Frances Langford: Armed Forces Sweetheart – Book Giveaway (November)

Posted on November 5, 2018 by Annmarie Gatti

Frances Langford: Armed Forces Sweetheart
We have TEN Copies to Give Away!

We are happy to say that it’s time for our next book giveaway! This time CMH will be giving away TEN COPIES of  Frances Langford: Armed Forces Sweetheart by Ben Ohmart,  courtesy of Bear Manor Books.

Frances Langford Armed Forces Sweetheart

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In order to qualify to win one of these books via this contest giveaway, you must complete the below entry task by Saturday, December 8 at 10PM EST. However, the sooner you enter, the better chance you have of winning, because we will pick two winners on five different days within the contest period, via random drawings, as listed below… So if you don’t win the first week that you enter, you will still be eligible to win during the following weeks until the contest is over.

  • Nov 10: Two Winners
  • Nov 17: Two Winners
  • Nov 24: Two Winners
  • Dec 1: Two Winners
  • Dec 8: Two Winners

We will announce each week’s winner on Twitter @ClassicMovieHub and/or right here on this Blog in the comment section below (depending on how you entered), the day after each winner is picked at 10PM EST — for example, we will announce our first week’s winner at 10PM EST on Sunday Nov 11.

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And now on to the contest!

ENTRY TASK (2-parts) to be completed by Saturday, Dec 8 at 10PM EST — BUT remember, the sooner you enter, the more chances you have to win…

1) Answer the below question via the comment section at the bottom of this blog post

2) *Then TWEET (not DM) the following message (if you don’t have twitter, see below):
Just entered to win the “Frances Langford: Armed Forces Sweetheart” #BookGiveaway courtesy of @BearManorMedia and @ClassicMovieHub #CMHContest Link: http://ow.ly/AgVX30mvGPF

THE QUESTION:
What is it that you love most about Frances Langford? And, if you’re not familiar with her work, why do you want to win this book?

NOTE: if for any reason you encounter a problem commenting here on this blog, please feel free to tweet or DM us, or send an email to clas…@gmail.com and we will be happy to create the entry for you.

*If you do not have a Twitter account, you can still enter the contest by simply answering the above question via the comment section at the bottom of this blog — BUT PLEASE ENSURE THAT YOU ADD THIS VERBIAGE TO YOUR ANSWER: I do not have a Twitter account, so I am posting here to enter but cannot tweet the message.

Click here for the full contest rules and more details. 

Please note that only Continental United States (excluding Alaska, Hawaii, and the territory of Puerto Rico) are eligible.

And — BlogHub members ARE eligible to win if they live within the areas noted above.

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About the book: Everyone was “In the Mood for Love,” when Frances Langford, renowned Big Band singer with a rich contralto voice, rose from performing at hometown parties in Mulberry, Florida to Broadway, Old Time Radio, and movies during Hollywood’s Golden Era. Her signature song carried her from turntables to troops in World War Two, and then into the stuff of legends. From the airwaves on Louella Parson’s Hollywood Hotel, Rudy Vallée’s The Fleischmann’s Yeast Hour, and Dick Powell’s Campana Serenade (1942-1943), Frances achieved nationwide fame as Don Ameche’s insufferable wife, Blanche, on The Bickersons (1946-1951). Her beauty eclipsed her broadcasts, when the movies plucked her from speakers to screens. Her film debut in Every Night at Eight(1935) led to Broadway Melody of 1936 (1935), in which she popularized “Broadway Rhythm” and “You Are My Lucky Star,” Born to Dance (1936), and Yankee Doodle Dandy (1942) with James Cagney, in which she sang the rousing “Over There.” For the first time, her personal interviews with author/publisher Ben Ohmart bring the treasured memories from her past to light. Return with her to the front lines from 1941 into the 1980s with Bob Hope and Jerry Colonna on U.S.O. tours through Europe, North Africa, and the South Pacific, entertaining thousands of G.I.s throughout the world. Frances Langford. More than a voice. More than the G.I.s’ choice. Illustrated with hundreds of never-before-seen photos from the Frances Langford Collection in Lakeland, Florida.

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If you don’t want to wait to win, you can purchase the book by clicking here:

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–Annmarie Gatti for Classic Movie Hub

Posted in Books, Contests & Giveaways, Posts by Annmarie Gatti | Tagged , , , | 15 Comments

Classic Movie Travels: Toby Wing

Posted on November 5, 2018 by Annette Bochenek

Classic Movie Travels: Toby Wing

Toby Wing Glamor ShotMartha Virginia “Toby” Wing.

When thinking of some of the top stars of the 30s, Toby Wing’s name does not immediately come to mind. A chorus girl that went unbilled often, Wing was never a big name in the business. However, Wing made her mark quietly in many films and has even warranted a star on Hollywood Boulevard.

Martha Virginia Wing was born in Amelia Court House, Virginia, to Paul Wing and Martha Thraves. She was named after her maternal grandmother and born at Eight Oaks, the plantation of her maternal grandfather, John T. Thraves. Her father was an Army officer, leading her to spend her childhood in Virginia and the Panama Canal’s American Zone. The 1920 census lists the Wings as living in Corozal, U.S. Military Forces, Panama Canal Zone, along with daughters Gertrude and Martha. According to the 1930 census, he found work as a public school teacher in Virginia. By then, the family had grown, welcoming a son named Paul.

Wing began working onscreen by at age 9. She and her sister, Gertrude (nicknamed “Pat”), dreamed of one-day becoming stars. Her father would become an assistant director and a Paramount Studios mid-level manager, prompting Wing to secure small juvenile roles in the Paramount silents that her father was working on. She took the stage name “Toby”, which was a nickname for the family horse, and appeared in uncredited child roles in several silent films. At her parents’ insistence, she left acting to finish her schooling.

There are varying stories regarding how Wing found herself back in the business; one source claims that Jack Oakie introduced her to Samuel Goldwyn at a party, while another claimed she was discovered by Mack Sennett while walking to the Santa Monica Pier with her sister. Nonetheless, she would work for both men and was the last graduate of the studio’s in-house high school in 1933.

By age 16, she became one of the original Goldwyn Girls, billed as “the girl with a face like the morning sun” in Eddie Cantor’s Palmy Days (1931). Busby Berkeley, choreographer for that film, would later hire her for a noticeable but unbilled role in 42nd Street (1933). Though a natural brunette, her hair was dyed platinum blonde.

Toby Wing Blonde HairToby Wing as a blonde for 42nd Street.

Off-screen, she dated the likes of Maurice Chevalier, Alfred Vanderbilt, Franklin Roosevelt Jr., Jackie Coogan, Pinky Tomlin, and playboy Erskine Eaton. In 1936, her army pilot suitor, John T. Helms, died. This caused her to swear off falling in love with men, vowing that her life would be her career. However, her many engagements would soon be a joke in Hollywood.

In terms of her career, one of her most visible roles was in 42nd Street, in which she was serenaded by Dick Powell during the “Young and Healthy” number. During her heyday, she received more fan mail than fellow Paramount Stars Claudette Colbert and Marlene Dietrich.

A Young Toby WingA Young Toby Wing

Unfortunately, Wing bounced from being uncredited to credited time and again and never achieved stardom as a lead actress. She can be spotted as a party guest in Torch Singer (1933) and as a girlfriend in Baby Face (1933). Interestingly, Wing had a heroic moment on the set of Come on Marines (1934). Cast member Mary Blackwood nearly died when filming a swimming sequence. Wing was swinging across a lake and accidentally struck Blackwell while surfacing from a dive. Spotting her floating in the water, Wing dove into the water and rescued the uncredited extra from drowning. A story and photo describing the event were circulated by the Associated Press.

Wing also made a silent appearance in MGM’s promotional short for three-strip Technicolor, La Fiesta de Santa Barbara (1935), which is more famous for the Gumm Sisters’ rendition of “La Cucaracha,” sung by a young Judy Garland.

Toby Wing, Ida Lupino, and Chester Conklin in La Fiesta de Santa Barbara (1935)Toby Wing, Ida Lupino, and Chester Conklin in La Fiesta de Santa Barbara (1935).

Wing secured larger parts in poverty row studios, only to find that she had a better press agent than talent agent. From 1933 to 1938, she was one of the most photographed starlets in Hollywood, scoring many endorsement contracts and appearing in many movie magazines. Her personal life also fueled the gossip columns, especially concerning the prominent men who were pursuing her.

Wing’s final leading role was in The Marines Come Thru (1938). Her film career ended where it began—with an uncredited bit role. She closed her film career with an appearance in Sweethearts (1938), starring Nelson Eddy and Jeannette MacDonald. She appeared as a telephone operator in the film. Her acting career as a whole ended on Broadway with Cole Porter’s musical, You Never Know. The musical flopped after 73 performances.

