Classic Movie Travels: Ellen Drew

Classic Movie Travels: Ellen Drew

Ellen Drew
Ellen Drew

Ellen Drew was born Esther Loretta Ray on November 23, 1914, in Kansas City, Missouri. Her father, Joseph, was a barber and her mother, Norine, was a homemaker. She also had an older brother named Arden.

In 1919, the family relocated to Chicago, Illinois, where she attended Francis W. Parker School.

When her parents separated in 1931, she worked several jobs. She lied about her age to work at Marshall Field department store, where she worked in the accounting department for six months. She then worked at Grant’s five-and-dime in Englewood, Illinois, selling costume jewelry and baby clothes. At around the same time, the manager of Grant’s entered her into a beauty contest through the Englewood Kiwanis Club, where she won the title of “Miss Englewood.”

She ultimately moved to Hollywood with two friends to become an actress, with encouragement from her friends and mother. While in Hollywood, she was working at Brown’s Confectionary Shop near Grauman’s Chinese Theatre. There, she developed an alternative to the hot fudge sundae called the “Cinderella,” made with peaches, strawberries, pineapple, roasted almonds, sherbet, vanilla ice cream, and whipped cream. While working at the ice cream shop, she was noticed by customer and actor William Demarest. He aided her in her attempt to join the film industry, though she initially turned down his assistance because she had just begun a romance with make-up artist Fred Wallace at the shop. Wallace became her first of four husbands, with the marriage producing a son: David “Skipper.”

Ellen Drew Film

Ultimately, she reconnected with Demarest to pursue an acting career. As she entered film acting, she adopted the stage name of Terry Ray; however, the name was already in use by a male actor. In a 1937 newspaper photograph, the two are seen drawing lots from a hat. Actor Terry Ray became Terry Rains and actress Terry Ray (Ellen Drew) kept her name the same. She later tried to use the name Erin Drew after years of also working under her birth name. Ultimately, she became known as Ellen Drew when her career was in full swing at Paramount Pictures.

Drew performed on the radio in programs such as Suspense, Silver Theater, and the Kate Smith Hour.

Drew could be spotted alongside Bing Crosby in Sing You Sinners (1938) and with George Raft in The Lady’s from Kentucky (1939). She also worked with the likes of Dick Powell in Christmas in July (1940) and Johnny O’Clock (1947); Glenn Ford in The Man from Colorado (1948); and Vincent Price in The Baron of Arizona (1950). In addition, she was incredibly active during the war effort, traveling for weeks at a time to England.

When her movie career declined in the 1950s, she turned to television. One of her final roles was in a Perry Mason episode, entitled “The Case of the Larcenous Lady.”

Ellen Drew on Perry Mason
Ellen Drew on Perry Mason

Drew was married a total of four times to Fred Wallace (1935-1940); screenwriter Sidney “Sy” Bartlett (1949-1949); advertising executive William T. Walker (1951-1967); and Motorola executive James Edward Herbert (1971-1976). All marriages ended in divorce.

She passed away on December 3, 2003, in Palm Desert, California, from a liver illness at age 89. She was cremated and her ashes were scattered at sea.

Today, there are some tributes to Drew. In 1920, she lived with her parents and older brother at 3 Fountain Ct., Kansas City, Missouri. In 1930, they lived at 6604 Normal Ave., Chicago, Illinois. None of these homes remain.

Frances W. Parker School remains in operation at 330 W. Webster Ave., Chicago, Illinois.

Frances W. Parker School remains in operation at 330 W. Webster Ave., Chicago, Illinois.
Frances W. Parker School

By 1950, she lived at 527 N. Maple Dr., Beverly Hills, California. This home stands.

527 N. Maple Dr., Beverly Hills, California
527 N. Maple Dr., Beverly Hills, CA

In 1955, she resided at 9470 Santa Monica Blvd., Beverly Hills, California, which no longer stands.

Drew is honored with a Golden Palm Star on the Palm Springs Walk of Stars in Palm Springs, California.

Drew also has a star on the Hollywood Walk of Fame, honoring her work in motion pictures. It is located at 6901 Hollywood Blvd., Los Angeles, California.

–Annette Bochenek for Classic Movie Hub

Annette Bochenek pens our monthly Classic Movie Travels column. You can read all of Annette’s Classic Movie Travel articles here.

Annette Bochenek, Ph.D., is a film historian, professor, and avid scholar of Hollywood’s Golden Age. She manages the “Hometowns to Hollywood” blog, in which she profiles her trips to the hometowns of classic Hollywood stars. She has also been featured on the popular classic film-oriented television network, Turner Classic Movies. A regular columnist for Classic Movie Hub, her articles have appeared in TCM Backlot, Silent Film Quarterly, Nostalgia Digest, The Dark Pages Film Noir Newsletter, and Chicago Art Deco Society Magazine.

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Monsters and Matinees: A Rock Solid Idea Fuels ‘Monolith Monsters’

A rock solid idea fuels ‘Monolith Monsters’

If I created a film trailer for The Monolith Monsters, it would have some of the movie’s astonishing quotes flash across the screen with extra exclamation points.

“Her hands are turning to stone!!”

“He’s been welded into a solid mass!!”

“Local geologist turns to rock!!”

“Looks more like a petrified forest than a town!!”

Who wouldn’t be interested in seeing that 1957 B-movie after reading those exciting quotes? The ability to turn a person into stone – like Medusa, the gorgon of Greek mythology, can do with a single look – is one of the most awesome evil powers ever.

But we have to wonder how a monolith – defined by Merriam Webster as “a single great stone often in the form of an obelisk or column” – can pull off that feat, let alone be a threat to the world’s population.

For the answers, don’t look to Greek mythology, but to the skies and the fertile imaginations of B-movie wizard Jack Arnold and Robert M. Fresco who are credited with the film’s story (they’re the same team responsible for the great Tarantula). The screenplay is by Fresco and Norman Jolley; director is John Sherwood (The Creature Walks Among Us).

They’re coming! A rainstorm “feeds” slabs of rock that grow to towering heights and destroy everything in their path in The Monolith Monsters.

The monoliths are not from this world (of course) as we learn in the nearly 2-minute opening voiceover that dramatically explains how objects from space have pierced our atmosphere “from time immemorial,” forming craters that will be explored from scientists around the world.

Sure enough, a meteorite crashes into a desolate California desert, creating a large crater as it splinters into hundreds of pieces. Somehow it goes unnoticed by the nearby town until geologist Ben Gilbert (played by Phil Harvey) stops to cool his overheated radiator with water.  Intrigued by the shiny, black rocks scattered about, Ben takes one but doesn’t see that the water dripping down through his radiator has left similar rocks “smoking.”

Les Treymane, left, Trevor Bardette, Lola Albright, Grant Williams and William Flaherty use their combined skills to battle The Monolith Monsters.

Back in the lab at the District Office for the Department of the Interior in the small California town of San Angelo, Ben is stumped by the rock, even calling it “weird” to newspaper publisher Martin Cochrane (played by always welcomed familiar face Les Treymane). It definitely doesn’t belong, Ben says.

“The desert is full of things that don’t belong,” says our news guy who doesn’t feel he belongs either. “What good is a newspaperman in a town where nothing happens?”

Uh-oh. Just like a sports announcer jinxes a player by saying he hasn’t missed a kick all season, we know something bad is about to happen in San Angelo. It’s helped along by an overnight storm that blows through the lab’s open windows, knocking a beaker of distilled water on the rock and creating that ominous smoke again. (You will be surprised at how much heavy rain there is in this desert town.)

