Western Roundup: Canyon Passage and The Autry

Western Roundup: Canyon Passage and The Autry

Canyon Passage (1946) Movie PosterCanyon Passage (1946) Movie Poster

Classic film fans in Southern California are fortunate to have a wide variety of opportunities to see classic films, including Westerns, on a big screen.

I recently had the chance to see a 35mm screening of the wonderful Western Canyon Passage (1946) at The Autry Museum of the American West.

As I mentioned here in my Christmas column, the museum was founded by Gene Autry in 1988. Along with his co-founders, his wife Jackie and Mr. and Mrs. Monte Hale, Gene built a museum to “exhibit and interpret the heritage of the West and show how it influenced America and the world.” The museum is also “dedicated to exploring an inclusive history of the American West,” including the histories of Indians and other minorities.

Autry Museum EntranceAutry Museum of the American West in Los Angeles, California

The museum houses over 600,000 artifacts and archival materials. As part of chronicling myriad aspects of the Western experience, the museum devotes considerable space and resources to Western films — no surprise, given the career histories of cofounders Autry and Hale! More on the museum will follow later in this column.

The museum has an ongoing film series, “What is a Western?” which is dedicated to exploring Westerns “and the ways in which they shape our understanding of the American West.” Canyon Passage was shown as part of this series, preceded by a very informative introduction by film historian Jeremy Arnold.

Autry Museum Jeremy Arnold Film HistorianFilm Historian, Jeremy Arnold

Jeremy shared the information that the film was based on a novel by Ernest Haycox, who also wrote the story which inspired Stagecoach (1939). The film Canyon Passage was originally envisioned to serve as a reunion for Stagecoach stars John Wayne, Claire Trevor, and Thomas Mitchell.

I agree with Jeremy that as marvelous as those actors are, their presence would have made Canyon Passage an entirely different film, and I’m glad that producer Walter Wanger ultimately cast Dana Andrews, Susan Hayward, and Brian Donlevy. (I do agree with a suggestion I read that Robert Preston would have been ideal alternate casting for Donlevy’s role, though Donlevy is excellent.)

Canyonn Passage (1946) Brian Donlevy and Susan HaywardBrian Donlevy and Susan Hayward in Canyon Passage (1946)

Director Jacques Tourneur had made a name for himself with low-budget RKO thrillers such as Cat People (1942) and I Walked with a Zombie (1944), and his most recent film was the Gothic romantic mystery Experiment Perilous. With Canyon Passage, Tourneur had the opportunities of a big budget and extensive location filming in Oregon, and he made the most of it.

As Jeremy noted, part of the film’s uniqueness is its very green outdoor setting, filmed by Edward Cronjager at sites including Oregon’s Diamond Lake and Crater Lake. There have been relatively few films made in Oregon, especially as of the mid-’40s, and with so much of the film’s running time shot outdoors, it gives the movie a fresh and authentically Western feel in its depiction of a frontier town in 1856.

When I first saw the film about 15 years ago, I was a bit confused by its loose plotting; indeed, Jeremy challenged viewers to be able to tell him the plot after the movie! I now see the storytelling style as quite modern, using the “elliptical” methods of a program like Mad Men which doesn’t show everything, only certain high points, and flits from character to character, with some key moments taking place offscreen. Although Logan (Andrews) and Lucy (Hayward) are front and center, Canyon Passage is truly the story of an entire frontier community.

 Canyon Passage (1946) Dana Andrews and Susan HaywardDana Andrews and Susan Hayward Canyon Passage (1946).

Andrews’ character is a merchant who runs a pack mule service to his remote Oregon town. He becomes better acquainted with Hayward’s Lucy, who’s engaged to his friend George (Donlevy), when he escorts her home from Portland.

There is clearly an attraction between Logan and Lucy, yet Lucy remains loyal to George and Logan eventually proposes to Caroline (Patricia Roc), an orphaned young woman who lives with his friends the Dances (Andy Devine and Dorothy Peterson). Caroline’s acceptance of Logan’s proposal disappoints Vane (Victor Cutler), a young man who works for Logan who also loves Caroline.

Canyon Passage (1946) Patricia RocPatricia Roc in Canyon Passage (1946).

The plot, such as it is, is about the characters’ relationships and challenges, whether it’s gradually changing romantic alliances, George (Donlevy) and his gambling addiction, Logan dealing with a bully (Ward Bond, unforgettably evil), or an Indian uprising; we see the community at its best and worst, whether it’s the quick “frontier justice” trial of an accused murderer or the townspeople coming together to build a cabin for newlyweds.

The maturity and kindness of most of the characters in their personal relationships is striking; Lucy and Logan remain committed to George and Caroline until freed by circumstances, and Logan unhesitatingly gives George $2000 to clear up his gambling debts before marrying Lucy. (Sadly, George’s addiction is such that he cannot take advantage of the chance at a fresh start.) The self-possessed Lucy may enjoy kissing Logan, at George’s instigation, but she’s no flirt. The respectful way the lead characters treat one another stands in stark contrast to the bullying of Honey Bragg (Bond), and one of the film’s tragedies is the way George slowly slips into emulating Bragg’s evil behavior himself.

In my thinking, a great film reveals more to the viewer each time it’s seen. It’s been clear to me on previous viewings that George has innate laziness, along with the torments of addiction, but this time I was particularly struck by the way he exists outside the community. During the house raising he’s finely dressed, sitting under a tree with Lucy; it’s not simply that he won’t get his hands dirty with hard work, but emotionally he doesn’t feel connected to the others or desire to help them, as he already has one foot “out the door” of the town.

Canyon Passage (1946) Foreign Movie PosterForeign Movie Poster for Canyon Passage (1946).

I also particularly loved the scene where Logan and Vane find Caroline wandering in the forest after the Indian attack. The way Vane says “Caroline,” with relief, love, and longing in his voice, really affected me — as it does Caroline in the film. She looks at Vane and, despite her trauma-induced confusion, seems to see him clearly for the first time; indeed, Vane’s gentleness seems to help snap her back to reality.

Given the lack of ardor in Logan’s original proposal to Caroline, asking if she likes him enough to marry him, it was fitting that she politely released him from his obligation in favor of Vane. Not only would this give Caroline her goal of a permanent home, but she would also have a man who truly loved her; Logan, meanwhile, is clearly better matched with the more adventurous Lucy, who is willing to spend days on the trail and can support Logan’s need to travel as he builds his business. As Logan leaves the homestead, in the distance we see him shaking Vane’s hand, giving him his blessing, and we know that all will be well for both couples.

One of the joys of a film of this era is the cast; besides those actors already named, the town is filled with great faces like Hoagy Carmichael, Lloyd Bridges, Fay Holden, Stanley Ridges, and Halliwell Hobbes. Carmichael plays a key role as a sort of roving minstrel and town spy/gossip; he co-wrote the Oscar-nominated “Ole Buttermilk Sky” for this film.

Canyon Passage (1946) Ole Buttermilk SkyOle buttermilk sky – I’m a-keeping my eye peeled on you – What’s the good word tonight – Are you gonna be mellow tonight?