After a brief engagement to Tomlin, she met world-record-setting Eastern Airlines pilot, Dick Merrill, who was the first aviator to fly the Transatlantic route round-trip. After dating for six months, they married in 1938 and remained married for 44 years until his passing in 1982. They married once in Tijuana, Mexico, which upset Wing’s mother, so a second wedding was performed later that year in Virginia. She was happy to retire to their Miami home on Di Lido Island as her husband flew the Miami-NYC Eastern Airlines route. The couple had two sons, though Wing outlived them both. Her first child died of “crib death” in 1940, while their second child suffered a drug-related murder in their Miami home at age 42 in September 1982. Two granddaughters, however, have survived Wing.

Once World War II arrived, Wing’s husband was actively serving. Wing’s father was reactivated for service and captured by the Japanese in the Philippines in 1942. He survived the Bataan Death March and was rescued in the Raid at Cabanatuan by U.S. Army Rangers and Filipino guerillas.

Dick Merill Toby Wing HusbandToby Wing and her husband, Dick Merrill.

Though Wing was considered retired, she toured with Rita Rio’s All-Girl Orchestra, along with Marie Wilson and Faith Bacon, across the United States. They made benefit appearances for the Infantile Paralysis Fund and Christmas Seals Tuberculosis campaign during the tour.

Additionally, Wing became involved in civic affairs, even dabbling in real estate in Florida and California. She and her husband were devoutly religious, so Wing taught Sunday school at Miami’s All Saints Episcopal Church well into her 80s. She would also occasionally make the national press when photographed with her husband, who was General Eisenhower’s pilot during his 1952 presidential campaign. The couple appeared frequently at various aviation events.

Upon her husband’s passing, she promoted his legacy as an aviation pioneer and was a devoted grandmother. In the 1980s, she was honored with a star on the Hollywood Walk of Fame. Later, she and her sister, Pat, were interviewed in TCM’s Busby Berkeley: Going Through the Roof (1998). Pat was also a chorus girl who largely worked for Warner Bros., while their brother, Paul, was a billionaire real estate mogul. Wing died from natural causes in her Virginia home in 2001 at age 85, with her sister passing the following year. Paul died in 1998.

Toby Wing Grave Site Toby Wing’s resting place.

Today, few places of relevance remain in relation to Wing’s legacy. In 1930, she was living at 475 Winona (Montana) Ave in Pasadena, California. Winona Avenue used to run all the way south to Orange Grove, but most of it was taken over the 210 Fwy. Here is the property today:

Toby Wing Home 475 Winona Ave, Pasadena, CaliforniaToby Wing’s Home at 475 Winona Ave, Pasadena, California.

By 1938, she was married and living in Fredericksburg, Virginia. Wing and her husband are buried at Christ Church Kingston Parish Cemetery in Mathews, Virginia.

Today, film lovers can still see Wing grace the screen in 42nd Street, among several other appearances.

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–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 of Chicago, Illinois, is a PhD student at Dominican University and an independent scholar of Hollywood’s Golden Age. She manages the Hometowns to Hollywood blog, in which she writes about her trips exploring the legacies and hometowns of Golden Age stars. Annette also hosts the “Hometowns to Hollywood” film series throughout the Chicago area. She has been featured on Turner Classic Movies and is the president of TCM Backlot’s Chicago chapter. In addition to writing for Classic Movie Hub, she also writes for Silent Film Quarterly, Nostalgia Digest, and Chicago Art Deco SocietyMagazine.

 

Posted in Classic Movie Travels, Posts by Annette Bochenek, Uncategorized | Tagged , | 5 Comments

Pre-Code Corner: Scarface – An Anti-Gangster Picture?

Posted on November 3, 2018 by Kim Luperi

Pre-Code Corner: Scarface – An Anti-Gangster Picture?

When I set out to research Scarface (1932) in the Academy’s Production Code Administration (PCA) files, I was met with an overwhelming amount of material; so much so that it took me five Tuesday evenings to conquer all 356 pages of this file, by far the heftiest I’ve ever encountered. As I was soon to find out, there were plenty of reasons Scarface amassed such an enormous PCA record.

Scarface (1932) Movie PosterMovie Poster for Scarface (1932).

From the start, the Studio Relations Committee (SRC) branded Scarface dangerous, conjecturing the dire consequences its release would bring about for Hollywood; after the likes of Little Caesar (1931) and The Public Enemy (1931), talk abounded of state censor boards considering banning all gangster films. Without a doubt, Scarface’s sheer amount of violent sequences, Tony’s (Paul Muni) ascent to gangland supremacy and swift fall, and his incestuous longings for his sister Cesca (Ann Dvorak) all astound and disturb, even by pre-Code standards.

Scarface (1932) Paul Muni as TonyShooting an immobile man in a hospital bed? That’s not too low for Tony to stoop.

That said, it’s not surprising that Scarface had a rocky censorship history. Tycoon producer Howard Hughes, working alongside strong-willed director Howard Hawks, did his fair share to fan the flames and infuriate the SRC along the way. As an independent producer, Hughes, through his studio The Caddo Company, had a substantial amount of his money tied up in Scarface. Initially, he fought tooth and nail to push the envelope, most likely sensationalizing the story as much as possible to attract audiences—but the war didn’t end there, for he also had to make concessions when it became apparent that the film’s salaciousness could create impediments for distribution.

Hughes’ censorship battle, while tremendously stirring and amusing to read about, is already well-documented. But while perusing Scarface’s PCA file, I stumbled upon a striking and timely idea contained in several pieces of correspondence that posited Scarface as propaganda for gun control in an effort to earn censor approval. Yes, you read that right. Though ultimately the strong push for this positioning waned, I found the whole idea quite intriguing. For your reading pleasure, below is an overview of the exchanges and history of this short-lived approach to market Scarface as an anti-gun picture.

Scarface (1932) Gif CalendarIt would take a lot of editing to rid Scarface of its ever-present firearms. They were even used to kill time.

Upon viewing rushes in August 1931, the SRC’s Jason Joy cautioned that Scarface could probably only screen in half of US theaters unless “radical revisions” were made; he surmised stringent censor boards would most likely reject the picture due to its content and theme. After viewing a cut of the film the following month, which confirmed the office’s censorship fears, Joy met with Hawks and the Caddo Company’s E.B. Derr to discuss an idea to position Scarface as an anti-gangster movie. Hawks supported the concept and affirmed he would “sell” it to Hughes, who warily approved the edits that would be made for the sake of this new concept.

As the SRC’s Lamar Trotti summed up the argument after a discussion that month: “The Gangster is a great man as long as he has a gun; once without a gun, he is a yellow rate. The final message of the picture will be – not to let criminals get possession of guns.” Clearly, something drastic would have to be done to turn Scarface around. Awkward insertions proposed by the SRC to achieve such a point included mid-picture speeches from a Citizen’s Committee group and the Chief of Detectives (Edwin Maxwell) planted to emphasize law and order and decry gangsters’ spinelessness, in addition to an altered finale in which Tony turns “yellow” and gets arrested. Another suggestion was to add a foreword by Police Commissioner E. P. Mulrooney, a draft of which proclaimed: “No one is safe until this monster is stripped of the means by which he prolongs his menace – The Gun.”

Scarface (1932) Citizen's Committee GroupYou guessed it: This is the Citizen’s Committee group.

But these additions still didn’t suffice. So, in November 1931, a jury consisting of Motion Picture Producers Distributors of America (MPPDA) Board of Director members were summoned to review Scarface. All three jurors deemed the situation perilous, with Robert Cochran reiterating: “We have got to make this picture propaganda enough against firearms to save it. The way it is, it is impossible.”

At this point, it seems that Hughes and company, who were well aware of the difficulties this tale would bring from the very beginning, grew worried that the film would not pass censor boards and became anxious for the SRC to help them “save it.” From there, the SRC took a third stab at taming the picture to emphasize the anti-gun perspective, make Tony less sympathetic, and add a finale in which Tony goes to trial and receives a death sentence, thus sending a message that guns provide Tony with his strength and are too easily obtained by hoodlums.

Scarface (1932) Boris Karloff as TomIt’s not a baby, Tom (Boris Karloff). It’s a vicious killing machine.

