The Chaney Blogathon: Bud Abbott and Lou Costello Meet Frankenstein

Posted on November 18, 2013 by Annmarie Gatti


“You don’t understand. Every night when the moon is full,
I turn into a wolf.” -Larry Talbot
“You and twenty million other guys.” -Wilbur Grey

Bud Abbott and Lou Costello Meet Frankenstein (1948) — the perfect mix of horror, pathos, intrigue and downright silliness — a chance for a ‘scaredy cat’ like me to see the ‘Big Three’ classic movie monsters play straight men to the antics of beloved comedy team Abbott and Costello. The film marked the return of Bela Lugosi as Count Dracula a mere 17 years after the 1931 film made him a star; Glenn Strange appeared for the 3rd time in his career as The Frankenstein Monster, and our Blogathon Star, Lon Chaney Jr., reprised his role for the 5th time as the long-suffering Larry Talbot and his murderous alter ego, The Wolf Man.  And, if that’s not enough, there is a surprise ‘appearance’ by The Invisible Man (yes, I get the irony), voiced by Vincent Price at the very end of the film.

Lon Chaney Jr as himself and as The Wolfman from Abbott and Costello Meet Frankenstein

Lon Chaney Jr. as The Wolf Man and as himself

Now, I know that some would argue that the horror genre hit rock bottom with the release of this film, but for me, it’s an affectionate and respectful tribute to the monsters that scared the you-know-what out of us when we were kids.  And I just have to laugh out loud when I see poor Wilbur (Costello) and annoyed Chick (Abbott) repeat the ‘tried and true’ Abbott and Costello comedy routines that I’ve come to know and love over the years.  Perhaps it’s a simple case of nostalgia, perhaps it’s the hankering for some good clean fun, or perhaps it’s just a welcomed way to chuckle and unwind after a long and crazy day at work — but, whatever ‘it’ is, this movie never fails to put me in a good mood.

So, in the spirit of the comedy-horror genre, I’d like to celebrate Lon Chaney Jr. with some fun quotes and silly behind-the-scenes photos…

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Lon Chaney Jr as Larry Talbot in Abbott and Costello Meet Frankenstein

Lon Chaney Jr. — as poor, tortured Larry Talbot, calling from London to Florida to warn unsuspecting baggage-clerks, Wilbur and Chick, that something foul’s afoot… but alas, he ‘transforms’ and well…

“Do you have two crates addressed to the McDougal House of Horrors?… Tonight the moon will be full here. I haven’t much time. Now listen closely, I’m flying out of here at dawn. Under no circumstances are you to deliver those crates until I arrive. Understand. Under… growl, growl. growl, growl”
-Larry Talbot

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Lon Chaney Jr. as Lawrence Talbot with Bud Abbott and Lou Costello in Abbott and Costello Meet Frankenstein

Larry Talbot finds Wilbur (Costello) and Chick (Abbott) and explains that he’s the one who telephoned them from London warning them about those crates… and he adds that the bodies in those crates were alive…  (of course poor Wilbur already found that out for himself, and skeptical Chick thinks they’re both crazy 🙂 )

Larry Talbot: I followed Dracula all the way from Europe because… I believe that he’s going to try and revive the Frankenstein Monster. We must find him and destroy him before he can do this.
Chick Young: Wait a minute. Why don’t you go down to the police.  Tell them you know the story about Dracula and Monster — they’d be very interested.
Larry Talbot: Oh I can’t do that — ’cause then I’d have to tell them who I am and why I know what I know.