Head geologist Dave Miller (Grant Williams) arrives in the morning to find the lab destroyed, black rocks everywhere and Ben’s hard dead body – and we mean hard. Rock solid. Petrified.

Everyone, including the doctor, is stumped. Could it have something to do with that weird rock Ben brought to the lab? That sets off Dave’s girlfriend Cathy (Lola Albright), who shares that one of her students took a similar rock during their field trip to the desert. (To be honest, even Dave thought that was a strange spot for a field trip.)

Little Ginny (Linda Scheley) thinks she’s doing a good thing by cleaning her dirty rock in The Monolith Monsters.

They race to check on Ginny and her family, but we know they’ll be too late. We saw her wash her rock with water after mom said it was too dirty to bring into the house. By the time they arrive, the house is destroyed and Ginny’s hand is turning black from being petrified.

Much time is spent in labs and medical offices as our geologist Dave, teacher Cathy, two doctors, a professor and police chief look for answers to save Ginny and figure out what’s happening. That means it’s time for the mumbo-jumbo scenes we look forward to in sci-fi films. We’ll learn about rock compositions (“you can see the strata!”), silicates (chert, feldspar, pyroxene!), “negative cleavage” of the minerals (I have no idea, but it sounds equally important and funny), and the natural role silicone plays in humans.

Hundreds of strange black rocks are found around a destroyed home in The Monolith Monsters.

A cup of bad coffee is the unlikely key to solving the mystery. Just a tiny amount of water – or coffee – helps a small rock self-replicate and grow into a giant monolith that will ultimately fall to the ground and shatter into pieces, starting the process again. (As we’re urgently told, by the third cycle of this happening, there will be a million rocks!) Each time it expands into a larger geographic area and in this case, it’s headed toward San Angelo.

And so is another rainstorm – time is running out.

A rock starts to foam and grow into an oblong shape after it comes in contact with coffee.

If you’ve seen Jack Arnold’s Tarantula, a film he directed in 1955, you’ll remember that awesome scene of the giant arachnid slowly approaching the town. It’s a striking visual that’s worth repeating as it is with the monoliths. And that makes me think of how The Monolith Monsters had much more potential than it could ever reach on a tiny budget and with 1957 technology.

While it’s still fun to watch, I wish a modern filmmaker with respect for the genre would remake The Monolith Monsters and give the out-of-the-box idea the treatment it deserves. The visual of a million black, shiny rocks taking over the world deserves to be seen. The hero, of course, would have to be played by Dwayne “The Rock” Johnson. He’s big enough in size, personality and stature to fight the monoliths.

I can see the ads now: “It’s The Rock against the rocks in a battle to save the world!”

A BIT OF TRIVIA

A location doesn’t need to be real to be reused. The fictional California Medical Research Institute was also a “character” in director Jack Arnold’s The Incredible Shrinking Man, released earlier in 1957. It also starred Grant Williams.

And a set can be reused as often as necessary.  Multiple sci-fi and horror films of the 1950s had a quaint town that would be in peril from an approaching creature. The set was often Courthouse Square on Universal’s backlot. Among the many films it appears in are The Monolith Monsters, Tarantula and It Came from Outer Space.

Hey, is that? Yes it is.

William Schallert (best known for The Patty Duke Show) brings levity to the film as a meteorologist with a penchant for jargon (“the duration of precipitation”) and rolls of weather maps on his desk in a short but memorable scene.

Child actor Paul Petersen is newspaper boy Bobby who rides off on his bike to spread the word of the impending disaster.

Troy Donahue is hidden under his ball cap playing a dynamite expert, but you’ll recognize his voice in the four lines he speaks.

 Toni Ruberto for Classic Movie Hub

You can read all of Toni’s Monsters and Matinees articles here.

Toni Ruberto, born and raised in Buffalo, N.Y., is a freelance editor and writer who also previously worked at The Buffalo News. She shares her love for classic movies in her blog, Watching Forever and is a member and board chair of the Classic Movie Blog Association. Toni was the president of the former Buffalo chapter of TCM Backlot and led the offshoot group, Buffalo Classic Movie Buffs. She is proud to have put Buffalo and its glorious old movie palaces in the spotlight as the inaugural winner of the TCM in Your Hometown contest. You can find Toni on Twitter at @toniruberto or on Bluesky at @watchingforever.bsky.social

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Western RoundUp: Tom Tyler

Western RoundUp: Tom Tyler

In June 2024 I somewhat impulsively signed up for a Kickstarter project to bring a pair of long-unseen silent Tom Tyler Westerns to Blu-ray.

Tom Tyler Silent Film Collection Kickstarter

The Kickstarter was started by Tom Tyler fan extraordinaire Mary Della Valle, creator of the website Aventuras de Tom Tyler.

One of the set’s films, The Man From Nevada (1929), was in the library of the HMH Moving Image Archive at the University of Southern California, while four of five reels for The Law of the Plains (1929) were at the Library of Congress.

The original nitrate prints were scanned in 2K by the USC School of Cinematic Arts (for The Man From Nevada) and Ben Model’s Undercrank Productions (for The Law of the Plains), with the set of both films ultimately released by Undercrank.

I was especially glad I signed up for the Kickstarter when Tom Tyler’s niece, Sandra Slepski, coincidentally appeared at the Lone Pine Film Festival in October 2024, just a few months after I supported the Kickstarter.

Slepski was interviewed by Henry C. Parke at a screening of one of the movies Tyler had made in Lone Pine, Rip Roarin’ Buckaroo (1936).  I quite enjoyed the movie and became eager to see more of his films.

Sandra Slepski, Henry Parke, Oct 2024
Sandra Slepski and Henry Parke

In her interview Sandra shared insights into her uncle’s life; he was born to Lithuanian immigrants in New York, birth name Vincent Markowski, and raised in Michigan. He aspired to be an actor from an early age, moving to Hollywood and working hard to lose his Lithuanian accent.

Renamed Tom Tyler, he starred in many silent and sound “B” Westerns, not to mention the popular serial Adventures of Captain Marvel (1941).

Tom Tyler 1

Tyler also took small but memorable roles in more prestigious “A” level Westerns, including John Ford’s Stagecoach (1939), where he played villainous Luke Plummer, and Ford’s She Wore a Yellow Ribbon (1949), where he was cast as Cpl. Mike Quayne.  In the latter film Quayne was the soldier operated on in a moving wagon during a memorable storm sequence.

Late in his life Tom was beset by ill health, caused by an incurable autoimmune disease, and moved in with Sandra’s family in Michigan, so she knew him well when she was young. He was only 50 when he passed away.

Tom was buried in Detroit, Michigan. A beautiful gravestone depicts Tom as a young man in cowboy gear.

Tom Tyler 2

For those who would like to learn more about Tom Tyler, a biographical sketch of the actor is posted at Lone Pine’s Museum of Western Film History website.

As for the Tom Tyler Silent Film Collection, which I received earlier this year, I found it highly enjoyable.

Tom Tyler Bluray Set

I first watched The Man From Nevada, a 48-minute film originally released in August 1929.  It was directed by J.P. McGowan, shot by Hap Depew, and written by Sally Winters, all of whom also worked on the other film in the set, The Law of the Plains.

Tom Tyler, Man From Nevada 1

The Man From Nevada has a fairly simple plot, in which Jack Carter (Tyler) intervenes when shiftless Jim Watkins (Alfred Hewston) and his family are threatened by  a claim jumper (Al Ferguson).