The aforementioned tribulations were initiated by the SRC with Hughes’ approval to positively market the picture and help it pass censor boards. But were those results accomplished? Well, not exactly as intended. After months of negotiations over the above edits and a lengthy battle fought over the title during late 1931-early 1932, Hughes grew restless and complained about the amount of time the SRC took to approve the picture. Being a rebel, the producer went ahead and released the uncensored version to the press and select states in which no censor boards existed. This dicey move resulted in mountains of positive critiques “praising it to the skies,” according to the tycoon—and a thoroughly incensed SRC, as the organization expressly stated he could not play that cut. In a majestically melodramatic press release, Hughes, most likely brimming with cocky confidence from the film’s encouraging reception, professed his intent to show the picture in its original version and avowed “there will be no compromise with the censors.” It seems that after so much capitulating to the SRC, Hughes’ about-face won him the game, in his mind: He had press members, audiences, and leading crime and legal authorities’ commendation on the original version of Scarface, so why buckle to the SRC and send out anything other than that cut now?

Scarface (1932) Prologue MovieAfter the opening credits, this is the first thing that appears onscreen—at least, for viewers today. I’m not sure if this is a remnant of the original prologue or a later one.

As far as censor boards go, the reaction was mixed. Scarface passed without changes in select territories (Virginia, Ohio, Kansas), was outright rejected in others (Chicago and New York, though New York was overturned), required edits in select locations (Pennsylvania), and curiously, was issued a permit that was later overturned (Maryland). For the most part, it seems that the stringent anti-gun push, while fascinating to read about today, was unnecessary, as Scarface eventually screened in most locations with fewer cuts than the SRC initially labored over—with the help of Howard Hughes, of course.

Scarface (1932) Maching Gun TonyI don’t think any anti-gun or anti-gangster angle could save this maniacal man.

The ultimate irony is that Scarface seemingly generated the opposite effect: Upon learning about all the money the picture was pulling in, producer Jesse Lasky Jr. called up the SRC to inquire about his next project, which he naturally wanted to be a gangster film.

*Ironically, Mulrooney would later go on to declare that he didn’t want to be associated with a corrupt picture in which the gangster gets everything he wants. Furthermore, he felt no cuts could fix the situation, and he didn’t believe the film could even adequately present a message condemning the easy sale of guns… because Tony is never pictured buying his.

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–Kim Luperi for Classic Movie Hub

You can read all of Kim’s Pre-Code Corner articles here.

Kim Luperi is a New Jersey transplant living in sunny Los Angeles. She counts her weekly research in the Academy’s Production Code Administration files as a hobby and has written for TCM, AFI Fest, the Pre-Code Companion, MovieMaker Magazine and the American Cinematheque. You can read more of Kim’s articles at I See A Dark Theater or by following her on twitter at @Kimbo3200.

Posted in Posts by Kim Luperi, Pre-Code Corner | Tagged , , , , | 2 Comments

Western Roundup: Universal Gems

Posted on October 29, 2018 by Laura Grieve

Western Roundup: Universal Gems

I love Westerns of all kinds, from John Ford and John Wayne to Tim Holt and Hopalong Cassidy…that said, it just might be that my favorite Westerns are those released by Universal Pictures from the late ’40s to mid-’50s.

I’ve sometimes described a Universal Western as being akin to a box of candy for a movie fan; I find them tremendously enticing, with gorgeous Technicolor and wonderful casts filled with favorites, and you don’t want to stop watching with just one film!

So many wonderful actors and actresses appeared in Universal Westerns; the long list includes names like Joel McCrea, Yvonne De Carlo, Audie Murphy, Maureen O’Hara, Jeff Chandler, Julie Adams, Rock Hudson, Piper Laurie, Dan Duryea, Wanda Hendrix, John Payne, Martha Hyer, Jock Mahoney, Coleen Gray, Stephen McNally, Alexis Smith, and Rory Calhoun — and that’s just for starters. There are a number of other names which easily come to mind but I’m stopping here simply in the interests of space!

The movies also tend to be relatively short, which makes it easier to slip in watching one to relax at the end of a busy day. Every single title listed below runs less than 90 minutes, with the average running time clocking in at 81 minutes. There are always exceptions, of course, but generally speaking, I find that the perfect length for a Western, with plenty of time to tell a good story while not running on too long.

Below are thumbnail sketches of a baker’s dozen of favorite Universal Westerns well worth checking out. I’ve bypassed mentioning some of Universal’s most famous Westerns in favor of lesser-known titles, and even then it’s by no means a comprehensive list, as the studio released so many titles in the genre. I could easily fill a few more lists of this type, and I possibly will at some point!

These movies may not all be major classics of the genre, though a few deserve status on “best” lists, but they combine to help define the “Universal Western,” a series of colorful and entertaining movies which provide hours of viewing pleasure.

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The Gal Who Took the West (Frederick De Cordova, 1949)

Yvonne DeCarlo stars in this delightful Western comedy. She plays Lily, an entertainer who arrives in an Arizona frontier town where she immediately has a pair of rich, handsome cousins (John Russell and Scott Brady) fighting to win her hand. DeCarlo is funny and gorgeous as sassy Lily, and she has fun repartee with Charles Coburn as the cousins’ grandfather. A real “feel good” film which is perfect viewing for anyone who could use a lighthearted movie lift.

The Gal who Took the West John Russell, Yvonne De Carlo, Scott BradyJohn Russell, Yvonne De Carlo, Scott Brady in The Gal who Took the West (1949).

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Wyoming Mail (Reginald LeBorg, 1950)

Many of us who love the genre refer to a film like this one as a “darn good Western”; perhaps it’s nothing spectacular, but it’s solidly made and does what it sets out to do, entertain its viewers. Stephen McNally plays an undercover agent trying to stop the robbing of U.S. mail trains; Alexis Smith is a lovely saloon singer who thinks McNally’s a crook on the lam but falls for him anyway. There are a couple of good plot twists and some nice exteriors filmed at varied California locations. Another plus factor is the solid supporting cast which includes James Arness, Richard Jaeckel, Howard da Silva, and Richard Egan.

Wyoming Mail (1950) Stephen McNally, Alexis SmithStephen McNally and Alexis Smith in Wyoming Mail (1950).

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Apache Drums (Hugo Fregonese, 1951)

One of the most memorable films on the list, a spooky and atmospheric Western from legendary horror producer Val Lewton. McNally’s in the cast again, as a gambler who has trouble settling down; his despairing sweetheart (Coleen Gray) breaks up with him, but they both end up, along with everyone else in the little town of Spanish Boot, seeking refuge in an adobe church as Mescalero Indians attack. The siege sequence is brilliantly staged and quite unnerving; the use of color (including Indian warpaint!) is quite effective, and I especially love a great moment when some Welsh miners in the church try to drown out the Indians with song. James Griffith is excellent as always as a wounded soldier who offers guidance to the townspeople during the attack. As was the case with Lewton’s best-known films of the ’40s, this film does a lot with a little, and as such, I feel it’s a “must see.”

Apache Drums (1951) French Movie PosterFrench Movie Poster for Apache Drums (1951).

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Tomahawk (George Sherman, 1951)

Though Indians are, of course, often the villains in Westerns, they also receive more even-handed treatment in a number of Universal films. This film is one such example, with Van Heflin as Jim Bridger, who is trying to solve a land dispute between a Sioux Indian tribe and the Cavalry. The Indian chief (John War Eagle) and colonel (Preston Foster) are both honorable, but the behavior of others complicates their mission. Meanwhile, Bridger faces prejudice because he is traveling with an Indian girl (Susan Cabot); an entertainer (Yvonne De Carlo) is attracted to Bridger but mistakenly believes the girl is his wife. It’s an interesting and well-made, rather adult drama which avoids coming up with pat solutions for every situation. Like so many Universal Westerns, it has a superb supporting cast, including Rock Hudson, Jack Oakie, Tom Tully, and Alex Nicol.

Tomahawk (1951) Van Heflin, Yvonne De CarloVan Heflin and Yvonne De Carlo in Tomahawk (1951).

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Cave of Outlaws (William Castle, 1951)

Macdonald Carey is another actor who shows up in Universal Westerns. Here he plays an outlaw’s son who has just been released from a 15-year stint in prison thanks to his father and a gang hiding their loot in a cave he’d found as a teenager. When Carey heads home from jail he’s tailed by a Wells Fargo agent (Edgar Buchanan) who wants to find the stolen gold; the two men unexpectedly strike up a congenial relationship as together they search for the missing treasure. Meanwhile, Carey helps a woman (Alexis Smith) reopen the newspaper which closed after her husband disappeared while searching for the gold himself. The movie’s virtues include location filming at Carlsbad Caverns and a tight script by Elizabeth Wilson, with some excellent dialogue. Carey and Smith strike sparks together, and they’re supported by Victor Jory, Hugh O’Brian, Russ Tamblyn, and a “blink and you miss him” Lee Marvin.

