In celebration of National Nebraska Day today, April 5th, I just thought I’d share some Classic Movie Nebraska birthdays with you! Many thanks to my friend and fellow film fan @Nebraskanellie who ‘educated’ me on all the iconic stars born in Nebraska! Can’t wait to visit their birthplaces one day… Oh, and by the way, the most surprising of all for me, was Marlon Brando!
Here we go:
Born in Omaha:
Fred Astaire, born Frederick Austerlitz in Omaha, May 10, 1899
Marlon Brando, born Marlon Brando Jr. in Omaha, April 3, 1924
Montgomery Clift, born Edward Montgomery Clift in Omaha, October 17, 1920
Dorothy McGuire born Dorothy Hackett McGuire in Omaha, June 14, 1916
…..
Born in Grand Island:
Henry Fonda, born Henry Jaynes Fonda in Omaha, May 16, 1905
…..
Born in Filley:
Robert Taylor, born Spangler Arlington Brugh in Filley, August 5, 1911
…..
Born in Burchard:
Harold Lloyd, born Harold Clayton Lloyd in Omaha, April 20, 1893
…..
Born in Laurel:
James Coburn, born James Harrison Coburn III in Laurel, August 31, 1928
…..
Born in Hastings:
Sandy Dennis, born Sandra Dale Dennis in Hastings, April 27, 1937[1]
…..
Born in Benkelman:
Ward Bond, born Wardell Edwin Bond in Benkelman, April 9, 1903
That said, here are some of our April classic movie picks available for FREE STREAMING all month long on the CMH Channel. All you need to do is click on the movie/show of your choice, then click âplayâ â you do not have to opt for a 7-day trial.
In celebration of April Birthdays, weâre featuring two comic geniuses – Charlie Chaplin (born Apr 16, 1889) with his silent classic, The Kid, from 1921, and Harold Lloyd (April 20, 1893) with his screwball talkie, The Milky Way, from 1936. Weâre also celebrating Spencer Tracyâs birthday (Apr 5, 1900) with Father’s Little Dividend, also starring Elizabeth Taylor and Joan Bennett â as well as Gregory Peck’s birthday (April 5, 1916) with The Snows of Kilimanjaro. Weâll also be showing Of Human Bondage starring Bette Davis (born April 5, 1908), Oliver Twist starring Sir Alec Guinness (born April 2, 1914), and Royal Wedding starring Jane Powell (April 1, 1929) co-starring Fred Astaire and directed by Stanley Donen (April 13, 1924).
The Kid, 1921 silent film by Charlie Chaplin, starring Chaplin, Jackie Coogan, and Edna Purviance
Father’s Little Dividend from 1951, directed by Vincente Minnelli, and starring Spencer Tracy, Elizabeth Taylor, and Joan Bennet. This was the follow-up to 1950’s Father of the Bride.
From 1952, The Snows of Kilimanjaro, starring Gregory Peck, Susan Hayward, and Ava Gardner
âŠ..
Weâre also getting ready for some Springtime Fun with some rapid-fire dialog, mistaken identities, and some fun tunes.
His Girl Friday, the 1940 Howard Hawks screwball comedy classic starring Cary Grant, Rosalind Russell, and Ralph BellamyFrom 1951, Happy Go Lovely, the musical comedy starring David Niven, Vera-Ellen and Cesar Romero
âŠ..
For those of you who arenât familiar with the service, Best Classics Ever is a new mega streaming channel built especially for classic movie and TV lovers. The idea of the channel is to make lots of classic titles accessible and affordable for all. That said, Classic Movie Hub is curating titles each month that our fans can stream for free on the Classic Movie Hub Channelat Best Classics Ever. If youâd like access to the entire selection of Best Classics Ever titles, you can subscribe to everything for a low monthly fee of $4.99/month (Best Stars Ever, Best Westerns Ever, Best Mysteries Ever, Best TV Ever) or for an individual channel for only $1.99/month.
You can read more about Best Classics Ever and our partnership here.
