This posting is my contribution to the Bette Davis Blogathon, organised by Crystal at The Good Old Days of Classic Hollywood. Please visit and read the other postings.
Bette Davis might be best remembered for her “bad girl” roles, but these were not the only characters she played. In The Sisters she pours her emotional power into the role of quiet and self-sacrificing wife Louise. This might beone of her lesser-known titles, but it’s a film I like a lot, partly for the daring way that both Davis and male lead Errol Flynn, playing a waifish alcoholic, are cast against type. (They went on to star together in more characteristic roles in The Private Lives of Elizabeth and Essex). Director Anatole Litvak made a number of good romantic melodramas and is someone I’ve been meaning to write more about on this blog. This is a period piece set in the early years of the 20th century and includes some spectacular footage re-creating the San Francisco earthquake of 1906. It’s available from Warner Archive and there are also Spanish and Italian DVD eleases in region 2.
This posting is my contribution to the Marathon Stars Blogathon hosted by Virginie at The Wonderful World of Cinema and Crystal at The Good Old Days of Classic Hollywood blogs. Please do visit and read the other postings!
The challenge for the Marathon Stars Blogathon was to watch 5 films featuring a star whom I’d only seen in up to 3 movies previously. I found it quite difficult to pick someone, since often as soon as I notice an actor I rush to see as many of their films as possible, promptly ruling them out for this particular blogathon!
However, I realised I had seen just two films starring Hedy Lamarr, and that she had made a favourable impression on me in both. She is on something of a hiding to nothing in Algiers (John Cromwell, 1938), which is almost a frame by frame remake of the great French drama Pépé le Moko, made only a year earlier – but she still gives a good performance. However, the film I had really liked her in wasCome Live With Me (Clarence Brown, 1941), a bitter-sweet romantic comedy where she plays a Viennese exile in the US who gradually falls for awkward young writer James Stewart. That’s still probably my favourite of hers even after seeing the 5 new-to-me films that I’ve watched for this marathon, which covered a range of genres and were all highly enjoyable.
This is my contribution to the Symbiotic Collaborations blogathon, being hosted by CineMaven’s Essays from the Couch. Please take a look at the other postings, which all focus on collaborations between a director and star.
Both Raoul Walsh and James Cagney are known for their quality of toughness, so it’s no surprise that two of the four movies they made together are famous gangster films. But both director and actor were also interested in focusing on character and, beyond the action sequences, their films also contain equally powerful scenes bringing out the vulnerability of the heroes/villains played by Cagney. I can’t look at every aspect of all four films here, so am concentrating on this theme. I’ve also put a separate bit about some of the films’ endings at the end, including pictures.
Zeffie Tilbury appeared in more than 70 films, came from a famous theatrical family and had a long stage career before making her film debut at the age of 54. So I’ve been surprised to see how hard it is to find much information about this grand old lady of film and theatre. Admittedly, many of her movie parts were small and uncredited – but she also played a number of major roles.
The first time I really noticed her was in Desire (1936), directed by Frank Borzage and starring Marlene Dietrich and Gary Cooper. Tilbury, who was then in her 70s, plays an elderly conwoman going under the name Aunt Olga, and urging on Dietrich’s character to press ahead with her efforts to con Cooper. She makes a memorable entrance, heading for the booze and admitting in her aristocratic English voice that she is just out of jail. There aren’t many actors who can hold their own with Dietrich on camera, let alone steal a scene, but I’d say Tilbury manages to do it on this occasion.
This is my contribution to the They Remade What ?! blogathon being organised by Phyllis Loves Classic Movies. Please do visit and read the other postings.
Frank Capra first made his fairy tale of New York in black and white in the early 1930s. Then he returned to it 28 years later for a more light-hearted, star-studded Technicolor remake – which turned out to be his last full-scale film. As a fan of movies from the pre-Code era, I fully expected to prefer the 1933 version of this story, starring May Robson in the lead role. And I did, yet I also really enjoyed much of the 1961 version, where Bette Davis steps into Robson’s shoes. I watched the two more or less straight after each other – but did see the 1933 version first. I was surprised to learn that there has actually been a second remake, Miracles (1989), directed by and starring Jackie Chan, which moved the story to 1930s Hong Kong – but I haven’t had a chance to see that one.
So what’s the story? Street seller “Apple Annie” ekes out a living selling fruit to passers-by on the streets of New York. But she’s embarrassed about her poverty and doesn’t want her daughter, who has been educated abroad since early childhood, to know the truth about her life. So Annie “borrows” notepaper from a swanky hotel and writes letters describing a lovely society lifestyle for herself, to delight young Louise.
It all seems to be going well, until Louise writes to say that she is engaged to the son of a Spanish Count – and the couple are about to pay a visit. Annie is in despair, until gangster Dave “the Dude”, who regards her apples as his personal lucky charm, comes to the rescue. He arranges for her to borrow a flat in the hotel and pose as a society lady for the period of Louise’s stay. But can Annie carry off such a daring deception?
“The most glamorous production of all time,” proclaims the original trailer to Dinner at Eight. Well, Jean Harlow’s astonishing dresses, made by Adrian, are certainly glamorous – and so is the whole central idea, of a businessman’s wife arranging a grand society dinner. But, like the previous year’s great portmanteau drama featuring some of the same stars, Grand Hotel, this is very much a Depression era film, with a desperation underlying the glamour.
The film has an astonishing cast even by the standards of MGM – it must be one of the most star-studded ensembles of all time, featuring both John and Lionel Barrymore, as well as Harlow, Marie Dressler, Wallace Beery, Billie Burke, Madge Evans, Lee Tracy and Edmund Lowe. Names like Phillips Holmes, Grant Mitchell and May Robson have to make do with bit parts.
This is my contribution to the Film Preservation Blogathon, being hosted for its final day (May 17) by Sam and Allan at Wonders in the Dark. The blogathon aims to raise funds for the restoration of the intriguingly titled 1918 silent film Cupid in Quarantine, a Strand comedy which is centred on a couple trying to start a smallpox outbreak! To support this cause, please scroll down to the bottom for the donation button, and do visit Wonders and the other host blogs, Ferdy on Films and This Island Rod.
Science fiction is the loose theme of the Film Preservation Blogathon. In all honesty, the comedy-drama Trapped by Television, starring Mary Astor, Lyle Talbot and Nat Pendleton (all pre-Code veterans),doesn’t entirely fit the bill. However, this film does take off from the science fact of the time, as it focuses on efforts to develop the first TV sets. It also seemed an appropriate choice because it’s one of the many movies which have landed up in the public domain. This means they are freely available on the internet and on many cheap DVDs – but also usually means nobody is prepared to fund a restoration. Trapped by Television is actually in a better state than many of the films existing in this sad copyright limbo, but still suffers from a rather grey picture and some surface noise. Watching it is a reminder of why it’s so essential to preserve and restore our film heritage. I watched the movie at Archive.org, but I think the picture quality is slightly better at http://free-classic-movies.com/.