The many talented people who made this film combined efforts to provide a richly rewarding viewing experience, and as the final notes of “Ole Buttermilk Sky” fade away, the viewer is both sad to part ways with the characters yet very glad to have spent time in their company.

I hope to return to the Autry for future Western screenings, starting with Budd Boetticher’s The Tall T (1957) in a few weeks.

As described at the top of this post, the Autry has exhibits on many facets of the Western experience, including “real” and “reel.” The museum houses an impressive collection of Western art, with cinema and art history coming together in the fact that there is a gallery named for Western actor and artist George Montgomery:

The Autry Museum Montgomery GalleryThe George Montgomery Gallery at Autry Museum

A peek at some of the movie Western memorabilia in the museum includes guns owned by (top to bottom) Ken Maynard, Buck Jones, and Leo Carrillo:

Autry Museum - Ken Maynard, Buck Jones, Leo Carillo - GunsKen Maynard, Buck Jones and Leo Carrillo’s movie memorabilia guns on display

Carrillo, besides being well known for playing Pancho in the TV Western The Cisco Kid, was also a significant figure in “real” California history; he was a preservationist who served on the State Beach and Parks Commission for years and played a key role in the state taking over Hearst Castle. Today his ranch is a museum, and a state park and an elementary school are named in his honor.

Guns owned (top to bottom) by Gail Davis, Tim Holt, and Gene Autry:

Autry Museum Gail Davis, Tim Holt, Gene Autry Movie gunsGail Davis, Tim Holt, Gene Autry’s movie memorabilia guns on display

The museum also has a gun owned by Wyatt Earp, who was the subject of my December column:

Autry Museum Wyatt Earp GunWyatt Earp’s gun #18

I’m particularly a fan of Buck Jones, who died tragically in the 1942 Cocoanut Grove fire in Boston, so it was quite special to see his saddle:

Aurty Museum Buck Jones SaddleBuck Jones’ saddle hanging in the Autry Museum

A section on singing cowboys includes this ukelele donated by Dick Foran‘s son:

Autry Museum Dick Foran UkeleleDick Foran’s Ukelele in the Autry Museum

The museum has many other film-related treasures, including costumes worn by John Wayne and Alan Ladd, Indian costumes donated by Iron Eyes Cody, a Norman Rockwell painting of Gary Cooper, and Western gear worn by Charles Starrett, Johnny Mack Brown, Hoot Gibson, Russell Hayden, and more.

I encourage my fellow Western fans who have the opportunity to go to Griffith Park in Los Angeles and pay a visit to The Autry!

 …

– 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 Museums, Posts by Laura Grieve, Western RoundUp | Tagged , , | 12 Comments

Vitaphone View: The View from the Vitaphone Projection Booth

Vitaphone View: The View from the Vitaphone Projection Booth

The life of the early Vitaphone projectionist was a tough one. Although well compensated at an average $150/week (about $2158 in 2018 dollars), it was not an easy job. In the silent days, there was normally just one projectionist and no worries about disks, adjusting sound during the film, loss of synchronization and then dealing with it promptly, or a myriad of other issues.

Vitaphone Projector Parts
Parts of a Vitaphone sound-on disk projector

While the talkie projectionists’ job was a little easier with the sound-on-film Fox Movietone system (no disks), we must remember that most theatres were equipped to show sound films in both disk and optical systems. So while the man in the booth might get a brief respite when a Movietone feature was playing, the next one might be from Warner Brothers or First National, and with disks to deal with.

We must remember that until 1930, the sound quality of Vitaphone disks was significantly superior to sound on film. All the major studios issued their features in both formats in order to accommodate as many theatres as possible. Early on, it became obvious that at least temporarily, there needed to be both a projectionist and an assistant in the booth to handle all the duties and ensure a smooth and crisis-free program. Consider all the early talkie projectionist had to do….

Vitaphone Projector Cuing up Disk
Vitaphone projection booth and cue-ing up a disk.

• Soundtrack disks, in duplicate, were shipped to the theatre in advance of the program. These were shipped in heavy wooden boxes along with the 35mm nitrate picture element. Duplicate disks were shipped both in case there was any breakage as well as if additional screenings went beyond the 20 (or 40) recommended plays of each disk. Disks for each reel were carefully placed in a steel storage cabinet designed for that purpose (see photo). Keep in mind that if a program consisted of a feature, a two-reel short, a cartoon and or travelogue a newsreel, and trailers for coming attractions, a single shipment might include 32 or more disks including the duplicates. It was expected that all disks would be returned to the local film exchange immediately after the play date was over. Otherwise, a $3.00 per disk change was supposed to be assessed. It is unclear if those penalties were ever actually enforced, and – fortunately for film preservation – many were not and survive today.

Vitaphone Disk Storage Cabinet Loews New Jersey
A steel Vitaphone disk storage cabinet, this one in the booth of the Loews Jersey booth.
Note there are enough slots to accommodate about forty different disks.

• In the Vitaphone disk system, there were at least two projectors. If you look at some of the accompanying photos of the booth and projectors set-up, imagine that one projector has the picture and disk for Reel 1 of a feature ready to go. The other projector is set-up for Reel 2. As soon as the first projector has completed showing Reel 1 and the projectionist has switched over to Reel 2, then the first projector must be cued-up for Reel 3. This process would continue throughout the entire program. The 16” disks were pressed such that two-sided disks had alternate reels, for example, 1 & 3, then 2 & 4. A one-reel short had just one single-sided disk while a two-reeler required two disks, one with reel 1 and the other for the other projector with reel 2. It is around this time that studios began printing changeover marks at the end for each reel.

• The projectionist and his assistant were not idle once the projector was cued-up and running. Most features came with detailed instructions on how to adjust volume and the fader (front & back sound) DURING each reel. It was highly recommended by the studio that the projectionist rehearse the adjustments in a trial run prior to the first screening. An example of why this time-consuming practice was needed can be seen in MGM’s instructions on The Rogue Song (’30). The booth personnel had to ride herd over the entire soundtrack and make adjustments. MGM warned: “ The desired volume during certain parts is considerably louder than has ever been considered conventional.” For most early talkies, any on-screen gunshot required a prompt lowering of the volume to avoid alarming the audience or harming the Western Electric equipment.

Paramount Vitaphone Disk Needles Projector
A packet of Paramount needles for use on Vitaphone projectors.

• Ensuring synchronization, of course, was essential. Contrary to Singin’ in the Rain, problems with keeping Vitaphone disks in synch with the picture were relatively uncommon. However, it did happen. The Western Electric manual gave guidance on how to handle problems. If the film broke, the disk, of course, continued to play. Immediate shutdown of that projector was advised, with fast splicing and re-threading of the film. Fully aware the rest of the reel would be out of synch, the guidance directed just living with it until the end of the reel. For shorts, no attempt was to be made to address the issue. Just switch to the next reel was the advice. Under normal circumstances, the projectionist placed the needle at the precise starting spot, marked by an arrow in the disks’ area around the label then placed the precise single starting frame in the projector gate. As one motor drove both the turntable and the film, all would stay in sync.

Cuing a Vitaphone Disk
Projectionist cue-ing up a Vitaphone disk by carefully placing the needle at the precise starting spot noted in the disk shellac with an arrow.