Bennie Jean Porter was born on December 8, 1922, in Cisco, Texas. Her father,
H.C. Porter, worked for the Pacific Railway while her mother, Oma Thelma
Simper, taught piano. Even at an early age, Porter was already particularly
photogenic, dubbed the âMost Beautiful Babyâ of Eastland County.
As she grew, so did her engaging personality, entertaining the residence of
Dallas by hosting a Saturday morning radio show for the local WRR station by
the age of 10. Later, she would secure a summer position touring with performer
Ted Lewis and his band.
While working on Till the End of Time, Porter met director Edward Dmytryk, who would become her husband. Porter had replaced Shirley Temple in the role. They married in 1948 in Ellicott City, Maryland, and had three children: Richard, Victoria, and Rebecca. Unfortunately, Dmytryk was blacklisted due to his refusal to respond to allegations of communism. He would become one of the Hollywood Ten most prominently blacklisted individuals of the film industry. As a result, the couple fled to England. Though they would return to the U.S. in 1951, it was not without challenges. Dmytryk was imprisoned for six months due to contempt of congress. He gave testimony and was eventually given a reprieve, leading him to be allowed to return to directing.
Porterâs career in films, however, would soon end. Dick Powell gave her a small part in Cry Danger(1951), which helped her to keep working while Dmytryk was in jail. During this period, Porter predominantly worked in television, appearing in shows like The Red Skelton Show, Sea Hunt, and 77 Sunset Strip. Her last film was The Left Hand of God(1955), directed by her husband. She retired from acting altogether in 1961.
Richard Erdman and Jean Porter in Cry Danger (1951)
Porter passed away on January 13, 2018, in Canoga Park, California, at age
95.
Over the years, Porter maintained many properties and moved fairly
frequently. She and Dmytryk traveled often but many residences where she lived
remain.
In 1947,
she had a residence at 1220 N. State Parkway in Chicago, Illinois. The original structure remains.
1220 N. State Parkway, Chicago, Illinois
She also owned a property at 1400 Lorrain St. in Austin, Texas. This is the
property today:
1400 Lorrain St., Austin, Texas
From 1956 to 1962, Porter and Dmytryk resided at 609 Saint Cloud Rd in
Westwood, California. The home also stands today.
609 Saint Cloud Road, Westwood, California
1n 1983, Porter lived at 8729 Lookout Mountain Ave. in Los Angeles,
California. Here is the home today:
8729 Lookout Mountain Ave., Los Angeles, California
By 1988, she relocated to 588 Cold Canyon Rd in Calabasas, California. This
is the home today:
588 Cold Canyon Road, Calabasas, California
In 1996, Porter resided at 3945 Westfall Dr. in Encino, California. This is
the home at present:
3945 Westfall Dr., Encino, California
Today, Porter can still be remembered through her films as well as her intriguing written output both with her husband and independently.
Annette Bochenek of Chicago, Illinois, is a PhD student at Dominican University and an independent scholar of Hollywoodâs Golden Age. She manages the Hometowns to Hollywood blog, in which she writes about her trips exploring the legacies and hometowns of Golden Age stars. Annette also hosts the âHometowns to Hollywoodâ film series throughout the Chicago area. She has been featured on Turner Classic Movies and is the president of TCM Backlotâs Chicago chapter. In addition to writing for Classic Movie Hub, she also writes for Silent Film Quarterly, Nostalgia Digest, and Chicago Art Deco SocietyMagazine.
In my February Western RoundUp column, I wrote about Rio Bravo (1959), an old favorite I’ve seen countless times over most of my life.
This month I chose to write about a film I’ve never seen before, which is also possibly the “newest” Western I’ve ever written about here: Will Penny (1967), starring Charlton Heston in the title role.
Will Penny (1967) movie poster
Will Penny has been highly recommended to me by
several people over the years, including my dad, a fellow Western fan who
praised its authenticity and called it a “classic loner Western.”
This month it was finally time for me to pull it out of my mile-high viewing
stack! Sometimes when one finally sees a film it doesn’t live up to recommendations,
but I’m happy to say that Will Penny did not disappoint.