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Lon Chaney Jr with Bud Abbott and Lou Costello in Abbott and Costello Meet Frankenstein

And so the plot thickens, as a desperate Talbot begs Wilbur to take away his hotel key and lock him away in his room — and warns him one last time…

“Remember no matter what you hear or what happens don’t let me out!”
-Larry Talbot

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Lon Chaney Jr as The Wolf Man in Abbott and Costello Meet Frankenstein

And so it goes…

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Lon Chaney Jr with Bud Abbott and Lou Costello in Abbott and Costello Meet Frankenstein

A bender? I think not…

Chick Young: Boy, what a bender he must have been on last night!
Wilbur Grey: Hey, Mr. Talbot, Mr. Talbot…and I thought you were such a nice man too. Look at yourself, you’re a mess!
Larry Talbot: Last night I went through another of my horrible experiences. Years ago I was bitten by a werewolf. Ever since when the full moon rises I turn into a wolf myself.
Wilbur Grey: Oh pal. That’s all right; I’m sort of a wolf myself.

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Lon Chaney Jr with Bud Abbott and Lou Costello in Abbott and Costello Meet Frankenstein

Suffice it to say that from this point on, crazy antics ensue as Wilbur and Chick find themselves at the mercy of designing women, evil doctors, mad monsters and a diabolical plot to steal Wilbur’s brain. Guess who the brain is for??? LOL!

Larry Talbot: You have seen the living dead. I came all the way from Europe because Dracula and the Monster must be destroyed.  Together we must find them!
Chick Young: Oh no, now wait a minute, let’s not start that all over again!
Wilbur Grey: I can’t go. I got a date. In fact I’ve got two dates.
Larry Talbot: But you and I — ‘have a date with destiny’.
Wilbur Grey: Let Chick go with Destiny. Won’t ya please, huh…

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Abbott and Costello Meet Frankenstein publicity shot with monsters

 A crazy cast of characters 🙂 including Bela Lugosi as Dracula and Glenn Strange as Frankenstein

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Behind the Scenes Fun included exploding cigars, card games, pie fights and daily practical jokes…

Lon Chaney, Jr. with director Charles Barton on the set of Abbott and Costello Meet Frankenstein behind the scenes

Director Charles Barton getting all shook up by The Wolf Man

“There were times when I thought Bela was going to have a stroke on the set. You have to understand that working with two zanies like Abbott and Costello was not the normal Hollywood set. They never went by the script and at least once a day there would be a pie fight.” -Director Charles Barton

Note: Abbott and Costello respected the three monsters and made sure no pies were flung at the heavily made-up actors.

Lon Chaney Jr And Lou Costello On the Set of Abbott and Costello Meet Frankenstein

Lon Chaney Jr. and Lou Costello relaxing on the set
(hopefully that’s not an exploding cigar!)

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Glenn Strange (Frankenstein) and Lon Chaney Jr (Wolf Man) on set of Abbott & Costello Meet Frankenstein (1948)

Best Friends: Frankenstein (Glenn Strange) and The Wolf Man

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Lon Chaney Jr as the Wolf man and Glenn Strange as Frankenstein behind the scenes flirting with girls

Flirting with the girls: The Wolf Man and Frankenstein having some fun
behind-the-scenes

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Glenn Strange as Frankenstein from Abbott and Costello Meet Frankenstein with Ann Blyth from Mr. Peabody and the Mermaid on lot in 1948

Glenn Strange as Frankenstein with Ann Blyth from Mr. Peabody and the Mermaid (which was filming nearby) on the Universal Studio lot. Both Strange and Chaney Jr. were invited to the Mr. Peabody wrap party, where they hammed it up in their monster make-up.

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Boris Karloff publicity shot standing next to Abbott and Costello Meet Frankenstein poster

Universal’s original Frankenstein Monster, Boris Karloff, was asked to reprise his role for the film, but he declined. However, as a favor to Universal, he helped promote the film and can be seen in several publicity photos, including this one in which he points to the movie poster.

