“TCM Big Screen Classics: Breakfast at Tiffany’s” Movie Event Ticket Giveaway (November 4 through November 19)

Win Tickets to see “Breakfast at Tiffany’s”
on the Big Screen!
in Select Cinemas Nationwide November 27 & November 30!

CMH is thrilled to announce the next round of our monthly movie ticket giveaways this year, courtesy of Fathom Events! This month, we’ll be giving away EIGHT PAIRS of tickets to see “TCM Big Screen Classics: Breakfast at Tiffany’s” on the Big Screen!

The film will be playing in select cinemas nationwide for a special two-day-only event on Sunday, November 27 and Wednesday, November 30 at 2:00 p.m. and 7:00 p.m. local time. (check theater listings here; please note that there might be slightly different theater listings for each date)

Here’s how you can enter to win a pair of tickets:
In order to qualify to win a pair of movie tickets via this contest, you must complete the below task by Saturday, November 19 at 10PM EST.

We will announce the winner(s) on Twitter on Sunday, November 20, between 6PM EST and 7PM EST. If a winner(s) does not have a Twitter account, we will announce that winner(s) via this blog in the comment section below.

TCM Big Screen Classics: Breakfast at Tiffany's

ENTRY TASK (2-parts) to be completed by Saturday, November 19 at 10PM EST…

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

THE QUESTION:
Why do you adore the film “Breakfast at Tiffany’s”? Or, if you haven’t seen it yet, why do you want to see it?

2) Then TWEET* (not DM) the following message:

Just entered to win tickets to see “Breakfast at Tiffany’s” on the Big Screen courtesy of @ClassicMovieHub & @FathomEvents #TCMBigScreen

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

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 classicmoviehub@gmail.com and we will be happy to create the entry for you.

About the film: Winner of two Oscars, Breakfast at Tiffany’s captured the imagination of audiences everywhere and made an indelible impact on movies, fashion and society at large when it debuted in 1961. In director Blake Edwards’ timeless classic, Audrey Hepburn’s intoxicating New York party girl embarks on a wildly entertaining, comedic adventure to find love in the big city.

IMPORTANT NOTE for all prizing: This is a special two-day-only event at select theaters nationwide on Sunday, November 27 and Wednesday, November 30 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 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

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–Annmarie Gatti for Classic Movie Hub

Posted in Contests & Giveaways, Fathom Events, Posts by Annmarie Gatti, TCM Big Screen Classics | Tagged , | 68 Comments

“Alfred Hitchcock: A Brief Life” Book Giveaway (Oct 31 through Dec 3 via Twitter)

Celebrating The Master of Suspense…

Yes, there’s a chill in the air, and not just because we’re heading into November! But, rather because we’re celebrating the extraordinary Master of Suspense, Alfred Hitchcock, with a November Book Giveaway! Thanks to Doubleday/Nan A. Talese, CMH will be giving away ten copies of Alfred Hitchcock: A Brief Life by acclaimed biographer Peter Ackroyd via TWITTER (plus two more copies via Facebook and this Blog, details to follow on Wednesday). That’s TWELVE COPIES in all.

To enter, just complete the below entry task by Saturday, December 3rd at 9PM EST. And, fyi, the sooner you enter, the better chance you have of winning, because we will pick two winners on five different days within the contest period, via random drawings, as listed below… So if you don’t win the first week that you enter, you will still be eligible to win during the following weeks until the contest is over.

  • Saturday, November 5: Two Winners
  • Saturday, November 12: Two Winners
  • Saturday, November 19: Two Winners
  • Saturday, November 26: Two Winners
  • Saturday, December 3: Two Winners

And, yes, you can still enter if you don’t have a Twitter account…

We will announce each week’s winner(s) on Twitter @ClassicMovieHub, the day after each winner is picked at 9PM EST — for example, we will announce our first week’s winners on Sunday December 4 at 9PM EST on Twitter.

Alfred Hitchcock: A Brief Life by Peter Ackroyd

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TO ENTER: Complete the following (2-parts) by Saturday, December 3 at 9PM EST…

1) Answer this question via the comment section at the bottom of this blog post:  What is one of your all-time favorite suspenseful scenes from a Hitchcock film?

2) Then TWEET (not DM) the following message*:
Just entered to win the “Alfred Hitchcock: A Brief Life” #BookGiveaway courtesy of @DoubleDayBooks and @ClassicMovieHub

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

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 classicmoviehub@gmail.com and we will be happy to create the entry for you.

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About the Book:  Alfred Hitchcock was a strange child. Fat, lonely, burning with fear and ambition, his childhood was an isolated one, scented with fish from his father’s shop. Afraid to leave his bedroom, he would plan great voyages, using railway timetables to plot an exact imaginary route across Europe. So how did this fearful figure become the one of the most respected film directors of the twentieth century? As an adult, Hitch rigorously controlled the press’s portrait of him, drawing certain carefully selected childhood anecdotes into full focus and blurring all others out. In this quick-witted portrait, Ackroyd reveals something more: a lugubriously jolly man fond of practical jokes, who smashes a once-used tea cup every morning to remind himself of the frailty of life. Iconic film stars make cameo appearances, just as Hitch did in his own films: Grace Kelly, Cary Grant, and James Stewart despair of his detached directing style and, perhaps most famously of all, Tippi Hedren endures cuts and bruises from a real-life fearsome flock of birds. Alfred Hitchcock: A Brief Life wrests the director’s chair back from the master of control and discovers what lurks just out of sight, in the corner of the shot.

About the Author: Peter Ackroyd is the award-winning author of London: The BiographyAlbion: The Origins of the English ImaginationShakespeare: The Biography, and Thames: The Biography. He has written acclaimed biographies of T. S. Eliot, Dickens, Blake, and Sir Thomas More, as well as several successful novels.