The movie was captivating from its opening cattle drive scenes, filmed somewhere around Bishop or Lone Pine, California, and scored by David Raksin (Laura). This sequence captures the rough, dirty life of a cowboy with gritty realism, including what it was like working in near-freezing weather.
Charlton Heston
The movie filmed in February, and one could tell the bundled-up actors were genuinely cold; in his book, The Actor’s Life: Journals 1956-1976Â Heston wrote “…it was the wind that washed fatigue through all of us, all day.”
It was worth it, though, as
Heston recorded that the dailies looked “marvelous.” And indeed, the
final film is absolutely beautiful.
As laid out in the opening
sequence, Will is a cowboy, teased about his age by the younger men on the
drive. He’s not educated — he can only make his “mark” in the
receipt book instead of signing when he’s paid — but he has the kind of
knowledge, of men and nature, that isn’t learned in books.
With the cattle drive ended, Will tags along with fellow cowboys Blue (Lee Majors) and Dutchy (Anthony Zerbe) on their way to look for new work. An unfortunate encounter with the mean Quint family, including the father “Preacher” Quint (Donald Pleasence) and his sons (Bruce Dern, Matt Clark, and Gene Rutherford) leaves one of the Quint boys dead and Dutchy “gut shot,” seemingly likely to die.
Heston & Lee Majors
Will and Blue manage to get Dutchy to a doctor (William Schallert), after which Will leaves; he’s eventually hired by Alex (Ben Johnson), the no-nonsense foreman of the Flat Iron Ranch. Will is given a job manning a remote line cabin for the winter and told under no circumstances can any trespasser he encounters remain on Flat Iron land.
This rule causes quite a problem
when Will arrives at the cabin and finds Catherine Allen (Joan Hackett) and her
son Horace (Jon Francis), who had been abandoned by the guide hired to deliver
them to her husband’s new farm in Oregon.
Jon Francis and Joan Hackett
Will doesn’t have the heart to
turn the Allens out before they can move on in the spring, and as time goes on
the trio become close. Long-time loner Will loves teaching the little boy about
the outdoors and comes to love Catherine. But Catherine’s far-off husband, the
nearby Quints, and Will’s own fear of commitment all may stand in the way of
Will and the Allens being able to remain a permanent family unit.
As with many Western films, part of the pleasure in watching is noticing the echoes of Westerns past. The Quints called to mind Uncle Shiloh Clegg (Charles Kemper) and his “boys” (including James Arness and Hank Worden) from John Ford‘s Wagon Master(1950), with a touch of the Clantons from Ford’s My Darling Clementine (1946) on the side.
Without intending to be too spoiler-y, the ending made me think a bit of Shane(1953). Tying all these points in Western film history together is Ben Johnson, who appeared in both Wagon Master and Shane and is seen here as Will’s ranch boss.
Charlton Heston often said that of all the films he made, this was his favorite.
Heston is superb in the title role, playing a man who struggles to articulate his newly discovered strong feelings. With a history in Westerns going back to the early ’50s, including William Wyler‘s classic The Big Country (1958), Heston seems completely at home both in the saddle and in the part of an aging cowboy.
Heston would write in his 1995
memoir In the Arena: An Autobiography that Will Penny was
“one of the best [films] I’ve made, certainly among my best
performances…the film itself remains my best satisfaction.”
I was surprised to notice Heston’s wife, Lydia Clarke, in a bit role as the doctor’s wife. This was her first film in 14 years since she had a role in her husband’s film Bad For Each Other (1953). Heston noted in his journal that she did the part as “a convenience” for the production, saying, “I don’t think she enjoyed it, really, though she’s obviously far better than anyone they could’ve gotten.”
Heston also writes in his memoirs that Lee Remick, Jean Simmons, and Eva Marie Saint either turned down the role of Catherine Allen or weren’t available, but he was extremely happy with the lesser-known Hackett’s performance, saying she “couldn’t have been bettered.”