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A big Thank You to the fabulous Jo (@TheLastDriveIn) of TheLastDriveIn.com, and the equally fabulous Fritzi (@MoviesSilently) of MoviesSilently.com for hosting this wonderful Chaney Blogathon 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

 

Posted in Blogathons, Character Actors, Horror, Posts by Annmarie Gatti, Quotes | Tagged , , , , , , , , , , | 10 Comments

Mini Tribute: Daws Butler

Posted on November 16, 2013 by Annmarie Gatti


Born November 16, 1916 Classic Cartoon Voice Actor Daws Butler

Daws Butler has over 300 voice acting credits to his name. He voiced the Turtle/Penguin in the Disney film, Mary Poppins — plus a cavalcade of classic cartoon favorites including Yogi Bear, Quick Draw McGraw, Snagglepuss, Huckleberry Hound, Augie Doggie, Peter Potamus, Chilly Willy, Wally Gator, Super Snooper, Blabber Mouse, Baba Looey, Lippy the Lion and Elroy Jetson! He was also the voice of Snap (as in ‘Snap, Crackle & Pop’), Quisp (as in the Quaker Oats cereal) — and Cap’n Crunch!
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daws butler the voice of yogi bear and huckleberry hound

Daws Butler at work

“What I ended up doing, the voicing, is all I ever wanted to do. I never really hungered to be on camera or to be recognized in public.” -Daws Butler

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daws butler tribute by raggyrabbit94

A wonderful Deviant Art tribute from “raggyrabbit94”

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–Annmarie Gatti for Classic Movie Hub

 

Posted in Cartoons, Mini Tributes, Posts by Annmarie Gatti, Quotes, Voice Actors | Tagged , | 2 Comments

How Many Movies Did Veronica Lake and Alan Ladd Star in Together?

Posted on November 14, 2013 by Annmarie Gatti

 

How Many Movies Did Veronica Lake and Alan Ladd Star in Together?

Veronica Lake and Alan Ladd in 1942 Film Noir This Gun For Hire

 Veronica Lake and Alan Ladd

Veronica Lake and Alan Ladd made SEVEN films together, including three films in which they appeared as themselves* (Star Spangled Rhythm, Duffy’s Tavern and Variety Girl).

  1. This Gun for Hire (1942)  on DVD (Universal Noir Collection)
  2. The Glass Key (1942)  on DVD (TCM)
  3. Star Spangled Rhythm* (1942)  on DVD with My Favorite Blonde (Paramount)
  4. Duffy’s Tavern* (1945)  DVD currently unavailable
  5. The Blue Dahlia (1946)  on DVD (TCM)
  6. Variety Girl* (1947)  on DVD (Universal)
  7. Saigon (1948)  on DVD

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–Annmarie Gatti for Classic Movie Hub

 

 

 

Posted in Film Collaboration Lists, How Many Films Did They Star In Together?, Paramount DVDs, Posts by Annmarie Gatti, TCM DVDs, Universal DVDs | Tagged | Leave a comment

A Life of Barbara Stanwyck: Steel-True 1907-1940 – Interview with Author Victoria Wilson

Posted on November 12, 2013 by Annmarie Gatti

Steel-True and Blade-Straight: An Interview with Victoria Wilson

Oh Happy Day! The long-awaited and highly-anticipated Barbara Stanwyck biography,  A Life of Barbara Stanwyck: Steel-True 1907-1940, is in stores today, November 12th — and CMH is honored to be able to present this interview with author Victoria Wilson!

Steel-True is quite an extraordinary piece of work — 15 years in the making, with the full cooperation of Stanwyck’s family and friends, drawing on 200+ interviews with actors, directors, cameramen and more, plus access to letters, journals and private papers. The book totals 860 pages and includes 247 photos, many of which have never before been published. I’ve had the pleasure of reading the book, and, in a nutshell, I will say that it is brilliantly written, very comprehensive, and a fast and interesting read. And I am very much looking forward to Volume Two!

A big Thank You to Victoria Wilson for taking the time to do this interview — and to Simon and Schuster for supplying CMH with exclusive photos to use in this blog post plus FOUR copies of  A Life of Barbara Stanwyck: Steel-True 1907-1940 to give away during the month of December! Stay tuned for more details!

Barbara Stanwyck Bio Steel True

CMH: You’ve spent much of your career on the ‘business’ side of publishing, most notably as Vice President and Senior Editor for Alfred A. Knopf. What compelled you to ‘turn’ author and write such an extensive biography about Barbara Stanwyck?

