Classic Movie Travels: Grace Kelly

Classic Movie Travels: Grace Kelly

Grace Kelly
Grace Kelly

Grace Patricia Kelly was born on November 12, 1929, to Margaret Majer Kelly and John Kelly Sr. in Philadelphia, Pennsylvania, and was the third of their four children. Her father owned a brickwork contracting company and won three Olympic gold medals for sculling. Though he lost his run for Mayor of Philadelphia, President Franklin D. Roosevelt appointed him as National Director of Physical Fitness. Kelly’s mother, Margaret, worked as a model and taught physical education to the University of Pennsylvania. She was also the first woman to coach athletics at the University of Pennsylvania. After Margaret married, she focused on being a homemaker, though she remained active in civic life.

Kelly received her elementary education at Saint Bridget’s School in East Falls and later attended Ravenhill Academy, a Catholic girls’ school. During her school years, she participated in local theater productions, charity fashion shows, and dance programs. At age twelve, she appeared in a community theater production of Don’t Feed the Animals, an early indication of her growing interest in acting.

In 1947, Kelly graduated from the Stevens School in the nearby Chestnut Hill neighborhood. Her yearbook predicted that she would become ‘a famous star of stage and screen,’ a forecast that would soon prove remarkably accurate. Although she was rejected by Bennington College, largely because of weak mathematics scores, she remained determined to pursue a professional acting career despite her parents’ reservations. Her father, in particular, strongly disapproved of acting as a profession and initially viewed it as an unsuitable career path for his daughter.

After graduating from the American Academy of Dramatic Arts in 1949, she began her professional career in New York City, appearing in theatrical productions, commercials, and live television dramas. At a time when television was rapidly expanding as a medium, Kelly became a familiar presence on American screens through her appearances in dozens of live broadcasts.

Her first film appearance, a small role in Fourteen Hours (1951), did not immediately make Undeterred, Kelly moved to New York City and enrolled at the American Academy of Dramatic Arts, where she refined her acting skills while supporting herself through modeling work. She signed with the Walter Thornton Model Agency and soon appeared in advertisements and magazine features. After graduating in 1949, she began building her reputation through stage productions and live television performances, setting the stage for her rapid rise to stardom in Hollywood.

Her breakthrough came with High Noon (1952), in which she played Amy Fowler Kane, the young Quaker bride of Gary Cooper’s marshal. Although some critics later viewed the role as restrained, the film became a classic of American cinema and introduced Kelly to a much wider audience.

Grace Kelly, High Noon
Grace Kelly, High Noon

Mogambo (1953) brought Kelly even greater attention. Filmed in Africa and directed by John Ford, the adventure drama placed Kelly alongside two established stars, Clark Gable and Ava Gardner. Her performance as Linda Nordley earned her a Golden Globe Award and her first Academy Award nomination. The role also helped establish the qualities that would define much of her screen image: composure, refinement, intelligence, and emotional reserve.

By 1954, Kelly had entered the most productive and acclaimed period of her career. That year alone, she appeared in Dial M for Murder, Rear Window, The Bridges at Toko-Ri, The Country Girl, and Green Fire. The range of these performances demonstrated her ability to move between suspense, drama, romance, and psychological complexity. Her work in The Country Girl was especially important because it challenged the assumption that Kelly’s appeal rested only on beauty and elegance. In the film, she portrayed a weary and emotionally burdened wife, a role that required restraint, vulnerability, and dramatic depth. The performance earned her the Academy Award for Best Actress.

Kelly’s collaborations with Alfred Hitchcock became some of the most influential of her career. In Dial M for Murder, she played Margot Wendice, a woman trapped in a carefully plotted murder scheme. In Rear Window, she portrayed Lisa Fremont, a sophisticated fashion consultant whose intelligence and courage become central to the film’s suspense. In To Catch a Thief, she starred opposite Cary Grant in a glamorous Riviera mystery that remains closely associated with her public image. Hitchcock’s films helped shape the popular idea of Kelly as cool, elegant, and mysterious, while also giving her opportunities to play characters with wit, agency, and emotional complexity.

Kelly met Prince Rainier III of Monaco in 1955 while attending the Cannes Film Festival. Their meeting, arranged as part of a photo opportunity at the Prince’s Palace, soon led to a courtship that attracted intense public interest. The couple married in April 1956 in both civil and religious ceremonies in Monaco. The wedding was widely covered by international media and watched by millions, becoming one of the most prominent public events of the decade.

Grace Kelly and Prince Rainier III Wedding
Grace Kelly and Prince Rainier III Wedding

Upon her marriage, Kelly retired from acting at the age of twenty-six and assumed the title Princess Grace of Monaco. Her transition from Hollywood star to European princess was closely followed by the press, but she sought to define her new role through public service, cultural leadership, and family life. She and Prince Rainier had three children: Princess Caroline, Prince Albert II, and Princess Stephanie.

As Princess of Monaco, Grace became involved in a range of charitable, cultural, and civic initiatives. She served as president of the Monaco Red Cross and supported organizations dedicated to children, families, the arts, and humanitarian causes. In 1964, she established the Princess Grace Foundation in Monaco to support local artisans and cultural work. She also founded AMADE Mondiale, an organization focused on protecting children and promoting their well-being around the world.

Although Kelly did not return fully to acting, she maintained a connection to the arts. She participated in poetry readings, narrated documentaries, and supported cultural institutions in Monaco. Her final film-related work included narration for The Children of Theatre Street (1977), a documentary that was nominated for an Academy Award for Best Documentary Feature. Her continued association with the arts helped reinforce her identity as both a former performer and a patron of creativity.

On September 13, 1982, Princess Grace suffered a cerebral hemorrhage while driving near Monaco. Her car left the road and crashed down a mountainside. She was taken to Monaco Hospital with severe injuries and died the following day, September 14, 1982, at the age of 52. Her death prompted widespread mourning in Monaco, the United States, and around the world.

Princess Grace was buried in Monaco’s Saint Nicholas Cathedral. Prince Rainier, who never remarried, was later buried beside her following his death in 2005.

In the years after her death, her family and admirers continued to preserve her memory through charitable, cultural, and artistic initiatives. Her son, Prince Albert II, helped establish the Princess Grace Awards in 1984 to recognize emerging artists in theater, dance, and film.

Grace Kelly’s legacy remains unusually wide-ranging. In cinema, she is remembered as one of the most distinctive actresses of the 1950s and a defining figure in Alfred Hitchcock’s body of work. In fashion, she remains an enduring symbol of polished, understated elegance. The Hermès Kelly bag, named after her, became one of the most recognizable luxury accessories in the world. In philanthropy, many institutions associated with her name continue to support artists, children, families, and cultural organizations.

In 1984, Rainer dedicated a rose garden in Monaco’s Fontvieille district in Kelly’s memory. The hybrid tea rose named Rosa Princesse de Monaco was named after her. There is also a statue of her in the garden.

Grace Kelly Statue in Monaco
Grace Kelly statue, Monaco

An additional statue of Kelly stands in Monte Carlo.

Grace Kelly statue in Monte Carlo
Grace Kelly statue, Monte Carlo

In 2012, Kelly and Rainier were honored with a monument in Yoshkar-Ola, Russia.

Grace Kelly and Prince Rainier monument in Yoshkar-Ola, Russia
Yoshkar-Ola monument to Grace Kelly and Kelly and Prince Rainier

Ranier championed the Grace Irish Library in Monaco, sharing Ireland’s literary culture with the population. It contains Kelly’s personal collection of over 9,000 books and sheet music.

Grace Irish Library in Monaco
The Princess Grace Irish Library in Monaco

In turn, in 2023, Kelly’s son, Prince Albert II, was present for the dedication of another statue of Kelly. The statue is located near the Seven-Arch Viaduct in Newport, County Mayo, Ireland.

Grace Kelly statue Ireland
Grace Kelly statue, Ireland

In 1984, Rainier gifted a bust of Kelly to the National Portrait Gallery in Washington, D.C.

The Prince’s Palace of Monaco remains the residence of the Sovereign Prince of Monaco, located at Place du Palai princier, Monaco.

Palace of Monaco
Palace of Monaco

Avenue Princesse Grace in Monaco is dubbed “the most expensive street in the world” and named for her.

Boulevard Princesse Grace de Monaco is also named for her, with a memorial located at 71 Bd Princesse Grâce de Monaco, 06230 Villefranche-sur-Mer, France.

She has also been celebrated with postage stamps as well as commemorative coins and currency.

There are numerous hotels and suites named after or inspired by Kelly, including the Hotel Bel-Air (Los Angeles, California), the Ritz-Carlton Hotel de la Paix (Geneva, Switzerland), the InterContinental Carlton Cannes Hotel (Cannes, France), and the Shelbourne Hotel (Dublin, Ireland). She was a frequent long-term guest at the Hotel Bel-Air.

Grace’s childhood home was marked as a historical landmark with marker in front of it. The home stands at 3901 Henry Ave., Philadelphia, Pennsylvania.