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).

And if you can’t wait to win the book, you can purchase it on amazon via the below link (click on image):

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–Annmarie Gatti for Classic Movie Hub

Posted in Books, Contests & Giveaways, Posts by Annmarie Gatti | Tagged , , | 67 Comments

Happy Noirvember… Kino Lorber Film Noir DVD and Blu-Ray Giveaway (November via Twitter)

We’re  Celebrating Noirvember with a Film Noir DVD/Blu-Ray Giveaway!

CMH will be celebrating Noirvember all month long with a ‘fun fatale’ Film Noir giveaway! Thanks to Kino Lorber, we’ll be giving away EIGHT Film Noir Classics (winners’ choice from the list below) via Twitter. BUT that’s not all… stay tuned here on this blog, because we’ll also be giving away TWO MORE Noir Classics via a separate Facebook/Blog giveaway as well (details to follow later this week). So, all told, there are Ten Chances to win!

To enter, just complete the entry task below by Saturday, November 26 at 10PM EST. Enter as soon as you can, because the sooner you enter, the more chances you have to win – because we will pick two winners on four different days within the contest period, via random drawings, as listed below… So if you don’t win the first week that you enter, you will still be eligible to win during the following weeks until the contest is over. Please note that each winner will be able to choose their preferred format: DVD or Blu-Ray.

  • Saturday, November 5: Two Winners
  • Saturday, November 12: Two Winners
  • Saturday, November 19: Two Winners
  • Saturday, November 26: Two Winners

We will announce the winner(s) on Twitter @ClassicMovieHub or this Blog (depending how you entered), the day after each winner is picked at 10PM EST (for example, we will announce the first winner on Sunday November 5 at 10PM EST on Twitter or this Blog).

film_noir_contest_art_250

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Winners will choose their prize from the following list of 12 Noir Classics: Deadline U.S.A., The Crooked Way, Pitfall, A Bullet for Joey, Witness to Murder,
Shield for Murder, Cover Up, He Ran All the Way. The Hitch-Hiker, Scarlett Street, The Stranger , Storm Fear. Winners will also have their choice of DVD or Blu-Ray format. You can read about the films below.

TO ENTER: Complete the following (2-parts) by Saturday, November 26 at 10PM EST…

1) Answer this question via the comment section at the bottom of this blog post:  What is your favorite Film Noir and why?

2) *Then TWEET (not DM) the following message:
Just entered to win the ‘Celebrating Noirvember’ #DVDGiveaway courtesy of @ClassicMovieHub & @KinoLorber #FilmNoir

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

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 classicmoviehub@gmail.com and we will be happy to create the entry for you.

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About the Prizes:

Deadline U.S.A. (DVD or Blu-Ray)
Screen legend Humphrey Bogart (Casablanca) stars as a fictional newspaper editor Ed Hutcheson of “The Day”, which will be folding in three days. Even though he and his staff will be out of work within days, he intends to expose the criminal activities of vicious crime boss Tomas Rienzi (Martin Gabel, The Thief). An abundance of subplots are expertly woven together by legendary screenwriter/director Richard Brooks (Elmer Gantry) in Deadline – U.S.A. This classic film noir features stunning black-and-white cinematography by the great Milton R. Krasner (23 Paces to Baker Street) with an uniformly excellent cast that includes Ethel Barrymore (Portrait of Jennie), Kim Hunter (A Streetcar Named Desire), Ed Begley (12 Angry Men), Warren Stevens (Forbidden Planet), Paul Stewart (Kiss Me Deadly) and Jim Backus (Gilligan’s Island).

The Crooked Way (DVD or Blu-Ray)
Newly Re-mastered in HD! Everyone wants a piece of Eddie Rice! John Payne (99 River Street, Hidden Fear) plays Eddie Rice, a highly decorated and wounded war veteran who has lost his memory. As he heads to Los Angeles to try and figure out his identity, two police detectives arrest him. Turns out he is really Eddie Riccardi, a former employee of the notorious mob boss Vince Alexander (Sonny Tufts, The Seven Year Itch). No one seems happy to see Eddie again and when he’s framed for murder, Eddie must find the real killer and clear his name by navigating through the crooked underbelly of Los Angeles. Featuring top-notch direction by veteran filmmaker Robert Florey (The Cocoanuts) and stunning cinematography by the great John Alton (He Walked by Night, T-Men).

Pitfall (DVD or Blu-Ray)
Mastered in HD from a 35mm dupe negative preserved by the UCLA Film & Television Archive – Film noir great Dick Powell (Murder, My Sweet) plays an ex-vet living the American dream with a beautiful home, loving wife (Jane Wyatt, Lost Horizon), wonderful kid (Jimmy Hunt, Invaders From Mars) and a great job as an insurance executive. But Powell like many returning servicemen exhibits a restlessness experienced by many veterans, his penchant for excitement leads him on an illicit affair with sexy bombshell (Lizabeth Scott, Too Late For Tears) that leads to much more than a guilty conscience- a complicated web of intrigue, jealousy and murder. Considered by many as one of the greatest film noirs of all time, Pitfall features top-notch direction by the great Andre De Toth (Hidden Fear) and a great performance by Raymond Burr (TVs Perry Mason) as a corrupt private eye.

