Classic Movie Hub Blog

Silver Screen Standards: The Universal Monsters

Posted on July 17, 2025 by Jennifer Garlen

The Universal Monsters

The summer of 2025 marks the arrival of the new Epic Universe theme park in Orlando, Florida, which prominently features an entire land, Dark Universe, dedicated to Universal’s iconic movie monsters. The Universal monsters have been around for a full century now, if you start with the 1925 appearance of The Phantom of the Opera, and even longer if you begin with the 1913 version of Dr. Jekyll and Mr. Hyde, so it’s truly impressive that they still have the cultural appeal to warrant their own segment of a theme park, where visitors can meet characters like Dracula, The Invisible Man, The Bride of Frankenstein, and Frankenstein’s Monster, and also experience thrill rides that retell their stories in various ways. Of course, Universal and other studios like Hammer have rebooted the monsters many times since their original movies, but it’s clear from the attractions at Dark Universe that the classic incarnations of these monsters retain their popularity. This moment seems like a perfect time to reflect on the history of the classic Universal monsters and their enduring legacy.

Monsters Lugosi Dracula — Bela Lugosi mesmerizes his victims and the audience in the 1931 adaptation of *Dracula*.

Most of the Universal monsters trace their origins to literature, some more directly than others. Several of them were created by imaginative 19^th-century writers and were already celebrated characters long before they hit the silver screen. Mary Shelley’s Frankenstein was published in 1818, Robert Louis Stevenson released The Strange Case of Dr. Jekyll and Mr. Hyde in 1886, and Bram Stoker’s Dracula made his bloodthirsty debut in 1897, the same year that saw the arrival of H.G. Wells’ novel, The Invisible Man. Gaston Leroux’s French novel, The Phantom of the Opera, was actually one of the last to be written, as it appeared in 1909. The popularity of the literary adaptations led Universal to introduce new, more original creatures for The Mummy (1932), The Wolf Man (1941), and, finally, The Creature from the Black Lagoon (1954). Mummies and werewolves also have their own literary histories, with mummy stories written by Bram Stoker and Sir Arthur Conan Doyle and werewolf tales going back centuries, including the influential story, “Bisclavret,” in the 12^th century Lais of Marie de France. Today, the movie versions of these monsters are so famous that they sometimes overshadow the originals, especially where Dracula and the Frankensteins are concerned, with the film incarnations inspiring even more films, television series, music, and literary works.

Monsters Lanchester Karloff — The Bride (Elsa Lanchester) and the Creature (Boris Karloff) meet in *The Bride of Frankenstein* (1935).

The actors who first played the monsters gained tremendous fame for their roles, sometimes even to their frustration. One of the most interesting, and perhaps surprising, aspects of Universal monster history is the way that specific actors became indelibly associated with a particular role, even though Lugosi, Karloff, and Chaney all played different monsters in a mix-and-match series of films. Bela Lugosi would forever be associated with Count Dracula after 1931, even though he played other roles in Universal horror films like Son of Frankenstein (1939), The Wolf Man (1941), and Frankenstein Meets the Wolf Man (1943). Boris Karloff’s version of Frankenstein’s Creature, far different from the articulate being Shelley envisioned, would influence all later incarnations, with Karloff returning to the role for The Bride of Frankenstein (1935) and Son of Frankenstein before other actors, including Lugosi and Chaney, took turns with the part. Karloff, however, also originated the undead Imhotep in The Mummy (1932), a role that made much more effective use of his acting ability and fantastic voice. While Lon Chaney Sr. helped to usher in the age of Universal monsters with his performance in The Phantom of the Opera in 1925, it was his son, Lon Chaney Jr., who became an anchor to the franchise through the 1940s. The younger Chaney played the tragic werewolf, Larry Talbot, in The Wolf Man (1941), Frankenstein Meets the Wolf Man, House of Frankenstein (1944), House of Dracula (1945), and Abbott and Costello Meet Frankenstein (1948), and he also played the Creature in The Ghost of Frankenstein (1942), the title mummy in The Mummy’s Tomb (1942) and two of its sequels, and Count Dracula in Son of Dracula (1943). Even actors with more limited associations would be permanently yoked to their roles, including Elsa Lanchester as the shock-haired Bride and Dwight Frye as both Renfield to Lugosi’s Dracula and the original henchman to Dr. Frankenstein (who wouldn’t be called Ygor until Lugosi was playing the role).

Monsters Lugosi Chaney — Lugosi plays the Creature while Lon Chaney Jr. returns as Larry Talbot in *Frankenstein Meets the Wolf Man* (1943).

While The Creature from the Black Lagoon (1954) and its two sequels brought Universal a final iconic monster for its collection, the classic age of the franchise ended with the Gill-Man’s rampage. Other studios, especially Hammer in the 1960s and 70s, would carry the legacy forward, until Universal eventually came back to its beloved monsters, starting with director Stephen Sommers’ 1999 hit remake of The Mummy. The rebooted Mummy series spawned several sequels, but attempts to create a new cinematic universe faltered with Van Helsing (2004) and yet another reboot of The Mummy starring Tom Cruise in 2017. Universal is still trying to revitalize the franchise, most recently with Leigh Whannell’s versions of The Invisible Man (2020) and The Wolf Man (1925), and, to some extent, the 2023 horror comedy, Renfield. Other studios, meanwhile, have capitalized on the familiar monster characters for their own films, including Tri-Star Pictures’ 1987 cult classic, The Monster Squad, the animated Hotel Transylvania series from Sony (2012 to 2022), and Guillermo del Toro’s Best Picture winner for Fox Searchlight, The Shape of Water (2017).

Monsters Creature Lagoon — With *The Creature from the Black Lagoon* (1954) and its sequels, Universal introduced the most original of its monster characters.

As a longtime fan of the classic Universal monsters, I’m delighted to see them alive – or at least undead – and well in the new Dark Universe park. I’m looking forward to meeting them in person when I finally get to visit the park for myself. Check out videos of the incredible headliner attraction, Monsters Unchained: The Frankenstein Experiment, if you want to see some of the animatronic characters in action. For even more classic Universal monster movies, look for The Invisible Man (1933), Dracula’s Daughter (1936), and The Phantom of the Opera (1943).

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— 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.