Victoria Wilson: I’ve published many biographies over the years and enjoyed working with writers on their research, discussing it, thinking about it and how it revealed their subject – and one day the impulse came to me to write a life of someone.  I made a long list of possible subjects and Stanwyck was on the list.  I realized there had not been a serious book on her before and that she deserved one – and off I went into
Stanwyck-land…

Barbara Stanwyck, Ruby Stevens

Barbara Stanwick, birthname Ruby Stevens

CMH: The book took 15 years to complete, and at 860 pages, delves deeply into Stanwyck’s life and career through age 33. The enormity of this task is mind-boggling. Could you please share with us how you approached compiling and organizing the research for the book?

Victoria Wilson: I could write a book, as most biographers could, on the research for this book… the stories of the people I met, the leads that began one year and were completed years later, the gathering of original material, the compiling, the creating of a chronology (it’s now almost 400 pages; maybe more), the thousands of pages of paper — all organized in five inch high notebooks, arranged chronologically, in my attic, specifically redone to accommodate all of my Stanwyck research; I bought a gun safe with velvet shelves and a built-in dehumidifier to house the hundreds of original Stanwyck letters I amassed that I first kept in the lettuce crisper of a refrigerator in my basement.

Barbara Stanwyck, cabaret girls of The Noose; Mae Clarke, Dorothy Shepherd, Erenay Weaver, Ruby Stevens, Maryland Jarbeau

Cabaret Girls of The Noose. Top row, left to right: Mae Clarke, Dorothy Shepherd. Botton row, left to right: Erenay Weaver, Ruby Stevens (Barbara Stanwick), Maryland Jarbeau

CMH: I was intrigued by the quote you used to open the book, which was from acclaimed acting teacher Stella Adler: “Life beats down and crushes the soul, and art reminds you that you have one.”  I was also intrigued to learn that you are Stella Adler’s step daughter.  So, I have two questions here:  Did your life with Adler provide any special insight for you in your approach to writing the book?  And what was it about this quote that resonated so well with Stanwyck’s life?

Victoria Wilson: Interesting question about Stella being an influence on this book.  She was and she wasn’t… she was, in that acting has always interested me (I see actors as magicians), but more so when I took Stella’s text analysis and scene classes. They – she – changed my life in many ways and made me look at writing, thinking, art, everything in a different way.

As to the quote, it is one of my favorite Stella quotes.

In relation to Part One of the STANWYCK, it seemed the perfect way to represent Ruby Stevens’ path out of the ‘muck and mire’ of her tough everyday struggle into the freedom and feelings that came to her with the world of the stage and then pictures; into an alter-realm in which the soul, despite life-itself, is fed and able to flourish.

Barbara Stanwyck and Dorothy Shepherd, Atlantic City, 1926 from Steel-True BiographyRuby (Barbara Stanwyck) on left with unidentified person in middle and Dorothy Shepherd on right; Atlantic City, 1926

CMH: What is the significance of the book’s subtitle Steel-True?

Victoria Wilson: STEEL-TRUE is the name of this volume.  The overall two-volume biography is called A LIFE OF BARBARA STANWYCK.

Robert Taylor used to say of Barbara:
“Steel-true, blade straight
The great artificer
Made my mate.”

Quoting a Robert Louis Stevenson poem  (from MY WIFE, SONGS OF TRAVEL)
”Trusty, dusky, vivid, true,
With eyes of gold and bramble-dew,
Steel-true and blade-straight
The great artificer
Made my mate.”

It seemed to me to be the perfect title for the book that so expressed Stanwyck’s core.

Barbara Stanwyck, Burlesque Plymouth Theatre, New York Amusements Playbill

CMH: “I hate whiners. You have to fight life and make it work for you” — such a telling quote from the book. Stanwyck’s traumatic childhood forced her to fend for herself at an early age, laying the foundation for great success on the stage and in Hollywood.  What was it about Stanwyck’s personality that allowed her to persevere, ultimately propelling her to stardom?

