It’s dark. Too dark to see without assistance from a handy flashlight to confirm the time on his watch. Private dick Philip Marlowe is scouting out the meeting place in a densely wooded area, just off the road. He walks cautiously as dense, smoky fog crawls along the ground, in his tipped fedora and buttoned up trench coat. He hears the snap of a twig underfoot, close range, and turns abruptly only to see a deer.

He heads back to his parked car. Leaning against the large, open top convertible and without looking down, he tells the man hiding in the back of his car- the same man who just hired him to go into those dark woods to help him buy back a stolen jade necklace- that they’re likely being watched and tested for obedience, for this mysterious exchange. Unexpectantly, Marlowe is suddenly struck from behind on the head. Hard.

As he slumps to the ground we hear him narrate in a raspy-smooth voice, “I caught the blackjack right behind my ear. A black pool opened up at my feet and I dived in. It had no bottom. I felt pretty good… like an amputated leg.” Visually we see black edges closing in on his unconsciousness body until total darkness fills the screen.

This is just one scene from Edward Dmytryk’s MURDER, MY SWEET (1944) which perfectly evokes the many hallmarks of a signature film noir. Even before I completed the TCM/Ball State University course in Film Noir last summer, I had seen this film prior and knew this was what film noir is supposed to be.

All the beautiful shades of shadows and light are glowing on the screen. Dick Powell as Philip Marlowe drops bitter and sarcastic cynacism in descriptive lingo that his profession as a hard-nosed private investigator affords. From time to time, he narrates to us. Often with uniquely descriptive metaphors. He’s no hero charging in wearing a ten gallon white hat, but he’s not exactly the villainous anti-hero either. Ultimately he does the right thing, but not out of conformity to society rules. He’s in business for himself.

He fully appreciates a pretty dame- good or bad. And speaking of bad dames, a good film noir isn’t complete without a beautiful and cunning femme fatale. Enter Claire Trevor. He doesn’t fool easily, although he sometimes likes to lead on as though he does. And a typical film noir is based on a crime drama. The crime is presented via a missing girlfriend and jade necklace. But were they ever missing/stolen or merely borrowed? And why are so many people interested in hiring Marlowe to find- or bury -the truth? Time will reveal all as Marlowe finds himself a very popular dick for hire.

And what about those black pools? Another calling card of a film noir is a dream sequence. The more trippier, the better. Marlowe swims in that black pool more than once and it gets saturated wet in trippy.

Now that we’ve laid out all the evidence why MURDER, MY SWEET (1944) qualifies as   a definitive film noir, let’s discuss why it’s also one of my favorites of this genre (and perhaps should be yours too):

Dick Powell. Dick Powell has always been one of my favorites of the silver screen. But like so many, we were introduced to him through Pre-Codes. In the thirties, he shined as the upbeat, charming crooner of those terrific Busby Berkley musicals and other classics. He was usually the guy singing and smiling his way into the hearts of the sweet girl next door or sassy sidekick (like cuties Ruby Keeler and Joan Blondell). But for the first time in his career, MURDER, MY SWEET took a dramatic turn of character for Powell. His role as Philip Marlowe was a major risk that paid off successfully and launched him into the noir world and other dramatic roles. Not all actors can boast such a successful breaking of typecasting and transition so effectively into the changing times of the big screen. He would transition again post-noir as a producer and director.

Because of his prior roles in the thirties and his natural skills in comedy, I’ll admit there were times in viewing this film for the first time that I expected him to go more campy. Especially considering the dialogue, one could easily play it as dark humor and break character. But he delivers with a five o’clock shave, a heavy-smoky voice and candidly acerbic tone that a gumshoe Marlowe demands.

Claire Trevor. This role came right between her big roles as Dallas, a woman of ill-repute and good intentions, in STAGECOACH (1939) and Gaye Dawn, the complex mess of a lush in KEY LARGO (1948). The deeper I look into these roles, the more I’m convinced Claire Trevor is a highly underappreciated actor. The variety and nuances across these three roles are a testiment to her range. Here in MURDER, MY SWEET she plays the femme fatale very well, with sophisticated beauty masking her street-wise naughtiness as Helen Grayle.

Anne Shirley is another underrated actor. Her portrayal as Ann Grayle keeps you guessing sometimes to see if she plays the sinner or the saint, but the good girl emerges ultimately to give great contrast to Trevor. The role is not quite as meaty as it could be, so Trevor tends to steal the scenes.

The love/hate dynamic between Marlowe and Moose Malloy. Mike Mazurki appealingly plays the big thug with a broken heart who possesses more brawn than brains. Malloy is more than a typical hired heavy. He’s an unexpected romantic yet also like a big, dumb animal that can’t figure out if he wants to play with his food. Unfortunately for Marlowe, he’s often on the dinner menu. But I like the way that, no matter how many times he gets hurt, there’s a part of Marlowe that looks upon Moose like a big puppy that somehow just doesn’t know any better.

Dialogue. Oh the writing in this film is priceless!

In introducing Marlowe, he narrates, setting up a scene with visual artistry and coarse flair, as the camera cuts a path through images of the city at night with all the neon flashing landscape:

“It was seven o’clock. Anyway it was dark. I’m a homing pigeon. I always come back to the stinking coop no matter how late it is. I’d been out peeking under Sunday sections looking for an old barber named Dominic, whose wife wanted him back. I forget why. Only reason I took the job is because my bank account was trying to crawl under a duck. And I never found him.  I just found out all over just how big this city is. My feet hurt and my mind felt like a plumber’s handkerchief. The office bottle hadn’t sparked me up, so I’d taken out my little black book and decided to go grouse hunting. Nothing like soft shoulders to improve my morale. The soft shoulders had a date, thought she could do something about, was going to check right back. There’s something about the dead silence of an office building at night. Not quite real. The traffic down below was something that didn’t have anything to do with me.”  

What a fascinating way to introduce a character. It’s so quintessentially noir. Thanks to the stylistic writings of Raymond Chandler (novel) and John Paxton (screenplay), it strongly influenced an entire genre and style of film. Here are some more lines that make me smile…

On women:

“She was cute as lace pants.” (Moose Mallory)

“She was a charming middle-aged lady with a face like a bucket of mud. I gave her a drink. She was a gal who’d take a drink, if she had to knock you down to get the bottle.”

On love and such romantic notions:

“I tried to picture him in love with somebody, but it didn’t work.” (Marlowe on Malloy)

“He’s in love and in a big hurry. He’ll get over that.” 

Helen Grayle: “I find men *very* attractive.”
Philip Marlowe: “I imagine they meet you halfway.”

On being roughed up or drugged up:

“My throat felt sore, but the fingers feeling it didn’t feel anything. They were just a bunch of bananas that looked like fingers.”

“‘Okay Marlowe,’ I said to myself. ‘You’re a tough guy. You’ve been sapped twice, choked, beaten silly with a gun, shot in the arm until you’re crazy as a couple of waltzing mice. Now let’s see you do something really tough – like putting your pants on.'”

And these lines gave me a chuckle:

“He died in the middle of a glass of beer. His wife Jessie finished it for him.”

“It was a nice little front yard. Cozy, okay for the average family. Only you’d need a compass to go to the mailbox. The house was all right, too, but it wasn’t as big as Buckingham Palace.”

This post was my contribution to the Film Noir Blogathon, hosted by Quiggy of The Midnite Drive-In, Aug. 12-14. And kudos to Connie of Silver Scenes for the fabulous banners. With a tremendous list of participants, I encourage you to read these noir knock-outs.

Traveling across the highways and roads under dark, stormy skies, I recently found my way to Beatrice, Nebraska. As a Beatrice native, attorney by day and film historian by passion, Jeanelle Kleveland shared, “Beatrice’s population was about twelve thousand when I was born and it’s remained about twelve thousand to this day.” While many things about this small Nebraska town appear relatively unchanged over the decades, with a few signs of modern times sprinkled here and there, one constant remains… this town takes their pride of their native son and screen legend Robert Taylor seriously. Very seriously.

