Big Stars on the Small Screen Blogathon: Murder She Wrote and Representing the Ladies

Posted on March 20, 2014 by minooallen

 

Murder She Wrote and Representing the Ladies

Like any other child with a busy parent and no babysitter, I spent a lot time getting to know my favorite television and book characters. Unlike most other children, however, my taste was TV-skewed, well, older. That isn’t to say I wasn’t taken in by the world of animation and cartoons; I can still recall the Captain Planet theme song despite not seeing the show for years. But in between episodes of The Rugrats and Arthur, I found myself growing a strong attachment to another television show, Murder, She Wrote.

Murder She Wrote 1And, boy, did she write many.

Yes, six-year old me would spend a couple hours each week watching the trials, tribulations, and, now that I think about it, truly alarming amount of homicides that took place in that little New England town of Cabot Cove. As a child, I probably could not tell you why I enjoyed the show so much. I mean, think about it. Why would a six-year old whose life revolved around getting her hands on pizza bagels and candy be interested in a show about this older retired woman, solving crime in her spare time? It’s not like I had an affinity for sleuth-style televsion. I certainly wasn’t fighting my brother for the remote control to watch Matlock or Law and Order. But now that I’m almost two decades older with the ability to buy my own pizza bagels, candy, and remote control (well, online streaming service), I can say why this show meant so much to me as a little girl. And that reason is the marvelous representation of women in the form Jessica Fletcher.

What I didn’t understand at six years of age was how revolutionary this television show was in terms of women and representation. Throughout film and television history, the detective has always been a staunchly masculine role. Just think of the famed old film-noir detectives: Philip Marlow, Sam Spade, Jeff Bailey, and Mike Hammer. Or even the 70’s detective series such as The Rockford Files or Kojak. All masculine, all cynical, and all more than just a little bit misogynistic in the handling of their cases. But when Fletcher hit the scene in 1984, all of that changed.

Jessica Fletcher 2

I mean this, with dogmatic intensity, when I say this woman is perfection.

Much like her masculine counterparts, Fletcher is above all, a survivor. In her early 50’s she lost her husband and became a childless widow. While an event like that could cause someone to break, Fletcher did the only thing she could do and created a new life for herself. She stayed in her small hometown in Maine, wrote a couple of murder mystery novels and, in the process, became well-respected author. By the age of 60, she was new woman, as spritely and spirited as any 20-year I’ve ever met. And most of this is before the series even started!

With Fletcher, we didn’t get the same old, worn-out private detective just looking to get by in the world. Instead, we got an intelligent, kindly woman looking to do right in this world. When it came to Fletcher’s actual sleuthing, her methods were quite detached from the traditionally masculine methods audiences were used to. She never forced her way into situations with a heavy hand or cruel jape but would instead spark up an innocuous conversation with the police force, witnesses or persons possibly involved with the murder. By doing something as simple as offering a potential witness a lift in taxicab, Fletcher would gain more information in a 12-block car ride than the police could do in a 12-hour interrogation. By using her feminine charms and generally light-hearted attitude, Fletcher was able to gain pertinent information that would have otherwise been lost in the larger scope of a police investigation. Through the strength of her kindness and due diligence, this unassuming 60-year old woman solved murders with more wit, pizzazz, and know-how than her local police department. And in the process, showed a six-year old girl that you can be a woman, act like a woman, and still be as good as any boy.

Jessica Fletcher 3Jessica Fletcher being boss

Looking back, it’s so obvious. Although I most certainly didn’t realize it at the time, I wasn’t watching Murder, She Wrote for its sheer entertainment value or its intricately plotted stories. No, I was watching it because I needed a role model in my life and who better than Jessica Fletcher.

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Minoo Allen for Classic Movie Hub

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Sleuthathon: A Classic Mystery Blogathon – A Shot in the Dark’s Inspector Clouseau

Posted on March 16, 2014 by Annmarie Gatti

“I believe everything and I believe nothing.
I suspect everyone and I suspect no one. I gather the facts, examine the clues, and before you know it, the case is solved.”
– Inspector Jacques Clouseau

Inspector Clouseau A Shot in the Dark

The original Inspector Clouseau played by the inimitable Peter Sellers, of course!

So, why did I pick Inspector Jacques Clouseau of the French Sûreté as my Sleuthathon sleuth??? He’s certainly not brilliantly astute like ‘master-of-deduction’ Sherlock Holmes; he’s certainly not calm, cool and collected like hard-boiled detective Sam Spade; and he’s certainly not a great legal mind like defense attorney Perry Mason. As a matter of fact, he’s quite the opposite — incompetent, clumsy, inept — and he pretty much causes chaos and confusion wherever he goes.  So, again, why did I pick him?  Well, despite all of his flaws and shortcomings, he’s sincere about his work, passionate about the law, unflinchingly determined, and although seemingly clueless, always shows great instinct for solving crimes (in spite of himself!). But, enough of all this silly rhetoric and rationalization. In all honesty, I really picked him because he makes me laugh…and I like to laugh 🙂

Inspector Clouseau cartoon from A Shot in the Dark

Inspector Clouseau in the opening credits

I can’t even count how many times I’ve seen A Shot in the Dark, and yet I still looked forward to watching it again in preparation for this Sleuthathon. And, as always, from the moment the fabulous opening credits appeared on the screen (complete with iconic cartoon and marvelous Henry Mancini score), I sat in eager anticipation of watching poor, bumbling Inspector Clouseau bungle his way through murder, mystery and mayhem, in his attempt to prove that beautiful housemaid Maria Gambrelli (Elke Sommer) is innocent of the murder of chauffeur Miguel (and incidentally her lover).

For me, what’s truly funny about this film is Seller’s incredible straight-man seriousness and inimitable slapstick timing.

So, that said, let’s celebrate Inspector Clouseau, with a mix of videos, pictures and quotes from the film…

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It was difficult to find videos of some of his funniest moments, but I did find a few good ones…

Movie Trailer: My favorite scenes are about 42 seconds in (when Clouseau gets his hand caught in the globe), followed by about 1:20 in (when he attempts to break down a door)….