Posted in Posts by Jennifer Garlen, Silver Screen Standards | Tagged Bela Lugosi, Boris Karloff, dracula, elsa lanchester, Frankenstein, frankenstein meets the wolf man, Lon Chaney, The Bride of Frankenstein, the creature from the black lagoon, Universal Monsters | Leave a comment

Classic Movie Travels: Sylvia Sidney

Posted on July 8, 2025 by Annette Bochenek

Classic Movie Travels: Sylvia Sidney

Sylvia Sidney was born Sophia Kosow in the Bronx, New York, to Rebecca and Victor Kosow on August 8, 1910. Her parents divorced in 1915 and she was later adopted by her stepfather, a dentist named Sigmund Sidney. Her mother worked as a dressmaker under the name Beatrice Sidney.

Sidney became an actress by the age of 15 to combat her shyness. She studied at the Theatre Guild School for Acting, where she appeared in performances and garnered praise from theatre critics. She made her first film appearance as an extra in D.W. Griffith’s The Sorrows of Satan (1926).

During the course of the Great Depression, Sidney appeared in many films in which she typically portrayed a working-class heroine or a woman affiliated with a gangster, working with the likes of Humphrey Bogart, Spencer Tracy, Fredric March, and more. She appeared in An American Tragedy (1931), Merrily We Go to Hell (1932), Sabotage (1936), in addition to many others. She also performed in the early three-strip Technicolor film, The Trail of the Lonesome Pine (1936).

Sidney married publisher Bennett Cerf in 1935 and they divorced in 1936. In 1938, she married acting teacher and actor Luther Adler. They had a child named Jacob. Sidney and Adler divorced in 1946. Her third and final marriage was to radio producer Carlton Alsop, which ended in divorce in 1951.

After being one of the highest-paid actresses in the 1930s, her roles waned significantly in the 1940s. In the 1950s, she took on the role of Fantine in Les Misérables (1952). Though the film flopped by the studio’s standards, Sidney received critical praise. Sidney appeared on television frequently during this period on shows such as Playhouse 90, Route 66, and My Three Sons.

In addition, Sidney was active on Broadway, with a stage career that spanned roughly five decades. Some of her stage credits included appearances in Prunella, The Fourposter, and Barefoot in the Park.

Sidney received an Academy Award nomination for Best Supporting Actress in Summer Wishes, Winter Dreams (1973). As the years went on, she played supporting characters in Beetlejuice (1988) and Mars Attacks! (1996)—both directed by Tim Burton, who was a fan of Sidney.

Aside from her work as an entertainer, Sidney was gifted in needlepoint and published two books on the subject. She also raised showed pug dogs, her favorite breed.

Sidney passed away on July 1, 1999, from esophageal cancer at Lenox Hill Hospital in Manhattan. She was 88 years old.

Today, some of Sidney’s residences remain. In 1925, she and her family lived at 201 W. 11^th St., New York, New York. This building stands.

In 1930, she resided at 33 5^th Ave., New York, New York. This building also remains standing.

In 1936, Sidney resided at 120 E. 39^th St., New York, New York, which also remains.

In the last years of her life, she resided at 22 Valerie Ln., Danbury, Connecticut, where she bred and raised her pugs. This home also remains.

Sidney is further remembered with a star on the Hollywood Walk of Fame, honoring her work in motion pictures. Her star is located at 6245 Hollywood Blvd., Los Angeles, California.

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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.

Posted in Classic Movie Travels, Posts by Annette Bochenek | Tagged sylvia sidney | Leave a comment

Silents Are Golden: Silent Superstars: John Gilbert, Idol Of The 1920s

Posted on July 5, 2025 by Lea Stans

Silent Superstars: John Gilbert, Idol Of The 1920s

There are certain silent film stars who, for whatever reason, are mainly remembered for the myths about them. A prime example is John Gilbert, the darkly-handsome idol of countless moviegoers. When he’s remembered at all, it’s usually for the rumor that the talkies revealed his supposedly “squeaky” voice, sinking his career as one of the silver screen’s great lovers. But like so many old Hollywood tales, this was not only far from the truth, but it has unfairly obscured the career of the likable and talented “Jack” Gilbert.

Gilbert’s upbringing was less than ideal. His mother, a stock company actress, was mentally unstable and flitted from boyfriend to boyfriend; his real father wasn’t in the picture. Young John would eventually get the surname “Gilbert” when his mother remarried. Touring kept the Gilberts constantly on the move, with John only getting the barest of education until they settled in California and sent him to a military academy. When he was 14 his mother died, and Walter sent him to San Francisco to fend for himself with only $10 in his pocket.

The teen would find odd jobs and eventually work with stock companies on the west coast. While spending his free time going to movie theaters, he had an epiphany: why not try to become a film star? Wasting little time, he soon made his motion picture debut as an extra in the Wilfred Lucas short The Mother Instinct (1915). By a stroke of good fortune, his stepfather Walter knew a director working for renowned producer Thomas Ince and sent him a letter with a couple headshots of Gilbert. Surprisingly, the humble introduction worked and Ince sent the teen an offer to work for him at fifteen dollars a week.

Over the next few years the energetic Gilbert would be an extra in films like Civilization (1915) and Hell’s Hinges (1916) and work his way up to bit parts, which quickly grew more substantial. Hopping over to studios like Kay-Bee, Triangle, Universal, Paramount and more, he co-starred with major names like Mary Pickford and William S. Hart and dabbled in screenwriting as well. A 1921 contract with Fox established him as an official new star and he embarked on a number of romantic leading roles.

Romantic roles fit Gilbert like a glove. With his wavy dark hair and large eyes that almost seemed to glow under his striking eyebrows, he was one of the most dashingly handsome figures on the screen, at home in both tailored suits and embroidered period costumes. His acting was confident, sensitive, and impressively sincere. It wasn’t long before MGM, then the biggest and most ambitious studio in Hollywood, offered him a contract–before Fox’s had even ended.

Sadly, nearly all of Gilbert’s early 1920s features are lost, but fortunately the MGM films making up the remainder of his ‘20s filmography are largely intact. He would star in Erich von Stroheim’s prestige picture The Merry Widow (1925)–despite knocking heads with the eccentric director–and gave a powerful performance in the World War I drama The Big Parade (1925), the silent era’s biggest blockbuster. But it was his partnership with the beautiful Swedish actress Greta Garbo that practically became the stuff of legend. Paired for the first time in Clarence Brown’s romantic drama Flesh and the Devil (1926), their chemistry was nothing short of extraordinary–both onscreen and off. Falling head over heels for each other during the production, Brown would recall that the two were so absorbed by their love scenes in his film that he was embarrassed to call “Cut!”