I was invited to experience the Gage County Historical Society’s Gage County Classic Film Institute‘s tribute to Spangler Arlington Brugh and Ellen Martha Clancy to see this for myself. That’s quite a mouthful and by now many of you are muttering, “Spangler and Ellen… who?” Ellen Martha Clancy became known in Hollywood as Janet Shaw, born in Beatrice in 1919.

And yes, Robert Taylor, that devastatingly handsome and popular star of Golden age of Hollywood, was born Spangler Arlington Brugh in Filley (pop. 194) a nearby township near Beatrice (pop. 9,664 at that time) on August 5, 1911. The only son of the town osteopath doctor, his parents raised him in Beatrice, and he was better known as “Arlington” or “Arly.”

On a Friday evening, I drove up in time to see the first event in the festival’s lineup, a screening of W.S. Van Dyke’s PERSONAL PROPERTY (1937), starring Robert Taylor and Jean Harlow. As a fan of silly, over-the-top 1930s comedies, I was pleased as punch.

The next day began with a morning devoted to speakers presenting background histories and a few personal stories of both of these locals that went on to stardom. E.A. Kral, author and local walking Wikipedia of Beatrice and its famed citizens, Lesa Arterburn, Museum Director, Frank W. Smith, first cousin to Janet Shaw, and Linda Alexander, author of newly re-released Robert Taylor biopic on his political controversies “Reluctant Witness,” all indulged us with details on Arly and Ellen.

It became clear that Arly was quite a popular kid, very athletic, excelled in dramatic arts and academics, played cello and always involved in the community. After two years of studying music and dappling in the performing arts at nearby Doane College, he followed his cello teacher to Pomona College in Claremont, California. Before long, he was spotted by a talent scout, enrolled in the MGM dramatic school, and eventually landed a contract with MGM.

According to Kral and Sanders’ “Profiles of Nationally Distinguished Nebraskans” (a book generously given to every attendee in a nice bag of local goodies), “After his father had unexpectedly died in October 1933, Arlington and his mother settled in Hollywood, where he re-enrolled in the MGM dramatic school, and on February 6, 1934 signed a contract with MGM for $35 per week, which made him the lowest paid actor in Hollywood history, where he remained for 25 years, longer than any other star at any Hollywood studio. He was also given the name Robert Taylor to increase his general appeal to more Americans.”

He was very close and devoted to his parents so it was incredibly hard on Taylor when his father died. The picture painted of Robert Taylor was of a very traditional, conservative and obedient man. He thrived and enjoyed the structure of the studio system, under Louis B. Mayer. Furthermore, the speakers supported a vision of Taylor being extremely loyal and obedient to LB Mayer, to his mother, and despite their long periods working apart and big differences in interests, to his first wife Barbara Stanwyck, married in 1939.

The speakers didn’t give a concise image on what the relationship was between his mother and his first wife, who each appeared to rule the roost when it came to Robert Taylor. But I did receive the strong message that Stanwyck never appreciated Taylor’s more humble Nebraskan roots. He traveled back home occasionally, for having a fruitful career in Hollywood, yet Stanwyck did only once- on April 28, 1939 for the premiere of her film, Cecil B. DeMille’s UNION PACIFIC (1939) in nearby Omaha. They shared a strong work ethic and helped balance each other during the transition to fame. Opposites do attract but he never let go of his small town values, his thirst for outdoorsy hobbies and easy-going style, which did not always match well with Stanwyck’s more sophisticated and cool style. And so the city mouse and country mouse divorced after 12 years, with no children together.

Taylor’s second marriage in 1954 to German actress Ursula Schmidt Thiess was a much better fit, and more traditional balance of power. With two children from her previous marriage and two more of their own together (Terry and Tessa who have visited Beatrice for this event a few years ago), Taylor was finally a family man as he always envisioned.

The most intriguing information was presented by author Linda Alexander, author of “Reluctant Witness: Robert Taylor, Hollywood and and Communism.” She gave a brief overview of Robert Taylor’s political life. Alexander touched upon the intense scrutiny and fears of Communist influences within the industry of the 1930s and 1940s that led to the formation of organizations such as Motion Picture Alliance for the Preservation of American Ideals and the HUAC (the House Un-American Activities Committee), and how his forced testimony affected his career and reputation.

In Hollywood at that time, key figures were targeted and played roles in “outing Communists,” were called to testify and asked to name names. Basically, pitting colleagues against one another and the studios themselves were under the same pressure. Some played ball, some did not, some were blacklisted and some felt the sting of loyalty to cooperate via scorn within their own ranks. It’s hard to imagine now that it was actually more protected and less openly scorn to be a member of the KKK than being a member of the Communist Party. Neither are illegal then or to this day.

But it was a complex time of paranoia, fear and betrayal. With a reputation of extreme obedience and conservative values, Robert Taylor was hand plucked to be the party lackey and studio stooge. It likely helped to keep HUAC off the studio’s backs by offering up the sacrificial lambs that not only named names but of course the victims of the witch hunts too.

Alexander’s book surmises that Robert Taylor was a “reluctant witness.” He did out Communists by name but did so under grave moral inner-conflict, a decision that plagued him for the rest of his career. While he continued to work in Hollywood and continued to be a staunch conservative, he faced scorn from many of his colleagues as a “fink.” Linda Alexander called Robert Taylor a victim of “reverse blacklisting.”

In interviewing Linda after her presentation, I discovered that his political entanglements were so controversial that the author initially received an even colder Nebraskan reception than Stanwyck. The town was quite sensitive and protective of their hometown hero. But Alexander was determined to explore the man behind the myth, a man that reminded her of her own father, and she has since enjoyed open arm welcomes by Beatrice after her book was published.

The focus on Ellen Clancy aka Janet Shaw was more brief. Born in Beatrice on January 23, 1919, with a determined mother to create a starlet out of young Ellen, the Clancys moved to Hollywood in 1935. Jack Warner signed her with a seven year contract at the mere age of sixteen. With 71 acting credits in film and TV from 1935 to 1955, Shaw remains most known for her roles in JEZEBEL (1938), WATERLOO BRIDGE (1940) and SHADOW OF A DOUBT (1943). For me, her portrayal as Louise Finch the waitress in Alfred Hitchcock’s SHADOW OF A DOUBT is priceless.

Her first cousin, Frank W. Smith, was charming and heartfelt when he stood up and regaled stories of Ellen as a young girl, of visiting her and her mother in Hollywood, and full circle back to when he returned her home to Nebraska, already suffering from Alzheimer’s.

The rest of the afternoon included an old-fashioned church luncheon (where Taylor’s family belonged) and a matinee screening featuring both Taylor and Shaw along with Norma Shearer, Nazimova and Conrad Veidt in Mervyn LeRoy’s nail-biting, thwarting-nazis thriller, ESCAPE (1940). The film was terrific and I recommend it, by the way. A book signing, with Robert Taylor biographers Linda J. Alexander and Charles Tranberg, and banquet followed with Tranberg as key note speaker. Screening of Roy Rowland’s MANY RIVERS TO CROSS (1955) finished out the fest.

I was unable to stay for the banquet and final screening, and unfortunately unable to chat more with author Charles Tranberg, who is a biographer of seven Hollywood star biographies. I believe a follow-up is in order with Chuck. I did speak with FB friend Bruce Crawford, host of Omaha’s Film Event and friend to countless Hollywood connections, who shared exciting news of his next mega event being a tribute to Christopher Reeve this November. Expect a very beautiful, former co-star as guest to headline the screening. Stay tuned to his site for more info to follow.

One of the more fascinating attendees was a 92 year old woman named Elsa who flew in from Sacramento, CA. She claims to be the biggest Robert Taylor fan and after speaking with her, I’m convinced she deserves the title. Jeanelle Kleveland overheard her refer to “Bob Taylor” (she’s so intimate with her Robert Taylor fandom she calls him Bob) at the last TCM Film Festival. A fast friendship was formed and an invite to this event was a must. Elsa revealed that she keeps a calendar that marks significant Robert Taylor dates (birth, death, etc…) and she even sends flowers to his grave four times a year. Now that’s a fan!

Overall, it was a delightful weekend devoted to classic film history, shared with fellow fans and friends. A special shout-out to Jeanelle Kleveland for inviting me, for emceeing the film screenings and generously driving us around to see the three childhood homes of Robert Taylor.