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A ‘buemp in the head’ clip:  Some good all-around clumsiness here…

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And, now, for lack of more videos, I will have to try to capture Clouseau’s sleuthy-ness via photos and quotes…

Inspector Clouseau, Peter Sellers, with Maria Gambrelli, Elke Sommer, coat on fireHe helps damsels in distress… Inspector Clouseau explains his methodology to Maria Gambrelli (Elke Sommer)… (I won’t tell you what that smoke is in the background) 🙂

“First we presume, after, we find out. That is the way we work, we always work that way because if we work the other way, you see… is it stuffy in here?” 

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Inspector Clouseau, Peter Sellers, with Kato, Burt Kwouk, A Shot in the Dark

His hands are lethal weapons… Inspector Clouseau ‘spars’ with man-servant, Kato (Burt Kwouk)…

“You must learn to attack me whenever and wherever I least expect it. And you, you must give no quarter.”

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Inspector Clouseau, Peter Sellers, with Hercule LaJoy, Graham Stark, A Shot in the Dark, Just the facts scene

He’s a firm believer in sticking to the facts, just the facts… Inspector Clouseau gives assistant Hercule LaJoy (Graham Stark) a lesson in sleuthing…

“Facts, Hercule, facts! Nothing matters but the facts. Without them the science of criminal investigation is nothing more than a guessing game.”

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Inspector Clouseau, Peter Sellers, A Shot in the Dark

He is confident… no doubt about it…

“I will apprehend this culprit within 24 hours”

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Inspector Clouseau, Peter Sellers, master of disguise, balloons

He’s a master of disguise… Inspector Clouseau goes ‘undercover’…

Policeman: “Do you have a license to sell these balloons?”

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Inspector Clouseau, Peter Sellers, with Benjamin Ballon, George Sanders, A Shot in the Dark

He’s determined and passionate about solving crime… Inspector Clouseau accuses Benjamin Ballon (George Sanders) of the hideous crime…

“And I submit, Inspector Ballon, that you arrived home, found Miguel with Maria Gambrelli, and killed him in a rit of fealous jage!”

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Inspector Clouseau, Peter Sellers, Nudist ColonyHe always has a keen eye for detail… Inspector Clouseau stumbles upon Camp Sunshine and makes a sleuthy deduction 🙂

“Can I ask you something? Have you been…swimming???” 

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 Inspector Clouseau, Peter Sellers, with Charles Dreyfus, Herbert Lom, in A Shot in the Dark

He fights for what he believes in, even the lost causes… Inspector Clouseau getting kicked off the case by boss, Commissioner Dreyfus (Herbert Lom)…

“But that is not fair. I was only doing my duty. And I am right, you will see. Maria Gambrelli is not a murderer!”

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Inspector Clouseau, Peter Sellers, A Shot in the Dark, dodging bullet

He lives in constant danger… Clouseau is back on the case, dodging bullets like any good sleuth…

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Inspector Clouseau ending, Peter Sellers

And, like all good detectives, he reveals the killer in one dramatic moment of truth… Clouseau reveals his suspicions, but not without some surprises that I won’t reveal…

“Now, I will tell you why I called you all here tonight… One of you is a murderer.”

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So, although Inspector Clouseau is your ‘typical’ sleuth, he certainly does his share of ‘smart’ sleuthing, albeit in his own clumsy, quirky and clueless way… and, in A Shot in the Dark, he even gets the girl in the end 🙂

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A Shot in the Dark: just the facts…

  • Directed by Blake Edwards.
  • Tthe second installment in The Pink Panther series, the first being The Pink Panther starring David Niven, also directed by Blake Edwards.
  • The first film where Sellers used his exaggerated French accent
  • Introduced Herbert Lom as Clouseau’s ‘driven-to-madness’ boss Commissioner Dreyfus
  • Introduced Burt Kwouk as Clouseau’s long-suffering servant, Kato (later Cato)
  • The film was based on the stage play by Harry Kurnitz which was adapted from the French play L’Idiote by Marcel Achard
  • The film did not originally include the character of Clouseau. Clouseau was written in later by Blake Edwards and William Peter Blatty (who incidentally wrote the novel and the screen play for The Exorcist).
  • The film was released only about three months after The Pink Panther (June 23 and March 20, respectively)
  • Sellers said in interviews that the secret of Clouseau’s character was his tremendous ego, making his klutziness funnier because of his quest to remain elegant and refined while causing chaos everywhere he turned.
  • The role of Maria Gambrelli was originally given to Sophia Loren but she became ill and couldn’t do it.
  • The play, A Shot in the Dark, ran for 389 performances at the Booth Theater from October 18, 1961 to September 22, 1962. The original cast included Walter Matthau (Tony Award 1962 for Best Featured Actor), Julie Harris, William Shatner and Gene Saks.

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This was the perfect excuse to watch A Shot in the Dark again (like I really needed an excuse?).  A Big Thank You to the marvelous Movies Silently for hosting this very special Sleuthathon event!

—Annmarie Gatti for Classic Movie Hub

 

 

 

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How many Alfred Hitchcock Films did James Stewart star in?

Posted on March 15, 2014 by Annmarie Gatti

How many Alfred Hitchcock Films did
James Stewart star in?

James Stewart & Alfred Hitchcock
James Stewart and Alfred Hitchcock

All we need is you. –James Stewart to Alfred Hitchcock
at the AFI Life Achievement Award (1979)

James Stewart starred in FOUR films directed by Master of Suspense, Alfred Hitchcock:

  1. Rope (1948), also starring John Dall and Farley Granger, on DVD, Blu-Ray and Prime Video
  2. Rear Window (1954), opposite Grace Kelly, on DVD, Blu-Ray and Prime Video
  3. The Man Who Knew Too Much (1956), opposite Doris Day, on DVD, Blu-Ray and Prime Video
  4. Vertigo (1958), opposite Kim Novak, on DVD and Blu-Ray

My Favorites? The Man Who Knew Too Much and Rear Window. What are yours?

james stewart doris day the man who knew too much 2
Doris Day and James Stewart in The Man Who Knew Too Much
James Stewart Rear Window
James Stewart in Rear Window

James Stewart speaks at the 1979 AFI Life Achievement Award: A Tribute to Alfred Hitchcock:

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–Annmarie Gatti for Classic Movie Hub

Read more “How Many Films Did They Star In” blog articles here.