3901 Henry Ave., Philadelphia, Pennsylvania
3901 Henry Ave., Philadelphia, PA

In the 1950s, Kelly resided at the Lanai Apartments at 1285 Sweetzer Ave., Apt. 46, West Hollywood, California.

Lanai Apartments at 1285 Sweetzer Ave., Apt. 46, West Hollywood, California
Lanai Apartments, CA

Kelly has a star on the Hollywood Walk of Fame, honoring her work in motion pictures. It is located at 6329 Hollywood Blvd., Los Angeles, California.

Grace Kelly Walk of Fame star
Grace Kelly’s Walk of Fame Star

In 2009, she was honored with a plaque on the Rodeo Drive Walk of Style, recognizing her contributions to style and fashion.

In 2021, the Princess Grace Foundation—USA launched Grace de Monaco, a luxury brand. All proceeds go directly to the foundation to fund new talent in theater, dance, and film.

Her wedding dress, maid of honor dress, and flower girl dresses are preserved at the Philadelphia Museum of Art, though rarely on display. It is located at 2600 Benjamin Franklin Pkwy., Philadelphia, Pennsylvania.

She has also been celebrated through various doll iterations, inspired by her personal life and professional career.

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–Annette Bochenek for Classic Movie Hub

Annette Bochenek pens our monthly Classic Movie Travels column. You can read all of Annette’s Classic Movie Travel articles here.

Annette Bochenek, Ph.D., is a film historian, professor, and avid scholar of Hollywood’s Golden Age. She manages the “Hometowns to Hollywood” blog, in which she profiles her trips to the hometowns of classic Hollywood stars. She has also been featured on the popular classic film-oriented television network, Turner Classic Movies. A regular columnist for Classic Movie Hub, her articles have appeared in TCM Backlot, Silent Film Quarterly, Nostalgia Digest, The Dark Pages Film Noir Newsletter, and Chicago Art Deco Society Magazine.

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Boldly Going to Garland: It Came From Texas Film Festival Celebrates 60 Years of Star Trek

Calling all Star Trek fans!

It’s hard to believe that it’s been 60 years since Star Trek first invited television audiences to boldly go where no one had gone before. Six decades, countless strange new worlds and one enormous pop-culture legacy later, the It Came From Texas Film Festival is celebrating that milestone with a very special day devoted to all things Star Trek.

It Came From Texas Film Fest logo

On Saturday, September 12, 2026, Garland Cultural Arts and the It Came From Texas Film Festival will present Boldly Going to Garland: Celebrating 60 Years of Star Trek, an all-day celebration taking place at two locations in Downtown Garland, Texas: the historic Plaza Theatre and the Garland Central Library.

At the heart of the celebration are the films and television episodes themselves, with big-screen screenings at the Plaza Theatre, plus Captain’s Conversations, trivia, costume contests, and more.

And just a short walk away, the Garland Central Library will offer its own full slate of Star Trek activities — all free and open to the public. From exhibits and collectibles to fan films, workshops — including Klingon 101 and Make Your Own Tribble — and other interactive activities, the Library will give fans even more ways to explore the Star Trek universe throughout the day.


Going to Garland Star Trek

At the Plaza Theatre: Star Trek on the Big Screen

One of the day’s highlights will give fans the opportunity to experience the story of one of Star Trek‘s most memorable villains as one continuous adventure.

The Plaza will screen the classic 1967 Star Trek: The Original Series episode “Space Seed,” which introduced Khan Noonien Singh, followed by its legendary cinematic sequel, Star Trek II: The Wrath of Khan (1982).

Dr. Christopher González, Professor and Chair of English at Southern Methodist University, will join the festival for Captain’s Log: Diversity in the Federation. González will discuss Star Trek‘s groundbreaking commitment to diversity beginning with the original 1966 series and explore how representation has continued to evolve across the franchise. His discussion will provide context for “Space Seed” and Star Trek II: The Wrath of Khan.

Also screening at the Plaza Theatre will be J.J. Abrams’ Star Trek (2009) — with special guest Academy Award-winning makeup artist Barney Burman.

During Captain’s Log: Creating New Worlds, Burman will take audiences behind the scenes of the film and into the creation of its unforgettable aliens and characters. His work on Star Trek earned him the Academy Award for Best Makeup — the first, and to date only, Oscar won by the Star Trek franchise.

Burman’s own history with Star Trek began much earlier. A third-generation makeup artist, he started his career working in his father’s makeup effects lab on Star Trek III: The Search for Spock (1984). He even had a small role in the film as a bar alien, although the scene was cut down in the final edit. He went on to work on films and television series including The X-Files, Galaxy Quest, How the Grinch Stole Christmas, Pirates of the Caribbean, Planet of the Apes, Big Fish, The Ring, Mission: Impossible III and Tropic Thunder.

Both Captain’s Conversations will be moderated by Nancy Churnin, former Dallas Morning News theater critic, acclaimed children’s author and lifelong Star Trek fan.

Star Trek, Bronze Woman

At the Garland Central Library — FREE and Open to the Public

The Garland Central Library will expand the day’s Star Trek celebration with its own lineup of activities — all free and open to the public.

From 10 AM to 6 PM, fans can explore exhibits, art and collectibles, browse vendors, enjoy music, watch fan films and blooper reels, and participate in workshops and hands-on activities.

Want to make your own Captain’s Log? Paint a Combadge? Create your own Tribble to take home? Brush up on your Klingon? Those are among the activities planned for the Library throughout the day.

A Texas Connection to the Final Frontier

And, appropriately enough for the It Came From Texas Film Festival, Star Trek has had a Lone Star connection from the very beginning.

Star Trek creator Gene Roddenberry was born in El Paso, Texas — and Garland even has its very own Star Trek Lane.

As Festival Director Kelly Kitchens explains:

“I love that the final frontier and the Lone Star State have always shared the same flight plan—and giving the It Came From Texas Film Festival every reason to make this galactic celebration its own in Garland.”

Boldly Going to Garland: The Details

Saturday, September 12, 2026

Plaza Theatre
521 W. State Street
Garland, Texas
10 AM – 10 PM

The Plaza Theatre will feature the Star Trek screenings, Captain’s Conversations, trivia, costume contests and more.

Day Pass: $55 plus fees. Availability is limited.

Garland Central Library
625 Austin Street
Garland, Texas
10 AM – 6 PM

The Library will feature exhibits, art and collectibles, vendors, music, fan films, blooper reels, workshops and interactive activities.

Library events are FREE and open to the public.

The festival notes that the full schedule is still being finalized, with additional details to come.

For the latest festival schedule and information, visit GarlandArts.com.

Tickets for the Plaza Theatre are available now through Prekindle.

So dust off your Starfleet uniform, polish your communicator and set a course for Garland, Texas…

It’s time to boldly go!

–Annmarie Gatti for Classic Movie Hub

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Silents are Golden: Early Civil War Films Of The Silent Screen

Early Civil War Films Of The Silent Screen

During the 1900s and 1910s there was one genre of American film that skyrocketed in popularity, becoming more prevalent than at any other time since. No, it wasn’t the western, or even the slapstick comedy–although those aren’t bad guesses–but the Civil War film.

The Drummer Girl of Vicksburg (1913).
The Drummer Girl of Vicksburg (1913).

This is profound when we consider that the conflict of North versus South had taken place only a few decades before the motion picture cameras started rolling. More than a few of the white-haired theater patrons had personal memories of the war, while their children and grandchildren had grown up with exciting stories of gunfire and cannons from days gone by. And since cinema was such a young art form, those exciting battle stories from the pages of history could finally, for the first time, be portrayed at full scale.

The Old Man and Jim (1911).
The Old Man and Jim (1911).

Historically, the timing was right for such a genre. Nowadays it’s easy to forget not just the terrible bloodshed of the Civil War, but the lingering bitterness and sorrow that lasted years after it had ended. While the United States did stay united, it wasn’t until the 1880s that both Union and Confederate soldiers were agreeing to march together in commemorative parades. Key anniversaries were often observed by praising the sacrifices of both North and South, and the “Lost Cause” mythos slowly became commonplace. While it’s an obscure event today, it seems that the Spanish-American war was a big turning point. It was the first time the one-time “boys in blue and the boys in grey,” so to speak, were fighting side by side in a common cause.

The late 1900s saw the rise of the Civil War film right around the time of two other popular genres, the Western and the “Indian film” (which often portrayed American Indians more sympathetically than we’d assume). 1908 seemed to have been a turning point. In the book The Transformation of Cinema: 1907-1915, historian Eileen Bowser noted that there were around a dozen copyrighted Civil War films in 1908 (these would’ve been quite short, ten minutes or less on average). 1909 recorded twice as many, 1910 thirty-two, and 1911 had around seventy-five. This isn’t surprising when we learn that 1911 was the first year Americans started observing the 50th anniversary of the Civil War. Interest in that era of history was at a peak from 1911-1915, complete with large celebrations and new monuments.

The 1913 reunion at Gettysburg.
The 1913 reunion at Gettysburg.