A Bullet for Joey (DVD or Blu-Ray)
Mastered in HD! Edward G. Robinson (Scarlet Street) and George Raft (They Drive by Night) star in this espionage thriller that pulls out all the stops for excitement and edge-of-your-seat suspense. When a Canadian police inspector investigates a murder, he is hurtled into an adventure involving foreign spies, American gangsters and an explosive high-tech secret that could change the world. In a daring attempt to seize a brilliant physicist’s discoveries, a foreign superpower enlists mobster Joe Victor (Raft) and his gang in a scheme that will ignite a firestorm of betrayal, murder and global intrigue. Police Inspector Leduc (Robinson) is closing in, but the gangsters bring in their ultimate weapon: the stunning Joyce (Audrey Trotter, The Set-Up), a blonde temptress who will teach the scientist a thing or two even he doesn’t know! The breathtaking chase leads through the city streets to a pulse-pounding confrontation aboard an enemy cargo ship. Crackling with unrelenting tension, clever twists and a rapid-fire pace that will have you enthralled until the final action-packed moments, A Bullet For Joey is an adventure of the highest caliber with top-notch direction by the great Lewis Allen (Suddenly).

Witness to Murder (DVD or Blu-Ray)
Newly Re-mastered in HD! A woman fights to convince the police that she witnessed a murder. One sleepless night, Cheryl Draper (Barbara Stanwyck, Double Indemnity) witnesses a young woman being strangled to death in an apartment across the street. She reports the killing to the police, but when the police arrive there is no body to be found. The policemen are convinced that Cheryl probably dreamt the murder and leave ignoring her pleas. Similar to Alfred Hitchcock Rear Window, which opened less than a month later and overshadowed this top-notch film noir featuring great direction by Roy Rowland (The Girl Hunters) and beautiful black-and-white cinematography by legendary John Alton (He Walked by Night). Co-starring George Sanders (A Shot in the Dark) and Gary Merrill (All About Eve).

Shield for Murder (DVD or Blu-Ray)
Dame-Hungry Killer-Cop Runs Berserk! Edmond O’Brien (D.O.A., White Heat) stars in this crime drama about a crooked and brutal police detective who steals $25,000 from a criminal he murders and becomes the target of a colleague’s investigation… more and more he realizes that he must kill again to cover his tracks.

Cover Up (DVD or Blu-Ray)
Newly Re-mastered in HD. A Small Town…with Big Secrets! Sam Donovan (Dennis O’Keefe, T-Men, Raw Deal) is an insurance investigator sent to a small Midwest town, to find out whether the death of one of its policyholders was a suicide or murder. Sam is convinced that he was murdered but the entire town, led by the sheriff (William Bendix, Lifeboat), is not talking. It’s only when local girl Anita (Barbara Britton, I Shot Jesse James) breaks her silence does Sam begin to uncover the truth. As he falls in love with Anita, he begins to unravel the secret everyone in the town is keeping. Directed by Alfred E. Green (Baby Face), with stunning black-and-white cinematography by the great Ernest Laszlo (Judgment at Nuremberg).

He Ran All the Way (DVD or Blu-Ray)
Newly Re-mastered in HD! Nick Robey (John Garfield, The Postman Always Rings Twice) is a dim-witted thug who lives with his mother and scrapes by on petty crime. He and his slick accomplice plot a big-time payroll robbery, but their plan goes horribly awry when they’re discovered by a uniformed policeman, a shootout ensues leaving Al and the cop wounded and Nick on the run. While seeking cover, Nick meets Peggy Dobbs (Shelley Winters, Lolita), a lonely young girl who takes Nick to her family’s apartment, while there the paranoid thief decides to take the family hostage until he can escape. This was the great John Garfield’s final film, he died less than a year later at age thirty-nine from heart complications as accusations of his involvement with the Communist Party and his refusal to name names before the HUAC led to his blacklisting in Hollywood; During the film’s initial run, director John Berry (Tension) and screenwriters Dalton Trumbo (Lonely are the Brave) and Hugo Butler (The Southerner) were un-credited due to Hollywood blacklisting during the Red Scare. Stunning black-and-white cinematography by the legendary James Wong Howe (Hud).

The Stranger (DVD or Blu-Ray)
Having directed two undisputed masterpieces – Citizen Kane and The Magnificent Ambersons – Orson Welles delved into the suspense film, crafting a baroque postwar thriller that drew upon the style of his previous work, while laying the groundwork for his later film noir classics The Lady from Shanghai and Touch of Evil. Edward G. Robinson stars as Wilson, a government agent who tracks down a high-ranking Nazi officer (Welles) who has managed to craft a new identity for himself in a quaint Connecticut town, marrying the daughter (Loretta Young) of a local judge. Circulated in poor versions for decades, this edition of THE STRANGER was mastered in HD from an original 35mm print preserved by the Library of Congress, and is accompanied by a wealth of supplemental material.

The Hitch-Hiker (DVD or Blu-Ray)
Beyond its obvious cultural significance as the only classic film noir directed by a woman (actress Ida Lupino), THE HITCH-HIKER is perhaps better remembered as simply one of the most nightmarish motion pictures of the 1950s. Inspired by the true-life murder spree of Billy Cook, THE HITCH-HIKER is the tension-laden saga of two men on a camping trip (Edmond O’Brien and Frank Lovejoy) who are held captive by a homicidal drifter (William Talman). He forces them, at gunpoint, to embark on a grim joyride across the Mexican desert.

Scarlet Street (DVD or Blu-Ray)
A box-office hit (despite being banned in three states), SCARLET STREET is one of legendary director Fritz Lang’s (M, Metropolis) finest American films. When middle-aged milquetoast Chris Cross (Edward G. Robinson, Double Indemnity) rescues street-walking bad girl Kitty (Joan Bennett) from the rain-slicked gutters of an eerily artificial back-lot Greenwich Village, he plunges into a whirlpool of lust, larceny and revenge. As Chris’ obsession with the irresistibly vulgar Kitty grows, the meek cashier is seduced, corrupted, humiliated and transformed into an avenging monster before implacable fate and perverse justice triumph in the most satisfyingly downbeat denouement in the history of American film. Dan Duryea, as Kitty’s pimp boyfriend, skillfully molds “a vicious and serpentine creature out of a cheap, chiseling tin horn.” (The New York Times). Packed with hairpin plot twists and “bristling with fine directorial touches and expert acting” (Time), SCARLET STREET is a dark gem of film noir.