In all their glory:

           
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Classic Movie Coincidence: Barry Fitzgerald and Richard Haydn

Posted on March 10, 2014 by Annmarie Gatti

Barry Fitzgerald and Richard Haydn share a birthday and a film:

Both Barry Fitzgerald and Richard Haydn appeared in And Then There Were None — and both were born today March 10 (17 yrs apart!).

Richard Hayden and Barry Fitzgerald in And Then There Were None

Richard Haydn as butler Thomas Rogers and Barry Fitzgerald as Judge Francis J. Quinncannon in Agatha Christie’s And Then There Were None (1945, director René Clair).  Hayden was born George Richard Haydon on in Camberwell, London, England and Fitzgerald was born William Joseph Shields on in Dublin, Ireland.

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–Annmarie Gatti for Classic Movie Hub

 

 

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Classic Movie Hub’s Top Ten Film Noir Picks

Posted on March 6, 2014 by minooallen

Classic Movie Hub’s 10 Must-See Films for a Better Understanding of Film Noir.

 

The Original: The Maltese Falcon

Widely considered by critics and historians to be the first film noir, this 1941 classic set the standards for the genre. With this film, we were introduced to a seedy world full of  moral ambiguity, femme fatales, high contrast photography and the realities of living in post World World II.

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The Villain: The Night of the Hunter

In a world so full of moral ambiguity as film noir, it only makes sense that Robert Mitchum’s Harry Powell would use the duality of love and hate, of black and white, of sinner and saint, to cover his own sins. The beauty of this villain is his subversion of the genre itself, the understanding that in a world so full of grey, a man can cover his blackest of sins under the disguise of a white knight.

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third manThe Look: The Third Man

Film noir is a collective reaction to World War II, the films being darker and more ambiguous. Filmed on location in post-WWII Vienna, the rut and rubble seen here on screen are real. This alone adds dimensions to the film not seen in other film noirs because, instead of seeing the symbolic distraction that mirrors the physical destruction of Europe, we actually see the destruction itself and in that destruction, we further see the collective psychology of Europe while filmed in beautiful chiaroscuro style.

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The Femme Fatale: Gilda

Film noir ushered in a new type of leading lady: The Femme Fatale. Trending on the mysterious and seductive side, she typically used her irresistible charm to lure men into her web of ambition or desires. In Gilda, Rita Hayworth takes the archetype, and adds layers of ambiguity and vulnerability, to create the quintessential femme fatale.

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The Corruption/The Doom: Sweet Smell of Success

To me, film noir is a doomed genre: by that I mean that someone, or perhaps everyone, in the film is doomed. In a world so full of dark grays, moralities of convenience, and downright corruption, it is inevitable. In this film, the very atmosphere itself stinks of corruption and power; you learn that all power is corrupt and, to gain power, you undoubtedly doom others or worse, doom yourself.  The film is as fatalistic as the genre, which itself is meant to represent the world.

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The Confusion: The Big Sleep

One thing about film noir is that it can get confusing. The plot builds as the number of characters grow, and as the number of characters grow, well, some of them die. Howard Hawke’s The Big Sleep is the epitome of viewer confusion. At one point the director didn’t even know who killed the chauffeur. However, with this film at least, none of that really matters as long you pay attention to the white-hot chemistry between Bogie and Bacall.

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The Influence: Gun Crazy

Although when initially released this film didn’t receive much fanfare, much like film noir itself, it is in retrospect that the influence of this film is seen. Loosely based on the exploits of Bonnie and Clyde, this B-picture had a sense of rawness and urgency that had yet to be seen in the mainstream. Brash and lusty, the film perfectly demonstrates the disillusionment of a postwar generation, for not even innocent love exists without violence. It should come as no surprise that the writers of the 1967 version of Bonnie and Clyde cite Gun Crazy as a huge influence on their script.

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The Quintessential: Double Indemnity

Morally ambiguous heroine? Check! Femme Fatale? Check? Ominous voice-over? Check! Corrupt atmosphere? Check! More double entendre than you can catch in one viewing? Check! If you want to understand film noir, its mechanics, its characters, its atmosphere and its morality, watch this film. It’s like it exists as a “how to film-noir,” while remaining one of the greatest films of all time.

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The Warning: Kiss Me Deadly

Because film noir is a reactionary genre, as I’ve mentioned before, there is an underlining sense of doom. What is this doom, exactly? Well, if you watch Kiss Me Deadly, it’s Pandora’s box – all of the unthinkable evils that woman has the power to stop but instead, runs into headfirst. With the Cold War in full swing, many believe this story to be a caustic tale of the dangers of nuclear war. Yeah, pretty much as fatal as you can get.

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The Final: Touch of Evil

I use the term “final” caustically. Sure, you have films like Cape Fear that show up later but this is the last of the Hollywood films that take the genre beyond its tropes. The film skillfully asks the question of whether the ends justify the means, of whether a good act can wash away a bad act, all without giving you an answer, and in the process, it sums up the confused desperation of the post-war generation.

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Minoo Allen for Classic Movie Hub

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TCM Star of the Month: Mary Astor

Posted on March 5, 2014 by minooallen

 

TCM Star of the Month

Mary Astortop

This month Turner Classic Movies is celebrating Mary Astor as its Star of the Month. Although with someone like Astor, I’m not quite sure I would call her a star. Instead, I would use the term actress. And just to clarify, I mean no disrespect by this. You see, and this is only my opinion, but to be a star means having amassed such a level of popularity that the movie-going public no longer sees the actor as playing a part but rather sees the star playing the part. By becoming a genuine Hollywood movie star, an actor’s screen persona becomes almost more paramount than the part they are playing. When I sit down to watch a Cary Grant movie, it’s because I want to see Cary Grant. With Astor, however, it is different. I rarely ever think, “Man, I just want to watch a Mary Astor movie, today.” However, when I watch a film that features Mary Astor, I am never left disappointed in her performance. And more importantly, every time I see her, she is different.