Selig, Vitagraph, Biograph, Kalem and Ince were some of the prominent motion picture companies who recognized the draw to Civil War films early on. They capitalized on the 50th anniversary celebrations, the exciting spectacle of battle reenactments (Thomas Ince‘s studio especially was well-equipped with vast amounts of land for these scenes) and the plentiful opportunities for drama. Directors often focused on real historical events, “family honor” tales or bittersweet stories of brothers being pitted against one another. Biograph’s The House With Closed Shutters (1910) was a Poe-like tale of a mother who locks her son away in her house after he refuses to go to war. Pathé’s Abraham Lincoln’s Clemency (1910) showed the Great Emancipator granting a pardon to a young sentry who falls asleep while on duty. Kalem would release a number of short spectacles like The Drummer Girl of Vicksburg (1911) and “Fighting Dan” McCool (1912) using actual cannons and plenty of gunfire smoke. It wasn’t uncommon for actual Civil War cannons to show up in these early films, as they were still plentiful at the time. And since many studios were on the East coast, they sometimes filmed right on the actual historic battlegrounds.

“Fighting Dan” McCool (1912).
“Fighting Dan” McCool (1912).

Both Union and Confederate points of view were represented in various films, although initially Union-based stories were more common. This was partly due to practicality–the South had fewer film exchanges and distributors in the nickelodeon era, so filmmakers were more focussed on pleasing northern audiences. It was also partly due to the war still being a sensitive subject. In 1909 an exhibitor wrote to the magazine Moving Picture World about the Kalem film The Escape from Andersonville (1909), which centered its story around a Confederate prison camp: “It is attracting attention and will continue to do so as long as exhibited in the South, as it touches too close to old sores not yet entirely healed.” In its review of the Biograph drama Swords and Hearts (1911), the World commented: “One of the scenario problems of the day is to write a Civil War story that will not offend that considerable population south of Mason and Dixon’s line.”

After Southern exhibitors started commenting about the lack of exciting Confederate stories, studios started focusing more on the Confederate point of view and quickly found they had broad appeal. From about 1911 onwards, there were more stories with Southern protagonists than vice versa, often told from a “Lost Cause” type of framework.

The Coward (1915).
The Coward (1915).

Studios also started competing to create bigger and bigger spectacles. Ince’s The Battle of Gettysburg (1913) was five reels long and released to coincide with Gettysburg’s 50th anniversary. Francis Ford’s The Battle of Bull Run (1913) ran about 40 minutes long and reportedly spent a then-whopping $19,000 on its battle scenes. This trend would peak with D.W. Griffith’s multi-hour blockbuster The Birth of a Nation (1915), the scale of which no one had ever seen before. Controversial today for its depiction of African-Americans and the KKK (it even roused some controversy at the time), at the time it was the ultimate depiction of the Civil War and took audiences by storm.

The Battle of Bull Run (1913).
The Battle of Bull Run (1913).

The Civil War would continue to be fertile ground for film stories in the years to come, most famously in Buster Keaton’s milestone comedy feature The General (1926). When we study these many early films, especially from the years leading up to 1915, it’s easy to theorize that they served more than just spectacle or romanticization. In a sense, they very well may have helped America come to terms with the conflict and its lingering wounds.

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–Lea Stans for Classic Movie Hub

You can read all of Lea’s Silents are Golden articles here.

Lea Stans is a born-and-raised Minnesotan with a degree in English and an obsessive interest in the silent film era (which she largely blames on Buster Keaton). In addition to blogging about her passion at her site Silent-ology, she is a columnist for the Silent Film Quarterly and has also written for The Keaton Chronicle.

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Noir Nook: Pre-Code Films with Film Noir Flavor – Part 2

Pre-Code Films with Film Noir Flavor – Part 2

Next to film noir, my favorite era of filmmaking is pre-Code – and it’s no wonder that I’m so fond of these pictures – so many of them served up plots that would have made near-perfect film noirs. In my Noir Nook for July 2026, I took a look at five pre-Codes with shadowy, noir-like stories and characters. This month, I’m concluding my two-part series with another five features with early ‘30s pedigrees but 1950s vibes – check ‘em out!


Two Seconds (1932)

Two Seconds, J. Carroll Naish and Edward G. Robinson
J. Carroll Naish and Edward G. Robinson

This don’t-miss feature stars Edward G. Robinson as John Allen, an everyman skyscraper worker who, at the film’s start, is about to get grilled in the state’s electric chair. Literally. We learn early on the meaning of the title – the prison doctor reveals that Allen’s body will be paralyzed after the electric current is turned, but his brain function will continue for two seconds, or “long enough for him to relive his whole life.” And the film gives us access to those two seconds, in the form of an extended flashback that shows us exactly what Allen did in order to find himself in this ignoble predicament.

In addition to employing the use of the flashback – a staple of film noir – the picture operates under an ever-present cloud of inescapable misfortune; after all, what could be more noir-like than the knowledge that our hero (or, anti-hero, if you will) is going to die in the final reel?  The noir-ness of it all is also served up in the form of a femme fatale – a taxi dancer (Vivienne Osborne) who uses her feminine wiles to lead poor, dumb John down the path to ruination. Pure noir.


The Story of Temple Drake (1933)

The Story of Temple Drake, Miriam Hopkins and Jack La Rue
Miriam Hopkins and Jack La Rue

This is one of the few pre-Codes that I’ve never really wanted to see more than once. I mean, it is so icky that I practically wanted to take a shower after I saw it. Miriam Hopkins plays the title role, the granddaughter of a small-town Mississippi judge, whose syrupy sweet drawl and refined manners belie a hot-blooded nature and a penchant for mendacity. We learn early on that Temple has rejected the marriage proposal of an upstanding local attorney, Stephen Benbow (William Gargan), and while her grandfather insists that she is a “good girl,” he also observes that he would “feel better about Temple if [he] knew she had someone steady and reliable like [Stephen] to take care of her.”

The film’s plot is rather labyrinthine (another trait that is sometimes common to film noir), but notwithstanding its disturbing, unsettling tone, it’s not as noir-like as Temple herself. In turning down Stephen’s second proposal, Temple tells him that she is the problem, not he – that she’s “no good . . . it’s something inside” her; it’s an admission that’s reminiscent of several noir femmes, including Annie Laurie Starr (Peggy Cummins) of Gun Crazy (1949), and Born to Kill’s Helen Brent (Claire Trevor), who were both fully aware of their shadowy personas and were unable to avoid their inevitable ends.


Blood Money (1933)

Blood Money, Frances Dee
Frances Dee

This underrated film features a performance by the habitually sweet Frances Dee that you have to see to believe. She plays Elaine Talbart, a spoiled, reckless, adventure-seeking socialite, who’s got more than a touch of sociopathy in her soul – not to mention larceny and nymphomania. When we first meet Elaine, she’s recently been arrested for grand theft and pays a visit to bail bondsman Bill Bailey (George Bancroft), giving him a $6,000 diamond ring as collateral so he’ll post her $1,500 bail and secure her release from jail while she awaits trial. After Elaine accepts Bailey’s offer to take her home, she swipes a cigarette lighter (inscribed by prizefighter Jack Dempsey) from his desk; when Bailey later sees her using the lighter, she looks at him with an impish grin and says, “So what?” She’s a piece of work, I’m telling you – and this introduction doesn’t even scratch the surface. Incidentally, Bailey is no bastion of virtue – he’s as crooked as San Francisco’s Lombard Street and as corrupt as a two-headed coin.

One of the most noir-like aspects of Blood Money is the fact that there are no clear heroes – almost every character is at least tinged – if not soaked – with danger, dishonesty, or depravity (or perhaps all three), and their lives intersect in a collision course to disaster. Nightclub owner Ruby Darling (Judith Anderson in her big screen debut) is the most honorable of the group, but her brother, Drury (Chick Chandler) is a reckless career criminal, and Ruby is in love with Bailey, who falls for Elaine, who’s attracted to the menace that Drury represents. An atmosphere of doom surrounds this quartet, as – in true noir fashion – one bad decision after another guarantees no good end.


Midnight Mary (1933)

Midnight Mary, Ricardo Cortez and Loretta Young
Ricardo Cortez and Loretta Young

This feature opens as the title character – played by Loretta Young – is on trial for murder and awaiting the jury’s verdict. Like we saw in Two Seconds, a flashback lasting nearly the length of the film shows Mary’s journey from an impoverished childhood, through confinement in juvenile detention (for a crime, incidentally, that she didn’t commit), and her eventual involvement with a group of petty criminals led by the charming but deadly Leo Darcy (Ricardo Cortez).

It’s Mary’s relationship with Leo that provides the film with its noirish aura. Leo initially provides a port in a storm for Mary, offering her food and shelter when she’s close to starvation and unable to find work. She even willingly takes part in his illegal activities – at first. Later, Mary manages to extricate herself from Leo’s criminal exploits, but fate keeps sticking out a foot to trip her up, and she’s unable to resist the gravitational force that keeps pulling her back into Leo’s orbit. The movie ends with a decidedly un-noir-like happy ending, but the road taken to get there has enough darkness to satisfy any noir fan.