Jack has taken a shine to Jim’s pretty adult daughter Virginia (Natalie Joyce), who is responsible for her three motherless brothers (played by Kip Cooper, Godfrey Craig, and Frank Crane).

Tom Tyler Man From Nevada 2

Tyler is quite personable, and with such a short running time the movie is packed with story and action, notably including a sequence with a baby in a runaway wagon.

Much of the movie was filmed outdoors; I’ve been trying to find out the location, as I didn’t recognize it as one of the standard locations used on many “B” Westerns shot in Southern California.

Joyce, Ferguson, and William “Bill” Nolte also appeared with Tyler in The Law of the Plains, and the movie’s director, J.P. McGowan, even took an acting role in this one, playing the murderous villain.

Tom Tyler, Law of the Plains

Tyler has a dual role in The Law of the Plains, initially playing O’Brien, a former Marine ranching somewhere in South America. About to sell his ranch, he’s instead murdered by Seagrue (McGowan) as O’Brien’s young son Dan (Robert Parrish) watches.

Fast forward in time and Tyler then plays the adult Dan, a cowboy whose trail drive brings him back to his former home. Seagrue is still running the ranch he stole from Dan’s father, and, having recognized Dan, he intends to kill him too.

Dan not only battles Seagrue, he saves Seagrue’s niece Natalie (Joyce) from being forced to marry a man she doesn’t love.

It sounds like melodrama, and it is, but this 55-minute film is well done, with plenty of outdoor filming and action. One reel is missing, but the story is filled in with photo stills and narrative cards, which fill the gap nicely.

One of the most interesting aspects of The Law of the Plains was that the actor who played Dan as a child, Robert Parrish, grew up to be an Oscar-winning editor (for 1947’s Body and Soul which starred John Garfield) and then a director.

Parrish directed Westerns including Saddle the Wind (1948) with Robert Taylor and The Wonderful Country (1959) with Robert Mitchum.  Parrish also directed a good Joel McCrea movie filmed in England, Shoot First (1953), aka Rough Shoot.

The prints of both movies in this Blu-ray set were remarkably good for minor “B” films of the ‘20s which have been out of the public eye for many years. Both films in this set have new scores by Ben Model of Undercrank Productions.

The disc also includes a short yet informative introduction to Tom Tyler.

I found these quite entertaining and encourage anyone who enjoys silent films or “off the beaten path” Westerns to give them a try.  If a Volume 2 of Tyler films were ever to be released, I would definitely buy it!

– Laura Grieve for Classic Movie Hub

Laura can be found at her blog, Laura’s Miscellaneous Musings, where she’s been writing about movies since 2005, and on Twitter at @LaurasMiscMovie. A lifelong film fan, Laura loves the classics including Disney, Film Noir, Musicals, and Westerns.  She regularly covers Southern California classic film festivals.  Laura will scribe on all things western at the ‘Western RoundUp’ for CMH.

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Silents Are Golden: The Top 10 Hit Films of 1925

The Top 10 Hit Films of 1925

I’m happy to say that this is my 100th column for Classic Movie Hub! It’s hard to believe I’ve been a columnist here for several years now, covering this niche era that fascinates me to no end. I’ve enjoyed covering a wide variety of silent film topics for you all and hope you continue checking out my columns in the future!

1925 was a very important year in cinema history, a year when multiple silent classics hit the theaters: The Gold Rush! The Lost World! The Phantom of the Opera! Stars like Rudolph Valentino, Clara Bow and Harold Lloyd were in their prime, and Hollywood had an impressive roster of directors such as Clarence Brown, Ernest Lubitch, and King Vidor. 1925 was right in the thick of the golden age of moviegoing: in the U.S. alone, tens of millions of Americans flocked to the theaters each and every week.

Is it possible to figure out the top ten films of this seminal year? As I cautioned in my columns about the biggest box office successes of 1923 and 1924, silent era box office statistics are tough to decipher since many theaters didn’t keep exact records. The following figures should be considered “generally agreed-upon estimates” rather than “absolute facts”–although it’s almost undeniable that the biggest box office hit of the silent era came out in 1925. Almost!


10.       East Lynne–$1,100,00

East Lynne

This drama seems to have narrowly beat out Eric von Stroheim’s The Merry Widow for a spot on this list. Based on an older play that was so well-known it was basically a synonym for “melodrama,” it starred Alma Rubens, Edmund Lowe, Lou Tellegen and a host of other respected actors. Lavishly made, it was a serious adaptation of a work that had sometimes been dismissed as a “hoary old chestnut” from Victorian times.


9.         Little Annie Rooney–$1,100,000

Little Annie Rooney

An icon of American cinema since the 1910s, Mary Pickford was known for playing “little girl” characters but in the early 1920s had attempted to branch out into more mature roles. Audiences clamored for her to play young characters again, so she–at age 33–obligingly starred as the spunky Irish girl “Annie Rooney.” Her performance was as convincing as ever and the film was loved by audiences and critics alike.


8.         The Lost World–$1,300,000

The Lost World

This adaptation of Arthur Conan Doyle’s beloved fantasy adventure marked a milestone in visual effects. While there were a few dinosaur-themed films predating The Lost World, such as Gertie the Dinosaur (1914) and The Ghost of Slumber Mountain (1918), this was the first full-length feature where they were front and center. The stop motion effects by Willis O’Brien were very impressive at the time and still have a lot of personality today.


7.         Stella Dallas–$1,500,000

Stella Dallas, 1925

Actress Belle Bennett was handpicked by Samuel Goldwyn to play the titular character of this drama, made for the lofty sum of $700,000. Based on a novel, it was about the unlikely marriage of the wealthy Stephen Dallas and the lower class Stella. Mocked by the uppercrust for her tacky tastes and inability to assimilate to high society, Stella eventually agrees to divorce Stephen. In time Stella’s faced with the choice to set aside pride to give her only daughter a brighter future. Beautifully directed by Henry King, it was a heartfelt film and a major hit in its day.


6.         Don Q, Son of Zorro–$1,600,000

Don Q, Son of Zorro

The sequel to his megahit The Mark of Zorro (1920), Don Q was Douglas Fairbanks’s return to swashbuckling form after his ambitiously lavish, big-budget fantasy The Thief of Bagdad (1924). Fairbanks played dual roles of both the dashing university student Cesar and his father Don Diego de la Vega, a.k.a. Zorro. Well-crafted with some high stakes twists and Fairbanks’s signature physical stunts, it was yet another blockbuster under his belt.


5.         The Phantom of the Opera–$2,000,000

The Phantom of the Opera, 1925

With its astonishing performance by Lon Chaney, this Gothic horror classic was a huge success. Today this film is legendary for the sudden, shocking reveal of the Phantom’s disfigured face, which reportedly caused some audience members to faint. Chaney used makeup, putty, wire and an old set of false teeth for his radical transformation, and to this day his creation was certainly the most faithful to the original novel’s description.


4.         The Freshman–$2,600,000

The Freshman

It wouldn’t be a “top ten films of the 1920s” list without Harold Lloyd. With its story of a cheerfully naive freshman determined to become a football star, The Freshman was Lloyd’s twist on the college-themed comedies that were so popular at the time. It remains a timeless, breezy mood-brightener that can appeal to young and old alike.