Living in a small Midwestern town myself, I can see how Robert Taylor never let go of Spangler Arlington Brugh and his earnest beginnings of a small, Midwestern town. It shapes its citizens. They realize their common bonds are what keeps them forging through the hard work, simple rewards and those harsh weather extremes uniquely of the Plains. Common bonds like taking joy in celebrating a hometown kid named Spangler who made it big. Really big. He never forgot his small town roots and even to this day, they’ve never forgotten him either.

“What’s great about being a character actor is you know that you can survive forever. It’s not about the gloss of your eyebrows.” – Martin Short

We’re back for a fifth consecutive year to honor the versatility and depth of supporting players with the WHAT A CHARACTER! Blogathon.  Based on a phrase borrowed from Turner Classic Movies (TCM) the WHAT A CHARACTER! Blogathon is an event that many look forward to each year.  Your enthusiasm for paying tribute to the oft nameless faces that appear in countless beloved classic movies is admirable.  Aurora, Paula and I extend a sincere thanks to all the bloggers who have joined us in the previous four years and invite you all to help us make the fifth anniversary extra special.

By now you know the drill.  This is for the Louise Beavers and Eddie Andersons of the world, the names that never appeared above the title.  If this is right up your movie alley then give us a shout out…
Kellee at Outspoken & Freckled and (@IrishJayhawk66) and Kellee Pratt

Paula at Paula’s Cinema Club and (@Paula_Guthat) and Paula Guthat

Aurora at Once Upon a Screen and (@CitizenScreen) and Citizen Screen

And please adhere to the following:

-Let one of the hosts know which character actor is your choice.
-We will not accept repeats since there are so many greats worthy of attention, but your choices are not limited to classics. You can choose any character actor from any era and from the medium of television, which featured a number of talented regulars.  Scroll down to see the list of chosen characters.
-Don’t take it for granted we know exactly who you are or where your blog resides – please include the title and url to your blog.
-Publish the post for either December 16, 17 & 18.  Let us know if you have a date preference, otherwise we’ll split publicizing duties equally among the three days.
-Please include one of Paula’s beautiful event banners on your blog to help us promote the event and include it in your post.
-It would be really helpful if you can send any of us the direct link to your post.  Searching on social media sites can lead to missed entries.

HAVE FUN and spread the word!

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#WhatACharacter Roll Call

Caftan Woman – Cora Witherspoon

Christina Wehner – Takashi Shimura

Cindy Bruchman – Eileen Brennan

CineMaven’s Essays From The Couch – Art Smith

Immortal Ephemera – Stanley Fields

In The Good Old Days of Classic Hollywood – Agnes Morehead

The Last Drive In – Ruth Gordon

Movies Silently – Edward Everett Horton

Once Upon a Screen – Edmund Gwenn

Outspoken & Freckled – Joan Blondell

Phyllis Loves Classic Movies – George Tobias

Shadows and Satin – Hope Emerson

A Shroud Of Thoughts – Charles Lane

Thoughts All Sorts – Michael Wincott

Wolffian Classics Movies Digest – Una O’Connor

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A big thank you – HAPPY BLOGGING!

The day has finally arrived to honor those unsung heroes of the silver screen, the character actor. For the 5th year, the classic film obsessed trio of Aurora aka @CitizenScreen of ONCE UPON A SCREEN, Paula aka @TCM_Party & @Paula_Guthat of PAULA’S CINEMA CLUB and yours truly, Kellee aka @Irishjayhawk66 of OUTSPOKEN & FRECKLED bring you this film community tribute to the marvelous scene-stealers.

DAY ONE:

Movies Silently profiles the popular character actor known for his soothing voice, EDWARD EVERETT HORTON in one of his early talkies, After The Silents: LONELY WIVES 1931.

The Wonderful World of Cinema explains How Arthur Kennedy Changed My Cinematic Life.  As Virginie writes, “Arthur Kennedy was Arthur Kennedy, he couldn’t have been anybody else and nobody could have been him.”

Real Weegie Midget Reviews revisits a tribute post with Looking Back at the Actor, the Voice and Movies of ALAN RICKMAN.

Jack Deth, as guest blogger on Paulas Cinema Club, offers up a “Shot and a Chaser” of two works of M. EMMET WALSH:

As he summarizes, “Though I was well-versed in Walsh’s work prior to these initial meetings, it’s these two roles which reached out, took hold, and shook me to this actor’s grossly underestimated talents.”

Then, Theresa of CINEMAVEN’S Essays From The Couch takes on a “Mighty Roman”, RUTH ROMAN, in her performance in “Tomorrow Is Another Day” 1951. 

As she describes Roman, “There’s a touch of danger in her. Her performances are believable and with conviction. I’m not quite sure why she really wasn’t a bigger star.” Read more to see what Theresa unveils.

Next, Thoughts All Sorts examines the many character lives of MICHAEL WINCOTT.

As this blogger aptly scribes on Wincott, “There was something about him that just drew me in…Or, maybe it’s just that he’s a great artist, understated but vital.” We couldn’t agree more.

Next up, The Last Drive In views All Kinds of Observable Differences in the World of RUTH GORDON for us.

As this blogger writes, “There’s a vast dimension and range to Ruth Gordon’s work both her screenwriting and her acting, the effects leave a glowing trail like a shooting star.” Amen to that!

I will continue to update this list throughout the day and don’t forget to look on twitter for contributor shout-outs, too. So check back frequently! These participating writers continue to educate and dazzle us so I encourage you to not only read, but give lovely feedback, to these fine folks.

Look for day two and day three of this mega blogging event via my co-hosts, Aurora and Paula… much more to enjoy throughout the entire weekend!

A huge THANK YOU to all the contributors and my cinematic charming co-hosts! … Kellee

*The following is a guest post by my husband Gary, aka Santa on twitter as @SantaIsThinking

I signed up for the What A Character! Blogathon to write a post on one of my favorite character actors, Victor McLaglen (pronounced Muh-clog-len, not Mack-loff-len) because he appears in my favorite movies, adorns one of my walls at home, and reminds me in so many ways of my dad.

As I did research on him I realized that plenty had been written on him so what could I possibly add to that? He’s very loved by so many. So I decided, as I sit here with a Guinness, to focus on two things that I find most interesting about him, his adventurous youth and his big screen (grin) charm.

Victor Andrew de Bier Everleigh McLaglen (10 December 1886 – 7 November 1959)

His Adventurous Youth – Boers, Boxing, and Baghdad

Victor McLaglen was big enough at 14 to enlist in the English Army to fight the Boers. (Sounds like a young English lad’s dream, until he was found out a short time after and had to exit the Army.) When he was 18, he moved to Canada, became a wrestler and a boxer and toured with circuses, vaudeville and Wild West shows.

He fought under his own name and took on the nickname ‘Sharkey’ McLaglen. In 1909, he survived a 6-round exhibition bout with heavyweight champion Jack Johnson. Commenting later on the fight, “He never knocked me down . . . but he sure beat the livin’ be-Jesus out of me.” In 1918, he was named the heavyweight champion of the British Army. For the record, Victor’s lifetime boxing record (as far as is known) was 11-6-1, with 9 KOs.

He returned to Britain in 1913 and enlisted in the Army, then served as captain (acting) with the 10^th Battalion, Middlesex Regiment. Besides serving in WW1, other early chapters in his life included serving as a bodyguard for an Indian Rajah and later as Provost Marshal (head of Military Police) for the city of Baghdad. In the 1920’s, he was off to Hollywood.

His Career – Big Screen Grins and Bromance

Though a big man at 6’ 2 1/2” and broad-shouldered, it was his roguish charm and big toothy smile that took up most of the big screen. He often grinned and fought his was across the screen with the biggest Hollywood stars of the day (including Cary Grant, Douglas Fairbanks, John Wayne, and Maureen O’Hara). The ease and charm with which he interacted with his co-stars served to compliment and enhance their own substantial on-screen charisma.

