Classic Movie Hub Blog

Celebrating the Mysterious Birth of Andy Griffith…

Posted on June 7, 2016 by Annmarie Gatti

Andy Griffith was born in Mount Airy, NC…

Of all the facts in a person’s life, the birthday is supposed to be an easy one.

Yet, to this day, I’m not exactly sure of Andy Griffith’s birthday. I’m not even sure he was.

Andy Samuel Griffith was born in Mount Airy, North Carolina, on June 1, 1926. Or perhaps on June 7. He died July 3, 2012, at his estate in Manteo, on the Carolina coast.

The University of North Carolina, which houses Andy’s collected papers, gives his birth date as June 1, 1926. So does the Biography network, and the Film Reference website, and Wikipedia. And that would seem to settle it.

Except that it doesn’t. Deep within the birth registry for Surry County, North Carolina, home to Andy’s birthplace of Mount Airy, I found a handwritten entry that neatly records the birth of one Andy Samuel Griffith – – on June 7, 1926. The same birthday, June 7, is clearly typed on Andy’s draft registration card from the 1940s.

Yet, Andy’s death certificate gives his birth date as June 1. So does the New York Times obituary that followed Andy’s death in 2012.

Why all the confusion?

Mount Airy, North Carolina, the birthplace of Andy Griffith

This much seems certain: Andy journeyed through most of his life with a June 1 birthday. That is the birth date given in The Player, a 1961 survey of star’s lives written by sisters Lillian and Helen Ross that devotes a chapter to Andy. The date appears again in a 1964 article in The Saturday Evening Post, one of the more thorough biographical pieces on Andy. And again in the 1998 interview Andy gave to the Archive of American Television. In fact, I can’t recall a single interview with Andy in which he reported the birth date printed in that Surry County registry.

Andy’s birth certificate, which a friend at the News & Observer in Raleigh was kind enough to share, appears to show his birth date as June 1. Sadly, the document was compiled hurriedly and rather sloppily, and the numeral just might be a seven; it’s hard to tell for sure.

It is possible Andy himself became aware of the discrepancy only in his autumn years. In a 1996 piece for Parade magazine, journalist James Brady wrote that Andy had “only recently learned that his birth date was off by several days.” Andy explained the glitch in his own folksy way: “when ol’ Doc delivered me, Momma wasn’t quite ready with a name.”

Andy Griffith alongside his commemorative statue in his hometown of Mount Airy (more pictures here)

The writer didn’t elaborate. Andy seemed to be saying he had learned of the conflicting birth dates late in life, perhaps following the death of his mother, Geneva, in 1986.

But that can’t be quite right, either. Andy must have known of the discrepancy all along, as it was an adult Andy who gave the June 7 birth date to the draft board. Maybe what older Andy learned was the reason for the alternating dates. Perhaps Andy’s mother revealed to him, late in her own life, that she and husband Carl Griffith had been delayed in reporting the birth of their only child.

In my book Andy and Don, a portrait of the lifelong friendship between Andy and television sidekick Don Knotts, I give Andy two birthdays. We celebrate the second one today with the release of the paperback edition of the book.

Happy Birthday, Andy.

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–Daniel de Visé for Classic Movie Hub

Daniel de Visé is Don Knotts’ brother-in-law and author of Andy and Don, 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. Scheduled for paperback release on June 7, 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 the book on Amazon.

Posted in Posts by Daniel de Vise, TV Roles | Leave a comment

Turner Classic Movie Film Festival: Day One

Posted on June 6, 2016 by minooallen

Turner Classic Movie Film Festival
Day One

On Thursday April 28th, I have to admit I woke-up in somewhat of a panic. You see, dear readers, it was at that precise moment that the gravity of my situation sank in. In a mere few hours, I would meander out of my hotel room to start my biggest task of the day: Red Carpet Press. That’s right – this born cinephile from a small-town in upstate New York was headed to the red carpet, armed with my camera and ready to interview some of her childhood heroes. And like any young professional, I was a walking pile of nerves because of it.

My original plan for the day was to wake up early and explore the heart of Hollywood for a few hours before returning to my hotel room to pick up my camera, tripod and microphone. My exploration time was cut to zero as I spent the early morning in near panic on the internet researching the list of stars set to appear on the red carpet. Finally, at around 3:45, I walked out of hotel room and into the Red Carpet Press holding area, eagerly awaiting my place on the red carpet line up.

Waiting to get on that Sweet, Sweet Red Carpet

My tripod acting as my place saver.

After about 45 minutes of check-ins and waiting, I was finally directed to my designated spot on the red carpet line. This was immediately followed by another 45-minute period of waiting, this time waiting for the stars to come out.

At about 5:30, the stars finally began to make their way down the red carpet. During this time I somehow managed to keep a calm, cool and professional front but in reality, on the inside, I was freaking out like a 1940s Sinatra fangirl – sans the riots, of course. How I managed to keep a steady hand and get so many great pictures is still a mystery to me. These pictures are something of a sneak peak for you guys because in the coming weeks CMH will be posting the interviews with these lovely folks on our Youtube page. Until then, enjoy!

Fans waiting in stand

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Film critic Leonard Maltin

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Child star and star of A Tree Grows in Brooklyn, Ted Donaldson.

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Childhood hero of mine, Director Roger Corman

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The ever-talented Gina Lollobrigida

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Salvatore Cascio, showing off that Italian-Cool.

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Jack Lemmon’s son, Chris Lemmon. Notice the resemblance?

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At approximately 6:45pm all the stars had made their way into the movie and my first red carpet bonanza was over. My day, however, was anything but over. So, I immediately dashed back to my hotel, grabbed some fresh batteries and made my way to the Roosevelt Hotel. Every night TCM hosted a special poolside film screening and that night kicked it off with Harold Lloyd’s The Freshman accompanied with a live DJ, providing a modern score to this most classic of comedies. The environment was amazing. I could hear the laughter before I even reached the pool area. Smiling faces were everywhere and when people did talk, they did so quietly as to not disturb other viewers. One thing I found particularly awesome was the traveling trays of food offered by the hotel’s incredibly nice wait staff. I may have had a slider or 2 or 3…They knew who to come to first.

Unfortunately, I couldn’t stay for the whole movie because I wanted to make sure I got a prime seat for one of my favorite romances of all time, Brief Encounters. So, yet again, I was dashing around the heart of Hollywood, from the Roosevelt Hotel to the Chinese Theater. I arrived, however, to a most curious sight – tons of TCM Film Festival pass-holders crowding around the building. “Surely the line to Brief Encounters can’t be THIS long.” I thought to myself. “The other movies haven’t ended, yet.” I quickly learned that I was correct in my assumptions.

It turns out that a fire alarm had gone off in the building and everyone who was watching A Tree Grows in Brooklyn, Dark Victory or One Potato, Two Potato had to immediately evacuate the theater. Although it was probably an annoyance for anyone who went to see those films, it actually worked perfectly for me. The delay meant I was there super early (9^th in line to be exact) and got to watch my favorite David Lean flick from the best possible vantage point.

By the time Brief Encounter was over, it was already passed midnight. After a quick meeting with Annmarie, I was off to my hotel already anticipating the next day. So, please, stay tuned to hear more about my Film Festival experience. Tomorrow’s adventures feature a person very near and dear to my heart. The only and one Angela Lansbury…and y’all know how I feel about Lansbury.

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Minoo Allen for Classic Movie Hub

Posted in Posts by Minoo Allen, TCM | Tagged Brief encouters, classic film, david lean, Gina Lollobrigida, Harold lloyd, hollywood, leonard maltin, minoo allen, red carpet, roger corman, TCM, Ted Donaldson, The Freshman, Turner Classic Movies, turner classic movies film festival 2016 | Leave a comment

“TCM Big Screen Classics: Willy Wonka and the Chocolate Factory” Movie Event Ticket Giveaway (June)

Posted on June 3, 2016 by Annmarie Gatti

Win Tickets to see “Willy Wonka and the Chocolate Factory”
on the Big Screen!
in Select Cinemas Nationwide June 26 & June 29!