Heat Lightning (1934)

Heat Lightning, Preston Foster, Lyle Talbot, Ann Dvorak
Preston Foster, Lyle Talbot, and Ann Dvorak

Coming in at the tail end of the pre-Code era is this first-rate feature starring Aline MacMahon and Ann Dvorak as sisters who run a service station and auto camp in the Arizona desert. The younger sister, Myra (Dvorak), is unhappy with her isolated surroundings and is (a little too) eager to grow up, while Olga (MacMahon) is sensible and hard-working, but harbors a long-held secret past. That past comes back to haunt her when two criminals on the lam from the law show up on the gas station’s doorstep.

Heat Lightning is chock-full of noirish plot points, characters, and decisions, not least of which is the air of impending jeopardy. One of the criminals – Jeff (Lyle Talbot) – is skittish and paranoid, and the other, George (Preston Foster) – who was romantically involved with Olga years before – exudes a sensation of suppressed violence. Olga is tormented by the dual conflict caused by her rebellious kid sister and the sudden re-emergence of George in her life. And the atmosphere of tension and uncertainty is compounded by the oppressive desert heat, the threat of an electrical storm, and a trio of stranded travelers staying at the auto camp. It’s a perfect set-up for the shadowy presence that inhabits the world of film noir.

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Can you think of any other pre-Codes with noir-like plots? Leave a comment and let me know!

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– Karen Burroughs Hannsberry for Classic Movie Hub

You can read all of Karen’s Noir Nook articles here.

Karen Burroughs Hannsberry is the author of the Shadows and Satin blog, which focuses on movies and performers from the film noir and pre-Code eras, and the editor-in-chief of The Dark Pages, a bimonthly newsletter devoted to all things film noir. Karen is also the author of two books on film noir – Femme Noir: The Bad Girls of Film and Bad Boys: The Actors of Film Noir. You can follow Karen on Twitter at @TheDarkPages.
If you’re interested in learning more about Karen’s books, you can read more about them on amazon here:

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Silver Screen Standards: Frankenstein Meets the Wolf Man (1943)

Frankenstein Meets the Wolf Man (1943)

I’m always impressed at just how many Frankenstein movies Universal turned out between 1931 and 1948, and I’m also deeply entertained by the studio’s mix and match approach to making those pictures where its stars were concerned. It might not make for the best cinematic art, but it does make for a lot of fun if you’re a certain kind of classic monster movie fan. Frankenstein Meets the Wolf Man (1943) is the fifth of eight Universal pictures in the Frankenstein family sequence, this time featuring Ilona Massey as the granddaughter of the original monster maker and daughter of the ill-fated Ludwig from the previous entry, The Ghost of Frankenstein (1942). Bela Lugosi, who had previously played the conniving henchman Ygor, here assumes the role of the monster, which makes more sense if you know that Ygor had schemed to get his own brain implanted into the creature in the 1942 film. Despite the title, however, Frankenstein Meets the Wolf Man is much more a direct sequel to The Wolf Man (1941) than anything else, and its appeal derives mainly from the continuing struggles of unwilling werewolf Larry Talbot, once again played with great sincerity by Lon Chaney, Jr.

Frankenstein Meets the Wolf Man (1943): Bela Lugosi and Lon Chaney Jr.
Bela Lugosi plays Frankenstein’s monster in this sequel, while Lon Chaney Jr. reprises his role as werewolf Larry Talbot.

Supposedly killed by his own father at the end of The Wolf Man, Larry Talbot is accidentally revived when thieves break into his tomb during a full moon. He winds up in a hospital in Cardiff, where Dr. Mannering (Patric Knowles) takes him for a psychiatric case, but when he escapes and leaves a trail of corpses, Mannering pursues him across Europe. Larry reunites with his old friend, Maleva (Maria Ouspenskaya), the mother of the werewolf who originally bit him, and the two of them travel to Vasaria with the hope that Dr. Frankenstein’s scientific discoveries can help Larry finally find peace in death. Instead, they meet Elsa Frankenstein (Ilona Massey), who has no wish to see her family’s horrific legacy continued, even though Dr. Mannering soon becomes fascinated by the experiments that give the monster his power.

Frankenstein Meets the Wolf Man (1943): Lon Chaney Jr. in the snow
Larry, in his werewolf form, discovers the monster frozen in ice beneath the ruins of the Frankenstein castle.

It’s both great and tragic to see Larry Talbot back in action in this sequel, which is set four years after the events of The Wolf Man. The original movie seemed to give Larry the death and closure he needed, but of course the werewolf proved too useful a character for the expanded cast of Universal monsters, so Larry is back and now on a perpetual quest to find a way to die. The werewolf’s longing for death becomes something of a trope thanks to Universal’s resurrection of Larry, and it’s put to particularly good use in the 1987 cult classic, Monster Squad, although the afflicted protagonist in An American Werewolf in London (1981) is less eager to embrace his victims’ encouragement to commit suicide. Larry’s everyman quality makes him an especially sympathetic monster because he’s just a normal guy who has been robbed of his humanity and mortality through no fault of his own. Chaney plays Larry with absolute sincerity, and our response to him is enhanced by the gravitas embodied by tiny Maria Ouspenskaya as Maleva. She treats him as a substitute for her lost son and does her best to care for him as they search for a way to end his torment. I find the scenes with the two of them very moving, and I wish the picture had given them a few more, especially in the third act.

Frankenstein Meets the Wolf Man (1943): Patric Knowles, Ilona Massey and Maria Ouspenskaya
Dr. Mannering (Patric Knowles), Elsa Frankenstein (Ilona Massey), and Maleva (Maria Ouspenskaya) visit Larry and the monster in the castle ruins.

Outside of the actual story, the most interesting thing about this installment is the way it shuffles players from the previous films into new roles, creating a fascinating sort of multiverse for the observant viewer. Chaney had played the monster in The Ghost of Frankenstein, and apparently there had been a plan to have him play both Larry and the monster in this picture, but instead we have Lugosi switching from the Ygor role to the iconic creature. Lionel Atwill first played Inspector Krogh in Son of Frankenstein (1939), but he plays different characters each time in The Ghost of Frankenstein, Frankenstein Meets the Wolf Man, House of Frankenstein (1944), and House of Dracula (1945). Patric Knowles, who played Frank Andrews in The Wolf Man, this time plays Dr. Kettering and once again wins the attention of the leading lady (with Elsa Frankenstein played here by Ilona Massey but previously portrayed in The Ghost of Frankenstein by Evelyn Ankers, who had played the love interest in The Wolf Man!). Dwight Frye, best remembered today as Renfield in the 1931 Dracula but also the original Dr. Frankenstein’s henchman, Fritz, in Frankenstein (1931) and a second lackey, Karl, in Bride of Frankenstein (1935), reappears as a perfectly ordinary villager in Vasaria. Sadly, it would be Frye’s final appearance, for he died of a heart attack in 1943 at the age of 44. While the casting choices were probably just efficient for Universal, they give each installment of the series an eerie sense of déjà vu because we really have seen these faces and situations before, with each new generation of the Frankenstein family playing out a looping arc of terror and tragedy. Over the course of the series, we also get the opportunity to see Boris Karloff’s original take on the monster recreated or revised by Lon Chaney Jr., Bela Lugosi, and, starting with House of Frankenstein, Glenn Strange. While it’s not as flexible a role as something like Dracula, it’s still interesting to see how each successive actor brings a little of his own personal style to the monster, with Lugosi’s version in Frankenstein Meets the Wolf Man occasionally casting some very devious eye rolls that hint at the malevolent nature of Ygor’s brain still at work in the creature’s skull.

Frankenstein Meets the Wolf Man (1943): Patric Knowles and Lon Chaney Jr.
Although Elsa warns him against it, Dr. Mannering becomes intrigued by the idea of restoring the monster to full strength.

You’ll have no trouble finding other Frankenstein or werewolf movies to watch, but for more from director Roy William Neill, you might try some of his many Sherlock Holmes movies starring Basil Rathbone, or his final film, Black Angel (1946). Screenwriter Curt Siodmak, brother of director Robert Siodmak, penned both The Wolf Man and Frankenstein Meets the Wolf Man, which might help to explain its heavy focus on Larry Talbot. For more of the tiny but powerful Maria Ouspenskaya, see her Oscar nominated performances in Dodsworth (1936) and Love Affair (1939), or look for her in The Mortal Storm (1940), The Man I Married (1940), or Dance, Girl, Dance (1940). Frankenstein Meets the Wolf Man originated the trend for bringing multiple monsters together in a picture, so in some ways we have it to thank – or blame – for the Dark Universe land at the Epic Universe theme park and modern horror movies like Freddy vs. Jason (2003) and Alien vs. Predator (2004), as well as The Munsters TV series and the short-lived 1980 cartoon show, Drak Pack.

…

— Jennifer Garlen for Classic Movie Hub

Jennifer Garlen pens our monthly Silver Screen Standards column. You can read all of Jennifer’s Silver Screen Standards articles here.