The Vitaphone disk system deficiencies were inherent in the system of synchronization, so sloppy presentation could yield disastrous results. A Chicago reporter in 1929, viewing The Broadway Melody noted that “the reproduction was fairly passable until the final reel began, when the synchronization suddenly went bad, the spoken words being several seconds behind the lip movement on the screen.” The audience began clapping, and the projectionist stopped the show, rewinding the reel and starting over, “repeating action we had seen before. A girl behind me giggled and said — referring to the entry of Charles King into a room, ‘ I guess he went out and came back in again! After fifteen seconds, it was obvious the synchronization was off again, the picture was stopped, and shortly thereafter, begun for the third time.”

Australian Vitaphone Disk Projection Booth
An Australian projection booth, equipped for Vitaphone.

Unionization through IATSE expanded during the transition to sound. Because Vitaphone projectionists were in such tight supply and so essential, to theatre operation, their demands for higher pay, and one or even two assistants were readily met. Once the industry moved away from disks and the Depression deepened, the assistants disappeared and the pay scale ratcheted down.

The gravy train, with sound, was over.

Vitaphone Projector in Loews New Jersey
Actual Vitaphone projector, in the booth of the Loews Jersey theatre.

– 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 | 2 Comments

Win Tickets to see “TCM Big Screen Classics: My Fair Lady” (Giveaway runs now through Feb 2)

Win tickets to see “My Fair Lady” on the Big Screen!
In Select Cinemas Nationwide
Sun Feb 17 and Wed Feb 20

“Aowh, wouldn’t it be lover-ly.”

CMH continues with our 4th year of our partnership with Fathom Events – with the 2nd of our 14 movie ticket giveaways for 2019, courtesy of Fathom Events! 

That said, we’ll be giving away EIGHT PAIRS of tickets to see “TCM Big Screen Classics: My Fair Lady – starring Audrey Hepburn and Rex Harrison — 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, February 2 at 6pm EST.

We will announce the winner(s) on Twitter on Sunday, February 3between 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.

my fair lady fathom events

The film will be playing in select cinemas nationwide for a special three-day-only event on Sunday, February 17, and Wednesday, February 20 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 and/or screening times for each date)

ENTRY TASK (2-parts) to be completed by Saturday February 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 “My Fair Lady” that makes it a classic — even today, 55 years after its release? 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: My Fair Lady” on the Big Screen courtesy of @ClassicMovieHub & @FathomEvents – You can #EnterToWin here: http://ow.ly/Wulg30noQwB

*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…

my fair lady audrey hepburn

About the film: My Fair Lady is now more “loverly” than ever as a result of its 50th Anniversary, this eight-time OSCAR winning musical (including Best Picture, Best Director & Best Actor) has been restored frame-by-frame from the original 65mm negative and scanned utilizing state-of-the-art technology under the supervision of famed film historian Robert Harris. Audrey Hepburn has never looked more radiant as Eliza Doolittle who finds herself at the center of a friendly wager between Professor Henry Higgins (Rex Harrison) and his companion, Colonel Pickering (Wilfred Hyde-White). Can this disheveled, cockney flower girl find her voice and blossom into a proper lady presentable in high society? Performance, style and sweet spirit… plus an unforgettable score… have made My Fair Lady one of the greatest musicals in film history and a beloved and timeless classic that begs to be experienced on the big screen! This special 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).

Good Luck!

…..

–Annmarie Gatti for Classic Movie Hub

Posted in Contests & Giveaways, Fathom Events, Posts by Annmarie Gatti | Tagged | 38 Comments

Announcement: Fay Wray and Robert Riskin, The Blogathon

Fay Wray and Robert Riskin, The Blogathon

February 26, 2019 marks the release of a must-read dual Hollywood biography and we are honoring it with a special blogathon. Commemorating the lives and careers of one of classic Hollywood’s greatest stars and one of its most memorable screenwriters, Fay Wray and Robert Riskin: A Hollywood Memoir promises an enlightening recounting of a romantic, historical encounter. Written by the couple’s daughter, Victoria Riskin, the memoir tells the tales of Wray’s and Riskin’s work, their fairytale marriage, and an essential story of Hollywood.

fay wray robert riskin a hollywood memoir by victoria riskin

To celebrate the release of Fay Wray and Robert Riskin: A Hollywood Memoir, I have joined forces with Once Upon a Screen for this blogathon event scheduled for the week of the book’s release. You will have no problem choosing a movie or topic. Fay Wray starred in over 120 pictures and opposite Hollywood’s biggest stars – and I don’t mean just a big ape.

Robert Riskin was an Academy Award winning writer with five nominations, a producer, and enjoyed legendary collaborations most notably with Frank Capra with whom he made ten pictures. Riskin’s credits include such notables as It Happened One Night (1934), Lost Horizon (1937), and You Can’t Take It With You (1938).Take a look at a list of Robert Riskin’s cinema accomplishments here.

Now to the fun part. On Saturday, March 2 and on Sunday, March 3 you can submit your entries on either Fay Wray’s or Robert Riskin’s filmographies. One of each would be fun too. Aurora of Once Upon a Screen and I will take turns hosting and promoting your entries across social media. For your efforts, you will be entered to win one of two signed copies of Fay Wray and Robert Riskin: A Hollywood Memoir. From what I hear, Victoria Riskin may well be visiting the entries that weekend. This will be fun! We hope you join us.

Blogathon Details

Let Once Upon a Screen or myself know which movie/topic you are interested in blogging about. The best way to do that is to leave a comment on either announcement post. Since Fay Wray and Robert Riskin had such impressive careers, we will not accept duplicates. A few more reminders are…

  • Include the title and link to your blog in the comments area
  • Advise if you have a date preference – Saturday, March 2 or Sunday, March 3
  • Include the event banner on your blog and in the entry post to help us promote the event.
  • Spread the word. Help us make this a resounding success!

Auora and I look forward to hearing from you and to reading your entries.

fay wray and robert riskin blogathon

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Link to Day One Posts at Once Upon a Screen

Link to Day Two Posts at Classic Movie Hub

and…

Participating Blogs and Chosen Topics:

Love Letters to Old Hollywood – Small Town Girl (1953)

Love Letters to Old Hollywood – Magic Town (1947)

Carole and Co. – Robert Riskin and Virtue (1932)

Carole and Co. – The Wedding March (1928)

The Hitless Wonder – The Mystery of the Wax Museum (1933)

Silver Screenings – The Clairvoyant (1935)

Caftan Woman – The Careers of Riskin and Wray in 1934 with focus on Broadway Bill and Black Moon

Movie Movie Blog Blog II – King Kong and It Happened One Night Double Feature

In the Good Old Days of Classic Hollywood – The Cobweb (1955)

Phyllis Loves Classic Movies – The Richest Girl in the World (1934)

The Story Enthusiast – Platinum Blonde (1931)

The Stop Button – It Happened in Hollywood (1937)

Classic Film Journal – Lost Horizon (1937)

Classic Film Journal – Doxtor X (1932)

Watching Forever – Mr. Deeds Goes to Town (1936)

Critica Retro – Capra-Riskin Partnership

Sister Celluloid – The Miracle Woman (1931)

Once Upon a Screen – The Most Dangerous Game (1932)

Once Upon a Screen – The Thin Man Goes Home (1944)

Classic Movie Hub — Exclusive Interview with Victoria Riskin (daughter of Fay Wray and Robert Riskin)

…..