Charlton Heston, Joan Hackett and Jon Francis
Hackett has a nicely rounded role, as a “proper” woman traveling with a silver teakettle and books to educate her son; at the same time, she demonstrates nerve from the first time Will meets her at a road outpost, traveling west with no one but an unreliable guide and her little boy.
When Catherine discovers Will and
Blue have a grievously wounded man in their wagon, she does her best to comfort
him and advocate on his behalf; it’s an interesting scene as Will and Blue,
unsure of what to do for their friend, almost try to avoid dealing with it —
and their emotions — by going inside the station to drink.
Catherine might have more nerve
than sense, letting Will know she’s a lone woman at the line cabin when they
unexpectedly meet again in that isolated setting, but she’s a hard worker and
when the chips are down she can be counted on to do her part in a
life-threatening situation. It’s a wonderful role, and Hackett was fortunate
the other fine actresses cleared the way for her to get the part.
It’s fun to note that just a couple of years later Hackett and Dern, who plays a despicable villain here, reunited in a far different kind of Western, the comedy Support Your Local Sheriff! (1969).
Jon Francis, who is very
appealing as Catherine’s son, was born Jonathan Francis Gries and was the son
of screenwriter-director Tom Gries. The senior Gries had mostly directed in
television up to that point, and this was his son’s first acting role. The
younger Gries has continued to act up to the current day, as Jonathan or Jon
Gries.
I was intrigued that Lee Majors received an “introducing” credit in this film, although he’d been starring on TV’s The Big Valley for the previous two years. Heston noted that Majors had hoped to do a wagon-driving stunt near the end of the film but was turned down by stunt coordinator Joe Canutt in favor of legendary stuntman Joe Yrigoyen, which turned out to be a good thing when the camera car filming the scene crashed.
Ben Johnson is a pure pleasure to watch as the commanding ranch foreman, and the rest of the cast, including Slim Pickens and G.D. Spradlin, is strong as well.
Lobby card for Will Penny (1967)
Beyond the story and
performances, my favorite aspect of the film was the location shooting. A
significant percentage of the film takes place in the great outdoors, with
Mount Whitney hovering in the background. The Inyo County locations look
wonderfully familiar, and as mentioned, the film evocatively portrays the
area’s winter weather.
One of my favorite scenes, when
Will shows up at the Flat Iron Ranch, was filmed in the rain, and it looks
absolutely wonderful. Heston wrote that as filming continued into March and
snow on the ground started to melt, bare spots were filled in with detergent foam
“snow.”
My only quibble with the film is I might have preferred a different ending, though at the same time it would raise some moral questions, but I’ll say no more about that here.
Given my own enjoyment of the
movie, it was nice to read the memories of Heston’s daughter Holly; in a 2016
interview, she named Will Penny as her favorite of her
father’s films, saying “It was one of my dad’s favorite movies. I love the
movie, too. Because it’s just so full of emotion. I remember being on that set
a lot and having really happy times. It was a happy time for us.”
Will Penny is a happy time for viewers, as well. It’s an excellent film which I recommend.
…
â Laura Grieve for Classic Movie Hub
Laura can be found at her blog, Lauraâs Miscellaneous Musings, where sheâs 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 âWestern RoundUpâ for CMH.
CMH partners with University Press of Kentucky for 2021! With Exclusive Screen Classics Discussion Video Series and Lots of Classic Movie Book Giveaways
Classic Movie Hubis thrilled to announce our partnership with University Press of Kentucky to bring you exclusive classic movie video interviews throughout the year, plus lots and lots of exciting book giveaways — all in celebration of UPK’s 2021 Screen Classic book releases!
For the Screen Classics Discussion Video Series, Classic Movie Hub, University Press of Kentucky, and co-host Aurora from Once Upon a Screen, will be presenting a series of exclusive video interviews with and by classic movie biographers. Our first event, Growing Up Hollywood, will premiere on Monday, April 5 at 9pm ET on the Classic Movie Hub Facebook page. Author Alan Rode (Michael Curtiz: A Life In Film) will be speaking with the children of Hollywood legends who are also successful biographers of their parents: Victoria Riskin (Fay Wray and Robert Riskin: A Hollywood Memoir) and William Wellman, Jr. (Wild Bill Wellman: Hollywood Rebel).