Cave of Outlaws (1951) Alexis Smith, Macdonald CareyAlexis Smith and Macdonald Carey in Cave of Outlaws (1951).

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The Duel at Silver Creek (Don Siegel, 1952)

This is one of my very favorite “darn good Westerns” and one of my favorite Audie Murphy films, a wonderful exemplar of Universal at its best. Stephen McNally, who really hit his career stride at Universal, plays a sheriff who mentors a young gunslinger (Murphy) he takes on as deputy, hoping to guide the deputy and keep him out of trouble — but funny thing, sometimes it’s the ostensibly hotheaded youngster who is the wiser of the pair. Susan Cabot is the charming love interest, while Faith Domergue is surprisingly brutal as the troubled villainess. Lee Marvin shows up again, too! This is truly a gem as far as I’m concerned.

The Duel at Silver Creek (1952) Audie Murphy, Stephen McNallyAudie Murphy and Stephen McNally in The Duel at Silver Creek (1952).

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The Battle at Apache Pass (George Sherman, 1952)

Jeff Chandler  received an Oscar nomination as Best Supporting Actor for playing Cochise in Universal’s classic Broken Arrow (1950), and he returned to the role in this film two years later. He’s superb as the Apache leader, who has a good relationship with the commander (John Lund) of a U.S. Army outpost, but — in a familiar plot device — problems are stirred up by others. When soldiers decide to “detain” Cochise’s pregnant wife (Susan Cabot) they make a Very Big Mistake. This was filmed almost entirely on location at Arches National Park, with a supporting cast including Richard Egan, Jack Elam, Hugh O’Brian, James Best, Regis Toomey, and Jay Silverheels. I especially like both Chandler and Lund so this one was especially enjoyable for me, and kudos to Cabot as the steely wife who doesn’t back down to the soldiers.

The Battle at Apache Pass (1952) John Lund, Jeff Chandler, Susan CabotJohn Lund, Jeff Chandler and Susan Cabot in The Battle at Apache Pass (1952).

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War Arrow (George Sherman, 1953)

Jeff Chandler again! This time teamed with Maureen O’Hara, who also spent time at Universal. Chandler plays a soldier who disagrees with his commanding officer (John McIntire) over uniting with the Seminoles against the Kiowas. Chandler also falls in love with O’Hara, playing a widow whose husband may not be dead after all, which would certainly complicate things! The movie is almost too short in that a couple plot turns seemed a bit too unexpected, but the film’s breakneck pace is also a virtue. Charles Drake, Henry Brandon, Dennis Weaver, Noah Beery Jr., and Suzan Ball are among the supporting cast.

War Arrow (1953) Jeff Chandler and Maureen O'HaraJeff Chandler and Maureen O’Hara in War Arrow (1953).

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Four Guns to the Border (Richard Carlson, 1954)

Actor Richard Carlson directed this underrated minor classic, which boasts Rory Calhoun and Colleen Miller in one of the steamiest love scenes ever put on film. Calhoun plays Cully, the head of a fairly non-threatening group of bank robbers who meets Lolly (Miller) on the trail; given the young couple’s mutual attraction, Lolly’s wary father (Walter Brennan) attempts to put space between them, to no avail. Meanwhile, Cully’s old friend (Charles Drake), who became a sheriff, is on his trail, and the sheriff’s wife (Nina Foch) is terrified her husband will be killed. The film’s underlying theme centers on growing up and embracing responsible adulthood rather than easy money and childish horseplay, and Cully has difficult decisions to make about his future. John McIntire, who appeared in so many Universal Westerns, here plays one of Cully’s gang, and look for character actress Mary Field, who is great in quite a nice little part as a brave dressmaker.

Poster for Four Guns to the border (1954)Movie Poster for Four Guns to The Border (1954).

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Ride Clear of Diablo (Jesse Hibbs, 1954)

This is another of Audie Murphy’s best films, which I’ve recommended to several people and been gratified to learn they liked it also! Do give this one a look. Murphy plays a seemingly milquetoast railroad surveyor turned deputy who is dispatched by the sheriff to arrest gunslinger Whitey Kincaid (Dan Duryea). The sheriff has underhanded motives, expecting that Kincaid will quickly do away with his deputy, but everyone is rather surprised when the young man proves to be a quick draw who gets his man. The interplay between the quiet and trusting Murphy — who orders water at the saloon! — and the excitement-seeking Duryea is superb; Duryea comes close to stealing the movie but Murphy is with him every step of the way, as they unite to seek the men who killed Murphy’s family. Susan Cabot is again excellent as Murphy’s love interest.

Movie Poster for Ride Clear of DIablo (1954)Movie Poster for Ride Clear of Diablo (1954).

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Rails Into Laramie (Jesse Hibbs, 1954)

Dan Duryea stars in this one with John Payne and Mari Blanchard. Payne is an army sergeant who knocks heads with old friend Duryea over the completion of a railroad. The excellent script provides Payne with some wonderful sarcastic quips, and it also makes good use of history, specifically the equal rights enjoyed by women in 1860s Wyoming. James Griffith once again shines as the anxious, scared deputy who is nonetheless loyal to Payne. And once again there’s also a marvelous cast, including Lee Van Cleef, Barton MacLane, and Douglas Kennedy, with Rex Allen singing the title song. Wonderful entertainment.

Rails into Laramie (1954) Movie PosterMovie Poster for Rails into Laramie (1954).

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Showdown at Abilene (Charles Haas, 1956)

Stuntman-turned-Western star Jock Mahoney is terrific as a Civil War veteran with what we would now call PTSD, who has trouble firing a gun but takes a job as sheriff when he returns to his hometown. Mahoney is quite good as a man struggling with various issues, including his sweetheart (Martha Hyer), who thought he was dead, now being engaged to his old friend; the friend is played by Lyle Bettger, who does quite a bit with what could have been a stock villain role. A young David Janssen plays Mahoney’s deputy, who has ambiguous motivations. The film has a strong script by Berne Giler, and Mahoney clearly does his own stuntwork in two impressive scenes where he takes flying leaps to tackle someone, which makes the movie that much more fun to watch.

Showdown at Abilene (1956) Jock Mahoney Movie PosterMovie Poster for Showdown at Abilene (1956).

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Red Sundown (Jack Arnold, 1956)

Finally, a film I just saw for the first time this year, once again starring Rory Calhoun as a good sort of bad guy; in this one, he promises a dying friend (the always-superb James Millican) that he’ll turn over a new leaf. To his surprise, Calhoun is offered a job as deputy by a cagey sheriff (Dean Jagger, also wonderful); Calhoun is also attracted to Martha Hyer as the sheriff’s daughter, who returns his interest but suspects his character. The film also has a memorable performance by Grant Williams as a crazed hired gun. Robert Middleton, Leo Gordon, and Lita Baron (who was then Mrs. Calhoun offscreen) also star.

Red Sundown (1956) Movie PosterMovie Poster for Red Sundown (1956).

…

I expect to discuss other Universal titles here in the future, and I wouldn’t be surprised if some of the titles mentioned above turn up again in future columns! In the meantime, I hope these recommendations will provide readers with enjoyable brand-new or repeat viewing. I’d like to stack these up and rewatch them all myself!

 …

– 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.

Posted in Posts by Laura Grieve, Western RoundUp | Tagged | 18 Comments

Win Tickets to see “TCM Big Screen Classics: White Christmas” (Giveaway runs through November 24)

Posted on October 28, 2018 by Annmarie Gatti

Win tickets to see “White Christmas” on the big screen!
In Select Cinemas Nationwide Sun Dec 9 and Wed Dec 12!

“How can a guy THAT ugly have the nerve to have sisters?”

CMH continues into our 3rd year of our partnership with Fathom Events – with the 13th of our 13 movie ticket giveaways for 2018, courtesy of Fathom Events!

That said, we’ll be giving away EIGHT PAIRS of tickets to see “TCM Big Screen Classics: White Christmas” – starring Bing Crosby, Danny Kaye, Rosemary Clooney and Vera-Ellen — the way it was meant to be seen – on the Big Screen!

In order to qualify to win a pair of movie tickets via this contest, you must complete the below entry task by Saturday, November 24 at 6 PM EST.

We will announce the winner(s) on Twitter on Sunday, November 25, between 6PM EST and 7PM EST. If a winner(s) does not have a Twitter account, we will announce that winner(s) via this blog in the comment section below.