GIlbert and Garbo 2 Flesh and the Devil — GIlbert and Garbo, Flesh and the Devil

Gilbert would propose to Garbo more than once, and even planned to hold a double wedding alongside director King Vidor and actress Eleanor Boardman. The story goes that Garbo never showed up for the ceremony, and Gilbert, despondent and several drinks in, ended up hitting Louis B. Mayer after the producer made a crass remark about her. While it’s sometimes rumored that Mayer vowed to sink Gilbert’s career in retaliation, the actor would go on to earn millions at MGM for the next few years–a testament to his box office stature.

Gilbert’s last silent film was Desert Song (1929), followed by his infamous first talkie His Glorious Night (1929). A romantic drama directed by Lionel Barrymore, its main weakness had nothing to do with John Gilbert’s voice–which had a perfectly normal and pleasant timbre–but its old-fashioned style of doing love scenes that came across as awkward in sound. The repetitive dialogue, especially Gilbert’s repeating “I love you, I love you” reportedly made audiences snicker, although his performance as a whole received praise.

John Gilbert and Catherine Dale Owen in His Glorious Night (1929)

His Glorious Night turned out to be the beginning of the end. Gilbert’s talkies weren’t drawing audiences the way they used to, and the actor himself was getting a reputation for being headstrong and difficult on the set. While offscreen “Jack” was known as a kind and witty friend, his growing dependence on alcohol was taking a toll, and his disappointment over the subpar talkies MGM gave him was hard for him to bear. His personal life was also rocky, having had four marriages to four different actresses all end in divorce–although he did have two daughters, Leatrice and Susan Ann.

Gilbert’s final pairing with Garbo in Queen Christina (1933) was a hit, and he attempted a comeback of sorts in the comedy The Captain Hates the Sea (1934). But by now alcoholism had ravaged his health to the point of no return. He would pass away from a heart attack in 1936 at the young age of 38. It was a tragic end to a career that can easily be described as glorious. While it’s a pity that he’s mainly remembered for a Hollywood myth, it’s also gratifying to know that in his surviving films the charismatic “Jack” still shines.

Greta Garbo and John Gilbert in A Woman of Affairs (1928)

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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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Posted in Posts by Lea Stans, Silents are Golden | Tagged catherine dale owens, Flesh and the Devil (1926), greta garbo, his glorious night, john gilbert | Leave a comment

Western Roundup: “B” Movie Sampler – Vol. 4

Posted on June 27, 2025 by Laura Grieve

Western “B” Movie Sampler – Vol. 4

Summertime means travel time for me, and that in turn means it’s time for my annual “B” Western sampler!

I find “B” Westerns, which often run under an hour, the perfect thing to relax with after a long day of travel and sightseeing. The portable DVD player I bought a decade ago continues to be one of my very favorite entertainment-related purchases.

I watched four films during my recent vacation, all from different studios and featuring different Western stars. In addition to being diverting entertainment, “B” Westerns often give viewers early looks at up-and-coming stars, which was the case with a couple of these films.

All of these films are readily available on DVD, with the sources noted below.

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Frontier Horizon (George Sherman, 1939)

New Frontier, also known as Frontier Horizon

This movie, also known by the title New Frontier, was John Wayne’s last ’30s “B Western. It was filmed after the release of the star-making John Ford Western Stagecoach (1939) earlier that year.

Frontier Horizon was part of the long-running Three Mesquiteers series, with the trio being completed by Ray Corrigan and Raymond Hatton.

John Wayne, Raymond Hatton, Ray Corrigan

The movie was filmed at Southern California locations including Corrigan’s namesake Corriganville, which I wrote about here in 2021, and also at Iverson Movie Ranch, which I wrote about here in 2022.

Except for a brief prologue, the movie ostensibly takes place circa 1915, but it actually mixes multiple time periods, a practice I’ve termed “Roy Rogers Land.” Much of the movie seems firmly set in the Old West, with transportation by horse and buggy, yet some characters also watch movie footage.

Stock footage of the modern-day construction of a dam is included; incidentally, it’s said by references to have been one of the Van Norman dams in Granada Hills, California. The dams were later abandoned after damage in the 1971 Sylmar earthquake. It’s fascinating how often these brief “B” Westerns lead to my learning more about California history.

John Wayne, Raymond Hatton

The plot, focusing on the condemnation of a Western community to make way for said dam, isn’t especially scintillating. There’s plenty of drama inherent in the conflict over land and water rights, yet there’s little character development in this film’s scant 57 minutes, and Wayne is surprisingly underutilized, given that his star was on the ascent.

What made the film especially interesting to me was the cast. In addition to the stardom-bound Wayne, Frontier Horizon features the film debut of 20-year-old Phylis Isley. There’s nothing at all notable about Isley here, in a standard-issue ingenue role; Isley made a couple other film appearances in 1939, then left the screen for four years.

Sammy McKim, Jennifer Jones

When Isley returned to the movies in 1943, it was under a brand-new name, Jennifer Jones, and she immediately won a Best Actress Oscar for The Song of Bernadette (1943). Jones, of course, went on to a stellar career, with additional notable films including Since You Went Away (1944), Cluny Brown (1946), and Portrait of Jennie (1948), to name just three.

The movie also features 14-year-old Sammy McKim, who was part of a large family of child actors. McKim left acting in the ’50s, turning down a role in John Ford’s The Long Gray Line (1955), in order to take an opportunity to work as an artist at 20th Century-Fox.

Jennifer Jones, John Wayne

In short order McKim moved on to Disney, where he had a long career as an accomplished Imagineer; he was honored as a Disney Legend in 1996. Sammy McKim passed away in 2004, but I had the wonderful opportunity to chat about his career with his son, Matt McKim, at the 2024 Disney D23 Expo. The family celebrated Sammy McKim’s centennial with multiple events in late 2024.

The Frontier Horizon cast also features Eddy Waller, Jody Gilbert, LeRoy Mason, and Betty Mack. It was filmed by Reggie Lanning. The screenplay was written by Betty Burbridge and Luci Ward, based on characters created by William Colt MacDonald.

This film is available on DVD and Blu-ray from the now-defunct Olive Films. I’d recommend anyone interested pick up a copy soon, given that Olive is no longer in business.

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Across the Sierras (D. Ross Lederman, 1941)

Across the Sierras

This Bill Elliott film, released by Columbia Pictures, was my favorite of the quartet. It combines well-sketched characters with a substantive, surprisingly tough story written by Paul Franklin. A lot happens in 59 minutes, but there’s also some real depth to it.