Victor appeared as MacChesney, in the original bromance adventure movie Gunda Din (1939). The chemistry he had with Cary Grant and Douglas Fairbanks is why this film is in my top 5 films of all time. His comic timing and dialogue delivery was on par with his co-actors. If you’ve not seen it, rent it or buy it. And if you have seen it, might be time to watch it again (so says my Guinness). As you watch these three British sergeants and their native water bearer take on a murder cult in colonial British India, you’ll see a “best buds” heroic action movie DNA that has been passed down and continues to make ripples through many more modern flicks (and not just that poor Temple of Doom movie.)

In The Quite Man (1952), McLaglen (now late in his career) played the role of Squire “Red” Will Danaher, resident loud-mouthed brother to Mary Kate Danaher (Maureen O’Hara.) In it, Victor squares off with Sean Thornton (John Wayne) over his sister, a farmstead, and that ornery Irish pride. It’s got romance, drinking, brawling, and… brawling. And the extended cast is a who’s who of some of the best character actors of the day. By the time this was filmed, Victor was 64, but he still gave John Wayne a run for his money with his hulking physical presence and personality (though John Ford and Wayne did have to take it easy on him during filming). His performance got him his second Academy nomination for Best Supporting Actor.

This post isn’t an exhaustive overview of McLaglen’s life and family; others have done a better job of that. Rather it’s a feel-good loving tribute to someone I love watching on film. But if you want a few other notable movies to watch to get his range, try The Informer (1935) for which he won the Academy Award for Best Actor, She Wore A Yellow Ribbon (1949) another great pairing with Ford and John Wayne and The Lost Patrol (1934). The last Pre-Code feature has Boris Karloff in it and is a great survival story.

McLaglen received a star on the Hollywood Walk of Fame on February 8, 1960. I discovered his films in the early 70’s with my dad and continue to re-watch them today with my Irish wife. That lovable, hard-nosed character actor will always have a place in my heart…and I hope he can find a place in yours.

This is my entry to the 2016 What A Character! Blogathon, hosted by Kellee at Outspoken & Freckled, Aurora at Once Upon A Screen, and Paula at Paula’s Cinema Club, taking place all this weekend. Check all three day’s of posts this weekend for other fascinating character actor profiles. Catch me as @santaisthinking on Twitter.

“I don’t know what the secret to longevity as an actress is… maybe it’s the audience seeing itself in you.” … Joan Blondell

Joanie should know. Joan Blondell, born Rose Joan Blondell on August 30, 1906, in NYC, lived her entire life performing on stage and screen. She died of leukemia on December 25, 1979 in Santa Monica, CA. It is bittersweet to honor this remarkable woman so close to what will be the 37th anniversary of her death this Christmas day.

Joan was born to entertain audiences. She cut her teeth working with her comic parents on the vaudeville stages from age three to seventeen, while educated at the Professional Children’s School. She was a seasoned pro by the time she transitioned to the Ziegfeld Follies and then onto the Broadway stage.

It was a Broadway production that paired her with James Cagney, which lead to five more celebrated film features, starting with John G. Adolfi’s SINNERS’ HOLIDAY (1931) where they reprised their stage roles. The other Blondell/Cagney paired films that followed are:  William Wellman’s OTHER MEN’S WOMEN (1931), William Wellman’s THE PUBLIC ENEMY (1931), Howard Hawks’ THE CROWD ROARS (1932), Lloyd Bacon’s FOOTLIGHT PARADE (1933), and HE WAS HER MAN (1934). The chemistry sizzle on the screen was visible between these two talents, making for memorable performances that launched both of their careers into an explosion of roles in the Pre-Code era. While they supposedly kept their romance limited to the screen, Cagney said she was the only woman other than his wife he ever loved.

But to give you some perspective on just how much Blondell worked starting with the early talkies of the Pre-Codes and throughout the duration of the 1930s, she was in over fifty films during that decade alone. Most of this ridiculously busy schedule could be attributed to her contract with Warner Brothers. They kept her working fast and furious in roles at a time when being employed was a very good thing. And she enjoyed her WB family of co-star friends and filming crews immensely. The problem was, while she found herself in-demand and in work, she was not only typecast but stuck below the top tier of the marquee.

While others demanded more and knew how to cause ripples within the political studio system in a persuasive way (like her good friend Bette Davis), Blondell thought of her job as a job. Joan punched the clock and went home when the job was done. She worked extremely hard, acted consistently professional, but didn’t desire to play the ambitious game.

Working free of the studio playbook in the 1940s and 1950s, the work was less frequent and the pace less brutal; yet offered some meatier roles, such as Gail Richards in TOPPER RETURNS (1941), Aunt Sissy in A TREE GROWS IN BROOKLYN (1945), Zeena Krumbein in NIGHTMARE ALLEY (1947), and Annie Rawlins in THE BLUE VEIL (1951) for which she was nominated for An Oscar, Best Actress in a Supporting Role. Even still, she struggled to garner critical acclaim in a way that moved her name up to the leading lady, mega star status.

The 1950s ushered in the television age and Joan Blondell was determined to be a player. The frequency of roles kept her busier but yet again, she found herself working harder, not smarter in struggling to move her name to the top position in billing.

The 1960s and 1970s brought memorable roles such as Jenny in SUPPORT YOUR LOCAL GUNFIGHTER (1971), Lady Fingers in THE CINCINNATI KID (1965), Sarah Goode in OPENING NIGHT (1977) and Dolly in THE CHAMP (1979). Her TV work continued with roles such as Lottie Hatfield in “Here Come the Brides.” Fans unaware of her saucy and leggy days as a Pre-Code platinum blonde may know her more for her later work such as Vi in GREASE (1978) or caught her in reruns from retro TV networks such her bit parts in 50’s TV westerns, Starsky and Hutch (1976), The Love Boat (1978), Fantasy Island (1979) and so much more.

She worked right up until the end, even while battling the Leukemia that ultimately took her life in 1979, with her last role being Aunt Coll in THE WOMAN INSIDE (1981), released posthumously. With 160 acting credits to her name, and after publishing her popular 1972 autobiographical novel “Center Door Fancy,” Joan never quit.

Married three times, divorced three times, her first husband famed cinematographer George S. Barnes (m. 1933-1936) was a decision reflecting her “naive sophisticate”(as James Cagney called her) ways of a younger Joanie, fresh in her film career. Emotionally dysfunctional, this relationship was fated for disaster. Barnes was still married to his third wife as their romance grew and he assured her the marriage was on paper only and would be ended swiftly. During this time of officially divorcing his third wife and marrying Joan (he went on to marry for a total seven times), she became pregnant and he arranged for the termination. Their son and only child from the marriage, TV producer/director Norman Scott Barnes was born in 1934 but later changed his last name to Powell in 1938 when Barnes relinquished all parental rights and he was adopted by Joan’s second husband.

Her second marriage to actor Dick Powell (m. 1936-1944) was more stable but tepid in romance. In addition to adopting Norman, they had a child together, Ellen Powell, who is known for her makeup department work in film and tv, such as her Emmy nominated work in hair styling.

Joan and Dick made ten musicals together. But after they both had grown weary of the incessant typecasting of formulaic musicals each began over a decade prior, just as they attempted to move their careers in more dramatic roles, their marriage also became stagnant. Right up until the time Dick left Joan for actress June Allyson. In this same pivotal year Dick Powell left one marriage for another, he left his sugary musicals and boyish charm behind with MURDER MY SWEET (1944), launching a dramatically different type in his cinematic world with film noir and never looked back.

Her last husband (m. 1947-1950), producer Michael Todd was said to be physically abusive and a financial mess, thanks to heavy gambling and repeatedly poor investments. She found this relationship to be her most passionate. Great for the bedroom initially but later his behavior revealed itself into abuse. His chaotic ways also wiped out her savings. So she continued to work for the next three decades-because financially she had to.

She wasn’t always lucky in love or ambition, but certainly made up for it in talent, enduring work ethic and generosity of spirit. Time after time, this unforgettable performer played second-fiddle, the rapid-fire, sharp-tongued best friend, the second lead, the snarky office gal, the lingerie-clad roomie, the sharp opportunist, the frowzy, lovable saloon owner, the gangster’s girlfriend, the wise aunt, and the down-to-earth, tell-it-like-it-is scene-stealer. She was all these nuances of woman and more. She mastered tv and film, Pre-Codes, dramas, and comedies. But she never truly reached the well-deserved splendor of consistent top billing.

