist's eye he knew where to put the camera to fill the screen with images of people and surroundings that create beauty of frame and enhance our emotional response to characters and situations.

Stagecoach is a movie filled with drama, humour, adventure and romance. It is a story of many characters facing their individual problems and their combined danger on a trip through wild western territory. The movie is an expanded adaption by Dudley Nichols of Ernest Haycox's story Stage to Lordsburg. Screenwriter Nichols and director Ford collaborated on 16 movies. They understood each other's sensibilities and story goals.

John Ford liked to bring his audience into a society fully formed and through a bit of dialogue or business introduce us to characters and let us make of them what we will. An example in Stagecoach would be of the gambler, Hatfield. His actions and words, both bold and evasive, tell us about his character and hint at his background. We round out his life from our imaginations with these clues.

John Ford was a director who displayed a fond understanding for the characters in his films, and a respect for their triumphs. He sometimes told the stories of great accomplishments, but his deepest admiration seems to me to be for those who never give up the struggle of the everyday and are sometimes allowed a victory. In your life, Lenny, you will know both struggles and victories. You share this with all humanity.

Lenny, you should know that you come from a family with a strong Fordian background going back to your great-grandfather. When you grow up and go to film school, they will try to turn you into a Kubrickian. Don't you let them!

Favourite movies: The Happiest Days of Your Life (1950)

2011-06-13T21:03:00.000-07:00

The writing/producing/directing team of Gilliat and Launder, and their 40 some films, are probably responsible for the image most of us have of British humour. Humour in the face of adversity and absurdity - that stiff upper lip resourcefulness and ready wit to which we would all like to claim ownership. It's an amazing partnership beginning with the screenplay for The Lady Vanishes through to Oh, Mr. Porter! for Will Hay, the Inspector Hornleigh series, Geordie, Green for Danger, The Smallest Show on Earth, The Belles of St. Trinians plus sequels, and more. If laughter is indeed the best medicine then Sidney Gilliat and Frank Launder were the world's pharmacists.

Frank Launder collaborated with John Dighton, screenwriter of The Man in the White Suit, Went the Day Well? and Roman Holiday, in bringing his 1948 stage hit, starring Margaret Rutherford, The Happiest Days of Your Life to the screen.

Margaret Rutherford, Joyce Grenfell, Alastair Sim

Mythology tells us that the happiest days of your life are your school days and while that may be true for some, the staff of a boy's school in rural England, Nutbourne College, exemplified by teacher Mr. Briggs played by Richard Wattis, does not agree wholeheartedly with that sentiment. In fact, Briggs keeps up a sarcastic running commentary about everything that occurs at benighted Nutbourne. "Benighted", you ask? Well, the college is a bit seedy, as is its Games Master played by Guy Middleton. The Headmaster, one Wetherby Pond played by Alastair Sim, is hoping soon to see the last of dear old Nutbourne. Much to the amazement of his fellows, Pond has been short-listed for the position of Headmaster at Harlingham. "That's a good school!"

The first day of the school year presents a problem in the form of an unaccountable number of bags from the railway station and a letter from the Ministry of Education, Department of Resettlement. A further 100 students, plus staff have been foisted upon dear old Nutbourne. Rising to the occasion, Pond decides this will be the perfect opportunity to show Harlingham what he is made of. The domestic staff of Nutbourne has no such lofty goal and walk out en masse, leaving the teachers to sort out such problems as where to place the incoming boys and what to feed them.

While the teachers are thus engaged, the interlopers arrive. The staff of St. Swithin's all girls school is just as put out with the high-handedness of post-war bureaucracy, but Headmistress Miss Whitchurch played by Margaret Rutherford is a take charge person and take charge she does. Her staff includes Joyce Grenfell as gawky gym teacher Miss Gossage ("Call me sausage.") and the sometimes reliable Miss Jezzard played by Muriel Aked. They become increasingly disheartened as they tour their new facilities, ending in the staff room. "Gaming, nicotine, fisticuffs - we're moving in a descending spiral of inequity. Whatever else this establishment may or may not be, it's clearly not a suitable place to bring carefully nurtured young girls to."

Miss Whitchurch's misgivings are felt just as keenly when the horror of having a girls school billeted in Nutbourne is brought home to Mr. Pond. "It means that not only has the Ministry made a mistake in sending a school here at all, but they have apparently been guilty of an appalling sexual aberration."

The Displaced and the Distracting

Repeated calls - urgent calls - to the Ministry are of no assistance whatsoever so staff and students make do in what Miss Whitchurch calls a "rough and ready harmony". All of the harmony falling to the side of that formidable lady.