Storm Fear (DVD or Blu-Ray)  
Newly Re-mastered in HD! Storm Fear is a classic film noir starring, produced and directed by Cornel Wilde (The Naked Prey) as a wounded bank robber, Charlie Blake hiding out with his gang at his brother, Fred (Dan Duryea, Scarlet Street) and sister-in-law, Elizabeth’s (Jean Wallace, No Blade of Grass) farmhouse during a snowstorm. As time passes the criminals are anxious to move on, but need to rest so Charlie has time to recover, complicating matters more is Charlie’s love for Elizabeth with whom he once had an affair. The stellar supporting cast includes Lee Grant (The Landlord), Steven Hill (A Child is Waiting) and Dennis Weaver (Duel) – with an adapted screenplay by the great Horton Foote (To Kill a Mockingbird) and stunning black-and-white cinematography by Joseph LaShelle (Laura).

For more information, visit the Kino Lorber Website here.

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Click here for the full contest rules and more details. 

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

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

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

If you don’t want to wait to win, you can use the below 20% off coupon code CMHNOIR to purchase the titles we’re giving away — OR any Kino Lorber title for that matter — at the Kino Lorber online store:

Kino Lorber Film Noir Coupon

Good Luck!

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–Annmarie Gatti for Classic Movie Hub

 

Posted in Contests & Giveaways, Posts by Annmarie Gatti, Uncategorized | Tagged , , | 42 Comments

5 Things You May Not Know about Elsa Lanchester

5 Things You May Not Know about Elsa Lanchester

 elsa-lanchester_portrait

Like that today is her birthday. Happy 114th Birthday to the legend Elsa Lanchester.

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1.) She had some pretty hip parents

elsa-lanchester_brotherI couldn’t find any photos of her parents, so enjoy Baby Elsa and her brother..

Elsa Sullvian Lanchester was born to some pretty progressive parents, James Sullivan and Edith Lanchester. They were active members of the Social Democratic Federation and never married, thus the name “Sullivan Lanchester.” The pair pretty much abhorred the conservative society they were born in, and to quote Elsa, “My parents were always a bit arty. They were “advanced”. They supported pacifism, vegetarianism, socialism, atheism and all that.”

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2.) She had her own arts driven nightclub

elsa-lanchester_young

Of course nothing was said arty as the cigarette. How 100 years can change things.

Thanks to her bohemian upbringing, Lanchester was always looking for venues to express her creativity. In the mid-1920s she decided to open a nightclub in London called Cave of Harmony. This gave Lanchester an outlet for performance, as well as becoming a popular meeting spot for London artists and intellectuals such as H.G Wells, Aldous Huxley and James Whales.

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3.) She suffered for her art

elsa-lanchester_bride_of_frankenstein

You think she woke up looking like this?

Lanchester’s most memorable role may have also been her most difficult. In order to play the 7- foot tall character of The Bride, the 5’4” Lanchester was forced to wear stilts that added the extra foot and a half to her height. The bandages were so tight that she couldn’t even move and had to be carried through the studio. She was fed through a straw and used a bird’s cage as the base for the now iconic Bride’s hairdo. How’s that for suffering for your art?

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4.) She was married to Charles Laughton

elsa-lanchester_charles_laughton

Elsa Lanchester and Charles Laughton star in Witness for the Prosecution (1957, Billy Wilder director)

OK, you probably already knew that, but did you know that they starred in ten films together? In their final film together, Billy Wilders’ 1957 courtroom drama Witness for the Prosecution, both received Academy Award nominations for Best Supporting Actor.

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5.) Her career went to the rats

elsa-lanchester_poster

Luckily her character did not

Although Lanchester is best remember as a cult icon due to her work in Bride of Frankenstein, she also played co-star in another cult horror hit, 1971’s Willard. In the film she played the overbearing, unsympathetic mother to the titular character of Willard. While the character wasn’t actually a monster, she did have a hand in creating a metaphoric one.

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Minoo Allen for Classic Movie Hub

Posted in Birthday Legends, Legends Tribute, Posts by Minoo Allen | Tagged , , , , , , , , | 3 Comments

Happy Halloween!

Happy Halloween from Classic Movie Hub!

Ah, Halloween. That beautiful time of a year when I eat an entire bag of Milky Way mini bars while dressed up in lobster costume, and no one will judge me for it! Anyway, we here at Classic Movie Hub just want to wish you a Happy Halloween. Hope nothing too spooky happens to ya. And if it does, these pictures might help to calm you down!

…..ann_miller-halloween

I believe this Ann Miller is doing a seance

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alfred_hitchcock-halloween

Hitchcock at his deadpan best

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ava_garderner_halloween

I’m not sure why Ava Gardner‘s broomstick would need reigns. But I’m not a witch, so what do I know.

…..joan_crawford-halloween

Joan Crawford was such a trendsetter. Here she is a creepy clown before it became the bizarre craze of 2016

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frank-sinatra-witchcraft

This counts as Halloween themed, right?

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myrna_loy-halloween

That jack o’ lantern is clearly seeing something Myrna Loy is not.

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judy_garland-halloween No, Judy, you are the one who’s supposed to be reading to the cat, not the other way around.