Jennifer is a former college professor with a PhD in English Literature and a lifelong obsession with film. She writes about classic movies at her blog, Virtual Virago, and presents classic film programs for lifetime learning groups and retirement communities. She’s the author of Beyond Casablanca: 100 Classic Movies Worth Watching and its sequel, Beyond Casablanca II: 101 Classic Movies Worth Watching, and she is also the co-editor of two books about the works of Jim Henson.

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Classic Movie Travels: Ronnie Schell

Classic Movie Travels: Ronnie Schell

Ronnie Schell
Ronnie Schell

Ronald Ralph Schell was born on December 23, 1931, in Richmond, California, to David and Marguerite Schell. His father worked as a stock checker at an automobile industry plant and later worked for a naval supply center. His mother was a waitress and saleswoman at Macy’s.

After graduating from Richmond High School, where he was reportedly a class clown and frequently expelled, he served four years in the United States Air Force, achieving the rank of airman first class before pursuing a career in entertainment. In 1958, he graduated from San Francisco State College.

Schell first gained national attention with a memorable appearance on the May 28, 1959, episode of You Bet Your Life, hosted by Groucho Marx. During the program, Schell impressed audiences with a rapid-fire routine of beatnik-inspired jive talk, showcasing the energetic comedic style that would become his trademark.

Before becoming a familiar face on television, Schell developed his stand-up act at the legendary hungry i in San Francisco, California, a renowned launching pad for comedians during the late 1950s and early 1960s. His association with the club placed him among a generation of performers who helped define the era’s emerging nightclub comedy scene. He also introduced The Kingston Trio at the beginning of their 1962 album College Concert, serving as the opening act for the performance.

Schell reached the height of his early television fame when he joined the cast of Gomer Pyle, U.S.M.C. as Private Duke Slater, Gomer Pyle’s best friend and fellow Marine. His easygoing personality and comedic timing made Slater one of the show’s most popular supporting characters.

Jim Nabors, Ronnie Schell and Frank Sutton, in Gomer Pyle U.S.M.C.
Jim Nabors, Ronnie Schell and Frank Sutton, in Gomer Pyle U.S.M.C.

After three seasons, Schell left the series to star in his own sitcom, Good Morning, World, playing disc jockey Dave Lewis alongside Goldie Hawn and other television favorites. When that series ended, Schell returned to Gomer Pyle, U.S.M.C. for its fifth and final season. During his return, his character had been promoted to corporal and took on a more mature role as a mediator between Gomer (played by Jim Nabors) and the demanding Sergeant Carter (portrayed by Frank Sutton).

Schell married Janet Rodeberg in 1968, and the couple had two sons, Gregory and Chris Schell.

Throughout his career, Schell became one of television’s most recognizable character actors, appearing as a guest star on dozens of popular programs, including The Andy Griffith Show, The Patty Duke Show, The Golden Girls, The Love Boat, Happy Days, Sanford and Son, Emergency!, Mork & Mindy, and Charlie’s Angels.

His longevity and steady presence in entertainment led to the affectionate nickname “America’s Slowest Rising Comedian,” a playful acknowledgment of his decades-long climb to success.

Beyond live-action television, Schell contributed his voice to several animated projects. He portrayed Jason in Battle of the Planets and provided the voice for the hockey puck-shaped character in Peter Puck, which aired during televised NHL games in the 1970s.

Schell was also a familiar presence in commercials, including memorable campaigns for Pacific Southwest Airlines and Shakey’s Pizza. His comedic personality made him especially effective in advertising, where his warmth and timing connected with audiences.

In later years, Schell continued performing. In 2007, he toured with the cabaret production 5 Star Revue alongside Gary Collins, Mary Ann Mobley, Ruta Lee, and Steve Rossi. He also starred in the 2009 Off-Broadway production Don’t Leave It All to Your Children!, a comedy and musical revue celebrating the experiences of aging baby boomers.

In 2019, Schell served as comedy advisor to Richard Dreyfuss for the Netflix film The Last Laugh, continuing to share his expertise and decades of experience in entertainment.

Schell passed away on June 12, 2026, at Ronald Reagan UCLA Medical Center in Los Angeles, California, at the age of 94 after being hospitalized for a fall. He was the last surviving cast member of Gomer Pyle, U.S.M.C.

Today, there are several points of relevance in relation to Schell’s life and career.

In 1940, his family lived at 1009 Barrett Ave., Richmond, California. This home has since been razed.

In 1950, he resided at 345 S. Anita Ave., Los Angeles, California, which remains.

345 S. Anita Ave., Los Angeles, California
345 S. Anita Ave., Los Angeles, CA

He later resided at 4042 Sapphire Dr., Encino, California, which also stands. Schell was named an honorary mayor of Encino.

4042 Sapphire Dr., Encino, California
4042 Sapphire Dr., Encino, CA

Schell also resided at 11344 Chenault St., Los Angeles, California, which stands.

11344 Chenault St., Los Angeles, California
11344 Chenault St., Los Angeles, CA

…

–Annette Bochenek for Classic Movie Hub

Annette Bochenek pens our monthly Classic Movie Travels column. You can read all of Annette’s Classic Movie Travel articles here.

Annette Bochenek, Ph.D., is a film historian, professor, and avid scholar of Hollywood’s Golden Age. She manages the “Hometowns to Hollywood” blog, in which she profiles her trips to the hometowns of classic Hollywood stars. She has also been featured on the popular classic film-oriented television network, Turner Classic Movies. A regular columnist for Classic Movie Hub, her articles have appeared in TCM Backlot, Silent Film Quarterly, Nostalgia Digest, The Dark Pages Film Noir Newsletter, and Chicago Art Deco Society Magazine.

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Western RoundUp: The Maverick Queen (1956)

The Maverick Queen (1956)

Barbara Stanwyck is a favorite of many classic film fans, myself included.

Over the years I’ve reviewed a few of her films here after seeing them for the first time: The Furies (1950), The Violent Men (1955), and Forty Guns (1957).

Maverick Queen, Poster 1
The Maverick Queen (1956)

One of the Stanwyck Westerns which had eluded me until now was The Maverick Queen (1956), which had a VHS release but to my knowledge has not come out on DVD in the United States.

The movie has turned up in the past on Turner Classic Movies, but in a frankly poor print, so I’ve held off watching it, hoping for the day when a better viewing experience would be possible. I’m happy to report that day has now arrived thanks to Kino Lorber Studio Classics.

Maverick Queen, Bluray

Stanwyck stars as Kit Bannion, owner of the Maverick Queen saloon, who is mixed up with outlaws including Butch Cassidy (Howard Petrie) and the Sundance Kid (Scott Brady). Her fortune has depended cattle rustling and stealing.

Stanwyck’s Forty Guns costar, Barry Sullivan – previously reviewed here in the terrific Audie Murphy film Seven Ways From Sundown (1950) – plays a stranger in town, Jeff Young.

Kit, fending off Sundance’s threatening romantic claim, is attracted to Jeff and hires him as a dealer.  She believes he’s Jeff Younger of the Younger gang of outlaws, but he might not be exactly who he seems to be.

Maverick Queen Lobby Card 1

For instance, why did Jeff stop Sundance and a group of outlaws from robbing the cattle herd owned by pretty Lucy Lee (Mary Murphy) just before he arrived in town?

Jeff does join Butch and Sundance for a train robbery, which leads to unexpected developments…

Those who associate Butch Cassidy and the Sundance Kid chiefly with the 1969 movie may be a bit surprised to see them turn up in a ‘50s Western, but of course they were based on real people and turned up in films well ahead of 1969.  In fact, I stopped at Butch Cassidy’s boyhood home in Utah during a 2022 road trip. It was about a half hour outside Marysvale, where I visited the final resting place of actress Marie Windsor.

Butch Cassidy Home 1
Butch Cassidy Home 2
Butch Cassidy’s boyhood home in Utah

The Maverick Queen screenplay by Kenneth Gamet and DeVallon Scott was based on a Zane Grey novel, and it’s quite good.  Ironically I had heard buzz over the years that The Maverick Queen was a weak film in Stanwyck’s career, so I was pleasantly surprised to discover I liked it very much. 

I found The Maverick Queen better scripted and more interesting than the typical “outlaws” film, which isn’t my favorite Western subgenre.  In fact, I would go so far as to say I enjoyed it more than Stanwyck’s much better-known and highly regarded The Furies. I’m not saying The Maverick Queen is a better film, but I had more fun watching it.

Maverick Queen, Lobby Card 2

No, The Maverick Queen isn’t a classic, but it does fall in the category many of us call a “darn good Western.”  It has a good story, is well cast, and was energetically directed by Joe Kane, who also produced; it runs a well-paced 92 minutes.

Perhaps most importantly the film features extensive location shooting in Colorado, which really makes the movie; it’s beautiful to look at.

The movie was filmed by Jack Marta in Republic Pictures’ color and widescreen processes, Trucolor and Naturama. The movie has thus looked terrible in many faded pan-and-scan prints. Kino Lorber presents a 4K scan of the original 35mm camera negative, and it looks fantastic.