CMH is thrilled to announce the next round of our monthly movie ticket giveaways this year, courtesy of Fathom Events! That said, this month, we’ll be giving away SIX PAIRS of tickets to see “TCM Big Screen Classics: Willy Wonka and the Chocolate Factory” on the Big Screen!

The film will be playing in select cinemas nationwide for a special two-day-only event on Sunday, June 26 and Wednesday, June 29 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)

That said, 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, June 18 at 10PM EST.

We will announce the winner(s) on Twitter on Sunday, June 19, 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: Willy Wonka And The Chocolate Factory

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ENTRY TASK (2-parts) to be completed by Saturday, June 18 at 10PM EST…

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

THE QUESTION:
Although Willy Wonka isn’t a classic-era classic movie, many people consider it a classic none-the-less, with lots of fond memories about it… That said, what is it about the film that you especially like? Or, if you haven’t seen the film, why would you like to go see it?

2) Then TWEET* (not DM) the following message:
Just entered to win tickets to see “Willie Wonka” 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.

About the film: Directed by Mel Stuart and starring Gene Wilder as the legendary Willy Wonka, this movie brings to the screen the endlessly appetizing delights of Roald Dahl’s cherished book. Coated with flavorful tunes and production designs that are a visual treat for the eyes, this effervescent musical never fails to enchant young and old. On a whirlwind tour of Willy’s incredible, edible realm of chocolate waterfalls, elfish Oompa-Loompas and industrial-sized confections, a boy named Charlie (Peter Ostrum) will discover the sweetest secret of all: a generous, loving heart. With this heart-warming fan favorite, audiences will rediscover all the timeless magic as it was meant to be seen: on the big screen.

IMPORTANT NOTE for all prizing: This is a special two-day-only event at select theaters nationwide on Sunday, June 26 and Wednesday, June 29 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

Can’t wait to win? You can buy tickets here:

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–Annmarie Gatti for Classic Movie Hub

Posted in Contests & Giveaways, Fathom Events, Posts by Annmarie Gatti, TCM, TCM Big Screen Classics | Tagged Classic Movie Hub and Fathom Events TCM Presents Movie Classics Ticket Giveaway 2016, Willie Wonka | 28 Comments

Max Fleischer Universe: Master Illustrators at Work

Posted on June 3, 2016 by Gary Lucas

The Breathtaking Backgrounds of Max Fleischer…

I never fail to find something new and breathtaking in the backgrounds of Max Fleischer’s delightfully surrealistic and highly askew cartoon worldview. From the rubbery, curvilinear city scene backgrounds that inspired the likes of underground comix masters R. Crumb and Kim Deitch, to more naturalistic renderings based on the way Manhattan and environs more or less appeared in the early 30’s, to the fantastical fairytale and mythological landscapes that emanated directly from the fecund ids of the talented artisans who toiled at 1600 Broadway, it is almost as if the backgrounds themselves are the stars of the show, not Betty Boop or Popeye and Olive Oyl in all their antic glory. There is a beautiful high-art tradition at play here, lovingly rendered in sharp to near-soft focus by master illustrators at work, often uncredited (what a shame!).

Popeye the Sailor “Shoein’ Hosses”

Take for example the incredibly detailed background of this scene from the 1934 Popeye classic “Shoein’ Hosses” directed by Dave Fleischer and animated by Willard Bowsky and Dave Tendlar, where the camera pans from right to left, from a shot of Popeye preening in front of the village smithy to Bluto in a bar across the street. Note how the background illustrator has actually blurred the center of the elaborate background street-scape to provide an accelerated transition effect during the camera’s rapid pan.

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Here’s another Popeye classic background — this time a lovely 3D composite using real photos of miniature sets and foreground animated 2-dimensional figures (Max was way ahead of Walt Disney in the 3D department,) from Max Fleischer’s 1935 gem “King of the Mardi Gras” (which amongst other things is the first cartoon wherein Popeye is voiced by Jack Mercer, substituting for Billy Costello). This opening sequence’s constructed miniature sets are most probably based on Coney Island’s famous Luna Park, including their infamous Steeplechase roller coaster, the “War of the Worlds” flying spaceship ride, and other Coney fairground attractions:

This opening sequence uses Max’s patented STEREOPTICAL PROCESS, whereby footage of actual miniature 3D constructed sets rendered in forced perspective are integrated with two-dimensional cell animation to provide a 3D effect. In 1933, Max Fleischer, ever the inventive genius (he patented the rotoscoping process in 1915, whereby live action footage was literally traced over and replaced with animated drawings to create extremely lifelike articulation of movement of the cartoon characters ) came up with this innovative STEREOPTICAL technique, which actually pre-dates Walt Disney’s own celebrated “planar animation” 3D process by a few years. The secret to Max’s process was his unique “setback camera” to photograph miniature sets–trees and buildings, with a blue sky hanging behind them– on a rotating turntable while simultaneously hanging and filming two-dimensional cell drawings in the foreground. The turntable would rotate the sets slowly to create a realistic feeling of 3 dimensions when combined with the 2 dimensional foreground animation.

Here is a 1936 Popular Science article detailing this elaborate process:

And a basic breakdown of Max’s ingeniuous technique:

And here is a photo of Max hard at work with his celebrated “setback camera” shooting a detailed scene:

Finally, here is a vintage clip of Popeye walking baby Swee’Pea which showcases the Fleischer Stereoptical Process superbly:

In closing, I return once again to my favorite all-time Betty Boop cartoon, the 1933 surrealist masterpiece “Snow White”, animated by Roland Crandall:

Feast your eyes on the rich and macabre detail of this sumptuous background drawing below, featuring the dissolute and depraved denizens of a hellish subterranean watering hole cum milk bar.

In the foreground to the left the rotoscoped ghost of Cab Calloway (transfigured from Koko the Klown by the evil queen of the tale) capers and pirouettes, all the while singing “St. James Infirmary”.

In an alternate Fleischer universe, would that one could view an entire cartoon spin-off utilizing this haunted eldritch background and its shadowy background characters only 🙂

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– Gary Lucas for Classic Movie Hub

Dubbed “one of the best and most original guitarists in America” (Rolling Stone), Gary Lucas is a Grammy-nominated songwriter and composer, and an international recording artist with over 25 solo albums to date. As a fan of classic cinema, Gary tours extensively, playing live accompaniments to legendary horror films including Dracula, Frankenstein, and Vampyr among others. He has also recently released two classic-related albums: “Gary Lucas’ FLEISCHEREI: Music from Max Fleischer Cartoons” featuring 2015 Tony nominee Sarah Stiles as Betty Boop, and “Cinefantastique,” a collection of themes and incidental music from classic films, ranging from South Pacific to Psycho! You can learn more about Gary at GaryLucas.com or by following him on twitter @lucasgary.

Posted in Cartoons, Posts by Gary Lucas | Tagged Max Fleischer, Popeye, Stereoptical process | Leave a comment

TCM Classic Film Festival 2016: Films, Friends and Lots of Fun…

Posted on May 26, 2016 by Annmarie Gatti

Recovering and Recapping the 2016 TCMFF…

Well, another TCM Classic Film Festival has come and gone, and I’ve just about ‘recovered’ from my post-film-fest-blues (albeit not completely)… And, although I’m already counting the days until next year’s Festival (yes, it’s that good), I thought I’d take the time to share some highlights with you…

For the 2nd year in a row, I served as a Social Producer for TCM, along with about 20 other film fan comrades. I was also able to bookend my trip with some classic movie sightseeing thanks to some very special ‘twitter’ friends (who I now count among my ‘real’ friends); from cemeteries and celebrity houses to film sites and more, we traversed the LA area in a state of classic movie bliss. I will be posting about these adventures separately, as they deserve their own coverage (and I have lots of pictures to share), but let me at least offer my Special Thanks here to my travel companions Aurora @CitizenScreen, Kellee @IrishJayhawk66 and Jeanelle @NebraskaNellie, and our ‘travel guides’ Laura @LauraMiscMovie and her husband Doug, Elise @EliseCD and Danny @Cinephiled.