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peter_lorre-halloween

Peter Lorre, doing his best headless horseman impression

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veronica_lake_halloweenI may be wrong, but looks like those jack o’ lanterns are about to go all “Et tu brute” on Veronica Lake.

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janet_lee-halloweenJanet Leigh: Good Witch or a Bad witch? You decide.

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dean-martin_jerry-lewis-halloween

As always, Dino looking like he wishes he was elsewhere.

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–Minoo Allen for Classic Movie hub

Posted in Halloween, Holiday Tributes, Posts by Minoo Allen | Tagged , , , , , , , , , , , , , , , | 4 Comments

Answer Key – A Classic Quiz: Test Your Knowledge of Hollywood’s Golden Age Stars

A “CLASSIC” QUIZ
Answer Key

Thanks to all for joining the fun! Now for the long-awaited answers!

Here are the questions again:

  1. Name the actor who won two Academy Awards for playing the same character in the same film in the same year.
  2. The actress who played the title role in the Broadway play Claudia also made her screen debut playing the same role in the 1943 film version of the play. Who was she?
  3. Archibald Leach changed his name when he began to appear in movies. What was his new name?
  4. Fred Astaire’s dancing partner in A Damsel in Distress went on to win the Best Actress Academy Award a few years later, who was she?
  5. She was romanced by John Wayne in Flying Tigers, then was locked up in an insane asylum by Boris Karloff in Bedlam. Who was she?
  6. Bob Hope sang the Oscar-winning song “Thanks for the Memory” in The Big Broadcast of 1938. Name the other Oscar-winning song that Hope sang on screen.
  7. In Miss Sadie Thompson [1953], Rita Hayworth played the same character that Joan Crawford played in Rain [1932]. But who played the same character before them in the 1928 Sadie Thompson?
  8. Mia Farrow played Allison Mackenzie in the TV series Peyton Place, but who earned an Oscar nomination for playing the same role in the 1955 movie Peyton Place?
  9. Name the actress who sang “Smoke Gets in Your Eyes” in the musical Roberta.
  10. Which actor began his movie career as one of the leading stars of Citizen Kane, the 1941 film many critics believe to be the best-ever American film, but eventually ended up starring in a 1971 Italian film called Lady Frankenstein.

And now…

ANSWERS: 1. Harold Russell, who won the Oscar for Best Supporting Actor of 1946 in The Best Years of Our Lives, but also received an honorary Oscar from the Academy for the same performance. 2. Dorothy McGuire. 3. Cary Grant. 4. Joan Fontaine, who won her Oscar for Suspicion [1941]. 5. Anna Lee. 6. “Buttons and Bows” from The Paleface [1948] 7. Gloria Swanson. 8. Diane Varsi. 9. Irene Dunne. 10. Joseph Cotten.

A Big Thank You again to authors James Bawden and Ron Miller of Conversations with Classic Film Stars for putting together this fun little quiz for us!

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And if you have the time, you may want to check out their book on amazon 🙂

Posted in Trivia | Tagged , , | 2 Comments

Werewolf of London (1935)

“Neither man nor wolf…”

Stuart Walker’s Werewolf of London (1935) succeeds in terrifying sensitive souls. The movie tells the story of botanist, Wilfred Glendon (Henry Hull) who goes on an expedition to Tibet where the rare mariphasa lupina lupina can be found.  Also known as the moon flower, the mariphasa is said to take its life from the moon.

Werewolf of London 1935 theatrical poster

After many months and several warnings about the dangers that lurk in the Tibetan valley, Glendon finds the mariphasa, but not before he is attacked and bitten by a strange-looking half-man half-creature.  Glendon survives the attack and manages to bring home a live sample of the mariphasa.  Soon after his return home Glendon is visited by a Dr. Yogami, another botanist interested in the flower who also has strange tales to tell.  While the two discuss the properties of the flower Yogami mentions that it is also the only known antidote for lycanthropy.  Catching Glendon by surprise Yogami touches his arm, exactly where the beast had bitten him.  The werewolf, Yogami goes on to say, is “a satanic being that is neither man nor wolf, but possesses the worst qualities of both.”

Dr. Glendon discounts the werewolf tale altogether.  Or rather discounts it at first.  He starts to take it seriously when one of his hands gets hairy and grows claws under the moon lamp in his laboratory.  After a gruesome murder on the night of a full moon Glendon grows concerned that Yogami is right – he now suffers from the strange werewolf affliction.  Like his descendants would do in later werewolf movie incarnations, Glendon attempts to lock himself up so as to avoid another attack.  Unfortunately, the attempt proves ineffective.  Glendon escapes, succumbs to his urges and kills and by doing so puts those he loves in grave danger.

Henry Hull and Warner Oland in Werewolf of London 1935Henry Hull (as Glendon) and Warner Oland (as Yogami)

Werewolf of London is credited as the first mainstream werewolf movie, but the way it tells its story is not necessarily original.  By 1935 Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde had already been adapted for film several times.  Werewolf of London has more in common with that story than it does with werewolf tales that follow.  For instance, when Dr. Glendon, already transformed into a werewolf, skulks London at night he is more reminiscent of an aristocratic creeper than a wild beast.  That’s a glaring truth if one compares Glendon’s werewolf to the one seen in George Waggner’s The Wolf Man (1941), which is Universal’s definitive lycanthropy movie.  One appreciates Lon Chaney, Jr’s tragic portrayal of Larry Talbot even more after watching Hull as Glendon.  Both Dr. Glendon and his beastly counterpart are too restrained.  They never lose control – not the cursed man or the beast.  In both cases the hat and overcoat are never forgotten, which detracts from the “uncontrollable urge” side of the monster.  As a result, we never empathize with the suffering of the werewolf of London as compared to how our hearts break for Talbot and his cursed alter ego.  Werewolf of London also makes a grave mistake in the telling of the story.  It lets it be known far too soon that werewolves attack the person they love, which means we know early on what the film’s climax will be.