This is what I mean by saying I don’t necessary see Astor as a star. I never crave her screen persona because she simply doesn’t have one. She is an actress, constantly changing her appearance, her persona, and her parts, elevating each film to its highest level of quality. Heck, even the clunkers she appeared in were somehow better because of her. And now that I think about it, perhaps that is her key to stardom. No matter what type or level of film she appeared in over her 45-year, 156-role career, she always shined. So, to celebrate this star, do yourself a favor and watch the following films airing Wednesdays on Turner Classic Movies.

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Dodsworth-011Mary Astor with Walter Huston in Dodsworth (1936, William Wyler director) airing March 5th at 8:00PM on TCM.

….Annex - Bogart, Humphrey (Maltese Falcon, The)_16

Mary Astor with Humphrey Bogart in The Maltese Falcon ( 1941, John Huston director) airing Marth 12th at 8:00Pm on TCM

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meet me in st louisMary Astor with Judy Garland in Meet Me in St. Louis (1944, Vincente Minnelli director) airing March 26th at 10:15PM on TCM

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Minoo Allen for Classic Movie Hub

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31 Days of Oscar Blogathon: You Can’t Take It With You

Posted on March 3, 2014 by Annmarie Gatti

“Maybe it’ll stop you trying to be so desperate about making more money than you can ever use . You can’t take it with you, Mr. Kirby. So what good is it? As near as I can see, the only thing you can take with you is the love of your friends.”  -Grandpa Vanderhoff

you cant take it with you box shot

You Can’t Take It With You — How do I love thee, let me count the ways…

I can’t tell you how much I LOVE this movie.  And although it’s always simply ‘listed’ as a romantic screwball comedy, I find it to be a profoundly moving film that is as relevant today as it was over 75 years ago when it first hit the big screen.

But…I didn’t always feel that way. I distinctly remember seeing it at a revival theater when I was young, and, although I liked it, I certainly didn’t love it. It seemed a little too zany and ‘loud’ for me at the time, and quite frankly all that ‘stuff’ about power and money and work, well I just couldn’t relate to it…at least not yet…

However fast forward ‘a few’ years to now, and I will say that, without-a-doubt, You Can’t Take It With You is one of my all-time favorite movies — yes, it’s even in my Top Ten. So, what is it that I truly love about this film???  Well, really, it’s so many things — Frank Capra’s ‘common man triumphs’ signature direction, Robert Riskin’s touching screenplay (adapted from the 1936 Pulitzer Prize-winning play of the same name), the stellar cast of veteran and character actors and their simple yet heartfelt scenes — and at the very top of my list — the messages and themes throughout the film.  In a nutshell, this film makes me think about life, about my life and what’s really important… the love of family and friends over the love of power and money, the idea that you should love your work, enjoy the little things in life, trust in the Almighty, and be thankful for everything you have — some pretty profound ‘stuff’ for a zany screwball comedy!

But not to get too serious here, I mean it is a screwball comedy after all, there’s also lots of fun in the way the messages are delivered — imagine the idea of going to work and deciding that, since you’re not having fun anymore, you’re just going to hit that elevator ‘down’ button and go home, never to return to that office again.  Oh, if only!!! Or being able to grill the IRS Man about how your money is being spent by the government! I mean, why shouldn’t you, it is your money isn’t it?

So, that said, let’s celebrate the profound messaging from You Can’t Take It With You, with a mix of serious and fun quotes from the film…

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You Can't Take It With You Edward Arnold as Anthony P. Kirby

Business mogul Anthony P. Kirby (Edward Arnold) aka AP

AP: We’re going ahead exactly as we planned. It’ll be the largest individual monopoly in the world gentlemen, if we’re smart.

AP: $10,000 a year for doctors and I’m still taking this stuff. (bicarbonate of soda)

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You Can't Take It With You, Edward Arnold and Jimmy Stewart

AP with his son Tony (James Stewart), who he just made his new VP

AP: Say, Tony, do you realize there won’t be a bullet, gun or cannon
made in this country without us?
Tony: Dad, now don’t tell me you’ve forgotten the sling shot market.

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You cant take it with you Clarence Wilson

AP’s Real Estate Agent, John Blakeley (Clarence Wilson), who has run into some trouble securing 12 blocks of real estate that AP MUST HAVE to further his big business deal.. 

Blakeley: I’ll make him sell if I have to drive him out with stink bombs. Listen, a fortune’s been invested in those 12 blocks, and behind us is one of the most powerful men in the country — and a silly old man with that silly little house is holding up the whole business…

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You Can't Take It With You, Mr. Poppins, Donald Meeks and Lionel Barrymor

Meanwhile, lovable Grandpa Vanderhof (Lionel Barrymore) tries to persuade Blakeley’s nervous worker-bee accountant Mr. Poppins (Donald Meek) to follow his passion…

Grandpa Vanderhof: You like this?
Mr. Poppins: Like it?
Grandpa Vanderhof: This work you’re doing?
Mr. Poppins: Oh no, my goodness, no. Landsakes, what am I saying?
Grandpa Vanderhof: Then why do you do it?… Isn’t there something else you’d rather be doing than this? 

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You Cant Take It With You Mr Poppins inventor, Donald Meek and Lionel Barrymore

Mr. Poppins likes to invent things!

Grandpa Vanderhoff: What do you mean, fooling around with all these dull figures? Seems to me Mr. Poppins, that THIS is the kind of work
you ought to be doing (inventing things).
Mr. Poppins: Someday I’m going to do nothing else,
someday…when my ship comes in…

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you cant take it with you jean arthur, james stewart

Tony Kirby with secretary and soon-to-be fiancee, Alice Sycamore (Jean Arthur)

Tony: Sometimes you’re so beautiful it just gags me. Maybe you’re not real, maybe you’re a phantom or something. I keep expecting you to vanish.