The Maverick Queen, Scott Brady, Barbara Stanwyck, Barry Sullivan
Scott Brady, Barbara Stanwyck, Barry Sullivan

Red-haired Stanwyck plays a woman who has succeeded in a man’s world by attaching herself to criminal enterprises.  Though Stanwyck famously played at least one more villainous character in her career, there’s very little admirable about Kit, so it seems likely from the outset that her feelings for Jeff are doomed.

The Maverick Queen, Barry Sullivan, Barbara Stanwyck
Barry Sullivan, Barbara Stanwyck

Stanwyck’s character may be a crook but the actress is, of course, always highly watchable, and unsurprisingly she makes the part interesting and somewhat sympathetic.

The theme of Kit making her way in the world on the wrong side of the law contrasts nicely with Murphy’s young cattlewoman Lucy, who is working to make a go of her late father’s ranch; life is also challenging for her, but she is making far different choices from Kit’s and ultimately will likely succeed in both business and life because of it.

Maverick Queen, Publicity Still 1
Mary Murphy, Barry Sullivan, Barbara Stanwyck

Murphy, incidentally, was in one of my favorite Westerns, A Man Alone (1955), which I wrote about in a column on “Unexpected Western Leads.” She was something of a chameleon, in terms of her physical appearance, and looks rather different in each film despite the fact they were released only a year apart.

I admit to having a bit of a crush on Sullivan, who is very appealing here as the mysterious stranger in town.  Although his motivations aren’t initially clear, I shared Lucy’s faith that there must be an explanation for his inexplicable behavior.

The Maverick Queen, Barbara Stanwyck, Barry Sullivan 2
Barbara Stanwyck, Barry Sullivan

Brady, who impresses here as a rugged, vicious Sundance, played the similarly named but more handsome “Dancin’ Kid” in Johnny Guitar (1954).  You don’t want to mess with his Sundance; Brady’s fierce portrayal conjures mental associations with his real-life scarier brother, Lawrence Tierney.

The Maverick Queen, Scott Brady
Scott Brady

The rest of the cast is top-notch, starting with Jim Davis, whose character’s brief appearance quite late in the film is inconvenient for Jeff, to say the least. 

Wallace Ford plays Lucy’s ornery cook, who proves to be not what he seems, and the cast is rounded out with familiar faces such as Emile Meyer, Walter Sande, John Doucette, Pierre Watkin, Taylor Holmes, and Tristram Coffin.

The Maverick Queen, Mary Murphy, Scott Brady, Wallace Ford
Mary Murphy, Scott Brady, Wallace Ford

The film’s musical score was by the great Victor Young, who very sadly died shortly after this film’s release.  The title song is sung by Joni James.

Kino Lorber’s Blu-ray extras consist of a commentary track by Dwayne Epstein plus a gallery of five trailers for other films available from Kino Lorber.

The Maverick Queen, Barbara Stanwyck, Barry Sullivan 3
Barbara Stanwyck, Barry Sullivan

I found The Maverick Queen to be a pleasantly entertaining surprise, and I doubt it will ever look better than on this Blu-ray release, which I recommend.

The color Utah photographs accompanying this article are from the author’s personal collection.

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

…

– Laura Grieve for Classic Movie Hub

Laura can be found at her blog, Laura’s Miscellaneous Musings, where she’s been writing about movies since 2005, and on Twitter at @LaurasMiscMovie. A lifelong film fan, Laura loves the classics including Disney, Film Noir, Musicals, and Westerns.  She regularly covers Southern California classic film festivals.  Laura will scribe on all things western at the ‘Western RoundUp’ for CMH.

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Classic Movie Travels: Jim Nabors

Classic Movie Travels: Jim Nabors

Jim Nabors
Jim Nabors

James Thurston Nabors was born on June 12, 1930, in Sylacauga, Alabama, the son of Fred Nabors, a police officer, and Mavis Pearl Newman Nabors. He was raised in the small central Alabama community alongside two older sisters: Freddie Mae and Annie Ruth. As a child, Nabors suffered from severe asthma, a condition that would exempt him from military service during the Korean War.

Nabors attended Sylacauga High School, where he was active on in the glee club, played clarinet in the school band, and was also on the football team. After graduating high school in 1947, Jim Nabors studied went on to study business administration at the University of Alabama. He graduated with a bachelor’s degree in 1952. During his time at the university, he was a member of the Delta Tau Delta fraternity and acted in Greek skit shows.

He moved to New York City, briefly working as a typist for the United Nations. He made his television debut in Augusta, GA, as Jimmy Nabors on the Today in Dixie show and was active in the choir at North Augusta’s Grace United Methodist Church. He later moved to Chattanooga, Tennessee, where he worked as a film cutter for an NBC affiliate. He also worked as a substitute co-host on the television show Holiday for Housewives.

Nabors soon relocated to Los Angeles in pursuit of opportunities in entertainment. He continued to work as a film cutter there but also found work at a Santa Monica nightclub known as The Horn. There, he developed a comedic routine featuring a shy, simple-minded gas station attendant with a distinctive Southern drawl. Comedian Bill Dana invited Nabors to sign on The Steve Allen Show but it was ultimately canceled.  One evening, actor Andy Griffith happened to see the performance. Griffith immediately recognized the appeal of Nabors’ character and invited him to appear on The Andy Griffith Show. What began as a single guest appearance in 1962 quickly evolved into one of the series’ most popular recurring roles.

Gomer Pyle
Gomer Pyle

On the show, Nabors portrayed Gomer Pyle. His sincerity, optimism, and unwavering politeness resonated with viewers. Moreover, his voice was showcase on the show for the first tie in the February 1964 episode, “The Song Festers.” Unlike many television characters built around sarcasm or conflict, Gomer won audiences over through kindness and innocence. His popularity soon warranted a series of his own.

Nabors launched an extraordinarily successful recording career. Over the next several decades, he released dozens of albums that regularly appeared on the Billboard charts. His recordings frequently featured inspirational music, Christmas collections, love songs, and standards from the Great American Songbook. His vocal ability also made him a popular guest on television variety programs, where he appeared alongside many of the era’s leading entertainers.

In 1964, CBS premiered Gomer Pyle, U.S.M.C., placing the lovable service station attendant into the disciplined environment of the United States Marine Corps. Much of the comedy centered on Gomer’s interactions with the perpetually frustrated Sergeant Vince Carter, portrayed by Frank Sutton. While Nabors could be heard singing in many of the show’s episodes, his milestone vocal performance on the show was his rendition of “The Impossible Dream (The Quest).” Although the series relied on familiar comedic misunderstandings, it also presented military life with affection and respect. Marine officials generally welcomed the positive portrayal, and many Marines later credited the show with boosting public appreciation for the Corps during a turbulent decade.

The sitcom became one of television’s highest-rated comedies, remaining on the air for five seasons and concluding in 1969 while still attracting a large audience. Rather than allowing the series to decline, Nabors chose to end the show and pursue other opportunities.

Following the conclusion of Gomer Pyle, U.S.M.C., Nabors remained a familiar face on American television. He headlined The Jim Nabors Hour, a variety series that combined musical performances, comedy sketches, and appearances by guest stars. The program lasted only two seasons.

Throughout the 1970s and 1980s, Nabors continued appearing on numerous television specials, talk shows, and variety programs. He also guest-starred on popular series and participated in reunion specials celebrating The Andy Griffith Show and Gomer Pyle, U.S.M.C.

Nabors began to vacation in Hawaii in the 1960s, which eventually inspired him to move there in the decades to come. In the 1990s, he also owned a home in Whitefish, Montana.

His film appearances included supporting roles in productions such as The Best Little Whorehouse in Texas (1982), in which he appeared alongside Burt Reynolds and Dolly Parton. He also appeared in the television movie Return to Mayberry (1986). During the same year, he starred in a half-hour television comedy pilot called Sylvan in Paradise, but it was not picked up by NBC.

Nabors maintained an active touring schedule. He performed with symphony orchestras across the United States and regularly appeared in Las Vegas, where his combination of humor and music appealed to audiences of all ages. His concerts often blended inspirational songs, patriotic selections, Broadway favorites, and lighthearted stories from his television career. Unlike many performers whose fame faded after their signature television role ended, Nabors successfully reinvented himself as a respected concert artist.

Outside entertainment, Nabors became closely associated with one of America’s most celebrated sporting events. In 1972, Nabors attended the race as a guest of casino owner Bill Harrah. On race morning, Indianapolis Motor Speedway owner Tony Hulman approached Nabors and asked if he would “sing the song” before the race. Nabors assumed he meant “The Star-Spangled Banner” and readily agreed. Only moments before the performance did he discover that he was actually expected to sing “(Back Home Again in) Indiana.” Unfamiliar with all the lyrics, he quickly wrote them on the palm of his hand before climbing onto a ladder with the Purdue All-American Marching Band. His unrehearsed performance was an instant success, earning an enthusiastic ovation from the crowd. Nabors returned the following year, and what began as a last-minute favor evolved into one of the Indianapolis 500’s most beloved traditions. Between 1972 and 2014, he performed the song 34 times, becoming so closely identified with the race that many fans considered his heartfelt rendition the unofficial start of the “Greatest Spectacle in Racing.”