–Annmarie Gatti for Classic Movie Hub

Posted in Blogathons | Tagged , , , | 18 Comments

Stuntwomen: The Untold Hollywood Story – Book Giveaway (Facebook/Blog Nov/Dec)

Stuntwomen: The Untold Hollywood Story
Book Giveaway via Facebook and this Blog

Okay, now it’s time for the Facebook/Blog version of our Stuntwomen: The Untold Hollywood Story Giveaway Contest! This time we’ll be giving away one copy of the book via Facebook and this blog, courtesy of University Press of Kentucky. And, remember, we’re also giving away FIVE MORE copies via Twitter this month as well, so please feel free to enter that contest too…

In order to qualify to win this prize via this Facebook/Blog contest giveaway, you must complete the below entry task by Saturday, Feb 2 at 9PM ESTWe will pick one winner via a random drawing and announce him/her on Facebook and here on this Blog the day after the contest ends (Sunday Feb 3).

If you’re also on Twitter, please feel free to visit us at  @ClassicMovieHub for additional giveaways — because we’ll be giving away FIVE MORE books there as well! PS: you don’t even need a twitter account to enter! (Click here for twitter contest details as well as more information about the book.)

stuntwomen the untold hollywood storyFeaturing 65 interviews, Stuntwomen showcases the absorbing stories and uncommon courage of women who make their living planning and performing action-packed sequences that keep viewers’ hearts racing.

…..

ENTRY TASK to be completed by Saturday, Feb 2 at 9PM EST —

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

THE QUESTION:
What is it that intrigues you about the the history of classic movies?

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…

About the Book: They’ve traded punches in knockdown brawls, crashed biplanes through barns, and raced to the rescue in fast cars. They add suspense and drama to the story, portraying the swimmer stalked by the menacing shark, the heroine dangling twenty feet below a soaring hot air balloon, or the woman leaping nine feet over a wall to escape a dog attack. Only an expert can make such feats of daring look easy, and stuntwomen with the skills to perform―and survive―great moments of action in movies have been hitting their mark in Hollywood since the beginning of film. Here, Mollie Gregory presents the first history of stuntwomen in the film industry from the silent era to the twenty-first century. In the early years of motion pictures, women were highly involved in all aspects of film production, but they were marginalized as movies became popular, and more important, profitable. Capable stuntwomen were replaced by men in wigs, and very few worked between the 1930s and 1960s. As late as the 1990s, men wore wigs and women’s clothes to double as actresses, and were even “painted down” for some performances, while men and women of color were regularly denied stunt work. For decades, stuntwomen have faced institutional discrimination, unequal pay, and sexual harassment even as they jumped from speeding trains and raced horse-drawn carriages away from burning buildings. Featuring sixty-five interviews, Stuntwomen showcases the absorbing stories and uncommon courage of women who make their living planning and performing action-packed sequences that keep viewers’ hearts racing.

…..

Click here for the full contest rules. 

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).

Good Luck!

And if you can’t wait to win the book, you can purchase the on amazon by clicking here:

…..

–Annmarie Gatti for Classic Movie Hub

Posted in Contests & Giveaways, Posts by Annmarie Gatti | Tagged , | 8 Comments

Pre-Code Corner: Baby Face (1933) – Ten Steps to Perfectly Pre-Code

Pre-Code Corner: Baby Face (1933)
Ten Steps to Perfectly Pre-Code

In the era of Pre-Codes, there are a few films that stand out. When I think of Pre-Code films, sometimes it’s the violent nature, or perhaps a few nods to bathtub gin with women barely clad in lingerie, casually checking their stocking hems. (They seem to be forever in a state of getting dressed.) The good ones sparkle with sexual innuendos and are shockingly thumbing their noses at Breen. Of these truly oh-so-naughty-they’re-good Pre-Codes, Alfred E Green’s Baby Face (1933) is my favorite.

Barbara Stanwyck as Lily Powers is unforgettable in this role. Lily was educated into the school of hard knocks from a young age which molded her into a hardened survivor. With no loving network, her only supporters are her friend Cragg (Alphonse Ethier), who advises her to flip the script by exploiting herself and to use her sexual prowess as power over men, and Chico (Theresa Harris) as her constant companion/maid.

Here are my 10 examples of why Baby Face (1933) is perfectly Pre-Code. Like Lily’s floor-by-floor transformation, consider each of these steps parallel to her ambitious climb. Be forewarned that spoiler alerts lurk ahead. But be rest assured that if you have not watched this film prior, this list shouldn’t spoil your future screening. It’s simply too good not to share.

Baby Face (1933) Barbara Stanwyck Coffee “Oh, excuse me, my hand shakes so when I’m around you.”

“Nothing but men, dirty rotten men”
Pre-Codes are engineered to be shocking in their embrace of the gritty side of life. But the grittiest view of Lily’s life is our introduction to her coal-choked birthplace. Her dingy existence in her childhood home is more than just metaphorically filthy as we watch Lily water plants in a window box. She brushes off a thick layer of coal dust from the blackened plants as dark smoke is belched out from the smokestacks in her view. Lily’s mother is gone – it’s suggested that she’s been dead for many years. And Lily’s father (Robert Barrat as Nick Powers) has been acting more like her pimp from the time Lily was fourteen years old than a parent (or even a decent human being). Unlike the harsh transparencies of a modern film, we are spared from anything directly graphic and visual. But the suggestive dialogue and interactions provide our imaginations with plenty.

Lily’s father has turned their home into a speakeasy for all the factory workers to grab a Prohibition-era beer after their shifts. To grease the palms of dirty cops and politicians while openly operating an illegal bar, Lily is barkeep while additionally offered up as protection payment.

Baby Face (1933) Barbara Stanwyck and Theresa HarrisChico: “Hey, he’s a big politician, ain’t he?
Lily: “He’s a big something and it ain’t a politician.
 Baby Face (1933) Barbara Stanwyck Nat PendletonDid You Know: Baby Face was originally banned in some US cities due to its sexual innuendo.

“Why don’t we sit down and talk this thing over?”
En route to a Nietzsche-empowered life by sexually exploiting men, Chico and Lily train-hop to the big city. The rail worker attempts to throw them in jail for a month when Lily takes her first conquest. There’s a shot of Stanwyck’s Cheshire cat smile, as Harris hums “St. Louis Blues” and saunters to the corner. We see a closeup of his gloves dropped next to the lantern and he dims the lantern until darkness.

Apparently, this lantern dimming scene was one of the scenes that gave censors fright and was trimmed – along with other deemed provocative scenes – before its wide release in 1933 and not seen again publicly until 2004. It can be tough to watch such scenes because you know this cycle of prostitution, even as she believes she is finally making choices to better her future, is essentially the same continuation as her dark life before. But as she and Chico arrive in the big city hungry, and as women draped in furs walk by, Lily is determined.