Before I start my recap, I just want to mention here that, for me, the TCM Classic Film Festival is more than ‘just’ a classic film festival… For me, it’s a classic movie ‘nirvana’… There’s always an incredible selection of movies and special events to see at any given moment (and, yes, some delightfully difficult choices to make). We get to experience classic films on the Big Screen (with like-minded fans who actually appreciate them too), we get to attend interesting panels that give us insight into the classic era (from home movies and book signings to expert discussions and celebrity conversations), plus we get to see exclusive interviews with iconic classic film stars (where else could you see Eva Marie Saint or Angela Lansbury talk about their careers?). But, what also makes this Festival so ‘especially’ special, is that it allows us classic movie fans to meet fellow fans from all around the world and build some solid friendships — and that is something extra wonderful…

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Pre-Fest Fun, April 27

Old Friends and New!

The classic movie merriment kicked off with some pre-fest events, including a ‘Going to TCM Classic Film Festival’ Facebook Page Meet-Up. It was terrific to re-unite with old friends — and meet lots of new ones. The event was hosted by Kelly Kitchens Wickersham, and featured a presentation by Meredith Ponedel, niece of legendary make-up artist Dottie Ponedel.

Dottie Ponedel with Judy Garland

Meredith was a treasure trove of information and anecdotes about her pioneering aunt and famous clients. I had the privilege of sitting down and talking with her, and as it turns out, we had quite a bit in common — although I can’t boast growing up around Judy Garland, Joan Blondell, Gail Patrick, and a cast of other classic movie stars! A Big Thank you to Meredith, Kelly Kitchens, and Woolsey Ackerman for making this event possible!

Meredith Ponedel (photo: 2016 Classic Movie Hub) speaks about her legendary aunt

Meredith had lots of stories to tell, from Judy Garland singing “Over the Rainbow” to her over the phone, to Gail Patrick buying her clothes, to visits from Frances Dee and her ‘cowboy husband’ (that would be Joel McCrea :). You can hear more from Meredith in our Classic Movies and More YouTube interview series with her. To see the first interview of the series, click here.

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Let the Movies Begin!

TCMFF Day One, April 28

A Tree Grows in Brooklyn (1945, director Elia Kazan)

Peggy Ann Garner, Dorothy McGuire and Ted Donaldson in A Tree Grows in Brooklyn

A Tree Grows in Brooklyn was my first movie of the Festival, and needless to say, it was a heart-wrencher. I had seen it a number of times before, but nothing can beat seeing it on the Big Screen. This is a must-see classic — a coming of age story about a young girl set against a backdrop of tenement life in Brooklyn.

Ted Donaldson (who played son Neeley Nolan) introduced the movie, which was a real treat for me, especially since he talked about working with Elia Kazan (on this film), as well as his debut movie role at 10 years old in Once Upon a Time opposite Cary Grant (a personal favorite of mine). He also had something very sweet to say about Joan Blondell (see below)…

Ted Donaldson introduces A Tree Grows in Brooklyn (photo: 2016 Classic Movie Hub)

Donaldson told us that, while filming A Tree Grows in Brooklyn, he asked Joan Blondell to marry him… At the end of filming, Ted asked her for a photo, which she signed “From Joan ‘I’m waiting for you’ Blondell” 🙂

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TCMFF Day Two, April 29

Francis Ford Coppola Handprint and Footprint Ceremony at the TCL Chinese Theatre (aka Grauman’s Chinese Theater)

Francis Ford Coppola speaks at the TCL Chinese Theatre Imprint Ceremony (photo: 2016 Classic Movie Hub)

After a 50+ year career that earned him five Oscars, Francis Ford Coppola was honored with an Imprint Ceremony at the famous TCL Chinese Theatre, marking the 6th consecutive year that TCM hosted this type of event during the Film Festival (previous honorees were Peter O’Toole in 2011, Kim Novak in 2012, Jane Fonda in 2013, Jerry Lewis in 2014 and Christopher Plummer in 2015).

I have to say that it was a thrill for me to be able to cover this event. I’ve always been mesmerized (yes, I’m a tourist to the umpteeth degree) by the Grauman’s forecourt and could easily spend hours wandering around, gaping at the imprints and inscriptions from the iconic stars of Hollywood’s Golden Age. I can only image the glamour of days-gone-by when a Douglas Fairbanks or a Bette Davis would be so honored. But, I digress, so let’s fast-forward to 2016 again…

Roman Coppola warmly introduces his father (photo: 2016 Classic Movie Hub)

Roman Coppola introduced his father and talked about his dad’s film-making and love of actors, as well as what it was like growing up in his famous family including some lessons learned — not the least of which was — “when you’re making a pasta sauce, unless it has meat, there’s no garlic” 🙂 (to read my full article about the Handprint/Footprint Ceremony click here)

Francis Ford Coppola Handprint Ceremony (photo: 2016 Classic Movie Hub)

Francis Ford Coppola Footprint Ceremony (photo: 2016 Classic Movie Hub)

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When You’re In Love (1937, director Robert Riskin)

Grace Moore and Cary Grant in When You’re In Love

When You’re In Love was a must-see for me for two simple reasons 1) it is the only film that Robert Riskin directed (aka Frank Capra’s favorite screenwriter) and 2) the film was introduced by Jennifer Grant (yes, that would be Cary Grant’s daughter). The movie starred Cary Grant as a penniless artist, and Grace Moore as an opera singer who is forced to marry Grant when her visa runs out.

Cary Grant’s daughter, Jennifer, introduces When You’re In Love (photo: 2016 Classic Movie Hub)

Jennifer Grant shared stories about watching Silver Streak with her dad on a Princess Cruise (laughing and eating popcorn, and then watching it again when they returned home), how her dad told her never to smoke because “no-one will ever want to kiss you” (and how she couldn’t believe it when she saw him smoke on-screen) — and, when she was a little girl in the Hamptons, how she walked up to the television screen and slapped the woman who kissed her dad (Deborah Kerr in An Affair to Remember)…

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The Manchurian Candidate (1962, director John Frankenheimer)

Angela Lansbury and Laurence Harvey in The Manchurian Candidate 1962

The Manchurian Candidate was non-negotiable for me. What a treat to see Angela Lansbury being interviewed by Alec Baldwin, not to mention seeing her on the Big Screen as the manipulative and amoral (understatement) Mrs. Eleanor Shaw Iselin! Lansbury was a Class Act, and incredibly articulate and poised as she discussed the film, as well as her overall career.

Alec Baldwin interviews Angela Lansbury at The Manchurian Candidate screening (photo: 2016 Classic Movie Hub)

While discussing The Manchurian Candidate, Lansbury told us “I could honestly say that John [Frankenheimer] maintained a mood on that set that was really all business, and had everything to do with the story and the scenes at hand. He was a very serious director in his own way and he really got terribly excited with the drama that was inherent in a scene.”

Angela Lansbury introduces The Manchurian Candidate (photo: 2016 Classic Movie Hub)

When Baldwin asked about how she prepares for a role, Lansbury explained that “as far as I’m concerned, what the writer gives the character to say is immediately a clue for me, the actress, as to what my attitudes or my looks or my everything else” will be. And, “I always say to everybody – leave yourself at home, don’t bring yourself to the set, bring that woman and get on with it. And that seems to work on various levels in various roles.”