Victoria Wilson: Ruby Stevens was determined, ambitious and tough.  She had to fend for herself in so many ways as a child and always felt apart, on her own.  All of this was perfect training for the way she lived – the choices she made – when she got to Hollywood, basically living outside of the Hollywood life and studio life for as long as she did, until she became involved with Robert Taylor.  She and Frank Fay were socially isolated and wanted to remain that way.  In the midst of all of this, Stanwyck was a worker; she was disciplined; hence the title of this volume, STEEL-TRUE.

Barbara Stanwyck with Frank Fay, 1st husband

Barbara Stanwyck with 1st husband Frank Fay

CMH: Stanwyck and Robert Taylor were friends for three years before MGM insisted they marry. During the course of their relationship, Stanwyck seemed to be a huge influence on Taylor and his career.  “She not only gave Bob good advice but demonstrated, in her own career, how it works”.  But, relationships are two-way streets — what was it about their dynamic that fueled Stanwyck?

Victoria Wilson: When you read the book you will see how I make clear just what Taylor did for Barbara in so many ways.  How his exploding fame when they first met, helped her; how his loving nature helped open her up.

Barbara Stanwyck and Robert Taylor with dog

Barbara Stanwyck with 2nd husband Robert Taylor

CMH: You had full access to Stanwyck’s family and friends, as well as letters and journals. Was there anything that you learned from these exclusive sources that truly surprised you about Stanwyck?

Victoria Wilson: I learned many things from Stanwyck’s friends and family; many things…  You’ll have to read the book to find out what was surprising about our Mizz Stanwyck.

Barbara Stanwyck, circa The Bitter Tea of General Yen

CMH: Frank Capra called Stanwyck “the greatest emotional actress the screen has yet known.” If you had to sum up Barbara Stanwyck in just one sentence, what would it be?

Victoria Wilson: I couldn’t sum up someone as complicated and rich as Barbara Stanwyck in one sentence.

Steel-true and blade straight… get to a deep part of who she was…

The Hugh Walpole quote she loved so much tells you a lot about how she lived, “Tisn’t life that matters!  ‘Tis the courage you bring to it.”

And finally, I would say she did her job as best she could; an honest day’s work for an honest day’s pay – and  when it was over, it was over.  She went home to rest (bleed) awhile and fight another day.

Barbara Stanwyck circa 1929, Steel Blue Biography by Victoria Wilson, Photo

Stanwyck, circa 1929

CMH: And lastly, when can fans expect Volume Two?

Victoria Wilson: Soon.  I hope.

Barbara Stanwyck circa 1934

Stanwyck, circa 1934

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Thanks again to Victoria Wilson and Simon and Schuster for this interview and exclusive photos, and for books to giveaway in December.  And for those of you who can’t wait until December to win the book, you can order it here:

Barbara Stanwyck Bio Steel True

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–Annmarie Gatti for Classic Movie Hub

Posted in Books, Interviews, Posts by Annmarie Gatti | Tagged , , , , , | 7 Comments

Sneak Peek: A Life of Barbara Stanwyck Steel-True 1907-1940

Posted on November 11, 2013 by Annmarie Gatti

Complicated, Dark, Sexy with a Kick – Sneak Peek Video of New Barbara Stanwyck Biography with Author Victoria Wilson…

CMH is happy to post this ‘sneak peek’ video of author Victoria Wilson speaking about  A Life of Barbara Stanwyck: Steel-True 1907-1940 which will be available in stores tomorrow, November 12th.

And — CMH is even happier to say that we will be posting an exclusive interview with Ms. Wilson tomorrow morning in celebration of the book’s release!

But that’s not all, CMH will be giving away FOUR copies of Steel True throughout the month of December, so stay tuned for further details!