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you cant take it with you jean arthur, proposal

A tender proposal…

Tony: I talked about you so much that she (mother) finally said ‘well now the next thing I expect to hear from you is that you’re going to marry the girl’
and I said ‘yah, that’s it exactly!’
Alice: What’d she say?
Tony: Nothing, nothing.
Alice: Just fainted dead away?
Tony: No, no, no she took it standing up…
Tony: You know if you scratch under the surface here
you’ll find a proposal lying around…

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you cant take it with you, mary forbes

 A worried Mrs. Anthony Kirby (Mary Forbes)…

Mrs. Kirby: I wouldn’t mind his carrying on right in the office but he’s getting serious about her… He talked to me for hours about her last night…
AP: The girl’s a stenographer. Boys like Tony don’t marry stenographers.
Mrs. Kirby: Anthony, we’ve got to do something about this girl!

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you cant take it with you, lionel barrymore and neighbors

Grandpa comforts his neighbors, who are all worried about getting thrown out of their homes

Grandpa Vanderhof: Now wait just a minute, don’t get excited… If they’re buying this property up for a factory, they’ll need every foot of ground, won’t they?
Neighbor: I guess so.
Grandpa Vanderhof: Well now suppose I won’t sell them my place, what’re they going to do?… It’ll take more than money to make me sell my property. Now go on back to work, stop cluttering up the street, we’ll all be arrested.

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you cant take it with you, jean arthur, lionel barrymoreGrandpa and Granddaughter (Lionel Barrymore and Jean Arthur) share some heartfelt moments…

Grandpa: In love, huh?
Alice: Well,uh… Well, I…
Grandpa: Well, I… My foot. Either you are or you aren’t. Let me look at your eyes. Oh yes, of course… Now, come on now, tell me all abut it. What kind of a boy is he?
You have fun together?

Grandpa: Can’t even talk about him, can you?
Alice: Not rationally.
Grandpa: Well, who’s asking you to be rational?

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you cant take it with you, jean arthur, lionel barrymore

Grandpa talks about Alice’s Grandmother…

Grandpa: Listen, when I was courting your Grandmother, it took me two years to propose. You know why? The moment she’d walk into a room, my knees buckled. Blood would rush up into my head and the walls would start to dance.
Twice I keeled over in a dead faint.

Grandpa: Nothing phenomenal about it. I just had it bad, that’s all. I never got over it either. Right up to the very last, she couldn’t walk into a room without my heart going thump, thump, thump.

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you cant take it with you, jean arthur, lionel barrymore 3

Grandpa and Granddaughter loving Grandma and their home…

Alice: I wish I’d known her. What was she like?
Grandpa: Look in there (points to mirror).

Grandpa Vanderhoff: I can still hear the tinkle of her thin little voice, see her eyes laughing. That’s the reason I’ve lived in this house so many years — could never move out — would be like moving out on grandma.

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you cant talk it with you, lionel barrymore and irs man charles lane

Grandpa Vanderhof having some fun with IRS Agent Wilbur G. Henderson (Charles Lane)

Henderson: Now Mr. Vanderhoff, that’s a very serious thing,
not filing an income tax return.
Grandpa Vanderhof: Well, now suppose I do pay you this money? Mind you, I don’t say that I’m going to, but just for the sake of argument — what’s the
government going to do with it?
Henderson: What do you mean?
Grandpa Vanderhoff: Well, what do I get for MY money? For instance, if I go into a dept store and buy something, why there it is, I can see it.
What are they going to give me?

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you cant take it with you family in living room

Alice’s free-spirited family and friends — including her mom Penny Sycamore (Spring Byington) painting a portrait, her married sister Essie Carmichael (Ann Miller) dancing in her ballerina costume, and dancing teacher Kolenkhov (Mischa Auer), among others… 

Grandpa Vanderhof: How’s Essie doing?
Boris Kolenkhov: Confidentially, she stinks.
Grandpa Vanderhof: Oh well, as long as she’s happy.

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you cant take it with you prayer

Grandpa being thankful..

Grandpa: Well, Sir, here we are again. We’ve been getting along pretty good for quite a while now – we’re certainly much obliged. Remember all we ask is just to go along the way we are, keep our health; as far as anything else is concerned, we leave that up to you. Thank you.

…..

you cant take it with you, jean arthur, jimmy stewart talking about grandpa

Alice talking to Tony about Grandpa…

Alice: He (Grandpa) just suddenly left business one day. He started up in the elevator, turned around and came right down again — and never went back. He could have been a rich man, but said he wasn’t having any fun.

Alice Sycamore: You know he (Grandpa) says most people nowadays are run by fear. Fear of what they eat, fear of what they drink, fear of their jobs, their future, fear of their health. They’re scared to save money, and they’re scared to spend it. You know what his pet aversion is? The people who commercialize on fear, you know they scare you to death so they can sell you something you don’t need.

…..

you cant take it with you, the kirbys come to visit

The Kirbys come to visit the Sycamores… on the wrong night…

Grandpa Vanderhof: How are business conditions?
AP: Well, it depends what side of the fence you’re on.

 …..

you cant take it with you, mrs kirby and alice in jail

Won’t tell you why — but the Kirbys and Sycamores end up in jail together…

Mrs. Anthony Kirby: You needn’t waste your time trying to protect me. That won’t help. If you had any sense, young woman, you’d stay where you belong
and stop being ambitious!

…..

you cant take it with you, james stewart and edward arnold in jail

Father and Son… in jail…

AP: Well, I’ve got you to thank for this. I hope it’ll teach you a lesson,
fooling around with stenographers…
Tony: Now listen Dad, I intend to marry that girl.
AP: Yeah, I know, I know, I was going to marry a waitress once. Fortunately
my father knocked it out of me.