“Have you had any experience?’
When Lily sets her aim for a tall bank building to seek a job, her seductive strategy begins immediately with a portly Mr. Pratt (Maynard Holmes). When he asks her if she has any experience, her dry delivery of “plenty” is perfection. We hear Stanwyck snap back in this exact deadpan tone, with this same double-entendre meaning in other scenes. It’s the perfect touch of Pre-Code sass mixed with Depression-era toughness.

Climbing the career ladder.
The direct path of Lily Powers’ ambitious and swift ascent to success and fortune, is visually displayed for the audience right up to the Gotham Bank Co. building. Every time she looks flirtatiously at a supervisor in that particular department, we next see the camera pan up the side of the building to another floor of greater corporate status. Personnel- Filing- Mortgage Dept.- Accounting….

I am tickled to see Jimmy McCoy Jr. portrayed by a young Marion Robert Morrison (aka John Wayne). McCoy is the one we first hear nickname her “Baby Face.” When co-workers witness Lily making a chump out of McCoy, as she has already moved on to his boss as her next conquest, a female staff wryly heeds warning:

“You don’t know you’re out until they stop counting. Wake up, kid. Baby Face is moving out of your class.”

Ironically, between Jimmy and Lily, he’s the true ‘baby face’ of the two.

Baby Face (1933) John Wayne and Barbara StanwyckJohn Wayne at a ‘baby-faced’ 25 years old!

Rendezvous in the Ladies Room.
I am especially fond of the camera angles and framing in a scene when Lily is caught re-applying her lipstick after a tryst in the ladies room with a boss named Mr. Brody (Douglass Dumbrille). They are caught by Mr. Stevens (Donald Cook), who immediately terminates Brody and walks right into Lily’s spider web. By now, Lily is hunting for big game with her higher-end dresses and platinum permanent wave.

 Baby Face (1933) George Brent Barbara StanwyckDonald Cook and Barbara Stanwyck embrace

“Are you letting me go?”
When Lily is caught in an embrace with Stevens by his fiancée, Henry Kolker as Mr. Carter (his boss/the fiancee’s father) attempts to be firm in terminating Lily. But, as you can imagine by her track record, both Stevens and Carter are taken in by Lily’s siren call. Carter is a 1st VP at the bank. Instead of dismissing her, Carter spends the night at her luxury apartment. That’s right – the same woman who is having an affair with his daughter’s fiancé. As an audience, we see this overnight visit visually play-out as Carter is greeted by Chico (who now wears an upper-class maid’s uniform). The entrance to Lily’s apartment is lit for the evening. We then see Carter hurriedly exit, with that tell-tale ‘walk of shame’ expression and gate, through that same entryway now with daylight lighting. As he approaches the elevator, he passes a cleaning woman who greets, “good morning.” The censors must have raised eyebrows on that clip.

Baby Face (1933) Barbara Stanwyck Chico Theresa HarrisBarbara Stanwyck and Theresa Harris (Chico)

Remaining loyal to Chico.
When Carter overhears Chico singing “St. Louis Blues” in the background, he asks Lily, “I wish you would get rid of that fantastic colored woman.” Lily stands firm, “NO. she stays.” He asks if she wants a baby grand piano. She declines again. He asks if somebody at her home played the piano. “Yeah, anybody who had a nickel,” she snaps sourly in her dry tone revealing pains of her secret past life. When he is taken aback, she immediately flips back into her smiling, baby-talk.

It’s not easy to fully understand through our modern-day lens in examining the relationship between Lily and Chico. Although she works as her maid, we see signs of loyalty and respect to Chico from Lily that audiences simply didn’t come across on-screen in the early 1930s. Lily started trusting no one but Chico and Cragg. She remained deeply loyal to these two throughout. I won’t pretend Lily and Chico are equal peers in a balanced friendship. But considering the context of 1933, this was nearly as close as that would come for audiences to see in a film. Generally speaking, even the most popular of African American actors and performers in early talkies were not shown anything close to this. Perhaps the 1934 version of Imitation of Life might be on par. Can you think of other examples? For me, their implied loyal bond is one of my favorite angles to this film.

Baby Face 1933 Barbara Stanwyck Reading NietzscheBarbara Stanwyck Reading Nietzsche

Holiday Murder-Suicide.
On Christmas day, after reading a highlighted paragraph from one of Cragg’s Nietzsche books, Lily pauses at “Face life as you find it- defiantly and unafraid. Waste no energy yearning for the moon. Crush out all sentiment.” When a past lover is unable to let go of his obsession for Lily, he stalks her to her new luxurious apartment, but she rejects him. It’s New Year’s when he returns to find his father-in-law is her new Romeo. A murder-suicide between family members is harsh enough. But crushing that much sentiment during the holidays must have been a tough pill for the censors to swallow.

Meeting Her Match.
Sparks fly in the last half-hour of the film when Lily traps a man, Mr. Trenholm (George Brent), of equal abilities in her spider’s web. He’s the new bank President and the chaos ensues when word of their nuptials rocks the confidence of the entire board. By now, Lily has climbed all the way to the top, living her wealthy penthouse lifestyle. When confronted with giving up all her assets to help her new husband, the only man she’s ever loved, she at first reverts to her old ways for self-preservation.

Lily: “I can’t do it. I have to think of myself. I’ve gone through a lot to get those things. My life has been bitter and hard. I’m not like other women. All the gentleness and kindness in me has been killed. All I’ve got are those things. Without them, I’d be nothing.

Don’t worry, Lily figures it out in the end.

Glorification vs Exploitation
After watching this film, as with many Pre-Codes, I often ponder what message audiences actually took home in 1933. Did they think, “Oh thank goodness she finally found a meaningful connection and opened her heart to trust someone,’ or did young women suddenly start reading Nietzsche for tips on how to get ahead in the workplace?” Was this considered a blueprint of what not to do, or were times so tough for some in 1933 that it seemed almost relatable?

I can’t say for certain how the censored package of Baby Face influenced audiences in their everyday lives, upon its initial release. However, I’m glad modern-day audiences are able to enjoy Baby Face as the director intended. This film asks some interesting, thought-provoking questions on the topic of feminism- then and now.

–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

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Noir Nook: Quoteable Noir

Noir Nook: Quotable Noir

As we enter a new year, I thought I’d ring in 2019 at the Noir Nook with 10 of my favorite noir quotes. Enjoy! And Happy Noir Year!

The Woman in the Window (1944) Edward G. Robinson and Joan BennettEdward G. Robinson and Joan Bennett in The Woman in the Window (1944).

There are only three ways to deal with a blackmailer. You can pay him and pay him and pay him until you’re penniless. Or you can call the police yourself and let your secret be known to the world. Or you can kill him.
Edward G. Robinson in The Woman in the Window (1944)

What I like about you is you’re rock bottom. I wouldn’t expect you to understand this, but it’s a great comfort for a girl to know she could not possibly sink any lower.
— Barrie Chase in Cape Fear (1962)

In Italy, for thirty years under the Borgias they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonard Da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace – and what did they produce? The cuckoo clock.
Orson Welles in The Third Man (1949)

Don’t your nose get sore, sticking it all the time in other people’s business?
– Myrna Dell in Nocturne (1946)

They Won't Believe Me (1947) Robert Young and Susan HaywardRobert Young and Susan Hayward in They Won’t Believe Me (1947).