Nabors purchased a home in Honolulu in the 1970s and eventually made Hawaii his permanent residence. The islands offered him a quieter lifestyle away from Hollywood while allowing him to continue performing and recording. After moving from Bel Air, California, with his partner, Stan Cadwaller, he initiated a show at the Hilton Hawaiian Village called the Jim Nabors Extravaganza, which continued for two years. He also performed at the Las Vegas Hilton and made his theatrical debut in 1982 as Professor Harold Hill in The Music Man with Florence. Henderson at the Burt Reynolds Dinner Theatre in Jupiter, Florida.

In 1994, Nabors was ill and suffering from hepatitis B, which he reportedly contracted while in Indiana and accidentally cutting himself with a straight razor. His prognosis was grim as the disease caused liver failure. However, his friend, actress Carol Burnett, put him in contact with the head of the liver transplant division at the University of California–Los Angeles for further treatment options. He eventually received a transplant and became active with the American Liver Foundation, in addition to continuing to tour and perform.

Although he maintained a relatively private personal life, Nabors publicly acknowledged his longtime relationship with Cadwallader. After same-sex marriage became legal in Washington state, the couple married in Seattle at the Fairmount Olympic Hotel in January 2013, formalizing a relationship that had lasted for more than three decades.

Nabors owned a macadamia plantation on Maui for 25 years before ultimately selling it to the National Tropical Botanical Garden. Despite the sale, he maintained farming rights as well as a second home on the property.

Nabors passed away at his home in Honolulu, Hawaii, on November 30, 2017, at the age of 87. His death prompted tributes from across the entertainment industry, the racing community, and countless admirers who had grown up watching him on television. The United States Marien Corps also posted a statement on their official Twitter account, reading: “Semper Fi, Gomer Pyle. Rest in peace Jim Nabors, one of the few to ever be named an honorary Marine.”

Today, Nabors’ legacy is celebrated in many locations.

The Jim Nabors exhibit is located at the Isabel Anderson Comer Museum and Arts Center in his Sylacauga, Alabama, hometown. It is located at 711 N. Broadway Ave., Sylacauga, Alabama.

His childhood home stands at 511 S. Broadway Ave., Sylacauga, Alabama.

511 S. Broadway Ave., Sylacauga, Alabama
511 S. Broadway Ave., Sylacauga, Alabama

In the 1960s, he resided at 1848 N. Gramercy Pl., Los Angeles, California, which stands.

1848 N. Gramercy Pl., Los Angeles, California
1848 N. Gramercy Pl., Los Angeles, California

In 1978, a portion of U.S. Route 280 in Talladega County was named Jim Nabors Highway.

In the 1980s, he owned a property at 2750 Big Mountain Rd., Whitefish, Montana, which remains.

In 1992, he maintained a residence at 10450 Wilshire Blvd., Apt. 6A, Los Angeles, California, which also stands.

10450 Wilshire Blvd., Los Angeles, CA
10450 Wilshire Blvd., Los Angeles, California

In Honolulu, Hawaii, Nabors is honored at the Hilton Hawaiian Village Waikiki Beach Resort through their many displays that celebrate the resort’s history. The resort is located at 2005 Kalia Rd., Honolulu, Hawaii.

His home in Honolulu stands at 215 Kulamanu Place, Honolulu, Hawaii.

…

–Annette Bochenek for Classic Movie Hub

Annette Bochenek pens our monthly Classic Movie Travels column. You can read all of Annette’s Classic Movie Travel articles here.

Annette Bochenek, Ph.D., is a film historian, professor, and avid scholar of Hollywood’s Golden Age. She manages the “Hometowns to Hollywood” blog, in which she profiles her trips to the hometowns of classic Hollywood stars. She has also been featured on the popular classic film-oriented television network, Turner Classic Movies. A regular columnist for Classic Movie Hub, her articles have appeared in TCM Backlot, Silent Film Quarterly, Nostalgia Digest, The Dark Pages Film Noir Newsletter, and Chicago Art Deco Society Magazine.

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Monsters and Matinees: Humans, Robots Clash in Remarkably Relevant ‘Creation of the Humanoids’

Humans, Robots Clash in Remarkably Relevant ‘Creation of the Humanoids’

Modern technology is crazy, isn’t it? It feels like it can take over the world – perhaps not right away but we can see it coming. We welcomed advancements that helped us, but when is it going too far? I recently had to jump out of the way of a robotic floor cleaner at a grocery store. Don’t even talk to me about getting into a self-driving car. because it’s not happening.

So I get why people wonder what these advancements may cost humanity. Take Cragis, for example, who worries that if everything is being done for us that it takes away our incentive to learn, to grow, to be human. “Why do we need mathematics if the machines can give us a better answer, faster?” he asks.

Good question.

Cragis is Captain Kenneth Cragis, the main character in the 1960 sci-fi film The Creation of the Humanoids. Although everything about this film from the set design to the acting and technology screams low-budget B-movie from the past, the plot could have been written today.

This is the R58 model of the “clicker” robot with its blueish/green skin and metallic eyes.

The original story by Jay Simms (The Giant Gila Monster, The Killer Shrews) was ahead of its time regarding the battles with technology (people vs. machines), bigotry and class. It can’t help but be noticed that the humans in the film are white people who don’t trust the colored humanoid/robots.

The point is clear when we meet the volunteer group of men fighting to keep the world safe from the humanoids. The Order of Flesh and Blood, referred to as an ultra-conservative pressure group against the advancement of robots, fears that the humanoids will take over the world. If the Order reminds you of the KKK, there’s a reason for that.

* * * * *

Set in the 23rd Century, The Creation of the Humanoids is about the aftermath of a 48-hour nuclear war that nearly destroyed the world. About 92% of the population died from lingering radiation within two weeks. The birthrates for those who survived plummeted to 1.4% signaling that the end to humanity was near.

Nothing to fear here: One of the early robots, the R1, in Creation of the Humanoids.

Out of desperation, people turned to robotic automation devices to rebuild. One of the first advancements was the Magnetic Integrator Neuron Duplicator. Only 1/100th the size of a golf ball, it duplicates a portion of the human nervous system leading to the Primitive Robotic Automation Devices (robots to us) that could do menial jobs.

The first was the R1, a ranking that corresponds to the percentage that the robot is human, so it was 1% human.

That was OK with humans because these robots were so primitive they looked like a toy. It didn’t stay that way.

The R21 model was the first humanoid robot. It had some human features, including metallic-looking eyes and blueish skin. Humans were getting nervous and started calling them by the disparaging nickname of clickers. The Order of Flesh and Blood could stop the clickers on the street for no reason, question them, ask for their assignment cards and then decide if they would let go or not. Another example of similarities to our world today.

The growing fear that the robots can become human made it illegal to “improve” them past R70, but the work continues to be done in secret.

Dr. Raven (Don Doolittle in white coat) is putting the final touches on his newest robot that will be nearly human in The Creation of the Humanoids.

Dr. Raven (Don Doolittle) has created the nearly perfect robot via his thalamic transplant that inserts the memories and personality of a (dead) human through a device only the size of an almond. This is the R96 model and it has human emotions including the ability to laugh, to cry and hate. You can imagine the panic that will ensue once this news gets out.

Now back to Captain Cragis, who is the head of the Order’s Surveillance Committee and is very serious about his volunteer job. He’s a dour and gruff chap played by Don Megowan who classic movie fans will know as the Gill-man in The Creature Walks Among Us. When he learns his sister Esme (Frances McCann) is “in rapport” with a humanoid he loses it.

Cragis (Don Megowan, center) is troubled that his sister Esme (Frances McCann) is involved with the robot Pax (David Cross) who dutifully serves drinks even as they fight about him.

This is against everything he stands for since being “in rapport” legally allows a human and humanoid to interact and cohabitate. To Esme, being in rapport is being in harmony, in love, with Pax, her R49 robot. Cragis doesn’t want to hear about it. Pax is not like them, he argues. He’s a robot and she needs to be with a human, even if it’s her cruel, alcoholic ex-boyfriend.

“Miles was a man,” he explodes.

“He was a beast,” she interrupts. “Pax is more of a man than Miles – or you – can ever be.”

It’s easy to see her point since the self-centered Cragis could use some humanity himself. He’s harsh, cold and detached, attributes underscored by Megowan’s one-note performance.

Will either sibling get the other to see their side? I’m rooting for the steadfast Esme to help Cragis.

“We fall in love when we see a part of ourselves reflected in another person,” says Esme, who seems to believe that love conquers all.

It’s an unlikely love at first sight for Maxine (Erica Elliot) and Cragis (Don Megowan).

He may not understand her words at that moment, but he will soon. Just one look at the statuesque blonde Maxine (Erica Elliot) melts the cold Cragis who feels love for the first time. It’s earth-shattering for both of them in ways they can’t begin to understand.

This is where the movie shifts and will appear to offer some twists that we may have been expecting all along.