TCM BIG Screen Classics Present White Christmas

The film will be playing in select cinemas nationwide for a special two-day-only event on Sunday, December 9 and Wednesday, December 12 at 2:00 p.m. and 7:00 p.m. local time. Winners will be responsible for their own transportation to the Event. Only United States entries are eligible. Please click here before you enter to ensure that the Event is scheduled at a theater near you and that you are able to attend. (please note that there might be slightly different theater listings for each date)

ENTRY TASK (2-parts) to be completed by Saturday, November 24 at 6PM EST…

1) Answer the below question via the comment section at the bottom of this blog post

THE QUESTION:
What is it about “White Christmas” that makes it a classic? And, if you haven’t seen it, why do you want to see it on the Big Screen?

2) Then TWEET* (not DM) the following message:
I just entered to win tickets to see “TCM Big Screen Classics Presents: White Christmas” on the Big Screen courtesy of @ClassicMovieHub & @FathomEvents #EnterToWin #CMHContest link here: http://ow.ly/PUfU30muAqj 

*If you don’t have a Twitter account, you can still enter the contest by simply answering the above question via the comment section at the bottom of this blog — BUT PLEASE ENSURE THAT YOU ADD THIS VERBIAGE TO YOUR ANSWER: I do not have a Twitter account, so I am posting here to enter but cannot tweet the message.

NOTE: if for any reason you encounter a problem commenting here on this blog, please feel free to tweet or DM us, or send an email to clas…@gmail.com and we will be happy to create the entry for you.

ALSO: Please allow us 48 hours to approve your comments. Sorry about that, but we are being overwhelmed with spam, and must sort through 100s of comments…

Rosemary Clooney, Danny Kaye, Bing Crosby, Vera-Ellen and cast in White Christmas

About the film: Two talented song-and-dance men (Bing Crosby and Danny Kaye) team up after the war to become one of the hottest acts in show business. One winter they join forces with a sister act (Rosemary Clooney and Vera-Ellen) and trek to Vermont for a white Christmas. The result is stuff dreams are made of. This two-day event includes exclusive insight from Turner Classic Movies.

Please note that only United States residents are eligible to enter this giveaway contest. (see contest rules for further information)

BlogHub members ARE also eligible to win if they live within the Continental United States (as noted above).

You can follow Fathom Events on Twitter at @fathomevents

Good Luck!

–Annmarie Gatti for Classic Movie Hub

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The Funny Papers: When Scary is Funny

Posted on October 27, 2018 by Kellee Pratt

 

When Scary is Funny…

Autumn is such a beautiful and fun time of year. With it, come the crisp leaves and cooler temps but also all the Halloween fare, including the spooky comedy films. As a kid, these films were usually on the lighter side of horror, and they continue to charm me decades later.

People have always had a fascination with being frightened. But what’s really interesting is its close connection to comedy. We enjoy being scared, but only when deep down we know we are actually safe (from roller coaster rides to watching vampires on a screen). It’s the tension and buildup of fear, followed by the sudden relief that jolts us with exhilaration. Laughter is the perfect relief to cut through all that scary tension.

Don Knotts the ghost and mr chickenDon Knotts, The Ghost and Mr. Chicken

Early filmmakers like Alfred Hitchcock knew how addictive this tasty combination of fear and laughter could be. Going back to Universal Horrors, it is clear that the most successful classic horrors do well with splashes of humor (i.e. Una O’Connor in Bride of Frankenstein (1935)). And as many genres go, the evolution inevitably will progress into parody. As such, some of the best horror films and ‘bits’ evolved into comedy gold.

Abbott_and_Costello_Meet_Frankenstein_frankenstein, werewolf, draculaPublicity still for Abbott and Costello Meet Frankenstein

One classic comedy team who successfully built an entire career on mastering the art of making scary funny is the hilarious duo, Abbott and Costello. Lou Costello was always the lovable, child-like, physical-comedy clown we rooted for but was fated to find trouble at every turn. His hilarious over-reactions in stark contrast to Bud Abbott’s straight man is how we might respond if stuck in a jam, or facing down iconic Universal Horror legends. Based on a mix of Universal Horror monster figures and themes, and successful Abbott and Costello vaudeville bits, a string of horror comedy films emerged. They were immensely popular – and remain timeless classics.

Here are examples of their best:

HOLD THAT GHOST (1941)… look for Shemp as a soda jerk, the Andrew Sisters, and a haunted hotel. The famous ‘moving candle routine’ was the inspiration for this film.

abbott and costello hold that ghost moving candleJoan Davis, Costello and Abbott in Hold That Ghost

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ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948)… brilliant ensemble of Bela Lugosi as Dracula, Glenn Strange as Frankenstein’s creature, Lon Chaney, Jr. as the Wolfman, with a voice cameo of Vincent Price as the Invisible Man. This is their funniest of the bunch, in my opinion. It’s brimming with constant bits and fast-paced slapstick scenes with memorable lines such as…

Wilbur (Costello), after being chased by Dracula (Bela Lugosi) and his assistant Sandra (Lenore Aubert), starts to ask his buddy Chick (Abbott) a question…

Chick: I’ll bite.
Wilbur: No, you gotta stand in line.

When yet another attractive woman pursues Wilbur, Chick is dumbfounded.

Chick: I don’t get it. Out of all the guys around here that classy dish has to pick out a guy like you.
Wilbur: What’s wrong with that?
Chick: Go look at yourself in the mirror.
Wilbur: Why should I hurt my own feelings?

abbott and costello meet frankenstein with draculaYou know there’s no such a person as Dracula 🙂

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ABBOTT AND COSTELLO MEET THE KILLER, Boris Karloff (1949)… originally scripted as a vehicle for Bob Hope, with a female playing Karloff’s role, this production was reworked to cater to the public’s demand for another Abbott and Costello spooky comedy. Karloff portrays a scheming Swami with deadly intentions and hypnotic skills.

Swami Talpur (Boris Karloff): Perhaps you should choose the manner of your death. How would you like to die?
Freddie Phillips (Costello): Old age.

abbott and costello meet the killer boris karloffAbbot, Costello and Boris Karloff

…..

ABBOTT AND COSTELLO MEET THE INVISIBLE MAN (1951)… not as much of the typical monster scares as we see in some of the others, but just as many funny gags galore. This time there are a few themes mixed in beyond scary and funny. Bud and Lou jump into the boxing ring with an invisible friend. As bumbling detectives who take on the mob (with a mistrusting blonde, a mobster familiar face of Sheldon Leonard and frequent copper William Frawley), this horror comedy genre nearly crosses over into the parody world of noir.

abbott and costello meet the invisible manAbbott and Costello, with Arthur Franz in Bud Abbott Lou Costello Meet the Invisible Man

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ABBOTT AND COSTELLO MEET DR. JEKYLL AND MR. HYDE (1953) …  this time Karloff returns and takes on a new role as the transforming doctor…

abbott and costello meet dr jekyll and mr hydeCostello meets Mr. Hyde…

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A friend of mine, Tom Meyers, Executive Director of the Fort Lee Film Commission in Lou Costello’s home state of New Jersey, is a friend of Costello’s surviving adult children (Chris and Paddy), and had this to add…

“Being born and raised in the same state that gave birth to Bud and Lou, I can safely say all of us in New Jersey truly believe scary is funny. Hell, everything is funny when you live in a state as small and crowded as our Garden State. Nowhere is that truer on film than in the classic, Abbott and Costello Meet Frankenstein. One of the greatest lines in cinema history, right up there with ‘Play it again Sam’ for me, is when Lon Chaney tells Lou Costello ‘Every night when the moon is full I turn into a wolf’ and Lou retorts with that singular Jersey-style accent, ‘You and twenty million other guys,’ – upon which Lon threatens to tear poor Lou limb from limb and Lou asks Bud ‘Is that serious? and Bud offers these comforting words, ‘He’ll murder ya!’  Need I say more?”

fort lee film commission

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Some of the other classic comedians who mastered this art of creating hilarity when scared are: Don Knotts, Jerry Lewis (especially when paired with Dean Martin), Danny Kaye, Red Skelton, Bob Hope (often when paired with Bing Crosby), and Laurel and Hardy.  While Stanley Laurel was always the more quietly expressive side of the duo, even Hardy could not help but be spooked himself in the presence of a ghostly figure. Take a look at this clip from The Live Ghost (1934):

Martin and Lewis (with Lizabeth Scott) come across a haunted island with cameos of Hope and Crosby in a hilarious ending in Scarred Stiff  (1953):

This style of a duo facing the same situation with 2 very different perspectives is a popular setup – with one on the receiving end of a frightening environment (the slapstick), and the other (the straight) blithely unaware, and assuming extreme reactions are all in their pal’s head. Meanwhile, the audience is the informed voyeur as the entire spooky scene plays out, laughing at a safe distance. But it wasn’t always duos that took on this genre. Sometimes a soloist excelled. Dominating the nervous and jittery comics of the 1960s, Don Knotts was “the world’s most brave coward” in The Ghost and Mr. Chicken (1966):

Bob Hope took on a haunted Cuban castle, replacing his frequent sidekick of Bing Crosby with lovely Paulette Goddard, in The Ghost Breakers (1940). Here’s the trailer:

Occasionally, frighteningly funny classics were a group effort. OUR GANG had more than a few howlers. Alfalfa, Porky, and Buckwheat go sleuthing as amateur detectives in an amusement park haunted house on Long Island in Little Rascal’s Hide and Shriek (1938). Take a peek:

Other popular comedians of this genre were African American actors whose careers were built upon racist stereotypes, especially prevalent in the 1930s – 1950s. Willie Best (Bob Hope’s costar in The Ghost Breakers) and Mantan Moreland are just two examples of the many talented actors who were typecast within this form of racism.