Wild Bill Hickok (Elliott) rescues his childhood friend Larry (Richard Fiske) from a lynch mob, after which the two men arrive in the community of Arroyo.

Across the Sierras Cast

Hickok plans to settle down as a “peaceable man” and hopes to convince Larry to do the same, but Larry is swayed by the easy money that comes from crime. Hickok remains on the side of law and order but finds it hard to give up his guns, which interferes with his plans to wed straight-laced Easterner Anne (Luana Walters).

This is a surprisingly brutal film, including the cold-blooded murder of an older man, an accidental killing, and the wounding of the film’s comic relief (Dub Taylor) along with the attempted lynching. There are story elements reminiscent of Owen Wister’s The Virginian, with Wild Bill’s Easterner sweetheart and “Trampas”-like “frenemy,” but unlike the original Wister novel, Across the Sierras builds to a surprisingly bleak ending.

Bill Elliott, Richard Fiske

The movie, which doesn’t really have anything to do with the Sierras, was filmed by George Meehan, with locations including Columbia Ranch and Iverson Ranch. I especially appreciated that the filmmakers created a waterfall for a single sequence shot at Iverson; they went to a lot of effort in order to create additional visual interest. As a frequent “B” Western viewer who’s also familiar with many locations, I’ve come to appreciate things like that!

Bill Elliott, Dick Curtis, Luana Walters

The villain is played by Dick Curtis, one of the founders of Pioneertown, which I wrote about here last month. One of his henchmen was played by LeRoy Mason, who was also a villain in Frontier Horizon. One tends to see the same actors and locations turn up among “B” Westerns, despite their being made by a variety of studios.

It’s a sad side note that some members of this cast died fairly young. Curtis was only 49 when he passed in 1952, and Walters died at 50 in 1963.

Across the Sierras

Fiske, who effectively plays Elliott’s troubled friend, joined the army in 1942 and was killed in action in France in 1944, age 28. He was posthumously awarded several military honors.

The cast is rounded out by Ruth Robinson and Milt (Milton) Kibbee, who was the brother of the better-known Guy Kibbee and the father of Emmy-nominated soap opera star Lois Kibbee.

Across the Sierras is available as part of a three-film Elliott DVD from Mill Creek.

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Boss of Bullion City (Ray Taylor, 1940)

Boss of Bullion City is a 61-minute Johnny Mack Brown Western released by Universal Pictures. Like Frontier Horizon, there’s a rather unexpected surprise in the supporting cast.

It was also the third film in a row I watched on the trip which was shot at Iverson Movie Ranch!

Boss of Bullion City

Tom Bryant (Brown) and his pal Burt (Fuzzy Knight) arrive in Bullion City to start a newspaper. Tom quickly deduces the town sheriff (Western villain extraordinaire Harry Woods) is behind major thefts in the area and sets out to stop him.

This is a fun little film, written by Arthur St. Claire and Victor McLeod from St. Claire’s story, though it has more characters than it knows what to do with. The film’s main problem is it doesn’t seem to know which of its ladies should end up with Brown.

Fuzzy Knight, Johnny Mack Brown, Maria Montez

Nell O’Day plays Martha, a spunky Western heroine who can ride and shoot as well as any man. O’Day, who appeared frequently opposite Brown, is an engaging leading lady.

The real surprise, though, is the actress who plays Linda, the daughter of peddler Mike Calhoun (Earle Hodgins): She’s played by future Universal Pictures adventure film star Maria Montez. Montez was fourth-billed, in her film debut, and she’s cute pining after Brown.

Nell O’Day, Johnny Mack Brown

Montez was later known as “The Queen of Technicolor,” but though she was filmed here by William A. Sickner in black and white, she remains gloriously beautiful. This is also said to have been the only film in which Montez speaks Spanish, which adds a fun side to her character.

The cast was rounded out by Kermit Maynard, George Humbert, Melvin Lang, Estelita Zarco, and the Guadalajara Trio.

Maria Montez, Fuzzy Knight

This film is available on DVD from VCI Entertainment; it’s part of an eight-film set featuring a variety of Western stars. For those few still using VHS players (I do!), VCI also put this film out as a single-title video release.

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The Brand of Hate (Lewis D. Collins, 1934)

The final film of this recent batch of movies seen was The Brand of Hate, a 63-minute Bob Steele Western from Supreme Pictures.

Young sweethearts Rod (Steele) and Margie (Lucile Browne) have their plans to wed complicated when her father Joe (William Farnum) has his outlaw brother Bill (George “Gabby” Hayes) and evil nephews (James Flavin and Archie Ricks) unexpectedly show up and demand to move in.

The Brand of Hate

Bill and sons are very dangerous — indeed, they shoot Rod’s father (Charles French) and threaten that Margie will have to marry one of them — so Margie feigns a lack of interest in Rod in order to keep him out of harm’s way. But eventually, thanks in part to Margie’s brave little brother Bud (Mickey Rentschler), Rod learns the truth and sets out to rescue Margie.

Gabby Hayes, Lucile Browne, Bob Steele and cast

The acting in this film, written by Jack Natteford, is often akin to an old-style melodrama, yet it has a certain charming innocence which I found quite agreeable. Steele and Browne are sweet together, and I really appreciated Steele’s athleticism. It’s great fun simply watching him mount a horse! I think he may have done some of his own stunts.

James Flavin, Bob Steele

Ironically, leading lady Browne had married Flavin, who plays one of the villains menacing her, the year before this film was released. They were wed until Flavin’s death in 1976.

Lucile Browne, Bob Steele

The movie was filmed by William Thompson. References indicate it was shot in Lone Pine, but my husband and I didn’t recognize any of the film’s locations as being from that area, which we know well. We also couldn’t figure out where it was actually shot!

The Brand of Hate

The Brand of Hate is available on DVD from VCI Entertainment, released as part of a four-film Bob Steele collection.

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It’s hard to believe, but this month marks my seventh anniversary writing the Western RoundUp column here at Classic Movie Hub. I continue to be deeply appreciative of the opportunity to share my love for all things related to Western movies here, and my thanks to all who read and comment!

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– 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.