…..

you cant take it with you, edward arnold and lionel barrymore in jail

AP and Grandpa… in jail…

AP: You know what’ll happen if the newspapers get a hold of this. It’ll jeopardize the biggest deal of my career!

Grandpa Vanderhof: And what if it does fall through? What if all your deals fall through? Might be a good thing for you.
Anthony P. Kirby: Man, you’re crazy.
Grandpa Vanderhof: Well, maybe I am. I used to be just like you once. Then one morning, when I was going up in the elevator… it struck me I wasn’t having any fun. So I came right down and I never went back. Yes, sir. That was 35 years ago.
Anthony P. Kirby: Admirable. And you haven’t done anything since huh?
Grandpa Vanderhof: Oh yes, yes, yes… Oh just the things I wanted to do… collected stamps, went to the zoo when I got the notion, took up the harmonica, and even found time to notice when spring came around…

…..

you cant take it with you, lionel barrymore and edward arnold, speech

Grandpa loses his cool…

Grandpa Vanderhof: Scum, are we? What makes you think you’re such a superior human being? Your money? If you do, you’re a dull-witted fool, Mr. Kirby. And a poor one at that. You’re poorer than any of these people you call scum, because I’ll guarantee at least they’ve got some friends. While you with your jungle and your long claws, as you call ’em, you’ll wind up your miserable existence without anything you can call friend. You may be a high mogul to yourself, Mr. Kirby, but to me you’re a failure – failure as a man, failure as a human being, even a failure as a father. When your time comes, I doubt if a single tear will be shed over you. The world will probably cry, “Good riddance.” That’s a nice prospect, Mr. Kirby. I hope you’ll enjoy it. I hope you’ll get some comfort out of all this coin you’ve been sweating over then!

…..

you cant take it with you, harry davenport

Grandpa’s friends pay his fine… 

Judge: Mr. Vanderhof, you’re a very lucky man to have so many friends.

…..

you cant take it with you, mary forbes, before judge 2

Not so easy, for the Kirbys…

Mrs. Anthony Kirby: Haven’t we been embarrassed enough? Seems to me a little more respect should be shown for our position!

…..

you cant take it with you, lionel barrymore before the judge

Grandpa tries to save the day…

Grandpa Vanderhof: Your Honor, please… Mr. Kirby came to see me
about buying my house…
Judge: About buying your house?
Grandpa Vanderhof: Yes, you see, he’s been interested in the property for some time now and, well he just came there to talk the deal over, that’s all.

…..

you cant take it with you, jean arthur gets angryAlice has had enough!

Grandpa, I won’t stand for it! I won’t stand for our being humiliated like this! They’re ashamed to say why they were there. They’re ashamed to admit they came to look my family over to see if I was good enough to marry their precious son!

…..

you cant take it with you, jean arthur gets mad 2

And…

Alice: You know I’ve decided it’s your family that isn’t good enough! Why I wouldn’t be related to a bunch of snobs like that for anything in the world. Your mother’s all in a dither because of her social reputation.
The Crowd: That’s telling them Alice. Who do they think they are!
Alice: Your reputation’s safe as far as I’m concerned – and so is your son’s — and so is your old man’s!

…..

you cant take it with you, cinderella spurns prince charming headine

Well, Tony Pleads, Alice Spurns, AP Fumes and Mrs. Kirby Faints… Then Cinderella (Alice) flees the city, leaving Tony and her beloved family behind…

Alice is gone now, and her family is struggling to recover…  Will they ever be free-spirited and happy again? Will Grandpa decide to sell the house after all, leaving his wonderful memories behind? Will all the neighbors lose their homes too? Will AP’s big business deal get inked? Will Tony ever be able to find Alice and win her back?

…..

Now, I don’t want to ruin absolutely everything for you, so I will essentially stop here with the storyline, except for one more scene near the end of the film which just breaks my heart…

you cant take it with you, jimmy stewart and edward arnold, goodbye 2Father and Son, a heartfelt goodbye…

Tony Kirby: I came in here to say goodbye.
Anthony P. Kirby: Goodbye? Are you serious?
Tony Kirby: Yes I’m serious. I don’t want any part of this, Dad. I never did.
Anthony P. Kirby: You can’t do this — after all the plans I made for you…
Tony Kirby: Dad, if I can just make you understand this… I think this business is great — it’s good for you because you like it. I don’t and I never will. Oh, I… I’ve tried to talk to you so many times about it, but I… I just couldn’t get it out. I… I used to be able to talk to you dad, but lately… (he’s at a loss for words) I’ll probably be gone before you get home tonight. Goodbye Dad.

…..

Okay, I lied, but I can’t help it. So here I am, ruining the ending for you. But, this is a Frank Capra film, so we all know that somehow love will triumph…

you cant take it with you, jean arthur, james stewart, happy ending

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you cant take it with you, jean arthur, edward arnold, ending

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ou cant take it with you, edward arnold and lionel barrymore, ending

…..

you cant take it with you, happy ending

…..

you cant take it with you, last scene

And Grandpa says one Final Thank You…

Grandpa Vanderhof: Well, sir, here we are again. We’ve had quite a time of it lately, but it seems that the worst of it is over… Anyway, everything’s turned out fine, as it usually does. Alice is going to marry Tony; Mr. Kirby, who’s turned out to be a very good egg, sold us back our house – he’ll probably forget all about big deals for a while. Nobody on our block has to move; and, with the right handling, I think we can even thaw out Mrs. Kirby here. We’ve all got our health; as far as anything else is concerned, we still leave that up to you. Thank you…

…..

A big Thank You to Kellee (@IrishJayhawk66) of Outspoken & Freckled, Paula (@Paula_Guthat) of Paula’s Cinema Club and Aurora (@CitizenScreen) of Once Upon a Screen for hosting this fun 31 Days of Oscar event! There are so many more wonderful Classic Bloggers participating in this event so please be sure to check out the other entries.