While I admire the entire breadth of Joan Blondell’s work, I am always biased towards her early days of Pre-Codes. You couldn’t find a better pair of sexy gams in those Busby Berkley musicals and she delivered such hilariously sassy lines with the perfect punch. Take a look at her delicious delivery of “As long as they’ve got sidewalks, YOU’VE got a job!” as she proceeds to kick the woman out the door, right in the tuchus, in Lloyd Bacon’s FOOTLIGHT PARADE (1933) or her haunting “My Forgotten Man” in Mervyn LeRoy’s THE GOLD DIGGERS OF 1933. There are too many to list here (because the woman was a damn work-horse during those years!) But no matter how small the role, Joan Blondell made it her own and she made it memorable. So yes, Joanie, you did know the secret to longevity as actress, and perhaps your greatest role in life was that of survivor- a role this audience member and countless other fans can relate.

*This was my contribution to the What A Character! Blogathon, hosted by Aurora of Once Upon A Screen, Paula of Paula’s Cinema Club, and yours truly. Please review all three days for a recap of fantastic character actor tributes… THANK YOU & ENJOY!!

day one: kellee

day two: aurora

day three: paula

Welcome to the 31 Days of Oscars Blogathon redux for the fourth time, making this the fifth installment of our grand celebration of all things Oscar.

Aurora of Once Upon A Screen, Paula of Paula’s Cinema Club and yours truly, Kellee of Outspoken & Freckled started this event to coincide with Turner Classic Movies’ 31 Days of Oscar marathon. For 31 days TCM spotlights the movies and players that have made a legend of the golden statuette and this blogathon is our way to pay tribute to the network and the movies we love. We hope you join us in the effort.

Rather than hosting the 31 Days of Oscar Blogathon for the entire month of February, as we’ve done in the past, we will host all entries the weekend before the Oscars this year. That is from Friday, February 17 through Sunday, February 19, which leaves Oscar weekend free for last-minute movie-watching. We’re also combining all topics this year and simply presenting them over the three days. Any Oscar-related topic is fair game. We are not limiting this event to classic film fare as we’d like to see entries covering the entire 89-year history of Oscar, including this year’s nominees. To help get you motivated here are the categories we’ve used in the past…

-The Actors
-The Directors
-The Motion Pictures
-Oscar Snubs
-The Crafts (music, costumes, etc.)
-New Idea – Oscar Controversies
Most of you know the drill, but as a reminder, adhering to the following would be appreciated:

Let us know what your desired topic is by leaving a comment on any of the host blogs.
Include the title and link to your blog in the comments area.
Advise if you have a date preference – Friday 2/17, Saturday 2/18 or Sunday 2/19
Include the event banner on your blog and in the entry post to help us promote the event.
Restrictions – just two:

-Please do not submit previously published posts
-No duplicates to ensure we cover as much of the Oscars as possible
We look forward to hearing from you and to reading your entries. As many entries as you want, actually, so get to it!

Until then, here’s to Oscar, to TCM and to YOU!

Happy blogging…

NOTE: Starting on February 1st TCM will feature Oscar winners and nominees in alphabetical order, which should make it easy to set your DVRs favorites. Be sure to check out the schedule. The Oscars will be broadcast live on Sunday, February 26 on ABC.

♦

Participating Blogs & Chosen Topics:

Thoughts All Sorts – The Piano (1993)

Phyllis Loves Classic Movies – Timeline of Award-winning costumes (1961 to 1977)

Once Upon a Screen – The Horror of Oscar

Wolffian Classic Movies Digest – Cinematography in The Third Man (1949)

In the Good Old Days of Classic Hollywood – Judith Anderson’s Snub for Rebecca (1940)

The Old Hollywood Garden – 1943 Best Actress Nominees

Once Upon a Screen – Conrad L. Hall and Cinematography in Road to Perdition (2002)

Cinematic Scribblings – Day for Night (1973)

4 Star Films – (Some) Nominated actors who never won an Oscar

Taking the baton from fellow co-host Aurora of Once Upon A Screen, who brought us the initial round of blogger contributions yesterday, today I pick up on the second day of the 31 Days Of Oscar Blogathon. Paula of Paula’s Cinema Club will pick up the final day tomorrow. Explore all three days for three days for the best in the blogger biz for everything Oscar.

Just a reminder, this is our 5th year hosting this event in conjunction with Turner Classic Movies network’s month-long event to honor the Academy’s Oscars. TCM is showcasing this year’s special programming in alpha order. Click here for more info: TCM’s 31 Days Of Oscar

Now, onto today’s lineup!

Pop Culture Pundit takes a look at the brilliance of PURPLE RAIN: A Traditional Musical With an Anti-Traditional Score.

CineMaven’s Essays From The Couch presents Jeff Lundenberger as guest blogger as he goes deep in the Best Actress field of 1950 with, And The Winner Is…

Charlene’s (Mostly) Classic Movie Reviews discusses the beauty and bleakness of existence in The Diving Bell and Butterfly (2007)

Wolffian Classic Movies Digest explores the unforgettable oblique angles and visual styles of Cinematography in THE THIRD MAN.

Weegie Midget swoops in for a caped landing with Best Actor Oscar Winners in Superhero Movies!

Blogged Of The Darned enjoys life’s banquet in 3 Beekman Place- The Art Direction/ Set Design of AUNTIE MAME. I promise you won’t starve to death when reading this one.

I will continue to add more posts later today so check back for more blogger bliss! And to all the participating writers and readers alike, Aurora, Paula and I cannot THANK YOU enough for your continuing support!

…Kellee

The postman always rings twice doesn’t refer to a mail carrier’s methodology of delivery in this 1946 film noir directed by Tay Garnett, starring John Garfield and Lana Turner. This is film noir, friends, so we are addressing the subject of dark and dirty crime. Not just any crime but murder. Mariticide, to be exact.

Mariticide is the act of killing one’s husband. Not exactly a new concept in film noir. As a matter of fact, many parallels can be drawn between this film and Billy Wilder’s DOUBLE INDEMNITY (1944). In THE POSTMAN ALWAYS RINGS TWICE (1946), the title alludes (spoilers ahead!) not to the beginning fiery heat of two lovers, not to the detailed steps of planning the murder of a spouse, but moreso to the aftermath and ironic justice in how this ill-fated romance ends.

Many crime stories and film noirs focus on the tension, motivation and players that lead up to or explain the crime. While THE POSTMAN ALWAYS RINGS TWICE (1946) does a marvelous job in that arena, a good chunk of the story focuses on good ole karma that comes along not on the first ring, but on that second ding. I’ll save those scrumptious details for you to savor when you watch the film.

Before I get ahead of myself, let’s start at the beginning and chat about the sparks that brought this doomed couple of criminal lovers together. John Garfield as Frank Chambers is perfection as the casual drifter who floats in to the Twin Oaks roadside diner on a breeze. Actually, he wanders in via hitchhiking with the local district attorney (who lives closeby and will become a key factor in his undoing) and is soon greeted by the local motorcycle cop who is often witness in rather inconvenient ways.

He soon meets Nick Smith (Cecil Kellaway), owner of the cafe, and they quickly conduct a job interview via on-the-spot character reads. Note: we will discover later that Nick fails miserably at both job interviews and character assessments. After Frank confidently and casually pushes his loosely tied commitment for the position, Nick dashes off to greet a gas customer outside as Frank is introduced to his platinum blonde doom aka Mrs. Smith inside. We meet Lana Turner as Cora Smith in a memorable character debut where the camera follows her from her ‘accidental’ lipstick drop and roll to the slow pan up her legs to her petite frame in iconic ivory shorts, crop top and turbin.

The heat and tension is palatable from the very first exchange. Frank wastes no time in making his move. But first, and what plays out as a very interesting foreshadowing, is the power struggle gauntlet is thrown down upon their very initial exchange- over lipstick, no doubt. Before their first first kiss, which Frank plants boldly and rather assumedly, Frank issues the challenge of who is in charge. Cora plays her best game of sexy meets coy to lure Frank close to the flame via handing her the fiery red lipstick. But watch Frank pause, lean back and challenge Cora to come to him. She succumbs allowing Frank to think this was his game. But is it? This initial exchange was the true precursor and warning for them both.