Posted in Posts by Laura Grieve, Western RoundUp | Tagged across the sierras, b westerns, bill elliott, Bob Steele, boss of bullion city, dick curtis, Frontier Horizon, Fuzzy Knight, Gabby Hayes, james flavin, jennifer jones, john wayne, Johnny Mack Brown, luana walters, lucile brown, maria montez, New Frontier, Ray Corrigan, Raymond Hatton, richard fiske, the brand of hate | 4 Comments

We Need 2 Talk Podcast: What Makes a Classic Movie Classic?

Posted on June 24, 2025 by Annmarie Gatti

What Makes a Classic Movie Classic?
Inquiring Minds Want to Know

I’m so excited to share this podcast episode with you all! I was honored to be a Special Guest on the We Need 2 Talk podcast where we chatted about — you guessed it — classic movies!

Podcast hosts Kristy & K made me feel so welcome and so at home! Even though it was our first meeting, it was like catching up with old friends. I had such a blast chatting with them — and yes, I even got to quiz them on (drum roll please) their classic movie knowledge!

Please take a listen when you have a few minutes. My segment starts at about 27 minutes in, but the entire episode is such a fun and lively conversation. 🙂

If you enjoy this episode, you can check out Kristy and K’s other great podcast epidodes here.

About the We Need 2 Talk Podcast: Kristy & K are two best friends who never see each other and get together every Sunday to talk about TV, Pop Culture and Life.

A Big Thank You to Kristy and K — and Producer Ed!

–Annmarie Gatti for Classic Movie Hub

Posted in Posts by Annmarie Gatti | Tagged Classic Movie Quiz, podcast, We Need 2 Talk | Leave a comment

Noir Nook: Four Noirs for Free

Posted on June 19, 2025 by Karen Burroughs Hannsberry

Four Noirs for Free

I may have mentioned this around these parts before, but there are few things more frustrating to a classic film lover than to read a glowing recommendation about a movie that they’re unable to find. Well, the Noir Nook doesn’t go for frustration, so this month, I’m serving up four first-rate, lesser-known noirs for you to check out – and you can see them on YouTube . . . for free, even!

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Cry Vengeance (1954)

Cry Vengeance, Martha Hyer and Mark Stevens

Mark Stevens (who you might recognize from films like The Dark Corner [1946] with Lucille Ball, or the Olivia DeHavilland vehicle, The Snake Pit [1948]) stars in this feature as ex-cop Vic Barron, who has recently been released from San Quentin after a three-year stretch for bribery. He instantly heads for Ketchikan, Alaska, bent on revenge against Tino Morelli (Douglas Kennedy), the mobster Vic thinks framed him and planted the bomb that disfigured Vic and killed his wife and daughter. What Vic doesn’t know is that he’s barking up the wrong crook – the real culprit is a hood named Roxey (played by the endlessly oily Skip Homeier), who trails Vic to Alaska with a diabolical plan to put him away for good.

Stevens made his directorial debut with this feature – he would go on to helm films like the time-worthy Time Table (1956), and episodes of television shows including Studio 57 and Wagon Train. In Cry Vengeance he turns in a versatile and touching performance of a man tortured by the tragedies of his past and twisted by the vendetta that threatens to destroy his future.

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Shakedown (1950)

Shakedown, Howard Duff and Lawrence Tierney

I’ve had an all but unwatchable VHS copy of Shakedown in my collection for several decades, so you can imagine my delight when I discovered a first-rate print on You Tube. In this well-done feature, Howard Duff is a positive stinker as talented but completely unscrupulous photographer Jack Early. When he parlays his dodgy penchant for “just happening to pass by” noteworthy events into a newspaper job, Early’s quest for fame and fortune kicks into overdrive – but he gets far more than he bargained for when he befriends mobster Nick Palmer (Brian Donlevy) and becomes involved with Palmer’s rival Harry Coulton (Lawrence Tierney).

After seeing Howard Duff in slightly more upstanding roles in noirs like Brute Force (1947) and Private Hell 36 (1954), it was a bit of a shock to watch him play such an absolute heel, but he was perfect for the part; his pleasantly handsome face and trustworthy demeanor provided the ideal mask for the corruption beneath. And the film was directed with skill by actor-turned-director Joseph Pevney in his first time behind the camera, resulting in a well-paced feature and an ironic ending worthy of Alfred Hitchcock Presents.

…..

House of Strangers (1949)

With a cast headed up by Richard Conte, Susan Hayward, and Edward G. Robinson, and direction by Joseph L. Mankiewicz, House of Strangers is a don’t-miss. It doesn’t contain such familiar noir characteristics as voiceover narration, or a knucklehead everyman done in by a femme fatale – for that matter, there’s no femme fatale at all – but it’s got enough cynicism, desperation, and bad choices to satisfy any shadowy sweet tooth. The story focuses on Conte’s character, Max Monetti, who, at the film’s start, has just been released from prison after serving seven years. We learn all about Max and his family, and the reason for his incarceration, in the film’s flashback – the Monetti clan includes patriarch Gino (Robinson), a prominent bank owner with an inclination toward illegal business practices, and four sons, of which Max is clearly Gino’s favorite. When Gino is arrested for his unconventional banking policies, three of his sons turn on him, Max winds up in prison for his efforts to save him – and Max emerges from his confinement with a determination to pay his brothers back in spades for their disloyalty.

House of Strangers is brimming with memorable characters and standout performances – Robinson is excellent as the headstrong family head; Conte’s vengeful ex-convict is cold as frozen steel – and just as hard; and Hayward plays Max’s plain-speaking, long-suffering lover, who tries to talk him out of his plans for revenge.

…..

Wicked Woman (1953)

Wicked Woman, Richard Egan and Beverly Michaels

One of my absolute favorite low-budget noirs, Wicked Woman stars Beverly Michaels as Billie Nash, who seems to exist by wandering from place to place, finding whatever employment she can, and sponging off as many gullible fellas as possible before moving on again. When the film opens, she’s just arrived in some nameless town, and before long, she’s living in a rundown (but respectable, mind you) rooming house and working at a local tavern run by Matt Bannister (Richard Egan) and his dipsomaniac wife, Dora (Evelyn Scott). In the blink of an eye, she’s attracted Matt’s attentions, along with those of creepy Charlie Borg (Percy Helton), who lives across the hall in the rooming house and would do almost anything to spend time with Billie (from giving her his newly cooked dinner, to altering her clothes, to “loaning” her money, with collateral being the promise of a date on her night off). The film’s action revolves around the relationship between Billie and Matt, her fantasies of “dancing and making love and being serenaded” in Mexico, and just how far she’s willing to go to make her dreams a reality.