Plenty of ghost theme films were made during the studio era. Often these spirits were relatively harmless, perhaps quirky, but simply ‘stuck’ so it’s up to the living to help them ‘move on’. But I cannot think of any modern day comics who exhibit this specific style of horror comedy built on the foundation of expressing ‘funny fear’ with equal zeal as the classics. When I revisit ones like the above examples, they continue to delight me with spooky fun, every single time to this day. I’m sure I missed more than a few – who are your favorites?

…..

–Kellee Pratt for Classic Movie Hub

When not performing marketing and social media as her day gig, Kellee Pratt writes for her own classic film blog, Outspoken & Freckled (kelleepratt.com). Kellee teaches classic film courses in her college town in Kansas (Screwball Comedy this Fall). Unapologetic social butterfly, she’s an active tweetaholic/original alum for #TCMParty, member of the CMBA, Social Producer for TCM (2015, 2016), and busy mom of four kids and 3 fur babies. You can follow Kellee on twitter at @IrishJayHawk66.

 

Posted in Posts by Kellee Pratt, The Funny Papers | Tagged , , , , , , , , , , , , , , | 8 Comments

Silents are Golden: Just What the Heck Was German Expressionism?

Posted on October 18, 2018 by Lea Stans

Silents are Golden: Just What the Heck Was German Expressionism?

Many of you have likely seen The Cabinet of Dr. Caligari, or at least have seen a few famous stills. The dramatic sets, the stylized costumes, the deliberately artificial look…it’s clearly the quintessential example of the famed German Expressionism genre. But have you ever wondered: what exactly was German Expressionism? How did it start, and why did it evolve the way it did? And why is it still so influential to this day?

The Cabinet of Dr. Caligari (1920) Set StillSet Still from The Cabinet of Dr. Caligari (1920).

To find our answers, we have to do a bit of digging through art history, WWI history, theater history, and of course, history from early 20th century Germany.

Now, throughout the 19th century, the world had grown increasingly industrialized. By the time the 20th century came along, factory work was commonplace and communication and transportation were speeding up at an amazing rate. With this faster pace of life came an interest in all things fresh, new, and experimental, and it wasn’t long before the art world took notice.

Les Demoiselles D’Avignon by Picasso.In a rather noticeable way. (Les Demoiselles D’Avignon by Picasso.)

Many cutting-edge painters, sculptors, architects, novelists, and playwrights began experimenting with modernism and avant-garde, creating a number of movements you’re familiar with from art history books: Cubism, Surrealism, Fauvism, Futurism, and so on. These movements were inspired by psychology and emotion instead of the traditional, realistic styles of art (which, ahem, explains a lot of modern artists’ work). This was perhaps part of the growings pains of the era, as artists and intellectuals gingerly tried to wrap their minds around the strange, industrialized new way of life.

Many of these art movements began in Europe, Germany being one of the countries on the forefront. A tiny group of architecture students, called Die Brücke (The Bridge), is credited with creating “Expressionism” in 1905. They were interested in modernism, traditional German woodcuts, and tribal art from Africa and Oceania, and decided to combine these eclectic interests into their own, uniquely emotional style: German Expressionism.

Street, Berlin by Brücke artist Ernst Ludwig KirchnerStreet, Berlin by Brücke artist Ernst Ludwig Kirchner.

Other German artists took notice and started experimenting with similar looks. Around the same time, German theater (which was a huge influence on both Europe and the U.S.) was also experimenting with daring new set designs and types of storytelling. In time, the dramatic Expressionist art that was in circulation was being reflected in the theater, too, especially in the productions of theater giant Max Reinhardt. Reinhardt would use nothing less than the very latest in set design and encouraged the use of dramatic lighting (such as using spotlights to illuminate a face onstage, leaving everything else in darkness). Expressionism fit his visions very well.

And with all this Expressionism seeping its way into so many forms of art, it makes sense that it would show up in the newest artform–the cinema. The earliest example was probably the horror film The Student of Prague (1913), often considered the first German art film. The psychological undertones of the story, about a student who gives a sorcerer his reflection in a mirror in exchange for unlimited wealth, fascinated many at the time and paved the way for more stylized cinematic tales with dark themes like The Golem (1915) and Homunculus (1916) (all directed by Paul Wegener).

The Student of Prague (1913) German Expressionism in FilmThe Student of Prague (1913).

In 1914 World War I began, which had an incalculable effect on the shaping of modern history. During the war Germany decided to stop the import of foreign films and closely control its own media, essentially isolating itself for those four long years. The German film industry, having to make up for the lack of films from the U.S. and other top filmmaking countries, had to make do all by itself. And thus, from 1914 to 1918 the specific form of German Expressionism (not merely “Expressionism,” which is a vaguer term) began to evolve.

Set designers and directors essentially took a step back, sized up everything Expressionism stood for – emotion and psychology, stylization instead of realism, symbolism – and decided, “this is all well and good, but is it extreme enough?”

A scene from the 1919 play Transfiguration by Ernst Toller.A scene from the 1919 play Transfiguration by Ernst Toller.

They began paring sets down to the most basic, stylized elements they could. Where once unusual angles would do to create a moody atmosphere, designers began to warp the walls, doors, and furniture of their sets. The overall look became more and more stark and two-dimensional. Finally, the last vestiges of realism were abandoned altogether–shadows and light were painted right onto the scenery in broad, obvious brushstrokes. The sets served to reflect the psychological states of the characters in a way viewer wouldn’t be allowed to forget. (And the paint and flat cardboard props just happened to save a lot of money, too.)

The most famous (and perfect) example of this unhinged German Expressionism is, you guessed it, The Cabinet of Dr. Caligari (1920). Telling the tale of the somnambulist Cesare who’s used as a sideshow attraction by the nefarious Dr. Caligari, its bizarre, distorted sets have become iconic to generations of viewers. Similarly, stylized films followed, such as a Genuine (1920) and Raskolnikov (1923), although they couldn’t quite match Caligari’s genius.

Genuine (1920) Set Design German ExpressionismThe very odd Genuine.

Films that were less stylistically “out there” but still delved into dark, dramatic themes included Nosferatu (1922), Phantom (1922) and The Last Laugh (1924).

Nosferatu (1922) Still German ExpressionismNosferatu

The most extreme example of German Expressionism by far is Von morgens bis mitternachts, or From Morn to Midnight (1920). Concerning a bank clerk who abandons his family to pursue a reckless life in the city, the film was based on a play produced by the Expressionist-loving Karlheinz Martin. Like the play, it took stylization to its absolute limit. The sets are all matte black, with details in the form of white painted lines and dabs. The dry, wobbly brushstrokes are as noticeable as humanly possible. Even the actors’ clothes and faces are streaked with paint. Not too surprisingly, the grand experiment that was From Morn to Midnight wasn’t repeated.

From Morn to Midnight (1920) Set Design German ExpressionismUnique Set Design in From Morn to Midnight (1920).

True German Expressionism, with its wild two-dimensional sets, only lasted a few years, although a more toned-down version continued in films like Metropolis (1927) and Sunrise (1928). But everyone who loves movies has, in a way, loved German Expressionism. It would be a big influence on film noir and, of course, would have an incalculable effect on the horror movie genre itself.

…

–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.

Posted in Posts by Lea Stans, Silents are Golden | Tagged , , , , , , , , , , , , , , , , , | 2 Comments

Vitaphone View: Early Talkies in Widescreen? Yup!

Posted on October 17, 2018 by Hutchinson, Founder of The Vitaphone Project

Vitaphone View: Early Talkies in Widescreen? Yup!