Meanwhile, as the family drama and romantic feelings were coming out, the humanoids were going about their business without being weighed down by those human emotions. It can make you understand why one of them said he pities the new R96 unit with its human emotions. “To become an R96 is a real sacrifice.”

* * * * *

Members of the Order of Flesh and Blood, including Cragis (Don Megowan, left), are always so serious despite wearing pretty shimmery shirts, ornate detailed pants and Civil War hats. The police get to wear red capes and plastic hats.

When I started watching The Creation of the Humanoids, I stopped and started it a few times not sure if I wanted to give the movie more time. The production values were nearly nonexistent as actors walked across a barren stage with a painted backdrop. The early dialogue and acting is stilted. The wardrobe looked like rented costumes, especially the robots’ bland jumpsuits and the odd powder-blue shirts and Civil War-style hats worn by the Order of Flesh and Blood.

But then the script caught me off-guard with themes that felt relevant today and kept my interest. I wanted to see where it would go.

Once the story moved to Esme’s jewel-toned apartment, the colorless film came to life through the vibrant set and emotions. Floor-to-ceiling sheer curtains sparkled and there was much attention to detail in Esme’s beautifully done hair, makeup and gorgeous green gown. It was captivating enough that I could forgive the stagey acting that took over and the echoes of actors reading their lines off screen.

Esme (Frances McCann) tries to explain her feelings for a human-like robot to her angry brother Cragis (Don Megowan). This scene in her apartment is a visual highlight of an otherwise bland looking film.

As Cragis bemoans what is happening to society because of the robots, his sister tells him “You aren’t just charging windmills. You’re trying to hold back the ocean with a sponge.” That analogy works well for the film and is something to think about as we deal with similar issues today.

Those robot eyes

Iconic makeup artist Jack Pierce (Frankenstein) created the robot makeup that included the large reflective eyes that appear like metallic balls in their eye sockets. Dr. Louis M. Zabner, credited for “special eye effects,” is the optometrist who created the pioneering contact lenses that could change an actor’s eye color.

– Toni Ruberto for Classic Movie Hub

You can read all of Toni’s Monsters and Matinees articles here.

Toni Ruberto, born and raised in Buffalo, N.Y., is an editor and writer at The Buffalo News. She shares her love for classic movies in her blog, Watching Forever and is a member and board chair of the Classic Movie Blog Association. Toni was the president of the former Buffalo chapter of TCM Backlot and led the offshoot group, Buffalo Classic Movie Buffs. She is proud to have put Buffalo and its glorious old movie palaces in the spotlight as the inaugural winner of the TCM in Your Hometown contest. You can find Toni on Twitter at @toniruberto or on Bluesky at @watchingforever.bsky.social


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Noir Nook: Pre-Code Films with Film Noir Flavor

Pre-Code Films with Film Noir Flavor

Next to film noir, my favorite type of classic movie is pre-Code – films released roughly between 1929 and July 1934, before the strict enforcement of the Motion Picture Production Code (also known as the Hays Code). The Hays Code represented a set of censorship guidelines for what could and could not be shown in American movies, but before the enforcement of these guidelines kicked into high gear in 1934, filmmakers had more freedom to explore a variety of subjects like crime, sexuality, adultery, drug use, and moral ambiguity. Once the enforcement of the Code became more rigorous, many of these themes either disappeared from films – or forced filmmakers to become more creative in their efforts to depict them.

It’s no wonder, then, that I’m so fond of pre-Code films – many of them served up plots that would have made near-perfect film noirs. In fact, there are a handful of pre-Codes that were remade as noirs, including the 1933 Walter Huston starrer, The Criminal Code, which emerged in the noir era as Convicted (1950), featuring Glenn Ford and Broderick Crawford; and, of course, the pre-Code Maltese Falcon (1931), which was remade into the classic 1941 Humphrey Bogart noir of the same name. But there are many great pre-Codes that never saw the noir light of day (or shadow of night, if you will) – and this month’s Noir Nook offers Part 1 of two-parter that takes a look at these features.


City Streets (1931)

City Streets, Gary Cooper and Sylvia Sidney
Gary Cooper and Sylvia Sidney

Gary Cooper stars here as, simply, The Kid, whose sweet-faced girlfriend Nan (Sylvia Sidney) has close ties with the underworld, thanks to her shady stepfather, Pop Cooley (Guy Kibbee, in a rare bad-guy role). The Kid vehemently resists Nan’s efforts to draw him into Pop’s criminal enterprise, but when she winds up in prison, he finds himself straying to the dark side.

With its organized crime setting, City Streets offers several noirish elements, especially the theme of ordinary people drawn unwittingly into a world of corruption and wrongdoing. One of the most memorable aspects of the film is its visual style, which is strongly reminiscent of the noirs to come; in one striking scene, for instance, two characters walk along a darkened street, but the image of one man (who plans to murder the other) is briefly shown only as a menacing, looming shadow.


Safe in Hell (1931)

Safe in Hell, Dorothy Mackaill and Donald Cook
Dorothy Mackaill and Donald Cook

This feature centers on Gilda Carlson (Dorothy MacKaill), a call girl who finds herself in hot water when she accidentally kills the man whose misdeeds led her into prostitution. Her sailor fiancé (Donald Cook) comes to her rescue by arranging for her to hide out on a remote Caribbean island, but there, she joins a motley crew consisting of murderers, thieves, and other unsavory types – and she finds herself in a far more precarious existence than the one she left behind.

There are few clearly defined villains or heroes in this film – most of the characters are tinged with a tenor of moral ambiguity; even Gilda’s honorable and highly principled fiancé breaks the law to help her evade the long arm of the law. The film also functions under a constant pall of doom, signaling to the viewer that a happy ending is not necessarily on the horizon.


Three on a Match (1932)

Three on a Match, Ann Dvorak
Ann Dvorak

Ann Dvorak, Joan Blondell, and Bette Davis star in this film as childhood friends who grow up to lead vastly dissimilar lives; Davis, as Ruth Westcott, becomes a secretary and Blondell’s Mary Keaton turns her life around after spending her teen years in a reformatory. But it’s Ann Dvorak who gets the juiciest role – Vivian Revere Kirkland, a wealthy but wholly unfulfilled wife and mother who abandons her comfy life and jumps feet first into a world of crime, drugs, and abuse.

The paramount noir-like theme of Three on a Match focuses on the spate of bad decisions made by Vivian Kirkland, and the manner in which she throws away a safe and comfortable life with both hands. Further, like Safe in Hell, the film operates under a near-constant sensation of dread, as the plot steam rolls its way to a shocking and unforgettable end.


Night World (1932)

Night World
Mae Clarke (center) flanked by fellow chorus girls Amo Ingraham and Edna Callahan

This feature unites a range of intertwining stories, viewed on one single night via the lens of a New York nightclub. The players include Ruth Taylor (Mae Clarke), a hard-boiled but soft-hearted chorus girl, and Michael Rand (Lew Ayres), the emotionally unstable victim of a tragic family scandal. Also on hand in this mélange of personalities and circumstances is the club’s owner, Happy (Boris Karloff); his duplicitous wife, Jill (Dorothy Revier); and a crooked gambler (George Raft), who has eyes for Ruth.

The aptly named Night World offers just that – not only literally, but metaphorically as well, as it depicts a realm populated by characters who are alternately disillusioned, immoral, world-weary, and cruel. The atmosphere is rife with despair, and few of the club’s occupants – even one of its most positive and likable characters – are unable to escape the inevitable outcome.


The House on 56th Street (1932)

The House on 56th Street
Phillip Reed, Margaret Lindsay, Ricardo Cortez, and Kay Francis

Opening in turn-of-the century New York, and spanning several decades, this tale stars Kay Francis as Peggy Martin, a chorus girl who marries wealthy and handsome Monte Van Tyle and lives in a beautiful mansion with her husband and their young daughter. But when she has a chance encounter with a former lover (John Halliday), her idyllic existence is turned upside down, and her life will never be the same.

The plot of the film centers on the impossibility of escaping one’s destiny. In addition to a protagonist who is haunted by her past, and who struggles to reclaim a life that is out of her reach, the events are characterized by a noirish series of coincidences, fate, and injustices, leading to a conclusion that you won’t see coming.

Stop by the Noir Nook next month for Part 2 of Pre-Code Films with Film Noir Flavor. Any guesses as to the pre-Codes that might be covered next time? Leave a note in the comments and let me know!

…

– Karen Burroughs Hannsberry for Classic Movie Hub

You can read all of Karen’s Noir Nook articles here.

Karen Burroughs Hannsberry is the author of the Shadows and Satin blog, which focuses on movies and performers from the film noir and pre-Code eras, and the editor-in-chief of The Dark Pages, a bimonthly newsletter devoted to all things film noir. Karen is also the author of two books on film noir – Femme Noir: The Bad Girls of Film and Bad Boys: The Actors of Film Noir. You can follow Karen on Twitter at @TheDarkPages.
If you’re interested in learning more about Karen’s books, you can read more about them on amazon here:

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