Billie is not your normal, garden-variety femme fatale, in the tradition of the Phyllis Dietrichsons and Kathie Moffats of the world. She’s not polished, or even overly calculating – she’s just getting by the best way she can. She unwinds from the stresses of life with cigarettes and a swig of gin, her astrology magazine, and her favorite record played on her portable wind-up phonograph. There’s no next week for Billie – there’s barely a tomorrow; her plans are for right now, and whatever she needs to do to get her through right now, she’ll do it. (And if that means stealing your man, well . . . that’s the way the cookie crumbles.)

I hope you’ll check out these four YouTube freebies – you’ll be glad you did!

…

– 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:

Posted in Noir Nook, Posts by Karen Burroughs Hannsberry | Tagged beverly michaels, cry vengeance, House of Strangers, howard duff, lawrence tierney, mark stevens, martha hyer, richard conte, Richard Egan, Shakedown, wicked woman | Leave a comment

Monsters and Matinees: Spending Quiet Time with ‘The Earth Dies Screaming’

Posted on June 14, 2025 by Toni Ruberto

Spending Quiet Time with ‘The Earth Dies Screaming’

In a quaint English village, people are sitting in a parlor by the fire doing what proper Brits do: elegantly smoking and drinking tea. It’s all so genteel inside, yet outside the situation is dire as “The Earth Dies Screaming.”

That’s the excellent name of a 1964 film that is much quieter than the title promises. Directed by Terence Fisher, this non-Hammer film is a taut sci-fi thriller that clocks in at a crisp 62 minutes.

It gets right down to business by putting viewers directly in the middle of some strange happenings without introduction: a train going off its track, a car crashing into a brick wall, people dropping to the ground.

Add an ominous pall to the usually postcard- perfect English village thanks to the black and white photography, then throw in a few lifeless bodies strewn about and it’s eerie and quiet. Something is very wrong.

If you see these guys, don’t shake their hand in *The Earth Dies Screaming*.

A car pulls into the village driven a sturdy looking man with a rifle. He stops at a deserted shop and takes a radio, but leaves everything else. This guy has scruples. Meet American test pilot Jeff (played by Willard Parker) who’s such a sensitive bloke he picks a dead bird up off the ground and gently moves it to where it won’t get stepped on.

In a nearby inn (it’s too homey to be called a hotel), Jeff’s uneasy solace is interrupted by the arrival of Quinn Taggart (played by Dennis Price) and Peggy (Virginia Field).

There’s something unsettling about Taggart who immediately pulls out a gun so tiny it looks like a toy. (I snickered, but it does work on the bad guys.)

A small band of survivors deal with an apocalyptic mystery in *The Earth Dies Screaming.* Pictured are, from left, Dennis Price, Virginia Field and Willard Parker.

“None of us know who our friends are,” Taggart says as his excuse. He has a point – this is the first time they are seeing another person alive since “the event.”

Soon they’re joined by Ed Otis (Thorley Walters) and his wife Violet (Vanda Godsell) dressed in evening attire for his office party. They’re quite hospitable even if Ed drinks quite a bit to soothe his nerves.

So now there are five people in the inn trying to figure out what happened. There’s nothing on TV or radio, just an odd hum that modern viewers will know is not good (cue the aliens).

Jeff quickly becomes the voice of reason and the one who will help the story move along as he realizes there’s a connection between the survivors.

He was in the air when the disturbance happened before landing to find everyone dead. Peggy was in an oxygen tent at a hospital. Ed and Violet spent the night in a laboratory at the office to play kissy face away from the party. Where was Taggart? He deftly changes the subject and doesn’t answer. (But where was he? I want to know what he’s all about. There are a few loose ends in his story which makes me wonder if some of his scenes were cut for time.)

A young couple (the future of the world?) arrive in a desolate village in *The Earth Dies Screaming.* Pictured are Willard Parker, left, Anna Palk and David Spenser.

They come up with the reasonable explanation that there was a gas attack. Any doubts about that theory vanish with the arrival of a young couple who are so broke that they spent the previous night in an abandoned air raid shelter. (I did not make that up.) Mel (played by David Spenser) is a “cheeky kid” who will grow on you, and sweet Lorna (Anna Palk) is very pregnant and wants to get to her mother’s house before she gives birth.

Finally we get a clue about what’s going when two figures in “space suits” are spotted out the window and mistaken for soldiers by one of our new friends. These tin foil-suited figures slowly walk and appear to be in a zombie-like state, but they have some sort of death touch that creates eyeless creatures who also act, well, like zombies.

Is it a zombie apocalypse, an alien invasion or both in *The Earth Dies Screaming*?

But this isn’t a zombie apocalypse via “The Walking Dead.” These guys are slower than molasses, easy to hide from and you can even outrun them. Just wait until they are only steps away from humans and there’s still enough time to sit and have a cup of tea. (Then again, the humans often just stand there, so it’s anyone’s guess on who will move first.)

Since Jeff has scientific training and can work his way around radios and transmitters, he hatches a plan after he realizes what we, the viewers, knew all along: that sound on the radio was an alien rallying cry!

Not a lot happens in this film plot wise, but Terence Fisher layers short, tense moments to keep the film moving and the viewer on edge in quiet moments.

He plays the inn like a haunted house mystery where characters skulk about at night making the viewer question what they’re doing. Even getting a glass of milk is suspicious.

Fisher takes advantage of the fact that our humans create a lot of self-inflicted problems by leaving doors open, lights on and making loud noises like beeping the car horn. (Then there’s the clip-clopping of high heels.) All of that would get you killed in a real alien or zombie apocalypse, but Fisher uses it to build his tension.

Let’s turn the kitchen lights on so it’s easy for the bad guys to see us.

In one scene, lights are turned on in the kitchen, giving a foil-wrapped alien a clear view of the human inside. What will happen?

Later, a character hides in a closet (never a good choice) from an alien who reacts in a strange way that again allows the tension to mount.

And a corpse rising from beneath a sheet is one of those “what’s going on moments?” that should make the viewer and characters scream.

Oh wait, there’s a baby to be born, too.

Can you ever really live up to a fantastic title like The Earth Dies Screaming? Probably not. But the film’s compact run time and Fisher’s deft direction make it well worth watching. Heck, at 62 minutes you’ll have time to see it twice.

TRIVIA

Off-screen romance: Virginia Field and Willard Parker were married in real-life from 1951 to 1992 when she died, which explains the easy chemistry between them on screen.