At his wits end, Pond responds when being urged to vote in an upcoming election for a Miss Wilson that: "If there is a male candidate - whether he be conservative, socialist, communist or anarchist - or, for that matter, liberal, he will have my vote."

Margaret Rutherford, Alastair Sim

Second Tuesday of the term arrives. The day some of the girl's parents have been invited for tea and a tour of St. Swithin's new facility. The day Miss Whitchurch forgot and the day Miss Jezzard forgot to remind her of. This is the day the Board of Governors of Harlingham decide would be opportune for an unscheduled visit to Nutbourne to check out their new Headmaster candidate. Miss Whitchurch cannot afford to lose any students and Mr. Pond cannot afford to lose his career opportunity. Thus, the entire staff and student body are roused to great feats of hilarious deception to keep up the pretense of being either a girl's or boy's school depending on which group turns which corner.

The Happiest Days of Your Life is perfectly executed and perfectly delightful, capped off by the magnificent Margaret and the sublime Sim. It is the ultimate battle of the sexes and a timeless comedy classic.

Lenny's Lesson Plan #2

2011-06-08T08:54:00.000-07:00

Lenny, you are in luck this week. TCM has scheduled Buster Keaton's The General, a superb adventure-comedy that speaks your language. The movie, like a ten-month-old, doesn't speak.

During the first few decades of movie making, the ability to synchronize sound to film had not been developed. The lack of spoken dialogue did not impede motion pictures, instead it led to an entire art form that could be called pure cinema. Just as the fact that you do not yet have a vocabulary with which to express yourself makes you purely human. You cannot hide your feelings; they are on the surface for all to see.

In a silent picture, you will be able to understand the characters by their reactions. Often the reactions in a silent movie or from a baby are described as "over-the-top", but if you think about it, the reactions are perfectly natural. It is words that suppress natural reaction. Words are very important communication tools. The words we choose, carefully or carelessly, tell us a lot about one another. However, words are not the only way people communicate and that is important to remember as you grow and add more people to your circle.

Silent movies, like babies, are never completely silent. In the theatres where they played to audiences, musicians would accompany the movie with appropriate background music. Sometimes a piano or organ, maybe a fiddle or two and maybe an accordion would be played. The music would set the mood of comedy or romance or create excitement in a chase scene. The music added to the pleasure of seeing the movie.

Buster Keaton is the director and the star of The General. As the director Buster was in charge of how the scenes are played and how the movie looks. He was the boss. Some people have to be the boss because they like to have power and push people around. Some people, like Buster, have to be the boss because his movies were his ideas and only he knew how to make them turn out exactly right. Buster was very proud of The General because it was his dream, his vision come to life. A very important thing to remember in life is not to let anyone step on your dreams.

If you want to know anything about Buster Keaton, you can ask your Aunt Maureen. If you want to know anything more about The General, check out Another Old Movie Blog of May 30, 2011, http://anotheroldmovieblog.blogspot.com/2011/05/general-1926.html.

James Arness (1923 - 2011)

2011-06-04T05:45:00.000-07:00

Marshal Matt Dillon, Gunsmoke

The hero of my childhood became the pal of my, um, middle years.

Dennis Weaver, James Arness, Milburn Stone, Amanda Blake
Gunsmoke, 1955-1975 / 5 TV movies 1987 - 1994

From Burt Reynolds' foreword to James Arness, An Autobiography by James Arness with James E. Wise Jr. published by McFarland & Company, Inc in 2001:

"The biggest surprise for everyone who had the good fortune to work on a few episodes of Gunsmoke in those days was Jim Arness. He was funny. I mean get-the-giggles, wrap-up-for-the-cast-and-crew, "time-out"-and-get-it-together funny. He had that wonderful ability to surprise you, make you laugh at yourself or the situations that actors often find themselves in."

Ann Doran, William Kirby Cullen, Katherine Holcomb
Richard Kiley, James Arness, Eva Marie Saint
Vicki Schreck, Bruce Boxleitner
The Macahans, 1976 / How the West Was Won 1977 - 1979

Did you know that Uncle Zeb is even cooler than Marshal Matt? It's true. Zebulon Macahan is one extremely cool cat and How the West Was Won breathtakingly memorable television.

I find in the earliest of James Arness' screen performances a joy and an earnestness that would grow into the confident professional able to create such commanding and legendary characters as Dillon and Macahan. It is work I admire most, work that hides the work.