She looked like a very special kind of dynamite, neatly wrapped in nylon and silk. Only I wasn’t having any. I’d been too close to an explosion already. I was powder-shy.
Robert Young in They Won’t Believe Me (1947)

I ain’t afraid of cops. I was brought up to spit whenever I saw one.
– Bessie Clary in Laura (1944)

If this were fiction, I would fall in love with Vera, marry her, and make a respectable woman out of her. Or else she’d make some supreme, Class A sacrifice for me – and die.
– Tom Neal in Detour (1945)

Kiss me, Mike. The liar’s kiss that says I love you and means something else.
Gaby Rodgers in Kiss Me Deadly (1955)

I never confuse business with sentiment. Unless it’s extremely profitable, of course.
Clifton Webb in The Dark Corner (1946)

Out of the Past (1947) Jane GreerJane Greer in Out of the Past (1947).

Sure, I shot him. I’m not sorry about that.
Jane Greer in Out of the Past (1947)

…..

– 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:

 

Posted in Noir Nook, Posts by Karen Burroughs Hannsberry | Tagged , , , | 7 Comments

Win Tickets to see “TCM Big Screen Classics: The Wizard of Oz 80th Anniversary” (Giveaway runs now through Jan 13)

Win tickets to see “The Wizard of Oz” on the big screen!
In Select Cinemas Nationwide
Sun Jan 27, Tues Jan 29, Wed Jan 30

“Toto, I’ve a feeling we’re not in Kansas any more.”

Yay! The contest is over and the winners are Craig B, Ashley #1, Destiny, Miss Bunny, Jill K, Noah, Cam and Jack. Congratulations! 

CMH continues into our 4th year of our partnership with Fathom Events – with the 1st of our 14 movie ticket giveaways for 2019, courtesy of Fathom Events! And we’re happy to say that we’re kicking off with a classic among classics!

That said, we’ll be giving away EIGHT PAIRS of tickets to see “TCM Big Screen Classics: The Wizard of Oz (80th Anniversary) – starring Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley and Margaret Hamilton — 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 Sunday, January 13 at 12noon EST.

We will announce the winner(s) on Twitter on Sunday, January 14, 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.

the wizard of oz fathom events

The film will be playing in select cinemas nationwide for a special three-day-only event on Sunday, January 27, Tuesday, January 29, and Wednesday, January 30 at 2:00 p.m. and 7:00 p.m local time (sometimes 5:oo p.m. depending on day and theater). 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 and/or screening times for each date)

ENTRY TASK (2-parts) to be completed by Sunday, January 13 at 12noon EST…

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

THE QUESTION:
What is it about “The Wizard of Oz” that makes it a classic — even today, 80 years after its release? 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: The Wizard of Oz (80th Anniversary)” on the Big Screen courtesy of @ClassicMovieHub & @FathomEvents #EnterToWin #CMHContest link here: http://ow.ly/vCvo30nf1qE

*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…

the wizard of oz

About the film: A special 80th anniversary event is coming to select theaters. In this classic musical fantasy, Judy Garland stars as Dorothy Gale, a young Kansas farm girl who dreams of a land “somewhere over the rainbow.” Dorothy’s dream comes true when she, her dog, Toto, and her family’s house are transported by a tornado to a bright and magical world unlike anything she has seen before. Unfortunately, she makes a mortal enemy of a wicked witch when the house falls on the hag’s sister. Now, befriended by a scarecrow without a brain, a tin man with no heart and a cowardly lion–and protected by a pair of enchanted ruby slippers–Dorothy sets off along a yellow brick road for the Emerald City to beseech the all-powerful Wizard of Oz for his help to return home. Fans young and old won’t want to miss this special showing! This beloved classic includes special 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

Posted in Contests & Giveaways, Fathom Events | Tagged , | 50 Comments

Announcing our 2019 Year-Long Partnership with Fathom Events: “TCM Big Screen Classics” Movie Tickets Giveaways!

Classic Movie Hub and Fathom Events Partnership Continues!
Year-Long Movie Ticket Giveaways to 
TCM Big Screen Classics

For the fourth consecutive year, Fathom Events and TCM present TCM Big Screen Classics — a year-long series of 14 fabulous movie classics shown on the Big Screen, each accompanied by insightful, specially-produced commentary from favorite TCM hosts. But that’s not all — CMH is now thrilled to say that — also — for the fourth consecutive year — CMH will be partnering with Fathom Events for our monthly classic movie ticket giveaways.

That said, Classic Movie Hub will be giving away EIGHT PAIRS of tickets to each of the 14 TCM Big Screen Classics playing throughout 2019. And, just like last year, it will be simple to enter… All you have to do is check back on this Blog every month OR follow us on Twitter at @ClassicMovieHub or on Facebook for our monthly contest announcements. Then complete that month’s entry task, and you will be entered into a random drawing to win a pair of tickets to that month’s movie event! That’s it! And there is no limit to how many contests you enter (and win) during the year — so feel free to enter all 14 of them…

We will kick off our first contest via a blog announcement for “The Wizard of Oz 80th Anniversary” on Tuesday, January 8th…

And — if you can’t wait to win tickets, you can purchase them online by visiting FathomEvents.com, or at participating theater box offices.

So, now, as they say, let’s get the show on the road — with a list of the movie events. 

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JANUARY: The Wizard of Oz 80th Anniversary

the wizard of oz fathom events

The Wizard of Oz 80th Anniversary
Sunday, January 27, Tuesday, January 29, and Wednesday, January 30

A special 80th anniversary event is coming to select theaters. In this classic musical fantasy, Judy Garland stars as Dorothy Gale, a young Kansas farm girl who dreams of a land “somewhere over the rainbow.” Dorothy’s dream comes true when she, her dog, Toto, and her family’s house are transported by a tornado to a bright and magical world unlike anything she has seen before. Unfortunately, she makes a mortal enemy of a wicked witch when the house falls on the hag’s sister. Now, befriended by a scarecrow without a brain, a tin man with no heart and a cowardly lion–and protected by a pair of enchanted ruby slippers–Dorothy sets off along a yellow brick road for the Emerald City to beseech the all-powerful Wizard of Oz for his help to return home.

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FEBRUARY: My Fair Lady

my fair lady fathom events

My Fair Lady
Sunday, February 17, and Wednesday, February 20

My Fair Lady is now more “loverly” than ever as a result of its 50th Anniversary, this eight-time OSCAR winning musical (including Best Picture, Best Director & Best Actor) has been restored frame-by-frame from the original 65mm negative and scanned utilizing state-of-the-art technology under the supervision of famed film historian Robert Harris. Audrey Hepburn has never looked more radiant as Eliza Doolittle who finds herself at the center of a friendly wager between Professor Henry Higgins (Rex Harrison) and his companion, Colonel Pickering (Wilfred Hyde-White). Can this disheveled, cockney flower girl find her voice and blossom into a proper lady presentable in high society Performance, style and sweet spirit… plus an unforgettable score… have made My Fair Lady one of the greatest musicals in film history and a beloved and timeless classic that begs to be experienced on the big screen!