3.         The Gold Rush–$4,000,000

The Gold Rush

Chaplin’s The Gold Rush was as beloved in its time as it still is today. An impeccable blend of comedy and tragedy set during the Klondike gold rush, its budget of nearly $1,000,000 made it the most expensive silent era comedy. It features some of Chaplin’s finest gags, such as the famous sequence of his starving character dining lavishly on a boiled shoe.


2.         Ben-Hur: A Tale of the Christ–$9,000,000

Ben-Hur- A Tale of the Christ

Today the Charleton Heston version is more familiar, but the 1925 Ben-Hur was a cinematic milestone and the silent era’s most expensive film. Re-castings, accidents, and other mishaps dragged out production over two years, with both actors and animals frequently being put in harm’s way during the action scenes. Heavy promotion helped rocket the film to the top of the box office, but production costs ironically kept it from turning a profit.


1.         The Big Parade–$15,000,000-$20,000,000

The Big Parade

Action, romance, humor, tragedy, heart–The Big Parade had it all, and it also dared to critique the horrors of the war that had so profoundly changed the world. An MGM feature, it starred John Gilbert and Renee Adoree and was directed by King Vidor, who wanted to do “all that was humanly possible to ensure accuracy on this picture.” A runaway success, it grossed over $6 million domestically when it was first released and would be reshown frequently in the following years. Its worldwide box office gross would eventually top $15 million, with some sources reporting a gross in excess of $20 million, a record for MGM until Gone With the Wind.

–Lea Stans for Classic Movie Hub

You can read all of Lea’s Silents are Golden articles here.

Lea Stans is a born-and-raised Minnesotan with a degree in English and an obsessive interest in the silent film era (which she largely blames on Buster Keaton). In addition to blogging about her passion at her site Silent-ology, she is a columnist for the Silent Film Quarterly and has also written for The Keaton Chronicle.

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Monsters and Matinees: Join ‘Auntie Roo’ for holiday cheer – and fear

Join ‘Auntie Roo’ for holiday cheer – and fear

Happy Holidays! It’s the most wonderful time of the year when family and friends gather, eat lots of food and exchange gifts that say “I care.”

But not everyone is so lucky and may have to depend on the kindness of strangers to bring them holiday joy. For the kids at the Home for Orphans and Destitute Children, that person is Mrs. Rosie Forrest (“call me Aunt Roo”), who hosts an annual holiday party/sleepover for 10 lucky youngsters at her mansion, Forrest Grange (the kids call it the Gingerbread House).

Shelley Winters loves to entertain children in Whoever Slew Auntie Roo?

Sounds wonderful for the children except that this is happening in the 1971 holiday horror film Whoever Slew Auntie Roo? And once we realize something isn’t right, we fear for the kids. It stars Shelley Winters as Aunt Roo, Ralph Richardson as a “medium” and young Mark Lester as one of the orphans. (Note: though the film title is “Auntie” Roo, she asks the children to call her Aunt Roo.)

I had never seen the film and a quick search said it was loosely based on Hansel and Gretel. That’s not the spoiler you would expect it to be so I’m glad I watched it.

The orphans are told to stop calling Aunt Roo’s home “the Gingerbread House,” even though it looks like one.

Yes, the film’s main setting is a large Victorian gingerbread house. And yes, one of the main characters can recite the fairy tale by heart. But there’s more going on here.

From the start, we’re given information we don’t quite know what to do with. In a room filled with creepy dolls and puppets, Aunt Roo – glamorous in a tiara and evening gown – is lovingly singing to her sleeping daughter. Or is that what we’re really seeing?

Not even two minutes into the film and the tone abruptly shifts to one of horror as thunder booms, a storm surges and a majestically atmospheric score written by Kenneth V. Jones sets the mood.  It’s a wonderful opening for a horror film.

Mr. Benton (Ralph Richardson) quickly arrives for his regular series of seances with Aunt Roo who is desperately trying to contact her missing daughter by whatever means necessary. The storm seems like a perfect backdrop to reach out to the other side, Aunt Roo says, and sure enough we’ll hear tapping in the house and a voice calling out. It won’t be the only time.

Creepy butler Albie (played by Michael Gothard) finds siblings Christopher (Mark Lester) and Katy (Chloe Franks) hiding at Aunt Roo’s holiday party in Whoever Slew Auntie Roo?.

The next day is the holiday sleepover and the children are taken to the mansion but they aren’t alone: Two other orphans have stowed away to attend the party. They are Christopher (Mark Lester) and his little sister Katy (Chloe Franks). The camera loves these beautiful kids with their big eyes and innocent faces. Generous Aunt Roo lets them stay. “There’s always enough room for children at Forrest Grange,” she says.

Aunt Roo welcomes orphans into her festively decorated home and they don’t seem to mind the gingerbread cookies look like the abominable snowman.

It’s a marvelous Christmas Eve party where kids eat gingerbread cookies, listen to holiday music and are read The Night Before Christmas by Aunt Roo. Then they’re off to bed waiting for Santa while the adults have another séance.

Angelic-looking orphan Katy (Chloe Franks) draws the interest of Aunt Roo?

Little Katy, who has been awakened by calls of “Katherine, come to us,” interrupts the séance at a most dramatic moment. “I heard talking, they were calling,” Katy says in her adorable voice sounding and looking like the missing Katherine. (We can see where this is going, right?)

Christopher has followed his sister but stops to investigate sounds of tapping and talking coming from inside a locked room. When Aunt Roo shows him there’s nobody there, he doesn’t believe it and neither do we. (We know what we saw and heard.)

Christmas comes and the kids are overjoyed with gifts from Aunt Roo who truly loves to make the children happy. (Still, you’ll wonder, can we trust her?) She’ll also sing for them and let them play outside where the curious Christopher and Katy discover a scary room in a barn.

It’s where Aunt Roo’s husband, a magician, stored everything for his shows including a guillotine that the kids think is a toy. Guess again. (Think of the room as an amusement park fun house with strange sounds, decapitated heads, inanimate objects that move and figures that will leap out from the dark. It’s pretty scary.)

Has the phrase “child’s play” ever been more dangerous than when Christopher (Mark Lester) and Katy (Chloe Frank) play around with a guillotine in Whoever Slew Auntie Roo?

When it’s time for the kids to return to the orphanage, Katy can’t be found but no one other than her brother seems concerned. Christopher heard Aunt Roo tempting his sister with promises of a new home and of fattening her up like the witch does in Hansel and Gretel.

There’s already so much going on by this point that the viewer has options on where they think the story is going. We’ve got seances, skeletons, a creepy butler, a mean headmistress, a gingerbread house (including a disturbing miniature version in a child’s room), hidden passages (always a favorite) and a kid with an overactive imagination to keep it all going.

Don’t forget the unexplained tapping and crying, visions of a woman shrouded in black and missing people.

Christopher’s (Mark Lester) overactive imagination goes into hyper-drive as Aunt Roo (Shelley Winter) prepares dinner in Whoever Slew Auntie Roo?

When you think you have it figured out, there’s always another dribble of information that changes your perceptions. Is Aunt Roo a mother in mourning we should pity? A killer to fear? Or just an eccentric? Can she be all or none of those? What about that strange butler Albie (Michael Gothard)? Is he just weird, an opportunist, perhaps a crook or worse? And what’s up with the character identified as the “Pigman” in the credits (played by Hugh Griffith) who delivers fresh meat to the estate?

It’s easy to wonder if Christopher is right about the secrets of the Gingerbread House and that Aunt Roo is the evil witch from Hansel and Gretel. But are we letting our imaginations get the best of us like Christopher does? If we are, I say let it. That’s what movies are for.