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And for those of you who can’t wait to win the book, you can order it here:

Barbara Stanwyck Bio Steel True

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–Annmarie Gatti for Classic Movie Hub

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TCM’s Star of the Month: Burt Lancaster

Posted on November 11, 2013 by minooallen

 

TCM Star of the Month

Burt Lancaster

This month Turner Classic Movies is celebrating Burt Lancaster as its Star of the Month. With a career spanning five decades and with more than 85 films to his credit, Lancaster has one of the longest and most prolific careers of any Hollywood star. He became a star seemingly overnight with his film debut in 1946’s The Killers and was immediately in two more film-noirs, playing up his brooding tough guy image. Although his rugged good looks and disciplined athletic physique could have easily led to being typecast, Lancaster decided to take his image into his own hands by co-founding his own production company, Hecht-Lancaster Productions. The company helped shape Lancaster’s career by allowing him the freedom to choose roles that challenged his abilities as an actor.

Burt Lancaster and Eva Gardner in The Killers (1946, Robert Siodmak director)

Few classic actors have a resume as rich and varied as Lancaster. In Hollywood, he gave life to characters as different as the slimy, unscrupulous J.J Hunsecker in Sweet Smell of Success to the complex convicted murderer, Robert Stroud, in Birdman of Alcatraz. He also managed to make both pop-culture and film history when he and Deborah Kerr locked lips on the beach in 1953’s From Here to Eternity. Always searching for more ways to challenge himself, Lancaster sought work outside the trappings Hollywood, finding European directors less conventional approach to filmmaking a glad welcome.  One of those “artsy” European films was Luchino Visconti’s adaption of the Giuseppe Tomasi di Lampedusa novel, The Leopard.

 

Burt Lancaster in The Leopard (1963, Luchino Visconti director)

His role as Don Fabrizio Corera, Prince of Salina, ranks as my favorite of all of his performances. He exhibits his trademark quiet authoritative presence, but gone are the showy antics of a Hollywood narrative. He is hardly recognizable while draped in noble Italian finery and sporting a fine specimen of a mustache. Frustrating, haughty, and yet somehow sympathetic, Lancaster’s performance as the stoic and indecisive prince was nothing less than remarkable. The film, too, is an absolute classic and should be seen by all. If you haven’t had the chance to watch this masterpiece, you should probably clear your calendars on Wednesday, November 27th because it’s airing on 10:00pm on Turner Classic Movie. Seriously, do it. Cancel work if you have to. 

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Minoo Allen for Classic Movie Hub

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What a Character Blogathon 2013: Roscoe Karns

Posted on November 9, 2013 by Annmarie Gatti

 

Believe You Me, Roscoe Karns is quite a Character!

“Fun-on-the-side Shapeley.” Yep, that was the very first time I encountered character actor Roscoe Karns. And, to this day, I still roll with laughter when I see the relentless, fast-talking Oscar Shapeley trying to ‘pick up’ poor (and quite annoyed) Ellie Andrews (played by Claudette Colbert) in It Happened One Night.  “Shapeley’s the name, and that’s the way I like ’em.”  Yep, I’m chuckling right now just thinking about it!  And although Karns will forever be ingrained in my mind, first and foremost, as ‘Shapeley,’ I still get a HUGE kick out of seeing him portray all those brash reporters, street-wise detectives and wisecracking friends in the films of the 1930s and 1940s, always delivering his special brand of sarcastic quip with machine-gun like speed.

Roscoe Karns It Happened One Night Shapely

Roscoe Karns appeared in 150 film and television roles throughout his 49-year film career spanning six decades (1915-1964)

Karns began his acting career in 1906 at age 15, first performing in a stock company, then moving onto the stage. By 1915, he was appearing in silent shorts and films. In 1927, he had a small role in the very first Academy Award winning film, Wings, quickly followed by an uncredited part in the first film Talkie, The Jazz Singer. By the 1930s and 1940s, Karns was playing stronger character and support roles, most notably in the films It Happened One Night, Twentieth Century, His Girl Friday and Woman of the Year.