In previous blogs, I’ve discussed just how massive and fast the transition to sound films was. It was also very expensive. Consider for example the cost of wiring over 12,000 theatres for sound. While some opted to go the disk-only route using cheap knock-off brand turntables, the average cost to properly wire one theatre for sound with Western Electric equipment was about $25,000. That’s $370,000 in 2018 money – Per theatre! Most theatres had to add a second projectionist to handle the hectic process of switching film and disks from one projector to the other. And as the sound came in, studios began extracting payment on every ticket sold, in addition to the daily rental costs.

On the studio side, every stage had to be soundproofed and fully equipped to make talkies. Now sound engineers had to be hired and paid, new cameras, microphones and sound editing equipment purchased. And the loss of foreign market, at least at the transition to talkies, meant less revenue coming in. Filming in Technicolor, whether for individual musical sequences or, like Warner Bros On with the Show and Gold Diggers of Broadway (both 1929) meant drastically higher raw footage and processing costs.

So it is easy to see why William Fox met vigorous resistance when he rolled out the studio’s new 70mm widescreen process – dubbed Grandeur – amid these skyrocketing costs and industry upheaval.

Widescreen motion pictures can trace their roots back to 1897 when a 63mm (vs standard 35mm width) George Eastman stock was used to film the entire 100-minute Corbett-Fitzsimmons fight. In 1926 and 1927 pioneer filmmakers J. Stuart Blackton (a founder of silent studio Vitagraph) teamed with inventors George K. Spoor and John Berggren to produce two films in their Naturalvision process which used 63.5 mm film in a 2 to 1 frame ratio. These failed to spur interest in the industry for widescreen pictures.

35 vs 70mm comparison

A  comparison of standard 35mm film vs 70mm Grandeur widescreen film.

Vanda Krefft ’s superb and comprehensive recent biography on Fox, The Man who Made the Movies (Harper, 2017) details the mogul’s efforts to promote his Grandeur system to the entire industry. But like many inventions, initially, his timing was just horrible. Coming on the heels of massive expenditures by the studios on converting to sound and wiring thousands of theatres, any momentum the system may have had was then killed by the stock market crash in October of 1929.

Advertisement Happy Days (1930) Grandeur PicturesAd for Happy Days (’30).

The previous month, Fox premiered Grandeur with his The William Fox Movietone Follies of 1929 at New York’s Gaiety Theatre. As Krefft notes:

“The only Grandeur projectors in existence [3] installed at a total cost of $150,000 plus $5000 for the special screen, were prototypes… Adolph Zukor [Paramount] and RCA’s David Sarnoff visited Fox to urge him to call off the event. It was too soon for another industry upheaval, they argued.”

Carathy Circle Theatre Program Sample 35mm 70mm Grandeur Film SamplesInside the Carthay Circle Theatre program wee taped sample of both standard 35mm film and the wider 70mm Fox Grandeur film.

Fox plowed ahead with the other studios either ignoring wide screen entirely or attempting token efforts, mainly in shorts as a novelty. After using Grandeur in an edition of his Fox Movietone Newsreel (“It Speaks For Itself”), the studio used the process in his musical Happy Days (’30), the John McCormack feature Song O’ My Heart (’30) (never screened publicly in widescreen) and his all-in western feature The Big Trail (’30), directed by Raoul Walsh and starring John Wayne at the beginning of his long career.

The Big Trail (1930) John Wayne Widescreen Title ScreenThis is the Grandeur widescreen opening title for Fox Film’s The Big Trail (1930), starring John Wayne.

The Big Trail was shot simultaneously in standard 35 mm and in 70 mm Grandeur. Costing $1.8 million, it was the most expensive feature Fox Film had ever made up to that time. But theatres were financially unable to install the equipment needed to show the feature to best advantage in Grandeur. Ultimately, 99 % of patrons saw it in standard 35mm, and the picture lost over $1 million. And while costs were a clear stumbling block to Grandeur’s success, Krefft points out that “resistance to Grandeur arose mainly from concern over a lack of standardization — other companies had been developing rival widescreen technologies and different aspect ratios.”

One of the few Grandeur features to survive completely in that format (The Bat Whispers (UA/’30) and the final reel of Happy Days (Fox/’30) are the others), The Big Trail has since been recognized as a major achievement in filmmaking and in 2006, The Library of Congress added it to its National Film Registry.

The Bat Whispers (1930) Wide Title ComparisonComparison of the opening title cards for The Bat Whispers (UA/’30). Left is 35mm and right is Grandeur widescreen version.
Happy Days Cast Autographed 1930Autographed cast photo from William Fox’s Happy Days (’30), filmed in both standard 35mm and 70mm Grandeur versions.  The final reel survives in Grandeur.

But after it flopped in late 1930, The Big Trail closed the curtain on widescreen motion pictures for 23 years. By 1953, ironically it was the same studio, Fox, that developed and promoted a new widescreen process dubbed Cinemascope. It used an anamorphic lens that “squeezed” the picture onto 35mm film and then the projector lens “unsqueezed” it to create the 2.4/ 2.55 to 1 screen aspect ratio. Launched to fight the erosion in theatre attendance due to television, this time it was a success.

Happy Days (1930) Screen SplitsA visualization of how the wider 70mm Fox Grandeur film could show more on the screen as compared to standard 35mm film.

Widescreen films were not the only technology victims in the early 1930’s. In 1931, RCA Victor launched a new 33 1/3 rpm home phonograph and a line on “long playing” records to be used on them. It flopped, again primarily due to poor timing in the midst of the depression. Television, too, was slowed in its development during the thirties, due not only to the Depression but also because of commercial radio’s tremendous success and the industry not wanting to undermine it.

Grandeur Movietone Film ComparisonGrandeur vs 35mm frame comparisons.

Both long-playing records and television for the home finally had their turn to succeed in the late 1940’s. But today William Fox’s Grandeur is a long-forgotten footnote in film history.

———–

The following list of widescreen shorts and features was kindly provided by Louie Despres:

Grandeur films made
Fox Grandeur News (Sept 17, 1929) short
Niagara Falls (Sept 17, 1929) short
Fox Movietone Follies of 1929 (Sept 17, 1929) – only parts of the film were shown in Grandeur
Happy Days (Feb 13, 1930)
Hudson River Bridge (March 1930) short
Song O’ My Heart (March 1930) – never screened in Grandeur
The Big Trail (Oct 2, 1930)

Grandeur films that exist
MoMA has preserved the following in 35mm anamorphic:
Grandeur Test Shots
Fox Granduer News & outtakes
One reel of Happy Days– the minstrel number, the final reel
Hudson River Bridge
The Big Trail – survives complete

Other Grandeur style films
Magnachrome (35mm 2-perf)
Oui, Oui Marie (Universal, Sept 1930) short – one reel in widescreen found in 2017.

MAGNAFILM (56mm)
You’re in the Army Now (Paramount, 1929) short

MAGNIFILM (65mm)
The Bat Whispers (United Artists, 1930) – survives complete

NATURAL VISION (63.5mm)
Campus Sweethearts (RKO, 1929) short – never shown in widescreen. Lost.
Danger Lights (RKO, November 1930) – survives in 35 mm only
Niagara Falls (November 1930) Vitaphone short

REAL-LIFE (70mm neg/35mm print)
Billy the Kid (MGM, Oct 1930)
The Great Meadow (MGM, March 1931) – never shown in widescreen

VITASCOPE (65mm)
Larry Ceballos Review (Warner Bros, Vitaphone July 1930 short
A Soldier’s Plaything (Warner Bros, July 1930) – not released in widescreen
Kismet (Warner Bros, Oct 1930) – lost
The Lash (Warner Bros, Dec 1930) – survives in 35 mm only

…

– Ron Hutchinson, Founder of The Vitaphone Project, for Classic Movie Hub

You can read all of Ron’s Vitaphone View articles here.

Ron is widely recognized as one of the country’s foremost film historians, with special emphasis on the period covering the transition to sound (1925-30) and early attempts to add sound to film. As the founder of The Vitaphone Project, he has worked with Warner Brothers, UCLA, LOC and private collectors worldwide to find previously lost soundtrack discs and restore early sound shorts. Ron’s unique knowledge has  been sourced in over 25 books as well as documentaries for PBS and TCM, and commentary for “The Jazz Singer” DVD boxed set. He was awarded the National Society of Film Critics “Film Heritage Honor” for his work in film preservation and discoveries, and was the presenter of rare Vitaphone shorts at the 2016 TCM Film Festival. For more information you can visit the Vitaphone Project website or Facebook Group.