So get some gingerbread cookies, pour a cup of hot cocoa and join Aunt Roo and the children for the holidays.

 Toni Ruberto for Classic Movie Hub

You can read all of Toni’s Monsters and Matinees articles here.

Toni Ruberto, born and raised in Buffalo, N.Y., is an editor and writer in Buffalo, N.Y. She shares her love for classic movies in her blog, Watching Forever and is a member and board chair of the Classic Movie Blog Association. Toni was the president of the former Buffalo chapter of TCM Backlot and led the offshoot group, Buffalo Classic Movie Buffs. She is proud to have put Buffalo and its glorious old movie palaces in the spotlight as the inaugural winner of the TCM in Your Hometown contest. You can find Toni on Twitter at @toniruberto or on Bluesky at @watchingforever.bsky.social.

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Noir Nook: A Low-Budget Holiday

Noir Nook: A Low-Budget Holiday

When my daughters were little, I bought them a tabletop talking holiday tree named Douglas Fir, who had big, blinking eyes and a mouth that moved when he talked or sang. And, as Douglas would say every time we flicked his ON switch, “It’s Christmastime!!!!!”

To celebrate the holiday season (but stay within a budget – a LOW-budget, that is!)  I’m gifting you with a list of five first-rate ‘B’ noirs that you may not have seen – because everybody loves a good ‘B’ movie, amirite?


The Great Flamarion (1945)

The Great Flamarion, Erich von Stroheim and Mary Beth Hughes
Erich von Stroheim and Mary Beth Hughes, The Great Flamarion

This Republic Pictures gem stars Erich von Stroheim in the title role of a talented sharpshooter who loses his head over a dame and lives to regret it. The dame is sweet-faced Connie Wallace (Mary Beth Hughes) who, along with her dipsomaniac husband, Al (Dan Duryea), works for Flamarion in his prestigious vaudeville act. It takes some doing to chisel through her boss’s granite exterior, but Connie manages to convince him that’s she desperately in love with him – and before you can say “Stick to your guns,” she’s also talked Flamarion into believing that Al is all that’s standing in the way of their happiness. Three guesses as to how this one turns out – and the first two don’t count.

Trivia tidbit: Erich von Stroheim is considered by many film critics to be one of the greatest directors of the silent era.


Decoy (1946)

Decoy, Herbert Rudley, Edward Norris,  Jean Gillie and Robert Armstrong
Herbert Rudley, Edward Norris, Jean Gillie and Robert Armstrong, Decoy

I cannot get enough of this wild and woolly film from Monogram Pictures. The story focuses on Margot Shelby (Jean Gillie), the beautiful but conniving girlfriend of imprisoned gang leader Frankie Olins (Robert Armstrong), who’s on death row. But if Frankie gets the electric chair, as planned, he takes with him the secret of where he has hidden the proceeds from the heist that landed him in the pokey. And Margot isn’t having it. So, she uses her considerable wiles to get a local doctor, Lloyd Craig (Herbert Rudley), to help her break Frankie out of prison – after he’s been executed and then resuscitate him! Don’t ask me how this is pulled off. Just trust me when I say you’ve got to see it to believe it.

Trivia tidbit: The cast includes Sheldon Leonard, who went on to produce such successful television series as The Danny Thomas Show, I Spy, The Andy Griffith Show, and The Dick Van Dyke Show.


Night Editor (1946)

Night Editor, Janis Carter and William Gargan
Janis Carter and William Gargan, Night Editor

Columbia Pictures released this feature starring William Gargan as police lieutenant – and family man – Tony Cochrane (William Gargan), who gets more than he bargained for when he starts stepping out with married socialite Jill Merrill (Janis Carter). After the cheating duo witnesses a violent murder (which Jill is inordinately excited about, by the way), Tony has to figure out how to carry out an investigation without revealing that he saw the commission of the crime – and what he was doing when he did.

Trivia tidbit: Night Editor was supposed to kick off a series of films that depicted stories told by reporters on the police beat, but the series never materialized.


The Devil Thumbs a Ride (1947)

The Devil Thumbs a Ride, Lawrence Tierney and Ted North 2
Lawrence Tierney and Ted North, The Devil Thumbs a Ride

This film, produced by RKO, stars Lawrence Tierney as the devil of the title – also known as Steve Morgan who, at the start of the picture, robs and kills the night manager of a bank. He proceeds to hitch a ride with traveling salesman Jimmy Ferguson (Ted North) and convinces the jovial driver to pick up two women on the road (Nan Leslie and Betty Lawford). The foursome wind up at a beach house owned by a friend of Jimmy’s, where Steve flattens the tires on Jimmy’s car, disables the telephone, and proceeds to inflict a week’s worth of criminality and chaos in just a few hours’ time.

Trivia tidbit: Ted North was married for three years, from 1943 to 1947, to Great Flamarion femme fatale, Mary Beth Hughes.


Shed No Tears (1948)

Shed No Tears, Mark Roberts and June Vincent
Mark Roberts and June Vincent, Shed No Tears,

The little-known Equity Pictures was responsible for this hidden jewel, which stars Wallace Ford as Sam Grover, who fakes his death so that he and his blonde bombshell wife Edna (June Vincent) can profit from the insurance payout. But what Sam doesn’t know is that Edna has a fella on the side – Ray Belden (Mark Roberts) – and has every intention of taking the cash from the insurance and skipping off into the sunset with Ray. But as crafty as Edna is, she didn’t reckon on Sam’s son, Tom; a loquacious private investigator Tom hires to look into his dad’s death – and Sam himself.

Trivia tidbit: The cast of this one has a slew of familiar faces, including Elena Verdugo, who I remember as Marcus Welby’s receptionist on the popular 1970s TV series; Mary Treen, who may be best known for her role as Cousin Tilly in It’s a Wonderful Life (1946); and Paul Maxey, who can be seen in several other noirs, including two 1947 features, They Won’t Believe Me and Ride the Pink Horse, but who I know best as the rotund train investigator who kept squeezing past Charles McGraw in the train corridors on The Narrow Margin (1952).

I hope you’re able to check out at least one of these underrated features – you only owe it to yourself, after all – and that you have a safe and beautiful holiday season! May the noir be with you!

– Karen Burroughs Hannsberry for Classic Movie Hub

You can read all of Karen’s Noir Nook articles here.

Karen Burroughs Hannsberry is the author of the Shadows and Satin blog, which focuses on movies and performers from the film noir and pre-Code eras, and the editor-in-chief of The Dark Pages, a bimonthly newsletter devoted to all things film noir. Karen is also the author of two books on film noir – Femme Noir: The Bad Girls of Film and Bad Boys: The Actors of Film Noir. You can follow Karen on Twitter at @TheDarkPages.
If you’re interested in learning more about Karen’s books, you can read more about them on amazon here:

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Silver Screen Standards: The Adventuress as Anti-Hero in Baby Face (1933)

The Adventuress as Anti-Hero in Baby Face (1933)

Despite the sweetness of its title, Baby Face (1933) packs a punch so spicy that it’s famous even among Pre-Code pictures for its frankness about transactional sexual relationships. The pre-release version of the movie caused a ruckus with the censors that Warner Bros. tried to appease with a new ending, several minutes of editing, and some altered dialogue, but we’re lucky to have the rediscovered original cut, which is definitely the one to see if you have access to both versions. It’s a powerhouse performance by Barbara Stanwyck as the grimly determined Lily Powers, a young woman who chooses to exploit her sexuality for her own social and financial gain, but the film’s attitude toward its protagonist is complex, neither whole-heartedly endorsing nor condemning her actions. As an example of the adventuress, Lily exhibits the amorality and materialism one might associate with a villain, but instead she functions more as an anti-hero whose refusal to play by the rules makes sense when the game is so outrageously rigged against her.