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Roscoe Karns as Shapeley in It Happened One Night

Karns with Claudette Colbert in It Happened One Night (1934, director Frank Capra)

“Well, shut my big nasty mouth! It looks like you’re one up on me. You know, there’s nothing I like better than to meet a high-class mama that can snap ’em back at ya. ‘Cause the colder they are, the hotter they get. That’s what I always say. Yes, sir, when a cold mama gets hot, boy, how she sizzles. Now, you’re just my type. Believe me, sister, I could go for you in a big way. ‘Fun-on-the-side’ Shapeley they call me, with accent on the fun, believe you me.”
–Roscoe Karns as Oscar Shapeley in It Happened One Night

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Carole Lombard, Roscoe Karn and Walter Connolly in Twentieth Century

Karns with Carole Lombard and Walter Connolly in Twentieth Century (1934, director Howard Hawks) 

“Save your dough, sire. I yield the lamp of learning to no one.”
–Roscoe Karns as consistently tipsy Owen O’Malley in Twentieth Century

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Roscoe Karns and Rosalind Russell in His Girl Friday

Karns with Rosalind Russell in His Girl Friday (1940, director Howard Hawks)

“Hey keep quiet down there! How do you expect us to get any work done!?!?!”
–Roscoe Karns as Reporter McCue in His Girl Friday

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Roscoe Karns as Phil Whittaker in Woman of the Year

Karns with Spencer Tracy and Katharine Hepburn in Woman of the Year (1942, George Stevens)

“No women in the press box, it’s a rule as old as baseball. No women in the press box… Haven’t seen it happen in 20 years. Worst scandal since the Black Sox.” –Roscoe Karns as Sports Reporter Phil Whittaker in Woman of the Year
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Roscoe Karns as Rocky King, Detective

By the early 1950’s Karns was starring as Rocky King, Chief of Homicide (pictured above), in the popular weekly television series Rocky King, Detective, and from 1959 through 1962 he played Admiral Walter Shafer in the CBS drama series, Hennessey, starring Jackie Cooper in the title role.

You can watch an entire episode of Rocky King, Detective (“Murder Scores a Knockout”), via this legal download at the Internet Archive (original airdate July 13, 1952)

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Roscoe Karns Mans Favorite Sport

Karn’s last film was Man’s Favorite Sport? starring Rock Hudson as fishing ‘expert’ Roger Willoughby (1964, director Howard Hawks)

“Unpredictable fellow that Willoughby — real genius.” –John McGiver
as William Cadwalader
“Yeah, something’s wrong with him” –Roscoe Karns as ‘fisherman’ Major Phipps

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Roscoe Karns and Todd Karns, father and son character actors

Oh, and last but not least, for those of you who may not know, Roscoe Karns is the father of Todd Karns who played George Bailey’s (James Stewart’ s) younger brother Harry in It’s a Wonderful Life.  🙂

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A big Thank You to the fabulous 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 What a Character Blogathon 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

 

Posted in Blogathons, Character Actors, Posts by Annmarie Gatti | Tagged , , , , , , | 18 Comments

Mini Tribute: Lucille La Verne

Posted on November 7, 2013 by Annmarie Gatti

Born November 7, 1872 Character Actress Lucille La Verne

Lucille La Verne appeared in over 40 films including 1935’s A Tale of Two Cities (as ‘The Vengeance’). She played her share of vengeful, tattered old hags — most famously ‘appearing’ as the voice (uncredited) and model for the Wicked Queen and alter ego, the Old Hag, in Walt Disney’s Snow White and the Seven Dwarfs (1937).