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TCMFF Day Three, April 30

90th Anniversary of Vitaphone with Writer/Producer Ron Hutchinson

Vitaphone logo

The early Vitaphone shorts are some of the only surviving records that show what vaudeville was really like. Many of these shorts however were lost ‘to time’ because the silver nitrate film either faded or decomposed, and/or because the sound discs were lost or missing. Lucky for us however, The Vitaphone Project has been locating and restoring original elements and transferring them to 35mm for over 20 years. And, today, we were treated to seven fabulous restored shorts including ones starring George Burns and Gracie Allen, Baby Rose Marie, Shaw and Lee (my ‘new’ favorites), and Molly Picon.

I have to admit that this presentation threw me for a loop! I suspected I’d enjoy it, but I was thoroughly astonished by what I saw (the talent!), what I learned (‘vaudeville in a can’) — and how hard I laughed!

Ron Hutchinson from The Vitaphone Project

This presentation was hosted by writer/producer Ron Hutchinson, who informed us that The Vitaphone Project has restored about 130 shorts and 10 features so far including Why Be Good?

A 1929 Vitaphone ad featuring some of the many acts on their roster

Hutchinson explained that a theater could order any short they wanted. Vitaphone was essentially delivering the biggest stars in show business as ‘canned vaudeville’ to theaters who couldn’t afford the actual stars; rentals were about $5-10 a day.

Shaw and Lee vaudeville act

During 1926-1930 almost 1500 Vitaphone shorts were produced both on the East and West Coasts.

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Dead Men Don’t Wear Plaid (1982, director Carl Reiner)

Steve Martin in Dead Men Don’t Wear Plaid

Okay, so I swore I wouldn’t go see any post-1970 films at the Festival, but I just couldn’t resist seeing Carl Reiner introduce this film. And, I’m actually very happy I broke my ‘rule’ because Carl Reiner was wonderful and warm (and of course funny) — plus seeing this film with people who actually ‘get’ Film Noir, changed the entire film experience for me. For those of you who haven’t seen it, the film parodies film noir weaving ‘real’ noir characters into the plot including Barbara Stanwyck (from Sorry Wrong Number), Ava Gardner (from The Killers), Humphrey Bogart (from The Big Sleep) and lots more…

Illeana Douglas interviews Carl Reiner at the screening of Dead Men Don’t Wear Plaid (photo: 2016 Classic Movie Hub)

Illeana Douglas (actress, and paternal granddaughter of Melvyn Douglas) had the privilege of conducting the interview, and kicked off with remarks about how Reiner’s comedy remains current. Reiner explained that “The only things you can make fun of are the things you know about, and the things you know about are the things you live. So, comedy hasn’t changed at all.”

Carl Reiner talks about The Dick Van Dyke Show at the Dead Men Don’t Wear Plaid screening (photo: 2016 Classic Movie Hub)

While talking about The Dick Van Dyke Show, Reiner described how difficult it was to cast the part of Mary Richards. “I literally saw 23 different actresses. And I said to Sheldon (Leonard), I don’t know what I’m looking for, and he said ‘you’ll know when you see it’.” When Mary Tyler Moore showed up for the audition, Reiner had her read one line and heard ‘a ping in her voice.’ He told us “my hand became the claw that you see in the arcades that pick up candy…I clasped the top of her head, and I said ‘young lady come with me.’ And I lifted her out of the chair and I walked her down the hall and I said Sheldon ‘I found her’.”

When asked about the inspiration for boss Alan Brady, he said that, although many people think that the character was based on Sid Caesar, in fact, “Sid Caesar was a pussy cat” and that Brady was a combination of Milton Berle and a Phil Silvers’ character from Top Banana.

Reiner also talked highly about his wife and family, and made me chuckle when he said “I give credit to my wife…She raised three great kids and one great husband.”

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Buona Sera Mrs. Campbell (1968, director Melvin Frank)

Gina Lollobrigida and Telly Savalas in Buona Sera Mrs Campbell

I have to say that Buona Sera Mrs. Campbell was another pleasant surprise for me! Yes, I knew that I had to see Gina Lollobrigida somehow during the Festival, but little did I know how much I would enjoy this film — which is essentially about a ’20-year old lie’ that causes a little mayhem in a small town in Italy (to say the least) 🙂

And I just want to add a little known fact here… In 2013 Lollobrigida sold her diamonds for $4.9 million and donated the money to stem cell research.

Ben Mankiewicz interviews Gina Lollobrigida at the screening of Buona Sera Mrs Campbell (photo: 2016 Classic Movie Hub)

Lollobrigida shared with us that she studied painting and sculpting as a young girl with dreams of becoming a sculptor. However, one day on the way to school, she was stopped and asked to do movies. She said no, but when they told her that they would pay her $1000 lire, she agreed. She explained that it was a lot of money back then (during the war), and she felt that she needed to help her family.

A bit later, when she was asked to star in her first film, she again said no, and this time, in order to close the matter quickly, she went to the office and told them “I want a million,” thinking that they would say ‘No!” but, she told us “instead they said yes, so I was stuck with the movies.”

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Home Movies (at Club TCM)

The Nicholas Brothers: Fayard (L) and Harold (R)

This was a nice break for me between movies, and although I only caught part of the presentation, I was lucky enough to see some home movies of Ginger Rogers swimming, some behind-the-scenes footage from On the Waterfront and The More the Merrier, and footage of The Nicholas Brothers in performance and with their family. Special guests included Tony Nicholas (son of Fayard) and his family. This was a real treat, and I’m looking forward to another batch next year (fingers crossed)!

Ginger Rogers swimming home movies TCMFF 2016

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Midnight (1939, director Mitchell Leisen)

Mary Astor, John Barrymore, Don Ameche, Claudette Colbert in Midnight

Midnight is a screwball comedy about an out-of-work showgirl stranded in Paris who is hired by a millionaire to pose as a Baroness and break up his wife’s affair. But when her ‘true love’ shows up, oh boy…

I had seen this one before, but again, it’s always fun to see movies on the Big Screen with like-minded fans.

Bonnie Hunt introduces Midnight

Bonnie Hunt introduced the film and it was clear to me that she had a genuine passion for it — but I was struck most by the fact that she worked for many years as an oncology nurse and shared classic movies with her patients. I can’t even begin to tell you how incredibly moved I was by this little-known but very-telling fact about Hunt.

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TCMFF Day Four, May 1

The Kid (1921, director Charlie Chaplin)

The Kid 1921 starring Charlie Chaplin and Jackie Coogan

It’s no secret that I adore Charlie Chaplin, so needless to say, The Kid was another non-negotiable pick for me. In my humble opinion, it’s a classic among classics… a heartwarming story of a kind-hearted tramp who adopts an abandoned child. This was Chaplin’s first feature as star, director, writer and producer. The film was introduced by film archivist Serge Bromberg who explained that there was no specific score for the original 1921 release. It was, in fact, scored 50 years later for a re-release when Chaplin was 82 years old, with the help of musician Eric James. Today’s screening was the North American premiere restoration.

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Horse Feathers (1931, director Norman Z. McLeod)

Groucho and Chico in Horse Feathers; ‘Whats the password?”

Okay, no secret here either… I simply adore The Marx Brothers, so Horse Feathers was another ‘slam dunk’ for me. And, if the Marx Brothers aren’t funny enough ‘on their own,’ they are absolutely hilarious when you’re in a crowded theater filled with laughing fans! This was their 4th feature film together, a zany pre-code comedy that ‘tackles’ academia and college football among other things! The film was introduced by comedian David Steinberg.