Baby Face Barbara Stanwyck and Theresa Harris at Table
Lily (Barbara Stanwyck) and Chico (Theresa Harris) have a miserable life at the speakeasy run by Lily’s father.

Raised in a shabby speakeasy and prostituted by her father (Robert Barrat) from the age of 14, Lily spends her nights fending off the advances of drunken customers. She and her friend, Chico (Theresa Harris), run away to New York City to seek their fortune, where Lily takes the advice of her philosophical mentor, Mr. Cragg (Alphonse Ethier), to use men in order to get wealth and opportunity for herself. She starts in the employment office at a large bank, where she works her way through a series of lovers who can provide better jobs, clothes, and apartments until she becomes embroiled in a scandal that forces her to relocate to Paris, where her apparent reformation attracts the admiration of the new bank president, Courtland Trenholm (George Brent). Unfortunately for Courtland, his tenure at the bank coincides with disastrous mismanagement, which tests Lily’s ability to value love over her own financial security.

Baby Face Barbara Stanwyck and Theresa Harris
Lily and Chico arrive in New York City and start looking for opportunities to improve their situation.

The censors might have clutched their Bibles over the brazen behavior of such a Jezebel, and in a different movie – say, The Women (1939) – a character like Lily might be branded an evil adventuress and destined for rejection, scorn, and punishment. The term “adventuress” dates from the 18th century and refers to a woman who advances herself through unscrupulous (i.e. sexual) means. While a male “adventurer” is seen as a brave explorer, even if he seeks wealth and reputation for his own gain, a female “adventuress” defies patriarchal gender norms with her ambition, interest in wealth and or power, and her willingness to trade sexual favors in order to attain them. Lily is very much a classic adventuress in many respects. She makes remarkable speed through her lovers, encouraging and then discarding at least five that we see before she meets Courtland, which puts her well beyond many of her cinematic sisters and into the literary territory of infamous 18th-century examples like Moll Flanders (1722), Roxana (1724), and Fanny Hill (1748), all of whom rattled the censorious moralists of their day, too. Lily even causes a murder-suicide when one of her former lovers can’t accept his dismissal, which only seems to bother her because it requires her to navigate the subsequent scandal. Her last-minute reformation in either version of the ending can’t undo her earlier actions, and both versions seem to let her off easy by taking her money but leaving her with less tangible rewards intact.

Baby Face Barbara Stanwyck and John Wayne
One of Lily’s lovers is played by a very young John Wayne.

Those endings make more sense if we think about Lily’s role as more anti-hero than villain. The most famous example of the adventuress as anti-hero is Becky Sharp in William Makepeace Thackeray’s 19th-century novel, Vanity Fair, which is pointedly subtitled A Novel without a Hero. Lily is no hero, either, and she has many characteristics in common with Becky, but Lily ultimately comes across as a more sympathetic figure. From the beginning, we understand that Lily has been born into a hard life without opportunities or parental protection, and there is really no question of her trying to make the best of her nightmarish situation after her own father prostitutes her to his customers. Becky shows only the rarest flashes of kindness toward her supposed friend, Amelia, but Lily demonstrates early and constant friendship for Chico, even though the pair adopt the roles of mistress and maid in New York. Lily might be called a homewrecker for her affairs with married and engaged men, but she never seduces any man who isn’t eager to accept her offer, even as they imagine her to be more virtuous and innocent than she really is. Lily’s lovers don’t seem concerned that they are cheating on their wives and possibly ruining the reputation of a young woman, so it’s impossible to see them as innocent victims. The scene in which Lily faces the bank board after the murder-suicide accurately depicts the world she inhabits, where cabals of old white men have all the power. We can’t blame Lily for trying to play them in order to get a tiny portion of their wealth for herself, and Courtland doesn’t seem to blame her, either, even though it’s his job to prevent her from fleecing the bank. Lily and Courtland fall for each other, although Courtland knows about her past, mainly because they’re both players, and it’s Lily who introduces the idea of marriage as opposed to a prolonged affair. Lily’s final reformation in the pre-release cut might seem sudden, but we know that Courtland has been different from the other men in her life from their very first meeting, so if any man is going to be worth more to her than her money it has to be him. The ambiguity of the pre-release ending lets us imagine what ultimately happens to the couple instead of insisting on a specific outcome, so Lily and Courtland can have whatever ending the viewer thinks they deserve.

Baby Face George Brent and Barbara Stanwyck Bed
When the bank blames Courtland (George Brent) for its problems, Lily has to choose between her money and her husband.

Sadly, the arrival of heavy-handed Code enforcement in 1934 would make stories like Baby Face harder to find in the ensuing decades, but plenty of other Pre-Code movies offer great examples. See Jean Harlow in Red-Headed Woman (1932) and Mae West in She Done Him Wrong (1933) for more of Pre-Code’s sexually transgressive adventuresses. For more of Barbara Stanwyck’s early roles, see Night Nurse (1931), Shopworn (1932), and Ladies They Talk About (1933). Stanwyck went on to earn Best Actress Oscar nominations for Stella Dallas (1937), Ball of Fire (1941), Double Indemnity (1944), and Sorry, Wrong Number (1948), but she never won. For more of the great but often uncredited Theresa Harris, try Hold Your Man (1933), The Flame of New Orleans (1941), and I Walked with a Zombie (1943).

— Jennifer Garlen for Classic Movie Hub

Jennifer Garlen pens our monthly Silver Screen Standards column. You can read all of Jennifer’s Silver Screen Standards articles here.

Jennifer is a former college professor with a PhD in English Literature and a lifelong obsession with film. She writes about classic movies at her blog, Virtual Virago, and presents classic film programs for lifetime learning groups and retirement communities. She’s the author of Beyond Casablanca: 100 Classic Movies Worth Watching and its sequel, Beyond Casablanca II: 101 Classic Movies Worth Watching, and she is also the co-editor of two books about the works of Jim Henson.

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Classic Movie Travels: Vera Zorina

Classic Movie Travels Vera Zorina

Vera Zorina
Vera Zorina

Vera Zorina was born Eva Brigitta Hartwig in Berlin, Germany, on January 2, 1917. Her parents, Fritz and Abigail “Billie” Hartwig were professional singers.

Zorina grew up in the coastal town of Kristiansund, Norway, where she began her dancing career at Festiviteten, the local theatre. Zorina fell in love with ballet at an early age, reportedly taking her ballet slippers to bed with her at the age of two. By age four, she was performing locally. She studied at the Lyceum for Girls in Berlin and trained in dance under Olga Preobrajenska and Nicholas Legat.

When she was 12 years old, Max Reinhardt cast her in a 1929 production of A Midsummer Night’s Dream, followed by a 1931 production of Tales of Hoffman. She was invited to join the Ballet Russe de Monte Carlo in 1933, upon which she took on the stage name of Vera Zorina. The company wanted her to perform under a Russian name. Of the 20 names they suggested, the one she settled on was the only one she could pronounce.