Werewolf of London 1935Henry Hull transformed…

All that said, however, Werewolf of London is definitely worth a look.  The movie moves along at a great pace and although Henry Hull does not ascribe the heart of the wolf to his portrayal, he’s certainly menacing enough to give this viewer a few chills.  While we’re not likely to be terrified by the scenes during which Glendon skulks about as a werewolf, the first transformation scene is terrific with Glendon becoming more a werewolf as he passes a series of pillars.  And while the make-up by Jack Pierce in Werewolf of London is not as memorable as his work on other legendary monsters, the large fangs, ears and widow’s peak are quite effective.  I’ve read that Pierce’s plan for Hull’s make-up in this was what he’d end up using on Chaney in Waggner’s 1941 film.  The story goes that Pierce was livid with Hull’s refusal to use the extreme amount of make-up and chose the lighter version in order to emote better.  Whatever the reasons for the change in design this fan is happy about it.  We would have not gotten the 1941 Wolf Man or the contrast in the two versions had that not been the case.

Spring Byington and Valerie Hobson, Werewolf of London 1935Spring Byington and Valerie Hobson

There are several other reasons to watch Werewolf of London.  For instance, Warner Oland brings some of his enjoyable Charlie Chan wisdom to Yogami.  Valerie Hobson turns in a fine performance as Lisa Glendon despite being 17 years old, nearly three decades younger than Hull who plays her husband in the film.  Also worthy of note are Paul Ames who plays Lisa’s friend and Dr. Glendon’s possible rival and finally, the great Spring Byington – who is as reliable and entertaining a supporting player as there ever was.  The film’s art direction and music also help enhance the horror elements throughout.

If you’re looking for a classic alternative this Halloween, you’ll do just fine with Werewolf of London.  Audiences in 1935 didn’t turn out to see it, but it’s a worthy member of Universal’s horror legacy.

–Aurora Bugallo for Classic Movie Hub

Aurora Bugallo is a classic film-obsessed blogger, and co-founder and co-host of the Classic Movies and More Youtube show. You can read more of Aurora’s articles at Once Upon a Screen, or you can follow her on Twitter at @CitizenScreen.

Posted in Films, Guest Posts, Halloween, Horror | Tagged | 6 Comments

Rolling Stone’s “100 Greatest TV Shows”: Standing the test of time?

“Our list is guaranteed to start plenty of loud arguments”

Tastes change.

When Entertainment Weekly ranked the “100 Greatest CDs” (remember those?) in 1993, the resulting list included an entry from the musical artist Slayer – – no doubt a worthy ensemble, but not one likely to populate many desert-island lists today.

In 1999, Rolling Stone magazine listed the quirky Albert Brooks comedy Lost in America as one of the 100 greatest films of the prior 100 years. These days, Lost in America garners a rating of 7.1 out of 10 at the Internet Movie Database, not even the highest mark for an Albert Brooks film.

Now, in its latest issue, Rolling Stone has given us the “100 Greatest TV Shows of All Time.”

Rolling Stone Magazine Greatest TV Shows of All Time

Okay: No one regards Rolling Stone as the periodical of record on American television, or film. It is the periodical of record on records. Music is its bailiwick, although some recent judgments – – such as awarding four stars to every Rolling Stones album since 1990 – – have prompted even record fans to search elsewhere for counsel.

Yet, the new list has drawn substantial press coverage, partly because the publication apparently invited television critics from other mainstream publications to cast votes. (A canny move, come to think of it.)

“Our list is guaranteed to start plenty of loud arguments,” writes Rob Sheffield, the magazine’s popular-culture concertmaster, in a short introduction to the list.

It has. And I would seem to play into Rolling Stone’s hands if I started another one. Yet, I am the author of a book that posits The Andy Griffith Show as – – arguably – – the most enduring television program of its era. My book also claims that Andy Griffith has never reaped the respect it deserves from either the Hollywood industry or its salaried critics. The fact that poor Andy has been omitted from Rolling Stone’s list, and from another recent list compiled by the Hollywood Reporter, would seem to prove my point.

The Andy Griffith ShowThe Andy Griffith Show

In truth, I love lists. When I was twelve, a poster hung in my room. It pictured not Farrah Fawcett, or the cast of Star Wars, but a fine-print list of the 500 greatest rock ‘n roll songs of all time, as assembled by one of the Top 40 stations in my home town of Chicago. My favorite bands were the Beatles and the Stones. A song by Queen was listed at No. 1 on this poster. I knew, even then, that the list was wrong, and that history would vindicate me. (I mean, the song wasn’t even “Bohemian Rhapsody.”)

Anyone who has spent as much time with as many “all-time” lists as I have can tell you their fatal flaw: The more recent the work, the less reliable the list. The passage of time yields hindsight, weeding out the ephemeral from the enduring, the derivative from the original.

On my desk sits a book released a decade ago by the beloved British music magazine Mojo, listing several hundred records that, according to its writers, everyone should own. The entries for the 1960s and 1970s may not be unassailable, but they are at least defensible; critical opinion on the merits of Deep Purple’s Machine Head or Stevie Wonder’s Talking Book is, at this point, relatively fixed. But as I approach the back end of the book, where judgments are made on works just one or two years old, I read with growing trepidation. Yes, I know Nick Cave is a major artist, but is Nocturama really his magnum opus? I love Aimee Mann, but surely she has done better than Lost in Space.  