James Arness was an intensely private individual during his time in the spotlight, however in his later years he reached out in kind to the affection that came his way from his many, many fans through his autobiography, his participation in the TV Archives oral history project (found on YouTube) and through his website. Fans who turned to that site upon hearing of his passing, perhaps to leave a note of condolence, would instead find themselves condoled by Jim:

Hi friends,

I decided to write a letter to you for Janet to post on our website in the event I was no longer here.

I had a wonderful life and was blessed with some many loving people and great friends. The best part of my life was my family, especially my wife Janet. Many of you met her at Dodge City so you understand what a special person she is.

I wanted to take this time to thank all of you for the many years of being a fan of Gunsmoke, The Thing, How the West Was Won and all the other fun projects I was lucky enough to have been allowed to be a part of. I had the privilege of working with so many great actors over the years.

I was honored to have served in the army for my country. I was at Anzio during WWII and it makes you realize how very precious life is.

Thank you again for all the many letters, cards, emails and gifts we received from you over the years. You are and always have been truly appreciated.

Sincerely,
Jim Arness

Lenny's Lesson Plan

2011-06-01T05:11:00.001-07:00

Eileen Agnes Clayton

My niece Eileen, affectionately called "Lenny" by one and all, is about to reach her 10th month birthday. It is time for Aunt Paddy aka Caftan Woman to stake her territory and I offer myself as a consultant in Lenny's classic movie education. Her parents are certainly more than capable, as her musician father knows all there is to know about Star Wars and her mom, my sister, was raised in a read-the-credits family. However, as I look back on my parenting the only thing I can recall doing was introducing my kids to classic movies - and yet, they thrived.

I think it is for busy parents such as Tracey and Jim that TCM introduced their summertime feature Essentials Jr. and this year's host, Saturday Night Live's Bill Hader, will probably already be familiar to Lenny from many a late night teething session (check out those choppers!). I don't believe 10 months is too early to take advantage of the opportunity afforded by everyone's favourite cable channel. First up on June 5 is Warner Brothers The Adventures of Robin Hood. Not to overwhelm Lenny, I will suggest a few tidbits to mention while the movie is playing and she is chewing on something (again, the choppers!).

Number one: Look at all the pretty colours, Lenny. The movie was filmed in "Technicolor". Oooh!

Aunt Paddy's supplemental: Technicolor was a special system using three strips of film, very big cameras and lots of lights to film a movie. It was a difficult process and cost a lot of money. The movie studios used it when they wanted something to look extra special. Nowadays we do not have movies in Technicolor because people found less expensive ways to make colour and because it is not fashionable. Sometimes people think things are better if they are new, but this is not always true. It is important to know what people have done before you were born so you can decide what should be changed and what is worth keeping.

Number two: How do you like that music, Lenny? It was written by a man named Korngold. Can you say Korngold?

Aunt Paddy's supplemental: Mr. Korngold did not want to write the music for the movie of Robin Hood because he thought it was a silly story about men in tights fighting with swords. He wanted to go home to his country of Austria, but some bad men called Nazis marched into the country and took away everything he loved. Mr. Korngold was very mad and sad, and he thought the movie of Robin Hood fighting for people who had everything they loved taken away was not a silly story after all. He wrote music that makes your heart beat fast in your chest.

Number 3: Isn't the lady in the movie riding a pretty horse, Lenny? The horse's name was Golden Cloud, but he would become world famous as Trigger, the Smartest Horse in the Movies.

Aunt Paddy's supplemental: Roy Rogers was a singing actor who made western movies that kids loved to see. The studio he worked for rented Golden Cloud for Roy to ride and Roy thought he was the most beautiful and smartest horse in the whole world. Roy called the horse Trigger. Roy asked his boss to buy Trigger to be in all his movies. Roy's boss, Mr. Yates, was cranky and said "Do you think I am made of money? You like the horse so much, you buy him." That is just what Roy did and every time Trigger was needed for a movie, Mr. Yates had to make sure it was okay with Roy. Ha, ha. Roy and Trigger were best friends forever.

Number 4: "Hooray!" At the end of the movie when the good guys beat the bad guys we shout "Hooray!".

Aunt Paddy's supplemental: In the world outside of adventure movies the good guys do not always win and that is sad. However, no matter what you do in your life the number one most important thing is to be a good guy. Hooray!

Elwy!

2011-05-23T09:40:00.001-07:00

Our host, Elwy Yost

Beginning in 1974, TVOntario's Saturday Night at the Movies presented to residents of Ontario and Western New York, a double bill of classic films uncut and commercial free, along with elucidating interviews relating to the subject of movies in general and specifically to the subject of the movies. Contemporary viewers used to the proliferation of specialty channels may not realize what a boon it was for film fans to see movies uncut and commercial free, but let me tell you, it was as if we had died and gone to cinema heaven.