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MARCH: To Kill a Mockingbird

to kill a mockingbird fathom events

To Kill a Mockingbird
Sunday, March 24, and Wednesday, March 27

Experience one of the most significant milestones in film history like never before with To Kill a Mockingbird. Screen legend Gregory Peck stars as courageous Southern lawyer Atticus Finch – the Academy Award®-winning performance hailed by the American Film Institute as the Greatest Movie Hero of All Time. Based on Harper Lee’s Pulitzer Prize-winning novel about innocence, strength and conviction and nominated for 8 Academy Awards.® watch it and remember why “it’s a sin to kill a mockingbird.”

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APRIL: Ben Hur 60th Anniversary

ben hur 60th anniversary fathom events

Ben Hur 60th Anniversary
Sunday, April 14, and Wednesday, April 17

Experience the visual splendor, thundering action and towering drama of this record-setting winner of 11 Academy Awards® including Best Picture. Charlton Heston brings a muscular physical and moral presence to this Best Actor Oscar®-winning role of Judah Ben-Hur, a Jewish nobleman in Palestine whose heroic odyssey includes enslavement by the Romans, vengeance against his tormentors during a furious arena chariot race and fateful encounters with Jesus Christ. Best Director Oscar® winner William Wyler masterfully grips the reins of an enduring and spellbinding spectacular.

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MAY (#1): True Grit 50th Anniversary

true grit 50th anniversary fathom events

True Grit 50th Anniversary
Sunday, May 5, and Wednesday, May 8

Celebrate the 50th Anniversary of the classic Western that won John Wayne his first and only Oscar®. The legendary movie star gives his most iconic performance as Rooster Cogburn, a drunken, uncouth and totally fearless one-eyed U.S. Marshall hired by a headstrong young girl (Kim Darby) to find the man who murdered her father. When Cogburn’s employer insists on accompanying the older gunfighter, sparks start to fly. The situation goes from troubled to disastrous when an inexperienced but enthusiastic Texas Ranger (Glen Campbell) joins the party. Laughter and tears punctuate the wild action in this extraordinary film featuring performances by Robert Duvall and strother Martin. A true western classic for fans and first-timers, True Grit is a must-see on the big screen.

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MAY (#2): Steel Magnolias

steel magnolias fathom events

Steel Magnolias
Sunday, May 19, Tuesday May 20, and Wednesday, May 22

Six icons of the silver screen – Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis and Julia Roberts – come together in this hilarious and heartwarming story of life, love and loss in a small Louisiana parish. At the center of the group is Shelby, newly married and joyfully pregnant, even though her diabetes could make childbirth life-threatening. Terrified at the possibility of losing her only daughter, M’Lynn looks to her four closest friends for strength and laughter as she battles her deepest fear of death to join Shelby in celebrating the miracle of new life. A classic story of family, strength in women, and big southern hair, the big screen is the perfect way to experience the Magnolia’s Louisiana charm and celebrate 30 years of Steel Magnolias.

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JUNE: Field of Dreams 30th Anniversary

field of dreams fathom events

Field of Dreams 30th Anniversary
Sunday, June 16, and Wednesday, June 18

“If you build it, he will come.” With these words, Iowa farmer Ray Kinsella (Kevin Costner) is inspired by a voice he can’t ignore to pursue a dream he can hardly believe. Supported by his wife Annie (Amy Madigan), Ray begins the quest by turning his ordinary cornfield into a place where dreams can come true. Along the way he meets reclusive activist Terence Mann (James Earl Jones), the mysterious “Doc” Graham (Burt Lancaster) and even the legendary “Shoeless Joe” Jackson (Ray Liotta). A heartwarming experience that has moved critics and audiences like no other film of this generation, Field of Dreams is a glowing tribute to all who dare to dream.

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JULY: Glory

glory fathom events

Glory
Sunday, July 21, and Wednesday, July 24

The heart-stopping story of the first black regiment to fight for the North in the Civil War, GLORY stars Matthew Broderick, Denzel Washington, Cary Elwes and Morgan Freeman. Broderick and Elwes are the idealistic young Bostonians who lead the regiment; Freeman is the inspirational sergeant who unites the troops; and Denzel Washington, in an Oscar®-winning performance (1989, Best Supporting Actor), is the runaway slave who embodies the indomitable spirit of the 54th Regiment of Massachusetts. This truly classic American Civil Warm film is sure to reach you to your core.

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AUGUST:  Hello Dolly 50th Anniversary

hello dolly 50th anniversary

Hello Dolly 50th Anniversary
Sunday, August 11, and Wednesday, August 14

Celebrate the 50th Anniversary of Hello, Dolly! Dolly Levi uses her matchmaking skills in New York City to orchestrate the love lives of her friends, all while trying to get the man she likes to fall for her.

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SEPTEMBER (#1): Lawrence of Arabia

lawrence of arabia fathom events

Lawrence of Arabia
Sunday, September 1, and Wednesday, September 4

Winner of 7 Academy Awards® including Best Picture of 1962, LAWRENCE OF ARABIA stands as one of the most timeless and essential motion picture masterpieces. The greatest achievement of its legendary, Oscar®-winning director, David Lean (1962, Lawrence of Arabia: 1957 The Bridge on the River Kwai), the film stars Peter O’Toole – in his career-making performance – as T.E Lawrence, the audacious World War 1 British army officer who heroically united rival Arab desert tribes and led them to war against the mighty Turkish Empire. This predominant classic is not one to miss, don’t pass up your chance to see this revolutionary title on the big screen!

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SEPTEMBER (#2): The Shawshank Redemption 25th Anniversary

the shawshank redemption fathom events

The Shawshank Redemption 25th Anniversary
Sunday, September 22, Tuesday, September 24, and Wednesday, September 25

From a novella by best-selling author Stephen King comes a poignant tale of the human spirit. Red (Morgan Freeman), serving a life sentence, and Andy Dufresne (Tim Robbins), a mild-mannered banker wrongly convicted of murder, forge an unlikely bond that will span more than twenty years. Together they discover hope as the ultimate means of survival.

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OCTOBER: Alien 40th Anniversary

alien 40th anniversary fathom events

Alien 40th Anniversary
Sunday, October 13, Tuesday, October 15, and Wednesday, October 16

Celebrate the 40th Anniversary of Alien! Directed by Ridley Scott, the original sci-fi classic follows Ripley (Sigourney Weaver) investigating a suspected SOS on a remote planet and makes a terrifying discovery.

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NOVEMBER: The Godfather Part II

the godfather part 11 fathom events

The Godfather Part II
Sunday, November 10, Tuesday, November 12, and Wednesday, November 13

In what is undeniably one of the best sequels ever made, Francis Ford Coppola continues his epic Godfather trilogy with this saga of two generations of power within the Corleone family. Coppola, working once again with the author Mario Puzo, crafts two interwoven stories that work as both prequel and sequel to the original. One shows the humble Sicilian beginnings and New York rise of a young Don Vito, played by Robert De Niro in an Oscar®-winning performance for Best Supporting Actor. The other shows the ascent of Michael (Al Pacino) as the new Don. Reassembling many of the cast members who helped make The Godfather®, Coppola has produced a movie of staggering magnitude and vision, the film received eleven Academy Awards® nominations, winning six including Best Picture of 1974.