If “greatest” lists are least trustworthy when they consider recent works, then Rolling Stone’s list of Greatest TV Shows is one risky endeavor. The list is top-heavy with contemporary programs, including productions that are still on the air, some just reaching their apex, others about to jump the shark.

The first sentence of the piece seems to explain the temporal bias: “There’s never been a creative boom for TV like the one we are living through right now,” Sheffield writes.

Well, perhaps not. But are all the programs listed beneath those words a part of that boom? Is Portlandia a show for the ages? Is Broad City? I’ve read a lot about The People v. O.J. Simpson: American Crime Story, but that program aired this very year. Is it already time to declare it timeless?

Seventeen years ago, Entertainment Weekly ranked the 100 Greatest Movies of All Time. Scanning the list now for unlikely titles, I see that it includes The Last of the Mohicans, a fine action film that has slipped off the radar over the passing years, just like Lost in America.

I have to admit, though, that the rest of the list looks pretty solid.

Seventeen years from now, let’s check back on Rolling Stone’s TV list and see if it, too, has stood the test of time.

…..

–Daniel de Vise for Classic Movie Hub

Daniel is Don Knotts’ brother-in-law.  Andy and Don is a lively and revealing biography and the definitive work on the legacy of The Andy Griffith Show and two of America’s most enduring stars. The book features extensive unpublished interviews with those closest to both men and a wealth of new information about what really went on behind the scenes. Click below to purchase Andy and Don on Amazon.

Posted in Posts by Daniel de Vise, TV Roles | 6 Comments

A Classic Quiz: Test Your Knowledge of Hollywood’s Golden Age Stars

A “CLASSIC” QUIZ
Test Your Knowledge of Hollywood’s Golden Age Stars

A Big Thank You to authors James Bawden and Ron Miller of Conversations with Classic Film Stars for putting together this fun little quiz for us! Test your ‘Classic Knowledge’ by answering these fun questions in the comment section below! We’ll share the answers next Monday, right here on this Blog. Some of these are tough, so Good Luck!

  1. Name the actor who won two Academy Awards for playing the same character in the same film in the same year.
  2. The actress who played the title role in the Broadway play Claudia also made her screen debut playing the same role in the 1943 film version of the play. Who was she?
  3. Archibald Leach changed his name when he began to appear in movies. What was his new name?
  4. Fred Astaire’s dancing partner in A Damsel in Distress went on to win the Best Actress Academy Award a few years later, who was she?
  5. She was romanced by John Wayne in Flying Tigers, then was locked up in an insane asylum by Boris Karloff in Bedlam. Who was she?
  6. Bob Hope sang the Oscar-winning song “Thanks for the Memory” in The Big Broadcast of 1938. Name the other Oscar-winning song that Hope sang on screen.
  7. In Miss Sadie Thompson [1953], Rita Hayworth played the same character that Joan Crawford played in Rain [1932]. But who played the same character before them in the 1928 Sadie Thompson?
  8. Mia Farrow played Allison Mackenzie in the TV series Peyton Place, but who earned an Oscar nomination for playing the same role in the 1955 movie Peyton Place?
  9. Name the actress who sang “Smoke Gets in Your Eyes” in the musical Roberta.
  10. Which actor began his movie career as one of the leading stars of Citizen Kane, the 1941 film many critics believe to be the best-ever American film, but eventually ended up starring in a 1971 Italian film called Lady Frankenstein.

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And if you have the time, you may want to check out their book on amazon 🙂

 

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TCM Trailblazing Women: Anna May Wong

 

Turner Classic Movies Trailblazing Women in Film
Breaking Barriers: Anna May Wong

Continuing on the success of last year’s programming, Turner Classic Movies will once again host the series Trailblazing Women of Hollywood, celebrating the actresses who have made a difference. Airing every Thursday and Saturday night in October, TCM will touch upon the actresses who, not only helped change the landscape of Hollywood, but also helped change the landscape of America, politics, activism, and even the world itself.  Each day of the series offers a focus on one of these areas. And, although the entire series seems incredibly engaging, I would like to focus on the programming for October 18th, Breaking Barriers, and shine a spotlight on one star in particular: Anna May Wong.

Anna May Wong-1938Bang game on point

Anna May Wong lived during an interesting time in history for people of Asian origins. It was a time of both intense discrimination and intense fetishization. While poems, paintings, literature, food and other forms of recreation and entertainment from “the Orient” (aka hundreds of vastly different cultures throughout the Middle East and Asia) were welcomed by white America, a deeper, more meaningful appreciation of these cultures was not. The West craved all of the “exotic” goods and surface aesthetics that came from the East without an actual understanding of the plethora of peoples or histories that created them. An entire continent of differing civilizations was simply reduced to a concept of “the Orient” – a foreign, seemingly backwards land of mysticism, heathens, cruelty, aromatic spices, weak-willed men and devilish women.

Basically, the West wanted an easily digestible stereotype that would reinforce the notion that “they” were from different “us.” According to Edward Said’s theory of Orientalism, this dichotomy of West vs East, or “The Occident” vs “The Orient,” was used to maintain the idea that the West was a superior cultural force, especially in the Age of Imperialism. This dichotomy would also shape Wong’s career as she was constantly deemed either “too American” or “too Chinese” — without people considering that she could be both.

the-toll-of-the-sea-images-7315be57-39e5-458e-ab44-9651e08277dAnna May Wong in The Toll of the Sea (1922, Charles M. Franklin director)

Wong entered Hollywood as a teenager, appearing as an extra in films shot in and around Chinatown. In 1922, the 17-year old Wong was cast as the lead in the early Technicolor feature The Toll of the Sea, a non-operatic adaption of Madame Butterfly. The film made bank, and while the fact that it was the second Technicolor movie ever made had something to do with it, pretty much everyone could agree that the other reason for its success was Wong’s beautiful performance as Lotus Flower. Her portrayal of a pregnant Chinese woman abandoned by her white lover was a revelation in screen acting. While the wild and theatrical movements of the stage had shaped the trend of film acting at the time, Wong bucked the norm to create a more subtle and precise performance; one that far better suited the intimacy of the screen than distance of the stage. She quickly caught the eye of Douglas Fairbanks, who cast her as the cunning and fiendish Mongol Slave in The Thief of Baghdad (1924) . Although both The Toll of the Sea and The Thief of Baghdad where massive hits, they marked the defining feature of Wong’s career. For the rest of her Hollywood career, she would be typecast as either the meek, hopeless victim or, more frequently, the villainous dragon lady – aka the two most prominent and incredibly demeaning stereotypes of Asian women.