Through a botched attempt to run away, Cora symbolically morphs from pristine and crisp white to dirty, sweaty, and dusty hitchhiker as she has a change of heart. This is not how she planned. They go back. Narrowly escaping Nick’s discovery, Frank has an opening to leave. But as countless film noir anti-heroes eventually do, he ignores any instinct to do the right thing. Frank: “Right then, I shoulda walked outta that place… She had me licked and she knew it.”

After initial and seeming resistence, we later learn that she was actually the one strategically in charge all along. And he acted helpless in acting better on his own behalf. Once the hooks were firmly embedded deep, even the red flag of ‘if you truly love me, you’ll murder for me’ couldn’t stop her quest to fulfill her ambitious needs to “be somebody.” Cora challenges Frank: “Do you love me? Do you love me so much that nothing else matters?”

Watching this trainwreck of an excuse for love unfold, as the audience we see the red flags, the road signs of dangerous curves up ahead… everywhere. From our lofty tower of wisdom, we see the mistakes, the grave errors in judgement. While this film spends a good chunk of time and detail serving justice post-mariticide in an ironic twist of fate for these two with a one-two punch, the fascinating components remain the motivations and evolutions of behavior.

Why this film remains a classic, besides enjoying the sexual tension sizzle off the screen and the nail-biting moments of thrills and suspense, what keeps us riveted as the voyeurs to this obsessive, dysfunctional romance is the undercurrent of self questioning, playing out in our own hearts and heads of how obsession can turn oneself against their own morality. Where is that line drawn? What does it take to push someone over the edge? This film ultimately begs the question: if a smart, non-commitment, non-romantic type like Frank can fall into such a deep, tragic trap, could something like this happen to anyone? Yes, perhaps even you?

I think that is what is at the heart of THE POSTMAN ALWAYS RINGS TWICE (1946). Even the sharpest cynic can blunder and fall prey. Not that murder is a very likely result, but I wager to guess that a significant number of people have experienced a type of obsessive love that has altered their judgement in morality, which was not in their own best interests. So, let that mail courier ring your doorbell twice, even three times. But watch out for the Lana Turner cunning beauties of the roadside cafes. More importantly, watch out for the little voice in your heart and head whenever you hear it crying out “NO!!” – sometimes it’s important to listen.

This post was my contribution to the ‘Til Death Us Do Part Blogathon on CineMaven’s Essays From The Couch. As this is sure to be a rousing assembly of blog posts of spouse-murdering twist and turns, I encourage you to read all the other contributors!

In the thirty-seven years since Colin Higgins’ Nine To Five (1980) was released, it’s easy to reflect upon this comedic view on feminism and the office workplace and note the changes. The typewriters and other technologies (or lack thereof), the clothes, hairstyles, cars… they all seem dated to the modern eye. But look deeper. The messages being pitched in this film, the struggles of the main characters, and even of the supporting characters, well, they rage on.

There are many films that have been set in the office workplace. But this film stood out for me. Perhaps based on timing, as I was the highly influential age of thirteen when it released. The second-wave feminism of the sixties and seventies challenged the status quo in the battle of the sexes: Billy Jean King, Title 9, NOW, Roe vs. Wade, the ERA and many more influencers shaped our emerging cultural awareness. Then 9 to 5 came along to challenge sexism and the battle for women’s equality in the American trenches… the workplace.

Not presented as some radical documentary or anything serious whatsoever, 9 to 5 is a comedy. But the message remains clear as a bell, through the laughter. What strikes interesting is not only that it’s a comedy but I would go further to say it’s a slapstick comedy that fits a formula and styling not unlike a true classic comedy, common several decades prior.

Comedy serves a great purpose to drive the messages home thanks also to a talented cast. Our main characters are Lily Tomlin as the hardworking, single mom and career woman Violet Newstead, Jane Fonda as Judy Bernly, is the meek housewife entering the workforce for the first time, Dolly Parton as the curvy, country- gal and secretary, Doralee Rhodes. Then there’s the boss, Dabney Coleman as Frank Hart. Or as he is better known, “a sexist, egotistical, lying, hypocritical bigot.”

The trio are an unlikely threesome, each with very different backgrounds so they don’t connect immediately. Their only true connection is not only the company they work for, but the insufferable pig in charge, Mr. Hart. Despite initial misperceptions of one another, they soon bond in being victims of Mr. Hart and his domineering, sexist ways. The pace picks up nicely when Violet mistakenly believes she has accidentally poisoned the boss. In a state of panic, they rally together in crime. No actual poisoning, their true crime turns to kidnapping- to buy time and prove he is embezzling company funds. In the end, the threesome survive and thrive, as do the rest of the staff and the company as a whole under these ladies’ leadership, and of course the villain gets his comeuppance.

There are some very appealing reasons to enjoy this often overlooked film…

Girlfriend Friendship:

Unlike so many comedies regarding battle of the sexes, 9 to 5 takes its time to show female friendship, based on how three very different women start off in typical office dynamics. Initially, their differences keeps them apart and whets the water cooler chat. Violet judges Judy (she’s ‘just a no-job-experience housewife’ whom she’s burdened with training, and she mocks her outdated clothing). As Violet and other staff have already judged and assumed the worst of Doralee (she must be shtupping the boss because she’s well-endowed), Violet convinces Judy to believe the same. Because of their common enemy, the three realize just how wrong they were about each other.

So many light comedies prefer to keep women in the catty zone, always competing for the man. It’s often men who are highlighted as the adventurous buddies. This film flips that stereotype. When women move past the barriers of judging each other and trust/support each other instead, they make HUGE accomplishments.

 Fantasies Become Reality:

There is a delightful fantasy segment where each of the ladies describes how they’d like to seek revenge on Hart. Timid Judy, who is especially vulnerable now as her husband just left her for his secretary, expresses bold confidence in her fantasy as a wild game hunter. Hart is the target and Judy is well-armed on the hunt with an enormous gun. Classic slapstick is alive and well in this very funny, and rather cartoonish scene. We see Judy blossom in self-esteem throughout the film and the audience knows this is greatly due to their supportive friendships as they go through wild adventures.

Doralee describes her fantasy where she turns the table on Hart, giving him a healthy dose of his own sexual harassment medicine. Being a country gal, she’s a rodeo star of a boss, lassoing and hogtying him when he politely and repeatedly refuses her inappropriate advances. I always wonder what men thought of this scene when it came out back in 1980. Surely, it would make for great- if not entertaining- training material for HR sexual harassment requirements.

Violet waxes Snow White for a mock Disney spin on her twist of revenge. She may look the spitting image of Snow White, even down to the animated woodland creatures hovering nearby, but Violet’s fairy tale turns ‘Grimm’ as she poisons Hart in her fantasy. Classic slapstick shtick includes a metal spoon eaten away instantaneously by stirring poison and steam in the shape of skull and crossbones. Ultimately, all three land up fulfilling their fantasies to a certain degree. Judy fires (although misses) a gun at Hart. Doralee hogties Hart. And Violet pours poison (accidentally) into Hart’s coffee.

Words, Words, Words:

I think the writers had fun with this one.

+The main characters’ names were somewhat similar to their respective actors, i.e. Violet= Lily (Tomlin).

+Dabney Coleman’s Frank Hart has no heart.

+In 9 to 5, the company’s name is “Consolidated Industries” which I immediately drew a parallel to the dysfunctional office relations in Billy Wilder’s THE APARTMENT (1960), with the company name of, “Consolidated Life of NY.” Likely a mere coincidence of a common word with no connection whatsoever, but that’s how a movie fanatic’s brain works.

+As words go, the 9 to 5 theme song, written and performed by Dolly Parton, became a number 1 hit (Billboard Country Chart), earning Parton an Academy Award nomination, four Grammy Award nominations with two Grammy wins.

+I think my favorite line came from Dolly Parton’s Doralee. At one point when she’s pushed to her limit with Hart’s wolfish behavior, she threatens him. She says she has a loaded gun in her purse and tells him, “turn you from rooster to a hen, with one shot!” as she points directly to his crotch.