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DECEMBER: When Harry Met Sally 30th Anniversary

when harry met sally 30th anniversary fathom events

When Harry Met Sally 30th Anniversary
Sunday, December 1, and Wednesday, December 3

A special 30th Anniversary showing is coming to select theaters nationwide. Harry Burns (Billy Crystal) and Sally ALbright (Meg Ryan) meet when they share a car on a trip from Chicago to New York right after both graduate from college. As the two build their lives and careers in Manhattan, they find love and heartache– with other people– but their paths continue to cross and their friendship continues to grow over the years… until they confront the decision whether to let their friendship develop into a romance.

…..

Please stay tuned for contest announcements throughout the year for your chance(s) to win!

Click here to see the contest rules and more info!

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–Annmarie for Classic Movie Hub

Posted in Contests & Giveaways, Fathom Events, Posts by Annmarie Gatti | Tagged | 6 Comments

Classic Movie Travels: Mel Tormé – Chicago

Classic Movie Travels: Mel Tormé – Chicago

Mel Tormé HeadshotMel Tormé

Mel Tormé was one of the great jazz singers of his day. Nicknamed “The Velvet Fog,” he was responsible for entertaining many audiences with his singing, in addition to composing the holiday classic, “The Christmas Song”. An American musician, composer, arranger, drummer, actor, and author, Tormé proved to be a beloved entertainer in command of his many talents.

Melvin Howard Tormé was born on September 13, 1925, in Chicago, Illinois, to immigrant Russian Jewish parents. His parents were avid film fans, naming their son after Melvyn Douglas and his sister, Myrna, after Myrna Loy. His father owned a dry goods store, selling butter and eggs from his Model A Ford, while his mother played piano at Woolworth’s to demonstrate sheet music. Music played a huge role in the Tormé family, with the family often sitting on the front stoop to sing for the neighbors.

Exhibiting talent at a young age, Tormé first performed professionally with the Coon-Sanders Orchestra at age four in Chicago’s Blackhawk restaurant. The Tormé family went to dinner at the Blackhawk to hear the Coon-Sanders Orchestra play and the bandleader noticed Tormé singing along at the table. The bandleader asked if he would like to sing a number with the band, sat Tormé on his knee, and Tormé sang “You’re Driving Me Crazy.” He soon became a regular performer with the band for six months, singing for $15 a night and dinner for his family. By age six, he worked as a vaudeville performer in local theaters. Two years later, he would win first place in the children’s radio contest at the Century of Progress World’s Fair. While attending Shakespeare Elementary School, he became actively involved in the drum-and-bugle corps, excelling in playing the drum, though relentlessly bullied by other students.

Between 1933 and 1941, Tormé acted in radio programs, including The Romance of Helen Trent and Jack Armstrong, the All-American Boy. By age 13, he wrote his first song. Three years later, his first published song, “Lament to Love” would become a hit song for bandleader Harry James. Continuing his career in music, Tormé was a singer, drummer, and arranger from 1942 to 1943 for a band led by Chico Marx of the Marx Brothers. He was offered the position at age 17 and moved to California on his own to take the job. Leaving Chicago’s Hyde Park High School, he enrolled himself at Hollywood High and his parents joined him in California the following year.

Mel Tormé Playing Drums JazzMel Tormé Playing Drums

Following his band years with Marx, Tormé made his film debut in what was also Frank Sinatra’s debut—Higher and Higher (1944). Modeling Frank Sinatra and the Pied Pipers, Tormé formed a vocal quintet called Mel Tormé and His Mel-Tones. The group enjoyed several hits and were among the first jazz-influenced vocal groups. Though drafted into the Army, it was determined that he was so flat-footed that he was sent home the following year. Tormé quickly returned to his entertainment career, starting his own solo career as a singer. Tormé’s eventual appearance in Good News (1947) solidified him as a teen heartthrob.

To Tormé’s annoyance, he was dubbed “The Velvet Fog” by disc jockey Fred Robbins, due to his smooth vocal stylings. Tormé billed himself as the “Velvet Frog voice” instead, though he recorded many romantic hits. Over time, he accepted the nickname and had car license plates that read “El Fog?” and “La Phog.”

Mel Torme The Velvet Fog“The Velvet Fog”

His renditions of “Again” and “Blue Moon” became signature songs, while “Careless Hands” became his sole number-one hit. In addition to his recording work, Tormé also hosted his own radio program, Mel Tormé Time. Tormé is also credited for helping pioneer cool jazz.

At the same time, Tormé was no stranger to television. He appeared in guest roles on various television shows and also worked on songs and arrangements for The Judy Garland  Show. A resurgence in vocal jazz during the 1970s caused Tormé to enjoy continued popularity.

Out of the 250+ songs that Tormé wrote, many became standards. “The Christmas Song” was written with Bob Wells as he and Tormé tried to come up with as many wintery images to cool themselves down on a hot day in California. The song was first recorded by Nat King Cole. In total, Tormé claimed that he wrote the music in 45 minutes.

Mel Tormé The Christmas Song Bob Wells“The Christmas Song” Written by Bob Wells and Mel Tormé

Tormé’s singing career came to a halt in August of 1996, when he suffered a stroke. He passed away after another stroke on June 5, 1999, at age 73, survived by his fourth wife, Ali, and five children.

Tormé’s elementary school, Shakespeare Elementary, is now the Ariel Community Academy and North Kenwood Oakland Charter Elementary School. It is located at 1110 E. 46th St. in Chicago, Illinois.

Shakespeare Elementary 1110 E 46th Street Chicago, IL. Mel TorméTormé’s Elementary School, Shakespeare Elementary (now the Ariel Community Academy).

Hyde Park High School is now Hyde Park Academy High School. It is located at 6220 S. Stony Island Ave., in Chicago, Illinois.

Hyde_Park_High_School_6220_S_Stony_Island_Ave_Chicago_IL_Mel_TormeOther notable Hyde Park High School alumni include Amelia Earhart, The Chi-Lites and Steve Allen.

The Blackhawk Restaurant, where Tormé made his public debut as a singer, closed in 1984. While his son continued the business and opened up another location in Wheeling, Illinois, the new location closed in March of 2014. The newer building was razed. The initial Blackhawk property stood at 139 N. Wabash in Chicago, Illinois. This is the property today.

139 N Wabash Chicago, IL. Mel Tormé, The Blackhawk RestaurantMel’s origin, site of The Blackhawk Restaurant, today.

The Tormé home in the 1930s stood at 7724 Jeffery Ave in Chicago. Here is a shot of the property today.

Mel Tormé residence 7724 Jeffery Ave. Chicago, IL. 1930sSite of Mel Tormé’s 1930’s home at 7724 Jeffery Ave. Chicago, IL.

While not may physical tributes remain in relation to Tormé, he continues to be celebrated all over the world thanks to his many recordings and, in particular, with “The Christmas Song.”

–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.

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