–Annmarie Gatti for Classic Movie Hub

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Majestic Hollywood: Interview with Mark A. Viera

Posted on March 1, 2014 by minooallen

 

Majestic Hollywood: The Greatest Films of 1939
(Running Press)

 An Interview with author Mark A.Vieira

Maj Holl jacket final mech.indd

As pretty much every classic movie fan knows, the year 1939 is considered special, well, extraordinary really. Film historians refer to it as the greatest year in the history of Hollywood due to both the high quality and high attendance of the films that came out. With World War Two as an ever-looming threat and the economic pressures of the Great Depression almost at an end, it’s no wonder people flocked to the theaters in droves. Whether you wanted to escape down the yellow brick road with Dorothy, never go hungry again with Scarlett, or say goodbye to Mr. Chips, there was no shortage of great films for audiences to go and see. In celebration of the Golden-Era’s most Golden year, Mark A. Vieira has penned the book Majestic Hollywood: The Greatest Films of 1939. The book chronicles 50 of the year’s greatest films, including behind-the-scenes information, production highlights and stunning photographs that tell the stories of 1939.

I would like to extend my gratitude to Mark A. Vieira for taking the time to do this interview as well as to Running Press Publishers for supplying CMH with a copy of the book as well as the photos accompanying this post!

Vivien Leigh Clark Gable Gone With the WindVivien Leigh and Clark Gable in Gone With the Wind (Victor Fleming director)

[photo: Majestic Hollywood: The Greatest films of 1939 (Running Press)]

1.) With so much already written about Hollywood’s Golden Year, what inspired you to write Majestic Hollywood: The Greatest Films of 1939?

I wrote Majestic Hollywood for Running Press so you can celebrate the 75th Anniversary of these great films.

The book is full of tidbits that will help you enjoy them even more. Just reading the reviews is a treat. The film critic in 1939 had to review the film with its first-night audience; we can go back in time and feel what it was like to see a familiar classic for the first time.

Most importantly, I can finally answer the question “Why were so many great films made in one year?” Just because some company in 1989 said this was so doesn’t mean it was. I had to find out for myself.

nino 39 1

Garbo Laughs for the first time in 1939 with Melvyn Douglas in Ninotchka (director Ernst Lubitsch)

[photo: Majestic Hollywood: The Greatest films of 1939 (Running Press)]

2.) You clearly did your research for this book, covering the history and production of 50 classic films. Where did you begin your research? Did you start with individual films or simply the year itself?

When I write a book, I’m telling a story. To do that, I create a timeline. I started in 1938. I looked in the Los Angeles Times. And that’s where I found the answers to my big question. There were five reasons for the proliferation of quality films. The reasons were cultural, financial, and political. But you’ll have to read the Introduction to find out exactly what they were!

3.) Your book is filled with interesting facts and anecdotes about the films’ productions. While in the researching process, what was your favorite or most interesting discovery?

The Cowardly Lion costume in The Wizard of Oz had a zipper on its back, not buttons or another type of fastener.

wiza 39 5Flying Away with Jack Haley, Ray Bolger, Frank Morgan, Judy Garland and Bert Lahr in The Wizard of Oz (Victor Fleming director)

 4.) In the book, you mentioned the social/political conditions surrounding Hollywood that allowed for such a “Big Film” year in 1939. How much of your research centered on those conditions that created Hollywood’s Golden Year?

World politics was one of the reasons that the Hollywood studios pushed quality projects. They knew they were about to lose Europe to a major war, which meant a third of their revenue, so they planned big movies that could open with road shows and bring in big money right away.

priv 39 2

Bette Davis is not only Queen Elizabeth but also Queen of 1939, appearing more times in the book than any other leading actor. Here she is in The Private Lives of Elizabeth and Essex. (Michael Curtiz, director)

 5.) In 1939, Hollywood released hundreds of films. In you book you managed to narrow the list down to 50. What was the criterion for making the cut?

The list created itself; there wasn’t a lot of agonizing. The only one we found it hard to cut was Made for Each Other.

It was a pleasure working with an editor who knows so much about classic films and has a true enthusiasm for them. Cindy De La Hoz has, of course, written a number of landmark books of her own, so I’m lucky to have her as my editor.

6.) What would you consider Hollywood’s greatest achievement of 1939?

Trusting its audience with intelligent fare. Most of these films couldn’t be greenlighted in 2014. Watching them requires thought.

gwtw 2Beind the scenes with Davis O. Selznick, Victor Fleming, Vivien Leigh and Clark Gable in Gone With the Wind (Victor Fleming director)

[photo: Majestic Hollywood: The Greatest films of 1939 (Running Press)]

7.) What is your personal favorite film (or films) from 1939?

The Rains Came has become my favorite. From childhood both Union Pacific and The Wizard of Oz were real favorites. I didn’t see Gone With the Wind until I was sixteen, but it quickly joined my personal pantheon (My favorite non-1939 films are King Kong, Grand Hotel, The Scarlet Empress, The Sign of the Cross, and Portrait of Jennie.)

…..

Minoo Allen for Classic Movie Hub

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Classic Movie Coincidence: Elizabeth Taylor and Joan Bennett

Posted on February 27, 2014 by Annmarie Gatti

 

Elizabeth Taylor and Joan Bennett share a birthday and two films:

Elizabeth Taylor and Joan Bennett starred in Father of the Bride and Father’s Little Dividend — and both were born today February 27 (22 yrs apart!).

Elizabeth Taylor as Kay Banks and Joan Bennett as Ellie Banks (Kay's mother) in Vincente Minnelli's Father of the Bride (1950)

Elizabeth Taylor as Kay Banks (left/front) and Joan Bennett as Ellie Banks (Kay’s mother) in Vincente Minnelli’s Father of the Bride (1950). Taylor was born Elizabeth Rosemond Taylor  on in Hampstead, London, England* and Bennett was born Joan Geraldine Bennett on in Palisades, New Jersey. 

*Elizabeth Taylor was born to American parents on British soil, giving her dual citizenship. In 1965, after her marriage to British citizen Richard Burton, she renounced her US citizenship (and again in 1966 after the first time was declared invalid), and in 1977 she applied for restoration of her US citizenship when her husband John Warner was running for the US Senate.