Cast:

The casting is superb. The lead actresses clearly worked well together because that’s apparent on the screen. This was Dolly Parton’s first theatrical feature debut and I think it was the perfect vehicle for her. Tomlin and Fonda were much more experienced on-screen and their comedic chemistry still clicks to this day. The two co-star in the highly amusing and popular show “Grace and Frankie,” currently enjoying its 3rd season release on Netflix.

Coleman was the perfect choice for Frank Hart. Coleman was at the top of his fame with a string of successful features in the early eighties. He excelled at playing scoundrels with a flair for comedy. Many claim this was one of his most memorable roles. There are solid character actors here, as well, including Elizabeth Wilson, Marian Mercer, Peggy Pope, Henry Jones, Richard Stahl, plus a nice cameo from Sterling Hayden as the big boss, Tinsworthy.

If you haven’t seen this film in a long time, I recommend you take another look with fresh eyes. The comedy structure plays like so many of the classics. Look past the outdated styles and technologies, but ponder the bigger question on equality in the workplace. Has it changed so much in these nearly four decades? Isn’t there still a glass ceiling for most and continued unequal pay for equal work? But don’t let that get you down. It simply means we have more progress to accomplish. In the meantime, cherish those friendships- they can be empowering.

This was my contribution to the Workplace in Film & TV Blogathon, hosted by Moon In Gemini, August 18-20, 2017. Follow her site for daily updates with all the participating writers.

First things first. Before I can gush on about this distinctively funny lady with the fluttering hands that stole every scene, one must learn how to say her name correctly. Oh sure, many of my ‘old movie weirdo’ friends may know, but it’s a common mistake. To honor her properly, let’s begin with this lesson, provided via Thelma Todd and ZaSu herself:

YouTube: ZaSu Pitts: Learn My Name!

Now that we all know how say “Say-zoo,” a name which is a combo of her aunts Eliza and Susan, let’s explore the memorable ways this distinctive lady who began life not too far from me in Parsons, Kansas, became one of the most recognized faces in Hollywood.

Her most notable characters were the woeful worrywarts. Physically, her appearance was defined by delicate, thin lines and a frequent focus on her ever- waving, fidgeting fingers. Her tiny mouth was shaped like a kewpie doll with the corners often turned down. Her large, soft eyes were doe-like and she usually looked upward. Her voice had a distinctive mumbling of melancholic concern, often with an “oh dear…” muttering to herself. She gained the reputation of stealing every scene.

ZaSu’s signature characterizations were such a fan favorite she was parodied in cartoons, a reflection that she was immersed in pop culture. If you’ve seen Olive Oyl from Max Fleischer’s Popeye the Sailor cartoons, you are already familiar with the signature ZaSu Pitts tone and voice. She was also featured in Looney Tunes, in Hollywood-ribbing toons like “Mother Goose Goes Hollywood.”

Pitts often faced the challenge of looking too similar to Lillian Gish. Here, with Mary Pickford, THE LITTLE PRINCESS (1917).

Born Eliza Susan Pitts on January 3rd, 1894 (her 124th birthday is next month), the family moved to Santa Cruz, California seeking sunnier opportunities. Despite her shy demeanor and bird-like qualities, Pitts was a natural performing on stage and moved to LA by age twenty-one. Working a small part with icon Mary Pickford, A LITTLE PRINCESS (1917) was her first break on the big screen.

Erich von Stroheim’s masterpiece GREED 

Soon, she was starring in one-reelers and feature films, working with greats like directors King Vidor and Eric Von Stroheim (i.e. the silent masterpiece, GREED)- in a range of parts from tragedy to comedy to drama. Her popularity increased in the 1930s, with a demand for her in character roles in comedies. She was partnered in series with Thelma Todd (Hal Roach promoted the two as a female Laurel and Hardy) and with Slim Summerville.

mastering comedy with Thelma Todd

The 1940s brought her success to radio, vaudeville and Broadway, working with the biggest names in entertainment. She transitioned easily to television in the 1950s, in popular roles like cruise ship beautician Elvira Nugent on “The Gale Storm Show.” But this decade also introduced ill health, with a cancer diagnosis. As a fitting tribute to her own career, her last role would be in the epic ensemble of comic legends, in IT’S A MAD, MAD, MAD, MAD WORLD (1963). Even with health battles, she continued working until her death at the age of sixty-nine on June 7, 1963.

Pitts’ last role in IT’s A MAD, MAD, MAD, MAD WORLD

ZaSu Pitts was a true wallflower success story. She proved that a shy girl from Kansas, with more matronly than cover-girl looks, could be a huge star as a character actress. She worked from the silents to the sixties, in every entertainment medium (film, radio, vaudeville, television and on Broadway), from dramatic roles to comedy, and she worked with some of the biggest stars and filmmakers in Hollywood’s heydays.

The more ZaSu films I watch, the more I am thoroughly charmed by her. And to see her range from tragic epic dramatic roles like GREED to super silly shorts with Thelma Todd, I am also in awe of her talent. What a character!

This article on character acting legend ZaSu Pitts is my contribution to the 6th annual WHAT A CHARACTER Blogathon, hosted by Aurora of Once Upon a Screen, Paula of Paula’s Cinema Club and yours truly. You can read the other entries on character actors from this blogathon from days one, two and three:

He’s been called many things: an artist, a visionary, a perfectionist, a genius, a legend, even a fascist. But what Busby Berkeley did for musical numbers of the silver screen was simply unforgettable. While Berkeley had a long and successful career that included being a choreographer and a director, today I only want to address the choreography of his musical numbers that highlights his mastery of geometric patterns in dancing harmony.

From conducting military parades and staging camp shows for soldiers in WW1, William Berkeley Enos aka “Buzz” returned home and quickly became one of Broadway’s top dance directors. By 1930, Ziegfeld gave him his big chance to transition to film so he moved to Hollywood. Beginning with choreographing musical comedies like, WHOOPIE! (1930) with Eddie Cantor, he started to get noticed. Producers Samuel Goldwyn and Darryl F. Zanuck each gave him opportunities to have greater creative control. It was Zanuck that offered him the big break at Warner Brothers with the film 42nd STREET (1933) that forever changed his destiny.

In Lloyd Bacon’s 42nd STREET (1933), Berkeley directed the key musical numbers that made the film a huge hit, “Shuffle Off To Buffalo”, “Young and Healthy” and the “Naughty! Bawdy! Gaudy!“, depression-era story-telling finale, “42nd Street”. In these numbers, we see the enormous ensemble of dancers and grand scale perspective begin to emerge.

In “Young and Healthy,” the circles and rows of dancers, including unique camera techniques like snaking underneath a bridge of continuous legs, creates magical human kaleidoscopes for which he soon became famous. In this number, we are also witness to BB’s frequent use of glowing shades of white in repetition contrasting against a black backdrop, another sign of his artistic-meets-tech mastery to achieve the greatest effect.

What followed was an astounding surge of creative output of some of the most iconic musical numbers ever put to film. Although he went on to direct and choreograph dozens of films and musical numbers until the 1960s, it was the massive production in the Pre-Code years that reflected his crowning achievements in geometric patterned brilliance.

In Mervyn LeRoy’s GOLD DIGGERS OF 1933 (1933), Buzz reaches new heights. Working again with catchy, Oscar nominated songs by Harry Warren and Al Dubin, BB created four spectacular musical numbers: “We’re In The Money,” “Pettin’ In The Park,” “The Shadow Waltz,” and “My Forgotten Man” made the final cut. (“I’ve Got To Sing A Torch Song” number by Ginger Rogers was cut; instead given to Dick Powell, but not as a full production number.)

In “The Shadow Waltz,” Berkeley showcases some of his signature moves such as the use of a reflective flooring that was used as a mirror to further create the kaleidoscope effect. In color, this would be too busy visually to simply use a mirrored floor. But in black in white, he knew that a shiny, black flooring with glowing shades of white elements- including neon violins- would create this effect with maximum results.

Another BB signature element is to have the rows of dancers move in a way that makes it appear alive. In “The Shadow Waltz” we see spinning, flowing movements that appear like a flower opening and closing its petals. One way he is able to create this effect is to have the camera often go from deep closeups shots to extreme ariel shots. In this case, each dancer twirls and the dresses are like spinning, inverted plates but from a distance, whether in a row or in circles, it takes on a new, and different form. To ponder how many hours of detailed planning was required to achieve this makes my head spin!