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Cinema Paradiso (1988, director Giuseppe Tornatore)

Philippe Noiret and Salvatore Cascio (little boy) in Cinema Paradiso

Okay, this time I had another good excuse to break my ‘pre-1970-only’ Festival rule. Cinema Paradiso is an emotional tribute to the beauty and magic of classic movies, as seen through the eyes of a young boy growing up in a small town in Italy. Mere words cannot express the exquisite nature of this film. But, suffice it to say, I could hear people sniffling and choking back tears in the audience (when I wasn’t sobbing myself)…

Ben Mankiewicz interviews actor Salvatore Cascio at the Cinema Paradiso screening (photo: 2016 Classic Movie Hub)

Mankiewicz conducted the pre-screening interview with Salvatore Cascio (who played the young boy, Toto, in the film). Upon asking Cascio if he had any experience acting at such a young age, Cascio replied “No, I was born an actor.”

Salvatore Cascio at the Cinema Paradiso screening (photo: 2016 Classic Movie Hub)

Cascio summed up his experience working on the film as “Cinema Paradiso is my life and it will be in my heart forever.”

What a perfect film to end the Festival!

…..

–Annmarie Gatti for Classic Movie Hub

#TCMFF #TCMFFSP #MovingPictures

Posted in Posts by Annmarie Gatti, TCM | Tagged TCM Classic Film Festival 2016, TCMFF | 4 Comments

The Animals in Film Blogathon: The Cheshire Cat in Alice In Wonderland (1951)

Posted on May 26, 2016 by Annmarie Gatti

“Well, some go this way, and some go that way. But as for me, myself, personally, I prefer the short-cut.”

I have always been a huge fan of Alice in Wonderland. I have distinct memories of reading the book as a little girl, and of course, seeing the movie — but I also have the most vivid memories of listening incessantly to a Disney LP version of it. The flip side of the LP was Peter Pan, so between Alice and Peter, I can’t even begin to tell you how many wonderful hours of imaginative fun I had listening! But — what I remember most about that LP, was the super soft sounds of Sterling Holloway as The Cheshire Cat.

The LP features the stories “Completely Dramatized with the Original Casts of the Motion Pictures”

So, why do I adore the The Cheshire Cat? Well, because he’s smart… he’s mischievous… and he’s mysterious — gradually fading in and out of scenes as he pleases, and sometimes only leaving behind a grin. He’s also so darn cute thanks to the Disney animators who made him delightfully pink, purple and playful. I just love the way he bounces around, both physically and logically. He engages Alice in perplexing conversations (think “Who’s on First”), gets her in and out of trouble, and likes to sing. AND, quite frankly, he’s a tad mad, but then again who isn’t in ‘Wonderland?’

The Cheshire Cat introduces himself to Alice

Cheshire Cat: (singing) Twas brilig & the slithy toves & did gyre & gimble in the wabe
Alice: Why, why you’re a cat!
Cheshire Cat: A Cheshire Cat. (starts disappearing)

Giving Alice advice

Alice: I just wanted to ask you which way I ought to go.
Cheshire Cat: Well, that depends on where you want to get to.
Alice: Oh, well it really doesn’t matter, as long as I can…
Cheshire Cat: Then it really doesn’t matter which way you go.

So nonchalant…

Cheshire Cat: Oh, by the way, if you’d really like to know, he went that way.
Alice: Who did?
Cheshire Cat: The White Rabbit.
Alice: He did?
Cheshire Cat: He did what?
Alice: Went that way.
Cheshire Cat: Who did?
Alice: The White Rabbit.
Cheshire Cat: What rabbit?
Alice: But didn’t you just say – I mean – Oh, dear.
Cheshire Cat: Can you stand on your head?

Just one of his many talents!

And, yes, he is a little mad himself…

Alice: But I don’t want to go among mad people.
Cheshire Cat: Oh, you can’t help that. Most everyone’s mad here.
(he starts disappearing)
Cheshire Cat: You may have noticed that I’m not all there myself.

But he does help when he can…

Alice: I want to go home, but I can’t find my way.
Cheshire Cat: Naturally, that’s because you have no way.
Cheshire Cat: All ways here you see, are the QUEEN’S WAY!
Alice: But I’ve never met any queen.
Cheshire Cat: You haven’t? You ha-VEN’T? Oh, but you must! She’ll be mad about you, simply mad!

Although he also likes to have his fun…

Queen of Hearts: And uh, what were you saying, my dear?
Cheshire Cat: Why, she simply said that you’re a fat, pompous, bad tempered old tyrant!
Queen of Hearts: Off with her head!

…..

You probably all know what happens next, but if you don’t, I won’t ruin it for you, but suffice to say that all’s well that ends well 🙂

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Before I sign off, I just want to share a clip with you, so that you can see how The Cheshire Cat moves… graceful and jumpy as a cat 🙂

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A Big Thank You to In The Good Old Days of Classic Hollywood for hosting this wonderful event! There are so many more wonderful Classic Bloggers participating in this Blogathon so please be sure to check out the other entries.

—Annmarie Gatti for Classic Movie Hub

Posted in Blogathons, Posts by Annmarie Gatti | Tagged Alice in Wonderland 1951, Animals in Film Blogathon, The Cheshire Cat | 10 Comments

Citizen Knotts

Posted on May 25, 2016 by Daniel de Visé

Don Knotts and the Great Orson Welles…

On television and in the movies, comedic actor Don Knotts generally played second banana, deputizing himself — literally or figuratively — to someone else. Off screen, the reality of his theatrical relationships was a bit more complicated.

Andy Griffith and Don Knotts (aka Sheriff Andy Taylor and Deputy Barney Fife)

There was the time, for example, when Don spent a month of his life more or less babysitting the great Orson Welles.

Orson – – Broadway director at twenty-two, Citizen Kane producer at twenty-five – – first met Don in 1957 when he guest-starred on The Steve Allen Show, which employed Don as a regular. Though still in his early forties (he was born one hundred and one years ago this month), Orson was already in the twilight of his career, working on one of his final cinematic triumphs, Touch of Evil. The Steve Allen producers wanted him to read Shakespeare. Orson insisted that he first be permitted to perform his magic act. Orson was an accomplished magician – – just like Don, whose first great talent was ventriloquism.

Orson Welles in Touch of Evil

Don revered the bearded legend and surely would have hung on his every word; but the mercurial star declined to mingle with the Steve Allen cast in rehearsal and “seemed, in fact, quite unapproachable,” Don recalled in his memoir.

Fifteen years later, Don took a phone call from a producer, who wanted to know if he would perform in a television adaptation of The Man Who Came to Dinner, an updated version of the Roosevelt-era play. The star would be Orson Welles.

Oh, yes, there was one catch: Orson, living in Paris, “was apparently having some tax difficulties with the IRS and did not want to return to the United States to do the show,” so it would be taped in England. Would Don be interested?

“I would have paid them to do it,” he recalled.

Arriving in London, Don didn’t know quite what to expect from the enigmatic star, and he was startled to discover that Orson took an instant liking to him. Through the first few days of rehearsals, Orson roared with laughter and filled Don’s ears with stories about Houdini, whom he had met as a child. The first few days of rehearsal “sailed breezily along,” with Orson entertaining the cast, enjoying his craft and sipping the occasional glass of wine. Orson had surrounded himself with stars; the cast included Joan Collins, Marty Feldman, and Lee Remick.

Mary Wickes, Orson Welles, Lee Remick, Edward Andrews. Don Knotts in The-Who-Came-To-Dinner

And then, everything changed. The time came when the performers were expected to set aside their scripts and recite their lines from memory. Orson began to transform. He “took on an anxious look, and he demanded that someone be brought in to hold cue cards for his lines,” Don recalled. “He also began to drink more wine, which he hid, unsuccessfully, in a coffee cup. He began to show signs of being slightly drunk, and he soon demanded that two more people be hired to hold cue cards so that he would always have his lines in his line of sight. It soon became clear to me that the poor man was scared to death. The part he was playing,” the lead, “is a demanding role with thousands of lines housed in dozens of long speeches. At this point in his career, Welles had not played a part this big in several years.

