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 is my contribution to the Dorothy Lamour blogathon, hosted by Silver Screenings and Font and Frock. Please visit and take a look at the other postings.
Dorothy Lamour is magnetic to watch in this sometimes noirish period melodrama laced with music, but sadly the film just doesn’t hold together overall. Lamour’s title character is clearly intended to be a woman who ruthlessly climbs her way from one man to another, like numerous pre-Code anti-heroinesBut this movie was made when the Production Code was in full force, so the portrayal of Lulu Belle is somewhat confused.
The film is based on a smash hit 1920s Broadway play by Charles MacArthur and Edward Sheldon, which had a mainly African-American cast, although the lead roles were played by white actors in blackface. The character of blues singer Lulu Belle was played by white actress Lenore Ulric. (I found out about the original play by reading an extract from Bulldaggers, Pansies, and Chocolate Babies: Performance, Race, and Sexuality in the Harlem Renaissance, by James F. Wilson, via Google books.) However, when the drama was belatedly adapted as a film, more than 20 years on, the character of Lulu Belle was turned into a white singer, and there was also a lot of censorship brought into force. For instance, although Lulu clearly makes money from men, any suggestion of prostitution is fudged, as it had to be under the Code.
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.
This is my contribution to the Remembering Barbara Stanwyck Blogathon, being organised by Crystal at The Good Old Days of Classic Hollywood. Please do visit and look at the other pieces about one of the all-time greatest film stars.
It’s a black and white film full of shadows, with Barbara Stanwyck as the woman tempting Fred MacMurray to abandon his virtuous life. Another leading noir actress, Joan Bennett, also stars. But Douglas Sirk’s domestic melodrama There’s Always Tomorrow is worlds away from Double Indemnity, and Stanwyck’s character here is no femme fatale – or not consciously so. However, her effect on the life of MacMurray’s character could prove to be nearly as devastating as it was in the earlier film.
I have some problems with attitudes woven into this film, which will become clear during my review, but I still find it compelling, as with all the “emotion pictures” by Sirk that I’ve seen so far. And Stanwyck is just as riveting to watch as always, giving depth to a character whose motivation isn’t always clear. This is the second time she had played an outsider returning home in a Sirk film, after the earlier All I Desire, also in black and white.
It’s also one of four films she and MacMurray made together, all very different. After enjoying Double Indemnity, the great Christmas romantic comedy Remember the Night and this one, I’ve only got The Moonlighter still to go. There’s Always Tomorrow was their last time together, though, and that gives an extra poignancy to the film, since they are cast as a couple reunited after years apart.
After catching up with all the wonderful contributions to the Sinatra blogathon, I must again thank everyone who took part, and Emily of The Vintage Cameo for all her work in co-hosting and organising. You’ve all been fantastic! I also want to wish everyone visiting my blog a Happy Christmas.
If you missed any of the postings, here are the links:
This is my second contribution to the Sinatra Centennial Blogathon, which I’m hosting together with Emily from The Vintage Cameo. Emily is hosting the last two days of this event, so please head over to her site to see the latest postings. My first contribution was Frank Sinatra and Bing Crosby.
It’s not one of Frank Sinatra’s better-known films, and was released as his career was heading for the rocks in the early 1950s. Yet Meet Danny Wilson, an uneven melodrama laced with music and comedy,contains some of his finest singing, and also gives hints of the acting triumphs which were to come. Made in black-and-white, this film was produced on a low budget and is admittedly no masterpiece, but all the same I really enjoyed it and found it a great way to celebrate his centennial.
In particular, he gives an absolutely spellbinding performance of She’s Funny That Way. The film is also interesting to watch because there are quite a few echoes of Sinatra’s real life, something which was commented on at the time. The film is available on DVD in the UK/region 2, from Eureka, but looks as if it is harder to get hold of for those of you in the US. The UK DVD, which I own, has pretty good picture quality, but no extras except for the original trailer.