And, if you’re interested in exploring some of these newly discovered shorts and rarities, you can pick them up on DVD via amazon:

               

 

Posted in Posts by Ron Hutchinson, Vitaphone View | Tagged , , , , | 2 Comments

Celebrating the Fall with a Kino Classics Giveaway (Blog/Facebook)

Posted on October 14, 2018 by Annmarie Gatti

The Fall Celebration Continues with Kino Lorber!
DVD/Blu-Ray Giveaway, Winner’s Choice of 4 Classic Titles

If you didn’t win our Twitter contest earlier this month, no worries, there’s still two more chances to win our Kino Lorber fall giveaway – this time via the Facebook/Blog version of  the Contest, courtesy of Kino Lorber. Each of our two winners will be able to choose one prize from the following four titles – Trapeze starring Burt Lancaster, Tony Curtis and Gina Lollobrigida, The Farmer’s Daughter starring Loretta Young, Joseph Cotten and Ethel Barrymore, A Strange Adventure starring Ben Cooper and Joan Evans, and I Walk Alone starring Burt Lancaster, Kirk Douglas  and Lizabeth Scott.

In order to qualify to win a prize via this Facebook/Blog contest giveaway, you must complete the below entry task by Saturday, Oct 27 at 10PM EST. We will pick our two winners via a random drawing and announce them on this Blog the day after the contest ends (Sunday Oct 28).

TrapezeTrapeze starring Burt Lancaster, Tony Curtis and Gina Lollobrigida

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Here are the titles you can choose from:

Trapeze: Blu-Ray or DVD available. Screen icons Burt Lancaster (Elmer Gantry), Tony Curtis (The Vikings) and Gina Lollobrigida (Woman of Straw) form a troubled love triangle in the realistic, suspenseful film shot in the actual Cirque d’Hiver in Paris.

The Farmer’s Daughter:  Blu-Ray or DVD available. Loretta Young (The Stranger) is The Farmer’s Daughter – blonde, brash and so hilariously heartwarming that she won the 1948 Academy Award for Best Actress in a Leading Role. As Katrin, she romps through one uproarious romantic adventure after another, an independent farm girl who becomes a politician and captures the heart of a Congressman along the way.

A Strange Adventure:  Blu-Ray or DVD available. Brand New HD Master – From a 4K Scan of the 35mm Original Negative by Paramount Pictures Archive! Legendary serial and western director William Witney (Sunset in the West, Daredevils of the Red Circle) directed this film noir about a trio of armored-car robbers who make their getaway by forcing a young hot-rodder (Ben Cooper, The Last Command) to be their driver.

I Walk Alone:  Blu-Ray or DVD available. Brand New HD Master – From a 4K Scan of the 35mm Safety Dupe Negative by Paramount Pictures Archive! Byron Haskin (The War of the Worlds, Too Late for Tears) directed this classic film noir about two bootleggers on the lam.

the farmers daughter movie poster
The Farmer’s Daughter starring Loretta Young, Joseph Cotten and Ethel Barrymore

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ENTRY TASK to be completed by Saturday, Oct 27 at 10PM EST…

1) Answer the below question via the comment section at the bottom of this blog post

THE QUESTION:
Why is it that classic movies are special to you?

ALSO: Please allow us 48 hours to approve your comments. Sorry about that, but we are being overwhelmed with spam, and must sort through 100s of comments…

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You can visit Kino Lorber on their website, on Twitter at @KinoLorber or on Facebook.

Please note that only Continental United States (excluding Alaska, Hawaii, and the territory of Puerto Rico) entrants are eligible.

And — BlogHub members ARE eligible to win if they live within the Continental United States (as noted above).

For complete rules, click here.

And if you can’t wait to win any of these titles, you can click on the images below to purchase on amazon :)

             

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Good Luck!

–Annmarie Gatti for Classic Movie Hub

Posted in Contests & Giveaways, Posts by Annmarie Gatti | 12 Comments

I Am Max: A Max Linder Docudrama Film

Posted on October 12, 2018 by Annette Bochenek

I Am Max: A Max Linder Docudrama Film

Silent film fans all over the world have lauded their favorite on-screen comedians, particularly enjoying the works of legendary comedians such as Charlie Chaplin, Buster Keaton, and Harold Lloyd. While each of these comedians had a distinct sense of style and impacted the film industry in a number of ways, there is one name that is often overlooked: Max Linder.

max linder

Hailing from France, Linder was an actor, director, screenwriter, producer and top-notch comedian during the silent film era. His “Max” persona onscreen was one of the first recurring characters in film. Moreover, Linder has often been cited as the first international film star.

Rejecting his family’s vineyard business, Linder fell in love with the theater and quickly garnered awards for both tragedy and comedy. He soon became a contract player in the Bordeaux Theatre des Arts, performing in both comedic and dramatic plays. Later, Linder would apply for work at the Pathe Freres in Vincennes, securing bit parts in slapstick comedies.

Between 1905 and 1907, Linder would appear in dozens of short comedy films in supporting roles. His first appearance as “Max” was in The Skater’s Debut (1907), in which he performs a rendition of the “windmill routine” by spinning his cane around, predating Chaplin’s The Rink (1916). Thanks to the universality of silent films, by 1910, he would become one of the most popular film actors in the world and the highest paid entertainer of the day.

Tragically, Linder suffered from mental illness, an inflated ego, and difficulty in coping with the pressures that celebrity brought. He died at age 42, committing suicide with his wife, leaving behind an infant daughter, Maud, and the comedies that audiences all over the world enjoyed. Though Linder was a mentor to Chaplin, his name is seldom remembered when reflecting upon the great silent film comedians.

i am max: max linder documentary

In response, Producer and Director Edward Porembny seeks to tell Linder’s story through I Am Max, a docudrama about the life and career of Linder. Over time, Porembny and his team have established international relationships with Prune Berge of the Max Linder archives, and the Library of Congress in addition to various archives in Moscow, Tokyo, Los Angeles, Cuba, and across all of Europe. According to Porembny, “They are coming from various different countries across the globe and are adapting what they know the best to create something completely new about Max.”

Porembny’s work is also supported by the Niles Essanay Silent Film Museum in Fremont, California, which has provided a wealth of archival footage including Linder films and the actuality footage (silent film-era establishing street scenes and behind-the-scenes shots) that is helping to bring the story to life.

Porembny is also employing various creative techniques to depict Linder’s life. To further help audiences feel that they are discovering Linder’s life as it happens, his team is adding dialogue and color to archival footage and to Linder’s movies, re-using this historic footage in a new way. They are staging interviews with actors portraying those closest to Linder to accent the illusion, in an effort to present Linder’s life as artfully and creative as the man himself. The best part? They are even using a Bell & Howell 2709B hand crank camera from 1922 to shoot brand new footage. In short, this project employs an innovative approach to celebrating an innovative man.

max linder douglas fairbanks charlie chaplin les vedettes de cinema

The following institutions are already supporting the project, in addition to Porembny’s active crowdfunding campaign:

  • AMP Polska (Poland)
  • Canal +, Cine +  (France)
  • CNC (French Film Institut) (France)
  • Creative Media Bruxelles and Creative Media TV Broadcasting (Bruxelles)
  • IDA (USA)
  • Niles Essanay Silent Film Museum (USA)
  • PISF (Polish Film Institut) (Poland)
  • Politechnika Warszawska (Poland)
  • Portrait & Campagne (France)
  • RTBF (Belgium)
  • TVP (Poland)
  • University of Jeruzalem
  • Wide House (sales company/distributor) (France)

 

At this point, Porembny and his team have set up a crowdfunding campaign page with various perks available to contributors in an effort to secure the funds that will help them put the finishing touches on the film. Funds will be used for the film’s production efforts, including filming additional footage, as well as the digitization, colorization, and sonification of the original footage.

While Porembny’s primary goal is to craft a fitting tribute to Linder, his project also has another purpose: “In a time during which social media can make anyone a public figure, we hope our film provokes a larger discussion – especially among young people – on healthy public lifestyles, social values and priorities, the dangers of a self-destructive lifestyle, and alternatives to suicide.”

If you are a Linder fan or new to his work, consider exploring his films and contributing to the I Am Max campaign.

Photos courtesy of I Am Max campaign.

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–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 of Chicago, Illinois, is a PhD student at Dominican University and an independent scholar of Hollywood’s Golden Age. She manages the Hometowns to Hollywood blog, in which she writes about her trips exploring the legacies and hometowns of Golden Age stars. Annette also hosts the “Hometowns to Hollywood” film series throughout the Chicago area. She has been featured on Turner Classic Movies and is the president of TCM Backlot’s Chicago chapter. In addition to writing for Classic Movie Hub, she also writes for Silent Film Quarterly, Nostalgia Digest, and Chicago Art Deco SocietyMagazine.

Posted in Posts by Annette Bochenek, Silent Films | Tagged , | 3 Comments