…..

–Annmarie Gatti for Classic Movie Hub

Posted in Classic Movie Coincidence, Posts by Annmarie Gatti | 1 Comment

TCM’s 31 Days of Oscar: CMH Picks for Week Four (Feb 22)

Posted on February 22, 2014 by minooallen

 

Turner Classic Movies: 31 Days of Oscar

CMH Picks: Week Four

Saturday February 22: The Red Shoes at 8:00PM
2 Wins: Best Art Direction-Set Decoration Color, Best Music-Scoring of a Dramatic or Comedy Picture; 3 Nominations: Best Picture, Best Writing-Motion Picture Story, Best Film Editing 1949

THE RED SHOES

But really, just LOOK at those colors

This is one of the most visually stunning movies you will ever see. In fact, I can say, with no reserve, that this film possesses the best use of Technicolor ever. The ballet sequence, which lasts an entire 15 minutes, is one of the most breathtaking visuals ever put on screen.

…..

Sunday February 23: You Can’t Take it With You at 10:00PM
2 Wins: Best Picture, Best Director; 5 Nominations: Best Actress, Best Writing-Screenplay, Best Cinematography, Best Sound-Recording, Best Film Editing 1939

you cant take it with you

Basically a typical day in my apartment!

Most of the time, a story of star-crossed lovers is a tragic tale that details the failure of society to accept love over greed and the status quo. Thanks, Shakespeare. But sometimes it’s a zany romp where people realize that love is far more important than money. Thankfully, You Can’t Take it with You is the latter.

…..

Monday February  24: The Grand Illusion at 10:00AM
1 Nomination: Best Picture 1939

Grande-Illusion-21

This man bleeds majestic

In terms of war films, WWI really gets the shaft, but this film more than makes up for it. I consider it to be one of the best war films ever made because the war is in the background — even though the story takes place in a German P.O.W camp. The film analyzes how class differences affect the relationship between the characters, rather than their actual countries of origin, and how a German officer of the dying aristocracy can relate more to a fellow aristocrat who is prison, than his own men.  The film also features one of my favorite performances of all time: Eric von Stroheim as the crippled Captain von Rauffenstein.  

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Tuesday February 25: Lifeboat at 8:30AM
3 Nominations: Best Director, Best Writing-Original Story, Best Cinematography-Black-and-White 1945

Twentieth Century Fox-Inside the Photo Archive

Tallulah Bankhead. The only person who can shock Hitchcock

I’m recommending this film because, well, I know that not very many people have seen it. In my humble opinion, it ranks along with The Trouble with Harry as one of Hitchcock’s most underrated films and features what I consider to be the best cast ensemble of any Hitchcock film.  So please, if you have to work at 8:30PM, DVR it. It’s worth the hard drive space.

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Wednesday February 26: The Little Foxes at 10:00PM
9 Nominations: Best Picture, Best Actress, Best Supporting Actress (2), Best Director, Best Writing-Screenplay, Best Art Direction-Interior Decoration – Black-and-White, Best Film Editing, Best Music-Scoring of a Dramatic Picture 1942

Little Foxes (1941) - regina

William Wyler directing Bette Davis ans Teresa Wright

I won’t lie to you, faithful readers. I’ve been on a Teresa Wright kick for the past month and that is why I am recommending this film. I just want you to watch Wright. Isn’t she just the loveliest?

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Thursday February 27: Two Women at 4:00PM
1 Win: Best Actress 1962

sophia-loren-in-un-wallpaper-de-la-ciociara-149256

Sophia Loren in her only competitive Oscar winning performance

This film is very intense and, at times, hard to watch. Although the story takes place during WWII, it’s not about battles or soldiers, but rather about the innocent people that war effects and the tragedy that engulfs their lives.  Sophia Loren probably gives the best performance of her lifetime and, for it, was rewarded with a Best Actress Oscar – the first to go to a non-English speaking performance.

…..

Friday February 28: The Philadelphia Story at 9:15AM
2 Wins: Best Actor, Best Writing-Screenplay; 4 Nominations: Best Picture, Best Actress, Best Supporting Actress, Best Director 1941

Annex - Hepburn, Katharine (Philadelphia Story, The)_17

George Cukor directing Katharine Hepburn and Cary Grant

I know — you’ve seen this one a billion times and probably know every word by heart. But I ask you: Have you ever stopped laughing? I know I haven’t. So, if you just need a good, hardy guffaw, just watch the darn film. You won’t ever be disappointed.

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Saturday March 1: Grand Hotel at 7:30AM
1 Win: Best Picture 1932

the grand hotl

Dude, back off. She just wants to be alone.

What’s interesting about this film is that its ‘whole’ is truly greater than the sum of all its parts. Why do I say that? Well, the film won the 1932 Oscar for Best Picture. You know what else it was nominated for – nothing. That’s right, a Best Picture film with nothing else that is considered “best.” Do the math and you’ll see that I’m right.

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Sunday March 2: Lawrence of Arabia at 4:00PM
7 Wins: Best Picture, Best Director, Best Cinematography-Color, Best Art Direction-Set Decoration-Color, Best Sound, Best Film Editing, Best Music-Score – Substantially Original; 3 Nominations: Best Actor, Best Supporting Actor, Best Writing-Screenplay Based on Material from Another Medium 1963

lawrence-of-arabia-charge-on-aqaba

Seriously, watch the Blu ray. It’s worth your time.

This whole film is just brilliant. From the direction to the cinematography to the acting and I’m sure right down to the craft services on set, this film represents the very best of the filmic epic. I only hope that TCM shows the HD restoration. It is truly a different experience all together.

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Monday March 3: Alice Adams at 2:00PM
2 Nominations: Best Picture, Best Actress 1936

alice-adams-1935-01-g

The great Katharine Hepburn

And for my last recommendation, I give you Alice Adams. I chose it because Hepburn absolutely breaks my heart in this film. And there is nothing I like better than a film that breaks my heart.

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Minoo Allen for Classic Movie Hub

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