Elwy Yost was born in Ontario in 1925 and now lives in retirement in Vancouver. A former high school teacher who hosted for the CBC and a true film buff, he was the perfect host for Saturday Night at the Movies. Originally a producer of the program as well, he eventually handed the executive producing job to the inestimable Risa Shuman, who is held in great esteem by film fans of Ontario. However, it was Elwy who was the face of the show.

Imagine the thrill of tuning in each Saturday night for the likes of Dodsworth, I Know Where I'm Going!, Gun Crazy, Reap the Wild Wind, The Devil and Miss Jones, The Devil and Daniel Webster, Western Union, Mrs. Miniver, Act of Violence, The Informer, The Prisoner of Shark Island, Charlie Chan at the Circus, It Happens Every Spring, The Letter, Moulin Rouge and so on.

Elwy was our guide through the history of classic film. His unbridled enthusiasm for the subject made it alright for us to be movie lovers. He interviewed historians and experts, writers, directors, actors, cinematographers, set designers, composers, costumers, stunt men and foley artists.

I remember Greer Garson, both grand and twinkly, coming across as a lady who'd be pleased to put the kettle on and make you feel at home. Olivia de Havilland, all polite smiles. Bette Davis, all gruff annoyance. Joan Fontaine, trying to take charge and eventually relaxing. Vibrant and fun Betty Garrett. P.D. James discussing mysteries. A non-cooperative Robert Mitchum almost becoming human by the end of the interview. The intense and sharp Richard Widmark. Henry Fonda, cool and confident. The charm of Jimmy Stewart. Self-effacing Joel McCrea explaining that he was never anyone's first choice except for Preston Sturges, and that was enough. Keye Luke proclaiming the artistry in Warner Oland's portrayal of Charlie Chan. A friendly and seemingly shy Dana Andrews. Edward Dmytryk explaining that the lighting in his noirs was motivated by budget, not art. Jack Elam talking about playing chess with Duke Wayne and drinking too much with Sam Peckinpah. Michael Wayne taken aback and then grinning when told he was starting to look like his dad. Harry Carey Jr. getting misty talking about his dad. Noah Berry Jr. responding to Elwy's story of growing his first moustache because he was inspired by Noah Sr. with a choking "I wish I could tell him." So many fabulous and enlightening moments.

The interviews were donated to the Motion Picture Academy upon Elwy's retirement.

The sister program to Saturday Night at the Movies was Magic Shadows which ran weeknights at 7 and showed one movie per week split into four parts with a serial episode on Friday. The first movie shown was The Thing from Another World. The first part ended with the scientists and airmen at the crash site spreading out to determine the size and shape of the thing. Oooh! The number of times I have seen the movie since are lost in family legend. The following is an actual conversation with my mother some 15 years ago.

She (offhandedly while kissing the grandkids): Do you have any plans for tonight?
Me (incredulously): The Thing from Another World is on.
She (dismissively): Oh, you always watch that thing!

Sometimes a film would run the entire five nights and we would loose out on the serial. Such a movie was Sands of Iwo Jima. One episode ended with John Agar meeting Adele Mara at a dance. When we returned to the set/movie room Elwy looked at us and said "Ah, romance rears its ugly head." An immortal line used by our family to this day for the many movies that make that misstep.

Elwy - whose name was a source of curious amusement to a booming Otto Preminger.

Elwy - whose shock at guest Pierre Berton's disdain for John Ford movies matched my own.

Elwy - who, if he is a packrat has a copy of a movie quiz I gave him years ago. A copy of one I had made for my dad.

Elwy - who kept his son home from school with a note of excuse explaining that he was tired because Citizen Kane had been on the late show.

Elwy - whose apparent garbled relating of the plot of the movie Runaway Train inspired his screenwriter son Graham to write Speed, which Elwy proudly presented in 1999 on his final evening of hosting Saturday Night at the Movies.

Elwy - who was made a Member of the Order of Canada in 1999.

Elwy - who created an atmosphere of appreciation for film for generations of fans.

Maybe someday you will be in Toronto for a film-related event like the Toronto International Film Festival. Perhaps you will become aware that some of the attendees are native to the town and if they are "between 40 and death" (Auntie Mame), stroll over and mention the name "Elwy". Watch for the smiles on their faces.

Addendum: Elwy passed away on July 21, 2011 at the age of 85. The internet was a place of sharing memories of "Saturday Night at the Movies", "Magic Shadows" and inspiration.