In Lloyd Bacon’s FOOTLIGHT PARADE, Berkeley leaves the gritty, marching rows of ‘forgotten men’ from his last film and takes a dip in the waters. From numbers that range honeymooners to back alley cats, in the “Shanghai Lil” musical number, he takes on prostitution and opium dens (and asian stereotypes) but ultimately returns to rows of marching military. Musical numbers:

• “Honeymoon Hotel” – by Harry Warren (music) and Al Dubin (lyrics)
• “Shanghai Lil” – by Harry Warren (music) and Al Dubin (lyrics)
• “By a Waterfall” – by Sammy Fain (music) and Irving Kahal (lyrics)
• “My Shadow” – by Sammy Fain (music) and Irving Kahal (lyrics)
• “Ah, the Moon Is Here” – by Sammy Fain (music) and Irving Kahal (lyrics)
• “Sitting on a Backyard Fence” – by Sammy Fain (music) and Irving Kahal (lyrics)

Buzz was known for coming up with his best ideas for his elaborate choreography from daily soaks in his bath tub. In “By The Waterfall,” synchronized swimming takes geometric patterns to new heights, and greater depths, than Buzz had ever gone before… or since.

In Ray Enright’s DAMES (1934), “Beautiful Girls” is arguably the finest example of kaleidoscope inspired use of geometric patterns in a Busby Berkeley musical number. Additionally, in “I Only Have Eyes For You,” surreal, large Ruby Keeler heads dance around, but otherwise all the signature BB markers are present, from rows and circles of white twirling dresses against a black backdrop, with zooming extreme closeups and ariel shots.

In GOLD DIGGERS OF 1935, Berkeley sits in the directing chair beyond just the musical numbers. The “The Words Are in My Heart” number takes the phrase “go big or go home” to heart with dancing pianos. A plethora of baby grand pianos are constantly moving and spinning on elaborate staircases and flowing in waving rows. To complete the kaleidoscope patterns, rows of women wave their flowing white skirts. In his masterpiece “Lullaby On Broadway,” he ambitiously tells a dark tale with armies of dancers in a mini film-in-a-film that lasts nearly 15 minutes.

Busby Berkeley continued with directing and choreographing films and musical numbers so the examples above are only highlights. I know what you’re thinking. What’s the deal with that ‘fascist’ comment? According to a Busby Berkeley documentary, a few people called him that more in jest simply because of his obsessive work demands from dancers and the set crew, combined with his infusion of military-influenced marching formations.

Apparently, his demands were so intensely high that he was known to push people to extremes with zero sympathy, in order to achieve his dazzling results. He was also known to be anti-social to the point he preferred discussing tech over chatting with dancers. If you consider how he utilized his dancers- often dressed the same, and in formations like parts in a big machine, I guess it’s not that surprising. So I’m also not surprised to hear he was married six times, with each marriage lasting less than a couple of years. His last marriage being the only exception.

He lived a long life with a successful career but I wonder how his scandal of being tried for manslaughter for the deaths of two people affected him personally, and his relationships with others. It is said that alcohol was a contributing factor to him plowing into two vehicles one night in 1937 while driving home after a party that resulted in two deaths and five injured. He also attempted suicide and was placed temporarily in a psychiatric hospital following his mother’s death in 1946.

He was acquitted for the car crash deaths, but did that haunt him? Was work his salvation? Perhaps being a perfectionist helped him in some way. The brilliance of his geometric patterned wonders may not give us the answers, but they can provide us joy for decades and decades to come.

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This was my contribution to the Busby Berkeley Blogathon, hosted by Annette of Hometowns To Hollywood, January 25th- 28th. Be sure to read all the entries!

The Academy of Motion Picture Arts and Sciences handed out the first Awards at a dinner party for about 250 people on May 16, 1929 to honor movies released from August 1, 1927 – August 1, 1928. The first Academy president, Douglas Fairbanks, hosted and presented in the ceremony held in the Blossom Room of the Roosevelt Hotel in Hollywood. The brainchild of MGM studio mogul, Louis B. Mayer, the Academy was formed in 1927 as a non-profit dedicated to the advancement and improvement of the film industry. Some might argue about some of those achievements, but there is one thing that is sure to impress classic movie and Hollywood fans – when the music plays to open this year’s Oscars on March 4, 2018 it will be the 90^th time the film industry honors achievements in movies.

Here are the 1929 Winners and Nominees

If you take the time to look through all of the moments in 90 years of Oscars ceremonies, you’ll find numerous surprises, disappointments and controversy any number of which may spur debate from film aficionados. That’s where we come in. For the sixth consecutive year, I am joining forces with Aurora of Once Upon A Screen aka @CitizenScreen and Paula of Paula’s Cinema Club aka @Paula_Guthat to bring you the 31 Days of Oscar Blogathon. Given Oscar’s special anniversary and all of the memories, we hope you’ll consider joining us to make this the best and brightest outing yet.

As you know, this blogging event is inspired by Turner Classic Movies’ 31 Days of Oscar marathon, which begins its 23rd installment on February 1. This year the network is presenting the movies based on the categories in which they were awarded or nominated. February 1st will honor Best Original Song Winner and Nominees and the festival kicks off with Busby Berkeley’s Gold Diggers of 1935 (1935). William Wyler’s Ben-Hur (1959) will end the 31-Day presentation on March 3, the day dedicated to Best Picture Winners.

Since both TCM and the Oscars bring to mind our beloved host and favorite historian, Robert Osborne, we thought we would kick off our Blogathon with his words about the 31 Days of Oscar marathon…

“One thing seems to stir the souls of our Turner Classic Movie loyalists like no other: the 31 Days of Oscar salute.” 

Blogathon Details

Rather than hosting the 31 Days of Oscar Blogathon for the entire month of February, as we’ve done in the past, we will host all entries the weekend before the Oscars this year. That is from Friday, February 23 through Sunday, February 25, which leaves Oscar weekend free for last minute movie watching. We’re also combining all topics this year and simply presenting them over the three days. Any Oscar-related topic is fair game. We are not limiting this event to classic film fare as we’d like to see entries covering the entire 90-year history of Oscar, including this year’s nominees. To help get you motivated here are the categories we have used in the past…

• The Actors
• The Directors
• The Motion Pictures
• Oscar Snubs
• The Crafts (music, costumes, etc.)
• New Idea – Oscar Controversies

Most of you know the drill, but as a reminder, adhering to the following is necessary:

• Let us know what your desired topic is by leaving a comment on any of the host blogs
• Include the title and link to your blog in the comments area
• Advise if you have a date preference – Friday 2/23, Saturday 2/24 or Sunday 2/25
• Include the event banner on your blog and in the entry post to help us promote the event

Restrictions – just two:

• Please do not submit previously published posts
• No duplicates will be accepted to ensure we cover as much of Oscar history as possible

We look forward to hearing from you and to reading your entries. As many entries as you want, actually, so get to it!

Until then here’s to Oscar, to TCM and to YOU! Happy Blogging!

Participating Blogs and Topics

Caftan Woman – 1936 Best Dance Direction Nominee, Benjamin Zemach for Hall of Kings from Merian C. Cooper’s SHE (1935)

Blog of the Darned – 7 Films that Should Have Been Nominated for Best Picture

One Gal’s Musings – The 1954 Best Actress Competition

Silver Screenings – How the Oscars Began

Movie Movie Blog Blog – Embarrassing Oscar Moments

Old Hollywood Films – Janet Gaynor’s Three Oscar Wins

Hometowns to Hollywood – Wings (1927)

Critica Retro – The Trouble with Thrillers

Realweegiemidget Reviews – Oscar-winning Actresses in Superhero Movies

Moon in Gemini – Forgotten Winners and Nominees

Cracked Rear Viewer – Claire Trevor in Key Largo

Once Upon a Screen – Why Barbara Stanwyck Should Have Taken Oscar Home in 1942

Danny Reviews – Chariots Of Fire (1981) and The King’s Speech (2010), Best Picture films about perseverance