Zorina carried out the lead role in a London production of On Your Toes (1937), where she was spotted by film producer Samuel Goldwyn. He signed her to a seven-year contract, initiating her Hollywood film career.

Over the years, Zorina’s film performances included roles in The Goldwyn Follies (1938), On Your Toes (1939), I Was an Adventuress (1940), Louisiana Purchase (1941), Star Spangled Rhythm (1942), and Follow the Boys (1944). Her final film role was in Lover Come Back (1946).

Vera Zorina film

In 1938, Zorina married choreographer George Balanchine. She appeared in productions he choreographed until their divorce in 1946. In the same year, she married Goddard Lieberson, president of Columbia Records. They had two sons: Peter and Jonathan. They divorced in 1977.

Zorina continued her stage career with productions of I Married an Angel (1938), The Tempest (1945), and Joan of Arc at the Stake (1948). She directed a production of Cabaret in 1968 at the Oslo Nye Teater in Oslo, Norway. She was appointed director of the Norwegian National Opera and Ballet in the 1970s but ultimately left the role due to her husband’s illness. Her final stage performance was in Perséphone with the New York City Ballet in 1982.

Zorina was active as a director and adviser with Lincoln Center and directed operas at the Santa Fe Opera once she moved to New Mexico. She also published an autobiography in 1986 entitled Zorina. Additionally, she remained committed to her Catholic faith and was an Oblate of the Benedictine Order.

Zorina’s final marriage was to harpsichordist Paul Wolfe. They remained married until her passing in 2003. Her cause of death was undisclosed. She was 86 years old.

Today, some points of interest relating to Zorina’s life remain.

In 1943, she lived at 120 East End Ave., New York, New York. This building stands.

120 East End Ave., New York, New York
120 East End Ave., New York City

By 1961, she lived at 247 E. 61st St., New York, New York, which also remains.

247 E. 61st St., New York, New York
247 E. 61st St., New York City

In her later years, she resided at 22 Camino Caruso, Santa Fe, New Mexico. The ranch also stands today.  

22 Camino Caruso, Santa Fe, New Mexico
22 Camino Caruso, Santa Fe, New Mexico

–Annette Bochenek for Classic Movie Hub

Annette Bochenek pens our monthly Classic Movie Travels column. You can read all of Annette’s Classic Movie Travel articles here.

Annette Bochenek, Ph.D., is a film historian, professor, and avid scholar of Hollywood’s Golden Age. She manages the “Hometowns to Hollywood” blog, in which she profiles her trips to the hometowns of classic Hollywood stars. She has also been featured on the popular classic film-oriented television network, Turner Classic Movies. A regular columnist for Classic Movie Hub, her articles have appeared in TCM Backlot, Silent Film Quarterly, Nostalgia Digest, The Dark Pages Film Noir Newsletter, and Chicago Art Deco Society Magazine.

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Western RoundUp: Final Resting Places, Western Filmmakers 4

Western Filmmakers Final Resting Places

Once or twice a year I pay tribute to Western filmmakers in this column via sharing visits to their final resting places.

I’ve been privileged to visit these sites, located throughout the Los Angeles area and beyond, over a period of several years.  

It’s my hope that these photographic tributes enable far-flung readers to join me in reflecting on what each person’s work has contributed to the Western genre.  They may no longer be with us, but thanks to film their work lives on.

Earlier this year I attended a family funeral at Forest Lawn Cypress in Cypress, California.  Before departing the cemetery I stopped by the gravesite of cowboy star Ken Maynard to pay my respects.

Ken Maynard

Maynard’s Western career began in the silents and continued through 1944, with a couple additional films in the early ’70s, not long before his 1973 passing. I most recently watched Maynard in The Fiddlin’ Buckaroo (1933) at this year’s Lone Pine Film Festival.

Ken Maynard’s younger brother was cowboy actor Kermit Maynard, who is buried at Valhalla Memorial Park in North Hollywood.  While I have not yet been to Kermit Maynard’s burial place, I’ve visited a memorial plaque for famed stuntman extraordinaire Yakima Canutt at Valhalla. Canutt’s stunts include the “under the horses” scene in John Ford’s Stagecoach (1939).

Yakima Canutt

Also at Valhalla is actress Martha Vickers.  Vickers’ most famous role was as Carmen Sternwood in The Big Sleep (1946), but her last feature film was a “B” Western I love, Four Fast Guns (1960).  I wrote about it here in a 2020 column on “Hidden Gems.”

Vickers, who was at one point married to producer A.C. Lyles and then actor Mickey Rooney, is buried under her final married name, Rojas.

Martha Vickers

Vickers’ first husband, A.C. Lyles, is at Westwood Memorial Park in Westwood, California.  Lyles lived to 95 and was a popular figure in Hollywood. I recall seeing him walk by, looking quite dapper, as I stood in line at the 2012 TCM Classic Film Festival the year before he passed.  

Lyles may be best known by Western fans for his ’60s series of what are sometimes affectionately called “Geezer Westerns,” utilizing the great talents of beloved, if then slightly over-the-hill, stars such as Scott Brady, Dale Robertson, Virginia Mayo, Yvonne de Carlo, Dana Andrews, Rory Calhoun, Howard Keel, Jane Russell, and many more.

A C Lyles

A number of other actors are interred at Westwood. There’s a memorial bench for actor James Coburn near Lyles’ bench.  Coburn was one of the stars of Ride Lonesome (1959), which I wrote about in my very first column here back in 2018. Ride Lonesome is one of my all-time favorite movies. Coburn’s Westerns also included The Magnificent Seven (1960).

James Coburn

Jane Greer is also at Westwood, where her plaque has faded and become difficult to read. She is more closely associated with film noir (Out of the Past) than Westerns, but the RKO “B” Western Sunset Pass (1946) was an early role. More significantly, Greer starred opposite Dick Powell in the “Western noir” Station West (1948).  There’s much more about that film in my columns on “Unexpected Western Leads” and “Noir-Tinged Westerns.”

jane greer

David Nelson, the son of Ozzie and Harriet Nelson and the older brother of Rick, is best known for his family’s TV series. That said, he was in a superb Western, Andre De Toth’s Day of the Outlaw (1959), which I wrote about here in 2018. He is also at Westwood Memorial Park.

David Nelson

Our last visit at Westwood is at the final resting place of actor Brian Keith.  The son of actor Robert Keith, Brian Keith appeared in a number of Westerns over the years.  My very favorite is Fort Dobbs (1958), costarring Clint Walker and Virginia Mayo. It’s a terrific film which I recommend.

Brian Keith

We’ll next stop by Desert Memorial Park in Cathedral City, California, to pay our respects to James Coburn’s Magnificent Seven costar, Brad Dexter. Dexter’s other Westerns included The Oklahoman (1957) with Joel McCrea and Last Train From Gun Hill (1959) starring Kirk Douglas.

Brad Dexter

Finally, we stop by Forest Lawn Hollywood Hills to visit the burial site of Glenn Strange. Strange was in countless movie Westerns, most of them “B’s,” beginning in 1930, and he also guest-starred in many TV Westerns. His best-known role was as Sam the Bartender in TV’s Gunsmoke; he appeared on the show from 1961 until 1973, the year he passed away.

Glenn Strange

For additional photos of the burial sites of Western filmmakers, please visit my columns from May 2019, February 2022, November 2, 2022, November 29, 2022, April 2023, November 2023, March 2024July 2024, and February 2025.