“He began to fight with the director, Buzz Kulik, and two or three times, Buzz stormed out of the rehearsal hall, vowing never to return. Welles demanded more and more cue cards, and before long, a dozen or so girls holding cue cards surrounded the rehearsal hall.”

Don had seen this before. Orson was cracking under the pressure of simply being himself. Who could possibly live up to that man’s reputation? And Don empathized: Don himself constantly battled psychosomatic ailments. He was a lifelong hypochondriac; he lived in perpetual terror of performing live; he sometimes spent days shut up in his room before going on the air. Don had lived in terror of failing to make the audience laugh since the day he broke through on Steve Allen.

Orson Welles and Don Knotts in The Man Who Came To Dinner

Other men sensed Don’s deep well of empathy and were drawn to it. Now, the great Orson Welles, sinking beneath the weight of expectation on the set of The Man Who Came to Dinner, clung to Don as if he were a human life raft.

One day, Don left the set to take a physical exam, required by the insurance company that backed the production. As soon as Orson discovered Don had left, he shouted out, “Where’s Don? Where the hell is Don?” over and over, growing increasingly agitated. Soon, the director was agitated, too: “Where’s Don? Somebody find Don.” Someone found Don, and Orson was happy again. The director told Don, “Listen, I don’t want you to leave this rehearsal hall ever again. Whether you have a call or not, you be here.”

And then the first day of taping arrived, and Orson revealed “a whole new person,” Don recalled, wholly recovered from his previously crippling case of nerves. He arrived “bright and early, sober as a judge, and full of vim and vigor.”

By this time, the rest of the cast was a wreck. Influenza had crippled the production. Orson, though healthy, felt perpetually overheated, and he demanded that the studio be kept as cold as a meat locker. “Soon,” Don recalled, “our fever-ridden actors were bundled up in overcoats and mufflers.”

Orson Welles was a polarizing figure by this point, and the Nov. 29, 1972 American broadcast drew mixed reviews. “In happiness he is like a fat, chortling baby,” a delighted Los Angeles Times reviewer opined; “in his scheming chicanery, he is satanic in his maliciousness; his fury with those little pig eyes glowering over his half-glasses is absolutely Vesuvian.”

A few years later, Don was dining at the fabled Ma Maison restaurant in West Hollywood with his wife and some friends when, according to fellow performer Stella Berrier, he heard Orson’s Santa-Claus laugh issuing forth from another table. He turned, summoned his Barney Fife voice, and cried, “Would you keep it down?”

The great Orson pivoted in his chair, searching the room for the offender. Then he spotted Don, and he laughed so hard that he almost fell from his chair. When he had recovered, he walked over and said, “Don, you are terrific.”

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–Daniel de Visé for Classic Movie Hub

Posted in Posts by Daniel de Vise, TV Roles | 2 Comments

TCM Honors Francis Ford Coppola with Handprint and Footprint Ceremony #TCMFF #TCMFFSP

Posted on May 24, 2016 by Annmarie Gatti

Francis Ford Coppola Immortalized at Imprint Ceremony…

I was thrilled to be able to cover the Francis Ford Coppola Handprint and Footprint Ceremony at the TCL Chinese Theatre (formerly Grauman’s) on April 29th as part of the 2016 TCM Classic Film Festival. TCM’s Ben Mankiewicz hosted the event honoring the legendary film-maker, which marked the 6th consecutive year that TCM featured an imprint ceremony during the Film Festival (previous honorees were Peter O’Toole in 2011, Kim Novak in 2012, Jane Fonda in 2013, Jerry Lewis in 2014 and Christopher Plummer in 2015).

A clean slab of cement awaits Francis Ford Coppola in the forecourt of the legendary TCL Chinese Theatre (formerly Grauman’s Chinese Theater) … (photo: 2016 Classic Movie Hub)

Coppola is no doubt considered a Hollywood icon. With a career spanning over 50 years and five Oscars to his name, he is known for directing such epic classics as The Godfather trilogy and Apocalypse Now (1979). Renowned for his generosity with other filmmakers, he has served as a fierce promoter and mentor to others, championing the work of directors George Lucas, John Milius and Sofia Coppola and actors Al Pacino, Robert DeNiro, Harrison Ford, James Caan and Diane Lane.

Ben Mankiewicz hosts the event providing an overview of Coppola’s career (photo: 2016 Classic Movie Hub)

The event kicked off with Ben Mankiewicz providing an overview of Coppola’s film career and accomplishments, after which he introduced Coppola’s son, director Roman Coppola…

Roman Coppola introduces his father (photo: 2016 Classic Movie Hub)

Roman Coppola warmly introduced his father, talking about what it was like growing up in his famous family. “We did live a life that was filled with the unknown and adventure…and that’s a great way to live a life so I’m very proud to have that experience.”

He explained why he felt his father’s work is so distinctive, saying that “every film has its own style which evokes the theme of the film. So with Apocalypse it’s a psychedelic film, with Godfather it’s very classic, with Dracula it’s a gothic style…”

He went on to say that his dad had a love of actors and deep respect for their interpretations, and that, once cast, he “knows that they are truly the expert now in that role.”

About directing, he added “My dad always values the importance, when you’re directing a scene, to be right by the camera so that the performer is really performing for you as the director. So that’s a little advice especially now in the days of video monitors when people are far away.”

And, most importantly, Roman talked about a very special lesson learned…. “when you’re making a pasta sauce, unless it has meat, there’s no garlic…” 🙂

So, now, without any further adieu, Francis Ford Coppola graciously accepts the honor and leaves his handprints and footprints in the forecourt of the world-famous theatre…

Francis Ford Coppola graciously accepts the honor (photo: 2016 Classic Movie Hub)

Handprints (photo: 2016 Classic Movie Hub)

Coppola signs his name (photo: 2016 Classic Movie Hub)

Handprints complete! (photo: 2016 Classic Movie Hub)

Now for the Footprints (photo: 2016 Classic Movie Hub)

Among those in attendance were Coppola’s wife Eleanor, sister Talia Shire, granddaughter Gia, and fellow director Peter Bogdanovich.

Talia Shire, Francis Ford Coppola, Eleanor Coppola, Roman Coppola and Gia Coppola (photo: 2016 Classic Movie Hub)

Coppola brings Peter Bogdanovich out from the crowd for a photo (photo: 2016 Classic Movie Hub)

Coppola with Peter Bogdanovich (photo: 2016 Classic Movie Hub)

Bogdanovich waves to the crowd (photo: 2016 Classic Movie Hub)

And lastly…

Francis Ford Coppola Handprint and Footprint in fresh cement (photo: 2016 Classic Movie Hub)

…..

–Annmarie Gatti for Classic Movie Hub

Posted in Posts by Annmarie Gatti, Turner Classic Movies, Uncategorized | Tagged francis ford coppola, Grauman's Chinese Theater Francis Ford Coppola, Graumans Handprint and Footprint Ceremony 2016, Roman Coppola, TCL Chinese Theatre, TCM Film Festival, TCMFF, TCMFFSP | 1 Comment

TCM Classic Film Festival 2016: The “Pre-Show”

Posted on May 23, 2016 by minooallen

2016 Turner Classic Movies Film Festival
The “Pre-Show”

On Tuesday, April 27^th, at approximately 4:15am (EST) I stepped out of my apartment, wide-eyed and bushy-tailed, and stepped into the backseat of an awaiting taxi. Now, I’m sure you’re wondering not only why I would be awake at such an ungodly hour, but why I should also be so damned excited about it. Well, it just so happens I was starting my journey to the 7^th annual Turner Classic Movies Film Festival. Despite CMH being a prominent presence at the festival for the past four years, this is the first time I have been able to go. Needless to say, I was ecstatic…even at 4:15 in the morning. So, after cab ride, a TSA pat-down, a 2,451 mile plane ride and another cab ride, I arrived in the heart of Hollywood and instantly knew I had reached the mecca of Classic Films.