Lucille Laverne as Snow White Wicked Queen and Old Hag in Disney's Snow White and the Seven Dwarfs 1937

“This is no ordinary apple. It’s a magic wishing apple.”
-Lucille La Verne in Snow White and the Seven Dwarfs

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–Annmarie Gatti for Classic Movie Hub

Posted in Cartoons, Character Actors, Disney, Mini Tributes, Posts by Annmarie Gatti, Quotes, Voice Actors | Tagged , , , | 1 Comment

Musicals 101 (Part FIve): Busby Berkeley

Posted on November 2, 2013 by minooallen

 

Musicals 101: Busby Berkeley, King of the Backstage Musical

It’s only a slight exaggeration when I say that Busby Berkley invented the backstage musical. Sure, the genre existed before he entered the moving picture scene, but it was Berkeley who took the genre to new creative heights. And it’s Berkeley’s creation we picture when the term “backstage musical” is used. You see, as a choreographer first, director second, Berkeley had a deep understanding of the spectacle, favoring it over story-telling. This is why the backstage musical was such a perfect fit for Berkeley – it gave him the freedom to create spectacular musical numbers completely divorced from the time-space reality created by the films’ narrative. Berkeley had the freedom to bend the creative form to his will and, well, that is exactly what he did.

Busby Berkeley

His most celebrated innovation was his use of the chorus line. By using massive amounts of female chorus line dancers know as “Berkeley Girls,” he was able to create perfect geometric forms composed of the human body, creating the illusion of a human kaleidoscope. The point was not to demonstrate the talents of one star, but to create a spectacle out of a collectivized group of women. Many film scholars commented on how his use of the female body, such as sectioning off legs to create triangular geometric shapes or the matching costumes each dancer wore, demonstrated the loss of female agency for the sake of spectacle.

Those are all people, if you didn’t know. 42nd Street (1934, director Lloyd Bacon)

If we look at Berkeley through a more historic lens, his work also takes on the added depth of political engagement. Where American once prided itself on its rugged individualism, a little thing called Black Tuesday, aks the day the stock market crashed and burned, called into question the validity of that public mind-set. Soon, the newly elected FDR would put in effect his New Deal policies and Berkeley’s work could be seen as a direct response to depression-era politics.  Because the spectacle of Berkeley’s films is reliant on the illusion of the “kaleidoscope effect,” created by the synchronized movement of aesthetically identical dancers, his work is often seen as physical depiction of the collectivist-spirit of the New Deal, even though Berkeley himself would deny any such significant meaning to his work.

A sea of never ending legs. Dames (1934, director Busby Berkeley)

Moreover than his accidental political overtures, Berkeley gave the genre a sense of limitlessness, taking full advantage of backstage musical formula. Because the numbers took place on a stage, a venue born of fantasy, Berkeley refused to follow the logic of the narrative world created by plot.  He realized when the narrative world stops, anything is possible. This is the ultimate contribution of Busby Berkeley.

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Minoo Allen for Classic Movie Hub

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Happy Halloween!

Posted on October 31, 2013 by minooallen

Happy Halloween!

All Hallows Eve is upon us and you know what that mean: tricks, treats, scary ghouls and scary movies. However, if being terrified is not exactly your thing then fear not, for we here at CMH have the thing for you. Below are some behind-the-scenes pictures of our favorite classic movie monsters. Once you’ve seen them like this, you’ll never fear them again…maybe.

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Nothing much going on here. Just Dracula chattin’ with the in-laws at his local Gentlemen Club. I believe the topic of the night was gardening.

Todd Browning, Bela Legosi, Horace Liveright and Dudley Murphy. Behind the scenes of Dracula (1931, Todd Browning director)

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The Wolfman’s weekly perm. Just because you’re a lycanthrope doesn’t mean giving up on personal grooming. 

Lon Chaney Jr. Behind the Scenes of The Wolf Man ( 1941, George Waggner director)

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Even the Frankenstein Monster enjoys his afternoon tea. What do you take him for, a barbarian?

Boris Karloff Behind the Scene’s of Frankenstein (1931, James Whale director)

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The Mummy covering an old tattoo. I told him “Ankh-es-en-amon Forever” might not be such a good idea.

Boris Karloff behind the scenes of The Mummy (1931, Karl Freund director)

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Dude, I’m not sure Vincent Price even knows where he is.

Vincent Price and Peter Cushing Behind the Scenes of Madhouse (1974, Jim Clark director)

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Minoo Allen for Classic Movie Hub

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