– Laura Grieve for Classic Movie Hub

Laura can be found at her blog, Laura’s Miscellaneous Musings, where she’s been writing about movies since 2005, and on Twitter at @LaurasMiscMovie. A lifelong film fan, Laura loves the classics including Disney, Film Noir, Musicals, and Westerns.  She regularly covers Southern California classic film festivals.  Laura will scribe on all things western at the ‘Western RoundUp’ for CMH.

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Silents Are Golden: How To Attend A Silent Film Festival

How To Attend A Silent Film Festival

how to attend silent film festival

So here you are, a big fan of century-old-or-older films. You’ve seen dozens of slapstick comedies, romantic dramas, and exciting epics in the solitude of your own home, and you’re probably well acquainted with the history behind them, too. Obviously the next step is to see these wonderful films in their natural habitat: the movie theater. Happily, silent film screenings aren’t as rare as you think, especially in cities with a thriving arts scene–but might I suggest you try attending a silent film festival?

These wonderful curated events have popped up all over the world in the past few decades, and some have even been an annual tradition since the 1980s. A number of these festivals last just a day or two, others last a weekend, and a few prestigious fests have a full week of films playing from morning until night. Every curation is a bit different, but thoughtful: some might play the big hits by Chaplin or Fairbanks, while others focus on rarities or new restorations. Everything is projected at the size and approximate speed that was intended, and in the best quality possible.  In all cases these events are attended by a happy, knowledgeable and welcoming crowd excited to experience their beloved films on the big screen–and very often with the magic of live musical accompaniment.

Having had a number of film festival experiences under my belt, both close to home and even abroad, I’m always happy to spread the word about these extraordinary movie lovers’ events. And you just might find them as addictive as I do!

Silent Film Festivals 101

The Kansas Silent Film Festival
Image credit: The Kansas Silent Film Festival

Whether you’re looking for a relaxing, lightly-programmed weekend of films or a multi-day marathon of rarities, there’s a perfect silent film festival for you! For me, attending a festival has always started with asking my film lover friends what events they’d recommend and doing a bit of research online. I’ve also attended silent movie screenings close to home and met fellow film enthusiasts who shared their festival experiences with me–you never know what event will pique your interest!

Silent film festivals are held annually, usually during the same time frame every year. A typical festival might start with, say, a Friday evening program of a short film or two and a couple features, followed by a full day of films on Saturday and Sunday. Some festivals have sizable breaks between programs, while others might have substantial breaks for meals and shorter breaks the rest of the time. Often you have a choice of buying individual tickets for just a few programs or a special pass that gives you admission to everything (always the best option in my opinion). And finally, some festivals are completely free (donations welcome!).

Whatever you choose, keep in mind that one of the biggest joys of these festivals is the live musical accompaniment. Distinguished musicians travel from all over the world to play at these events, whether as individual piano players or in full orchestras. The magic of this live music is often the part that many viewers enjoy the most.

Planning Your Trip

Pordenone Silent Film Festival
Image credit: The Pordenone Silent Film Festival

If you’re within driving distance–let alone walking distance!–from a film festival’s venue then simply clear your calendar, see if you need to register for the festival online ahead of time (and if you should pre-purchase your pass), and you are set! But I suspect that in many cases you’ll be flying to your destination and will have to plan accordingly. Some important tips to keep in mind:

How close is your hotel/B&B to the theater? Some festivals reserve blocks of rooms in nearby hotels with a discounted rate, while with some you’re more or less on your own. I’ve done a bit of everything: staying in an apartment rental a short walk from the theater, staying in a hostel a couple miles away and taking public transportation, staying with a friend who would Uber to and from the event with me, and even staying at a B&B across town and using a bike to get to the venue. Whatever you choose, keep in mind just how bright and early you want to arrive at those morning screenings–and how late the last evening screenings will end. (Sleep may be at a premium some days, but trust me–it will be worth it!)

Are you travelling internationally? Don’t forget to factor in the mighty specter of jet lag! I’ve arrived at my destination a couple days before a festival started, giving myself some time to get over the worst of the lag and feel more bright-eyed once I arrived at the venue. Keep in mind that cutting it closer means you might end up missing the first day or so if there’s airport delays (or one of those European train strikes).

How much are you planning on seeing? Depending on how full the festival’s schedule is and how hardcore you are, you might plan on seeing a handful of films a day or settle in for a full-day marathon (it always goes by much faster than you’d think, especially with the breaks in between). With multi-day fests don’t worry about skipping a few screenings to get extra sleep or head to a restaurant with friends–you’re free to choose your own adventure and you’ll likely be making new friends along the way. Keep an eye out for nearby restaurants and snack spots and definitely pinpoint where you can get caffeine!

A Few Examples

popcorn at movie theater

Here are three very different silent film festivals that I’ve attended–and adored:

The San Francisco Silent Film Festival – This is a fabulous five-day festival taking place every late spring at San Francisco’s beautiful 1920s-era Castro Theatre. Screenings start late morning and continue until late at night, with breaks ranging from half an hour to an hour between each program. It’s an elegantly-curated event focusing mainly on features from both the U.S and around the world, often newly-restored. Silent comedy, romantic dramas, German Expressionism, French avant-garde, Italian epics–it has a bit of everything. Each screening is preceded by a slide show of relevant stills and background info, has a speaker introducing the film, and is accompanied by top-tier musicians. Passes are a bit pricey but worth the quality of the presentation.

The Kansas Silent Film Festival – This welcoming and completely free (yes, free!) Midwestern festival takes place in Kansas’s capital, Topeka, every February in a concert hall at Washburn University. The hall is a comfortable venue with a space that really enhances the quality of the live accompaniment. It mainly includes the more well-known U.S. silents, which is ideal if you’ve been wanting to experience them on the big screen, and is increasingly featuring off-the-beaten-track films as well. All programs are introduced by a presenter–which I always appreciate–and you can also get a ticket for its annual sitdown dinner accompanied by a lecture from a distinguished guest historian. It’s a delightful event with friendly, laidback people who look forward to it all year.

The Pordenone Silent Film Festival – This is widely regarded as the most prestigious silent film festival and takes place in Pordenone, Italy in early October. Featuring a full week of films ranging from cinema’s earliest days to the end of the silent period, it’s a packed schedule of rarities, new discoveries and the latest restorations playing early morning until late at night. Many historians, archivists, restorers and film fans make it a goal to attend this festival at least once, if not every year. The films are shown at the sleek 2000s-era Teatro Verdi, beautifully presented with pitch-perfect musical accompaniment. Most breaks are brief to make time for longer lunch and dinner breaks. Pordenone itself is a charming city with a pedestrian-only downtown, medieval buildings, and plenty of restaurants (and gelato shops). The pass for the whole experience is amazingly affordable: around $100 for the entire week.

In Conclusion!

The San Francisco Silent Film Festival
Image credit: The San Francisco Silent Film Festival

I hope this all-too-brief overview whets your appetite for attending one of these fine events! I now categorize my life as “before” and “after” I started going to film festivals. They’ve given me more irreplaceable film watching experiences than I can count, not to mention opportunities to travel to new places and meet wonderful new people. They are truly the gifts that keep on giving!

–Lea Stans for Classic Movie Hub

You can read all of Lea’s Silents are Golden articles here.

Lea Stans is a born-and-raised Minnesotan with a degree in English and an obsessive interest in the silent film era (which she largely blames on Buster Keaton). In addition to blogging about her passion at her site Silent-ology, she is a columnist for the Silent Film Quarterly and has also written for The Keaton Chronicle.

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