Seriously, though. The place had 4-story high monuments to classic film reaching for the sky.

And of course, upon my arrival I immediately got down to business. After dropping off my luggage at the hotel, I made my way to the TCL Chinese 6 Theatres for the TCM Film Festival press conference. The panel consisted of General Manager Jennifer Dorian, Managing Director Genevieve McGillicuddy, Senior Vice President of Programming Charles Tabesh, and TCM Host Ben Mankiewicz. Unfortunately, Robert Osborne was unable to attend this year’s press conference due to illness. Although everything from programming to TCM’s new exclusive fan club (TCM Backlot) was discussed, my interested was piqued with the mention of TCM’s upcoming streaming service, FilmStruck.

FilmStuck will be collaborative effort between TCM and the Criterion Collection to bring you a brand-new, subscription streaming service that will allow viewers to sift through both company’s massive film libraries. The service will also feature The Criterion Collection’s archive of supplementary features such as commentary, director interviews, and more. Whether you’re a fan of classic, art-house or international film, FilmStruck will mostly certainly have a film (or 50) that you are sure to love. Available for subscription later this fall, they can count on this gal for a subscription…as long as it’s fairly priced.

Oh, and did I mention I got a picture with Ben Mankiewicz. Because I totally did.

Annmarie, Benny-Boy, and myself! Can you tell I’ve been up since 2:15 am?

And all of that was just the pre-show – The Festival hadn’t even technically started yet. So, stay tuned dear readers because coming up next I’m going to tell you all about my Red Carpet adventures and the full restoration of one of my favorite romances, Brief Encounters.

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Minoo Allen for Classic Movie Hub

Posted in Posts by Minoo Allen, TCM, Turner Classic Movies | Tagged Ben Mankiewicz, filmstruck, hollywood, TCM, turer classic movies, Turner Classic Movies Film Festival, turner classic movies film festival 2016 | Leave a comment

Opera: Just as Fun as Swing!

Posted on May 16, 2016 by Sara and Cynthia Brideson

Opera: Just as Fun as Swing!

If you’ve watched enough musicals from the 1930s and 1940s, you’ll find the issue of opera vs. swing popping up quite often. In Judy Garland’s first short film, Every Sunday (1935), MGM paired her with soprano Deanna Durbin in a sort of singing duel. Judy again engaged in a “singing duel” with operatic talent Betty Jaynes in 1939’s Babes in Arms. “I like opera!” Betty trilled, and Judy belted, “I like swing!”. Both girls give a different take on the famed opera “Figaro,” Judy in the hot swing style, Betty in the classical opera one. Later, in MGM’s beloved Andy Hardy series, Mickey Rooney (as Andy) is finally convinced of his classmate, Kathryn Grayson’s, talent when she sings both an operatic aria and a swingin’ modern tune at their high school graduation ceremony. In modern day, when people think of the great Hollywood musical, they think of films with contemporary songs such as Top Hat or Singin’ in the Rain. But what about the operetta? Who can forget Jeanette MacDonald and Nelson Eddy in Maytime or Kathryn Grayson and Howard Keel in Show Boat? The operetta may be a European form of entertainment, but it became part of the American theater and film scene when European immigrants such as Victor Herbert and Sigmund Romberg began to write new operettas in the 1910s through the early 1930s. Operettas are different from opera in that they are shorter and usually center on a light or humorous theme and typically have spoken dialogue. Some of the first composers of operettas began in the 1800s including Offenbach, Johann Strauss, and Gilbert and Sullivan.

Deanna Durbin and Judy Garland in 1935

Perhaps the greatest champion of the operetta in Hollywood was the legendary Louis B. Mayer, head of Metro-Goldwyn-Mayer. Under his studio’s aegis came the stars Jeanette MacDonald, Nelson Eddy, Kathryn Grayson, Mario Lanza, Howard Keel, and Jane Powell. While we are probably some of George Gershwin’s and Cole Porter’s biggest fans and have watched Gene Kelly and Judy Garland’s films more than we can count, we consider operatic stars and operettas just as valuable to the American film musical. As Deanna Durbin and Judy Garland sing together in Every Sunday, “Dance and make love to the sweet music of Americana!” If we take Judy and Deanna’s sung words (which we do indeed!), opera is just as much a part of Americana as swing.

Below, we have spotlighted three operatic actresses and three operatic actors who we are sure you’ll know!

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The great diva Jeanette MacDonald

1) Jeanette MacDonald was a star at Paramount before she came to MGM. She starred alongside Maurice Chevalier before pairing with Nelson Eddy from 1935-1942 and becoming MGM’s top diva. L.B. Mayer, who loved the opera, apparently had quite a crush on her and visited the sets of her pictures while he seldom visited the sets of other films being shot. With her spunky personality and vibrant red hair, Jeannette made opera anything but stodgy! She described herself with these words: “I’ve been told I have an Irish temper, I know I have Scottish thrift, and, like the English, I love a good show.”

America’s sweetheart, Deanna Durbin

2) Deanna Durbin, after being rejected by MGM in favor of Judy Garland in 1935, became Universal Studio’s biggest box office draw. Thanks to Hungarian producer Joe Pasternak, she was placed in vehicles perfectly suited to her talents, perhaps most notably in Three Smart Girls. She mostly played charming and resourceful girl-next-door types who also happened to know how to sing. “I couldn’t go on forever being Little Miss Fixit who burst into song…Just as Hollywood pin-up represents sex to dissatisfied erotics, so I represented the ideal daughter millions of fathers and mothers wished they had,” she said. She retired in 1948 and refused to give interviews for the rest of her life. Despite her extreme privacy, her legacy is still strong and she continues to endear audiences today.

The lovely and underrated Kathryn Grayson

3) Kathryn Grayson is arguably the most unsung of all the opera divas in musical film. Yet, she starred in three of the top grossing films of the 1940s and early 1950s: Thousands Cheer (1943), Anchors Aweigh (1945), and Show Boat (1951). Kathryn, like Deanna Durbin, became a star under the guidance of producer Joe Pasternak. She played common-sensical ingénues who were often trying to break into an opera career. Yet, her best role as the Shrew, Kate, in Kiss Me Kate was a departure from her usual roles, which she lamented were unchallenging and sometimes even “stupid.” She wanted to do intelligent movies with solid stories and music in tandem, but at the time she became a star, the operetta was fading in popularity. This fact makes her success even more impressive. She was able to become a star against the odds. In 2001, when discussing the state of music and young people, she aptly noted: “You know they took music out of our schools. I’d like to go to Washington and see that they have music appreciation back in our schools because there weren’t gangs, there were no shootings back then. Somehow good music makes everybody happy. It can be very uplifting.”

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Handsome Nelson Eddy

1) Nelson Eddy began as an opera singer on the stage before being discovered and making his debut with Jeanette MacDonald in 1935’s Naughty Marietta. He is one of the few operatic movie stars to be considered truly talented by “opera purists” and mainstream audiences alike. Like Jeanette MacDonald, he was a redhead (though his hair photographed as blond), but he did not have quite the feisty onscreen persona as she. Nevertheless, he came across as masculine and handsome, qualities that made him different from the archetypal, rotund and middle-aged male opera singer caricatured by Lauritz Melchior in films like That Midnight Kiss (1949). Eddy was never impressed with his film career and preferred stage work. When asked why he never watched his own films he declared: “I was too ashamed of them.”