Time and time again, Wong was stuck playing these two-dimensional roles that had nothing to do with her talent, and everything to do with her heritage. While her white peers were given the chance to explore their characters’ depth and development, Wong played victims or villains because, apparently, Chinese women couldn’t be accepted as anything else. It didn’t matter that she grew up in America and assimilated into the culture at a young age; Wong simply could not be seen as just an America on the screen. She was the Chinese victim or a Chinese villain and that was that. It’s no wonder that her career became a point of contention with her family, who viewed her roles as demeaning and shameful to the Chinese people.

Although Wong was constantly relegated to the most basic stereotypes on the screen, she did enjoy popularity among the American public. I mean, she was beautiful, talented, and incredibly stylish. What’s not to love? Her appearances in fan magazines such as Motion Picture and Photoplay were especially important because, at the time, she was often the only non-white face to grace their pages. This was most certainly a huge step for women of color in Hollywood, although the articles still seemed to focus on what she was instead who she was. The ole’ West vs East dichotomy always seemed to be at the forefront of the stories about her, constantly trying to pin her as “more Chinese” or “more American.” Because obviously she just couldn’t be both.

anna-may-wong_look-magazineEyebrow game on point

So, despite her talent and despite her popularity with American audiences, Wong still couldn’t get the leading roles she knew she deserved. In 1928 when she played the supporting player to Myrna Loy in The Crimson City, Wong finally decided she had enough of Hollywood and decided to try her luck in Europe.

When Wong arrived in Europe, she became a sensation. In 1928 she starred in a series of German films and quickly made friends with the film industry elite including Leni Riefenstahl and Marlene Dietrich.  Soon she began learning multiple languages and quickly adopted a European sense of the world. She became well liked among the European artistic/intellectual elite, surrounding herself with princes, playwrights and photographers. She became the toast of the town (or, ya know, continent) where she remained until 1930.

Wong was eventually lured back to American by Paramount Pictures, who promised her starring roles in major pictures. Now, although Paramount stayed true to their word and cast her as the leading actress in Daughter of the Dragon, guess what type of role she played? If you guessed villainous dragon lady, sadly, you are very correct. It didn’t take long for Wong to become more vocal about her dissatisfaction with the trite stereotypical roles being offered to Chinese-Americans and start advocating for more dynamic and challenging parts. Her pleas, however, seemed to fall upon deaf ears and Wong’s career began to fall back into its old patterns.

the_son-daughter_posterOh, look. Two white people. If only there was a good Chinese actress they could hire…

Due to the fervent racism permeating Hollywood and anti-miscegenation rules put forth by the Hays Code, MGM refused to cast Wong in the film The Son-Daughter because she would have to share an on-screen kiss with Ramon Novarro. The studio also stated, and I’m not lying here, that Wong was “too Chinese to play Chinese.” I don’t even know what that means. So, instead of casting a “too Chinese” woman to play a Chinese character, MGM cast white-as-snow Helen Hayes, dressing her up in the finest yellow-face Hollywood could buy. After playing a small supporting role in A Study in Scarlet, the dejected Wong once again left Hollywood and toured Europe for a few years.

Wong’s final attempt in Hollywood would prove painful. Upon hearing that the novel The Good Earth was to be adapted to film, Wong began campaigning heavily for the lead role of O-Lan. The character was heroic, flawed, complex, and Chinese – a dream role for someone like Wong. Once again, she was passed over in favor of a white actress in yellow-face, and was once again offered the supporting role of a devious Chinese temptress. Wong refused the part, saying, “If you let me play O-Lan, I will be very glad. But you’re asking me – with Chinese blood – to do the only unsympathetic role in the picture featuring an all-American cast portraying Chinese characters.” Rather than face such indignity, Wong packed her bags and left for China.

anna-may-wong_dress

Wong began to study Chinese culture and theater, hoping to build a career in the place she was always associated with but barley visited: China. She was praised and welcomed by the most western and cosmopolitan cities of Shanghai and Beijing, but found herself unwelcome by the villages and workers of the country, who saw her as “too American.” A sad turn of events, considering that those in America thought her “too Chinese.” And with the rise of Chinese nationalism during WWII, Wong was soon denounced by many Chinese and Chinese-American nationalists as an embarrassment due to the demeaning roles offered to her by Hollywood. Which, might I remind you, where the only roles offered to her and roles she eventually refused because of their stereotypical nature.

I, for one, would like to raise my glass to Anna May Wong. Despite the insurmountable challenges Wong faced, she fought not only for her career but also for the careers of other marginalized Chinese-American actors stuck in the most basic and degrading stereotypical roles. She fought against the practice of yellow-face, eventually refusing to appear in films that used the technique, sometimes to the determent of her own career. So this one is for you, Anna, the great barrier breaker and an incredible trailblazing woman.

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Minoo Allen for Classic Movie Hub

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