Setting and music: It was filmed at Shepperton Studios, with location shooting in the village of Shere in Surrey. One of the buildings is the Manor House Lodge, designed by the father of the film’s composer Elisabeth Lutyens. Her avant-garde scores were heard in multiple 1960s British horror films including some for Hammer and Amicus like Dr. Terror’s House of Horrors, Terrornauts and The Skull.

New studio: In the 1960s, Fisher made a few movies outside of Hammer studios including The Horror of It All (1963) with Pat Boone and The Earth Dies Screaming both for the American film and distribution company Lippert Pictures. Fisher did direct other films for Hammer in the ‘60s including the great The Gorgon (my favorite) and Dracula: Prince of Darkness.

– 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 and Bluesky at @watchingforever.bsky.social

Posted in Horror, Monsters and Matinees, Posts by Toni Ruberto | Tagged Dennis Price, Earth Dies Screaming, Shepperton Studios, Terence Fisher, Virginia Field | 1 Comment

Silver Screen Standards: The Big Clock (1948)

Posted on June 12, 2025 by Jennifer Garlen

Silver Screen Standards: The Big Clock (1948)

Time looms over us all, but not as literally as it does over Ray Milland in director John Farrow’s fascinating noir, The Big Clock (1948), which features Milland as a magazine editor framed for murder by his powerful tycoon boss. With its emphasis on the grinding power of clocks and time over corporate life, this film noir reminds us that even the best paid rats are still racing as fast as they can, and escape from the rat race isn’t easy to achieve. In addition to Milland, The Big Clock features memorable performances from Charles Laughton, Maureen O’Sullivan, Elsa Lanchester, George Macready, and a menacing Harry Morgan, so it’s truly a star-studded affair, but Milland’s performance as the beleaguered protagonist is definitely the main attraction.

The Big Clock, Ray Milland and Charles Laughton — George Stroud (Ray Milland) finds it very hard to leave the employment of Earl Janoth (Charles Laughton).

Milland leads as George Stroud, the editor of a crime magazine owned by publishing mogul Earl Janoth (Charles Laughton). George’s marriage to Georgette (Maureen O’Sullivan) is suffering because of his relentless work schedule, but when George quits his boss suddenly reels him back in to investigate a mystery man Janoth wants to frame for a murder the tycoon himself actually committed. Much to his wife’s frustration, George accepts the assignment, not because he wants the job but because George is the mystery man Janoth intends to blame for the killing.

The Big Clock, Harry Morgan — Harry Morgan plays Janoth’s silent but menacing flunky.

The narrative structure of The Big Clock parallels that of John Farrow’s other noir films, Night Has a Thousand Eyes (1948) and Alias Nick Beal (1949), with all three movies opening at the start of the third act and our protagonists in peril. We’re introduced to George as he hides inside the titular clock from armed guards who have orders to shoot on sight. George then recounts the events that led him to this dangerous situation. It’s an effective strategy, but if you watch all three movies together (as I did), you really notice its repeated use. When George takes us back to the beginning, we learn that he stumbles into this predicament thanks to a chance meeting with Janoth’s ex-girlfriend, Pauline (Rita Johnson). George, having quit his job but still in trouble with his wife for missing their train out of town, goes on a bender with Pauline and then departs to join Georgette on their long-delayed honeymoon. Unfortunately for George, his boozy evening with Pauline makes him a perfect fall guy when Janoth kills her, so George is forced to pretend to look for himself while simultaneously trying to keep his team from actually identifying him. I don’t want to provide too many spoilers here, but with the opening it’s obvious that George is on the run for a crime he didn’t commit, and the suspense hinges on whether the clever crime editor can free himself from his employer’s lethal trap.

The Big Clock Charles Laughton Closeup — For all his power, Janoth is terrified of being found out as the murderer.

An excellent cast keeps the characters interesting even as we question some of their motives. Having won an Oscar for his alcoholic protagonist in The Last Weekend (1945), Ray Milland carries the drinking scenes with ease, and while George Stroud isn’t a villain, Milland’s ability to play one in films like So Evil My Love (1948), Dial M for Murder (1954), and Alias Nick Beal brings moral ambiguity to a character who could have been too squeaky clean with another actor in the role. Charles Laughton, always great, here leans into one of his subtler villain roles, saving his bursts of violence and temper for the moments when they really count. John Farrow’s wife, Maureen O’Sullivan, has a decent role as the increasingly irritated Georgette, but it’s Laughton’s spouse, the brilliant Elsa Lanchester, who steals every scene as the eccentric painter, Louise Patterson. George Macready plays Janoth’s devoted assistant as a suitably slippery character, but Harry Morgan makes an even greater impression without saying word as Janoth’s silently menacing underling. Morgan seems to be channeling Elisha Cook, Jr. from The Maltese Falcon (1941) with his intense, unhinged stare and propensity for violence, and he’s great fun to watch.

The Big Clock, Ray Milland and Charles Laughton, Gun — George and his employer do not part on friendly terms.

For even more noir films directed by John Farrow, see Where Danger Lives (1950) and His Kind of Woman (1951). Ray Milland and Rita Johnson also appear together in the Billy Wilder comedy, The Major and the Minor (1942), while Charles Laughton plays Maureen O’Sullivan’s domineering father in The Barretts of Wimpole Street (1934). Laughton and Lanchester appear in six other films together, most notably The Private Life of Henry VIII (1933), Rembrandt (1936), and Witness for the Prosecution (1957). For even more of Ray Milland, see The Uninvited (1944), Ministry of Fear (1944), and Rhubarb (1951).

…

— 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.

Posted in Films, Posts by Jennifer Garlen, Silver Screen Standards | Tagged charles laughton, harry morgan, ray milland, the big clock | Leave a comment

Classic Movie Travels June: Helen Chandler

Posted on June 5, 2025 by Annette Bochenek

Classic Movie Travels June: Helen Chandler

Helen Chandler was born on February 1, 1909, in New York, New York, to Leland and Frances Chandler. Across different census records and documents, her year of birth, however, has been widely disputed, documented as 1906, 1909, and 1911. Her father worked as a salesman and club manager and her mother was a housewife, raising two children: Helen and Leland Jr.

Chandler’s mother wanted her children to have careers as actors. As a result, Chandler attended the Professional Children’s School in New York before making her Broadway debut in 1918 at the Globe Theatre in Penrod. She frequently appeared in various renditions of Shakespeare’s tragedies.