The world’s greatest tenor, Mario Lanza

2) Mario Lanza, often dubbed the World’s Greatest Tenor or The Next Caruso had a short but brilliant career. He came to MGM as an overweight, rough-around-the-edges tenor from Philadelphia. Kathryn Grayson made it her mission to get him into shape so he could be her leading man in 1949’s That Midnight Kiss. Of all her co-stars, she claimed his voice and hers matched best. He became an overnight sensation in That Midnight Kiss and succumbed to “swelled head syndrome.” He became a temperamental and difficult star who was almost impossible to work with. He died in 1959 of heart failure (many believe this was due to the extreme ups and downs of his weight). Even though undependable on the sets of his films, he felt passionately about his work. He stated: “I sing each word as though it were my last on earth.”

Howard Keel, always entertaining

3) Howard Keel, unlike Lanza, was a baritone. The 6’4” actor began as an airplane mechanic before Oscar Hammerstein II discovered Keel during an audition for the stage show, Carousel. He was hired as an understudy for the role of Curly in the stage version of Oklahoma! and soon after made his musical film debut in the highly successful Annie Get Your Gun (1950). He usually played cocky, confident, take charge types who sometimes came off as heels—but likeable heels. Among his most iconic films were those with Kathryn Grayson, Show Boat and Kiss Me Kate. He is also famous for playing the lead in Seven Brides For Seven Brothers. In his memoir, Howard, who always had a zest for life, wrote: “If everything in life always went smoothly, it would be a bloody bore. You know, people say, “Wait and go to heaven”. Well, if heaven’s like they claim it is, I don’t want to go. I’d get bored.”

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Mario Lanza and Kathryn Grayson sing together in “The Toast of New Orleans”

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–Sara and Cynthia Brideson for Classic Movie Hub

Sara and Cynthia Brideson are avid classic movie fans, and twin authors of Ziegfeld and His Follies: A Biography of Broadway’s Greatest Producer and Also Starring: Forty Biographical Essays on the Greatest Character Actors of Hollywood’s Golden Era, 1930-1965. They also are currently working on comprehensive biographies of Gene Kelly and Margaret Sullavan. You can follow them on twitter at @saraandcynthia or like them on Facebook at Cynthia and Sara Brideson.

If you’re interested in learning more about Cynthia’s and Sara’s books, please click through to amazon via the below links:

Posted in Posts by Sara and Cynthia Brideson | Leave a comment

Andy Griffith was born in Mount Airy, NC…

Mount Airy, North Carolina, the birthplace of Andy Griffith

Andy Griffith alongside his commemorative statue in his hometown of Mount Airy (more pictures here)

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Turner Classic Movie Film Festival Day One

Waiting to get on that Sweet, Sweet Red Carpet

My tripod acting as my place saver.

Fans waiting in stand

Film critic Leonard Maltin

Child star and star of A Tree Grows in Brooklyn, Ted Donaldson.

Childhood hero of mine, Director Roger Corman

The ever-talented Gina Lollobrigida

Salvatore Cascio, showing off that Italian-Cool.

Jack Lemmon’s son, Chris Lemmon. Notice the resemblance?

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Win Tickets to see “Willy Wonka and the Chocolate Factory” on the Big Screen! in Select Cinemas Nationwide June 26 & June 29!

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The Breathtaking Backgrounds of Max Fleischer…

Popeye the Sailor “Shoein’ Hosses”

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Recovering and Recapping the 2016 TCMFF…

Pre-Fest Fun, April 27

Dottie Ponedel with Judy Garland

Meredith Ponedel (photo: 2016 Classic Movie Hub) speaks about her legendary aunt

Let the Movies Begin!

TCMFF Day One, April 28

Peggy Ann Garner, Dorothy McGuire and Ted Donaldson in A Tree Grows in Brooklyn

Ted Donaldson introduces A Tree Grows in Brooklyn (photo: 2016 Classic Movie Hub)

TCMFF Day Two, April 29

Francis Ford Coppola speaks at the TCL Chinese Theatre Imprint Ceremony (photo: 2016 Classic Movie Hub)

Roman Coppola warmly introduces his father (photo: 2016 Classic Movie Hub)

Francis Ford Coppola Handprint Ceremony (photo: 2016 Classic Movie Hub)

Francis Ford Coppola Footprint Ceremony (photo: 2016 Classic Movie Hub)

Grace Moore and Cary Grant in When You’re In Love

Cary Grant’s daughter, Jennifer, introduces When You’re In Love (photo: 2016 Classic Movie Hub)

Angela Lansbury and Laurence Harvey in The Manchurian Candidate 1962

Alec Baldwin interviews Angela Lansbury at The Manchurian Candidate screening (photo: 2016 Classic Movie Hub)

Angela Lansbury introduces The Manchurian Candidate (photo: 2016 Classic Movie Hub)

TCMFF Day Three, April 30

Vitaphone logo

Ron Hutchinson from The Vitaphone Project

A 1929 Vitaphone ad featuring some of the many acts on their roster

Shaw and Lee vaudeville act

Steve Martin in Dead Men Don’t Wear Plaid

Illeana Douglas interviews Carl Reiner at the screening of Dead Men Don’t Wear Plaid (photo: 2016 Classic Movie Hub)

Carl Reiner talks about The Dick Van Dyke Show at the Dead Men Don’t Wear Plaid screening (photo: 2016 Classic Movie Hub)

Gina Lollobrigida and Telly Savalas in Buona Sera Mrs Campbell

Ben Mankiewicz interviews Gina Lollobrigida at the screening of Buona Sera Mrs Campbell (photo: 2016 Classic Movie Hub)

The Nicholas Brothers: Fayard (L) and Harold (R)

Ginger Rogers swimming home movies TCMFF 2016

Mary Astor, John Barrymore, Don Ameche, Claudette Colbert in Midnight

Bonnie Hunt introduces Midnight

TCMFF Day Four, May 1

The Kid 1921 starring Charlie Chaplin and Jackie Coogan

Groucho and Chico in Horse Feathers; ‘Whats the password?”

Philippe Noiret and Salvatore Cascio (little boy) in Cinema Paradiso

Ben Mankiewicz interviews actor Salvatore Cascio at the Cinema Paradiso screening (photo: 2016 Classic Movie Hub)

Salvatore Cascio at the Cinema Paradiso screening (photo: 2016 Classic Movie Hub)

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“Well, some go this way, and some go that way. But as for me, myself, personally, I prefer the short-cut.”

The LP features the stories “Completely Dramatized with the Original Casts of the Motion Pictures”

The Cheshire Cat introduces himself to Alice

Giving Alice advice

So nonchalant…

Just one of his many talents!

And, yes, he is a little mad himself…

But he does help when he can…

Although he also likes to have his fun…

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Don Knotts and the Great Orson Welles…

Andy Griffith and Don Knotts (aka Sheriff Andy Taylor and Deputy Barney Fife)

Orson Welles in Touch of Evil

Mary Wickes, Orson Welles, Lee Remick, Edward Andrews. Don Knotts in The-Who-Came-To-Dinner

Orson Welles and Don Knotts in The Man Who Came To Dinner

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Francis Ford Coppola Immortalized at Imprint Ceremony…

A clean slab of cement awaits Francis Ford Coppola in the forecourt of the legendary TCL Chinese Theatre (formerly Grauman’s Chinese Theater) … (photo: 2016 Classic Movie Hub)

Ben Mankiewicz hosts the event providing an overview of Coppola’s career (photo: 2016 Classic Movie Hub)

Roman Coppola introduces his father (photo: 2016 Classic Movie Hub)

Francis Ford Coppola graciously accepts the honor (photo: 2016 Classic Movie Hub)

Turner Classic Movie Film Festival
Day One

Win Tickets to see “Willy Wonka and the Chocolate Factory”
on the Big Screen!
in Select Cinemas Nationwide June 26 & June 29!

2016 Turner Classic Movies Film Festival
The “Pre-Show”