After appearing in over twenty Broadway plays, she made her film debut in The Music Master (1927). She also performed alongside the likes of Leslie Howard and Douglas Fairbanks Jr., in Outward Bound (1930). Chandler received critical praise for her performances and continued her film career with The Last Flight (1931), Vanity Street (1932), and Christopher Strong (1933). At the same time, she made frequent appearances on the radio and in stage performances in Los Angeles, New York, and abroad in London. Despite many more performances in films, her best-remembered role is that of Mina in Dracula (1931).

Helen Chandler Dracula — Helen Chandler, Dracula

In the late 1930s, Chandler struggled with alcoholism and a reliance on sleeping pills as her acting roles waned. This also led to several instances in which she was hospitalized and committed to a sanitarium.

Chandler was married a total of three times. In 1930, Chandler married writer Cyril Hume. They divorced in 1934. Her next marriage was to actor Bramwell Fletcher in 1935, which ended in a 1940 divorce. Her final marriage was to merchant seaman Walter Piascik, which lasted from 1943 until her passing.

In 1950, Chandler fell asleep while smoking in her apartment, leading to a devastating fire that left her disfigured. Her issues with alcoholism became much worse from this point on as she navigated this difficult period.

Chandler passed away on April 30, 1965, after a surgery. Per her wishes, she was cremated. Her initial inurnment site was a private vault at Chapel of the Pines Crematory in Los Angeles, California. After a major fundraising effort led by Jessica Wahl and Arthur Dark and permission from her surviving family, Chandler’s ashes were relocated to the Cathedral Mausoleum at Hollywood Forever Cemetery in Los Angeles on July 13, 2023, where they can be viewed by the public.

In 1920, Chandler and her family resided at 1306 Nicholas Ave., New York, New York. This apartment building stands today.

In 1930, she and Hume lived at 331 22^nd St., Santa Monica, California. In 1940, she and Fletcher lived at 2 E. 56^th St., New York, New York. Both of these buildings have since been razed.

Chandler and Fletcher were married at Riverside Church in 1935, which stands at 490 Riverside Dr., New York, New York.

In 1950, Chandler and Piascik resided at 223 ½ Santa Anita Ct., Sierra Madre, California. This home also stands.

Of course, the strongest testament to her legacy is her new resting place, courtesy of her fans. Today, visitors can pay their respects to her at Hollywood Forever Cemetery.

…

–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.

Posted in Classic Movie Travels, Posts by Annette Bochenek | Tagged dracula, Helen Chandler | 2 Comments

Western RoundUp: Pioneertown

Posted on May 31, 2025 by Laura Grieve

Pioneertown

As longtime readers of this column will be aware, one of my favorite pastimes is to visit Western film locations.

I recently had the opportunity to visit Pioneertown, located in California’s Yucca Valley, roughly 16 miles from Joshua Tree National Park.

Pioneertown is similar to Corriganville, which I wrote about here in 2021, in that it was built specifically for the filming of movies.

Today it remains open as a tourist attraction and occasional movie location, and it’s also home for a few hundred people.

A notable former citizen of this small community was singer-actress Nancy Wilson, who died at her Pioneertown home in 2018, at the age of 81.

Pioneertown was established in 1946. Founding investors from the movie industry included Dick Curtis, Russell Hayden (“Lucky” of the Hopalong Cassidy movies), Roy Rogers, and the Sons of the Pioneers.

Actors George Tobias, David Bruce, and Adele Mara were among those who attended the groundbreaking ceremony in September 1946, along with the investors. There’s a photo of the group at the Pioneertown official website.

Pioneertown was planned as a place within easy driving distance of both Los Angeles and Palm Springs, providing everything needed for movie productions and their casts and crews.

Bowling Alley Pioneertown — Bowling Alley

There was a store, restaurant, beauty shop, and newspaper. The town even included a bowling alley, seen above and below, which was enjoyed by Roy Rogers, who was a skilled bowler. Some readers “of a certain age” may remember Rogers appearing on the TV show Celebrity Bowling in the ’70s.

The original plan was to call the community Rogersville after Rogers, but when his former singing group, the Sons of the Pioneers, recorded a promotional song called “Out in Pioneertown,” it received its permanent name.

Over the years many Gene Autry and Cisco Kid movies were filmed at Pioneertown, along with non-Western films including The Capture (1950) with Lew Ayres and Teresa Wright and Jeopardy (1953) with Barbara Stanwyck and Barry Sullivan.

As Western film production became less frequent in the ’50s, numerous TV Westerns shot there, including Gene Autry productions such as The Gene Autry Show and Annie Oakley. Autry himself spent a great deal of time in Palm Springs, where he had various business interests; Pioneertown is roughly 35 miles away.

A small film museum documents some of the productions shot in Pioneertown over the years.

There’s a small amount of memorabilia in the museum; it’s chiefly filled with vintage movie posters.

I wrote about Gene Autry’s The Cowboy and the Indians (1949) here in 2018 and again more recently. I was especially enthused about seeing one of that film’s locations in person.

The town’s main street was dubbed Mane Street. Here are views looking two different directions.

Mane Street is still home to a number of buildings which once doubled as movie sets.

Livery Stable Pioneertown — Livery Stable

While an ice cream parlor and grocery store are no longer there, there’s a still-functioning United States Post Office.

A marker in front of the post office says it’s “said to be the most photographed post office in the entire United States.”

There’s also a small motel.

Before leaving we ate lunch at the barbecue restaurant Pappy and Harriet’s Pioneertown Palace, which is also a concert venue. I was amazed to learn that the artists who’ve performed there have included Paul McCartney, who gave a concert in 2016.

In the restaurant lobby my eye was caught by an autographed photo of Pioneertown investors the Sons of the Pioneers, who appeared in many movies. That’s one-time group member Ken Curtis, later known as Festus on TV’s Gunsmoke, at the top center.

Pioneertown can be seen end to end, including a stop for lunch, in two or three leisurely hours. The town occasionally hosts events such as craft fairs and cookie contests. It’s an interesting and informative stop, especially for those who love Western film history.

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

…

– Laura Grieve for Classic Movie Hub

Posted in Posts by Laura Grieve, Western RoundUp | Tagged Barbed Wire, Jeopardy, nancy wilson, Pioneertown, Sons of the Pioneers, The Cowboy and the Indians 1949, western film locations | 4 Comments

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Classic Movie Travels June: Helen Chandler