And to make things even more exciting,CMH will be giving away lots of UPK classic movie books throughout the year! There are too many titles to list here, but just to give you a hint, we’ll be including books about Joan Crawford, Patricia Neal, Jayne Mansfield, Charles Boyer, Hitchcock, Vitagraph, the Studios and more!
Classic Movie Chat with Victoria Riskin (Daughter of Fay Wray and Robert Riskin)
I’m so excited to share our Facebook Live Chat with Victoria Riskin from a few weeks ago (now posted on YouTube as well). Aurora from Once Upon a Screen and I were able to spend some quality time with Victoria to chat about her very famous parents – actress Fay Wray and screenwriter Robert Riskin. We talked about their careers, their marriage, and the Golden Age of Hollywood, and Victoria also shared some very special memories about her parents and the stars that were their neighbors and friends.
We probably all know this, but I’ll say it here anyway for context — Fay Wray starred in over 100 films and TV episodes but is probably best remembered for her role as Ann Darrow in the iconic 1933 film, King Kong. Robert Riskin was an American Academy Award-winning screenwriter, best known for his work with Frank Capra including It Happened One Night, Mr. Deeds Goes to Town, Lost Horizon, You Can’t Take It with You, and Meet John Doe.
Grace Kelly is a legend unlike any other: both classic Hollywood star and real-life princess. She seemed to embody the glamour and class of Hollywoodâs Golden Age. With her timeless sense of style and effortless beauty, she is still a role model to many women around the world. She made it look so easy: becoming a world–famous actress, then quitting at the top of her game to become European royalty. And she did it all, excuse the pun, with grace. But behind the ease and elegance, Grace was a woman who fought to make something of herself, trying to be her own person against a dominant force throughout her life: her family. It may come as a surprise to some, but Princess Grace was an ‘outsider’ to her family. However, if it was not for this family dynamic, Grace may have never made it to Hollywood or Monaco.
Grace was born into a ânew moneyâ family in Philadelphia that enjoyed a
significant amount of status within their community. Graceâs father, John
Sr. (Jack), had
won three Olympic gold medals, owned a successful brickwork contracting company, and was almost elected Mayor
of Philadelphia in 1935. Her mother Margaret was the first woman to coach womenâs athletics at the University of Pennsylvania. Quite an accomplished
pair! Her parents valued athleticism and a grounded attitude above all, but Grace was a sensitive, shy and creative little
girl. Her parents, particularly her father, made no secret of the fact that
they did not understand her. Graceâs three siblings all took after their
athletic and boisterous parents, making her the odd one out. As a child, she was usually putting her creative imagination to
good use, playing make-believe with her dolls.
Grace Kelly (upper left) and her family
Grace also had poor timing when it came to siblings: her older brother Kell was the only son, and her older sister Peggy was the first (and favorite) daughter. The only thing Grace had going for her, as the third born, was being the baby of the family, but this changed when her younger sister Lizanne was born when Grace was four years old. Grace openly stated that she resented Lizanne, and Lizanne later admitted that she truly was a âbrat sister.â Lizanne loved to make Graceâs life miserable, and older sister Peggy would make Grace do her chores for her. Meanwhile, Kell was busy being groomed to be his fatherâs successor. Grace was left to fend for herself. ‘We were always competing for everything â competing for love,’ Grace later admitted. Still, she loved her family deeply. But the only person in her family she could really relate to, was her uncle George. As a gay, Pulitzer Prize-winning screenwriter, he was just as much the odd one out as Grace, in their rough and tumble family. They had a great bond and, to Grace, he was a role model in sophistication.
Even though she was ridiculed by her family for her acting aspirations, Grace was
undeterred. Acting was her passion and she couldnât
wait to start her life as a young adult in New York City. She turned to her
uncle George who helped her get into the Academy
of Dramatic Arts. While there, Grace worked hard to get rid of her nasal voice
and Philadelphia accent, ending up with a slight British accent instead. Imitating her new accent became the
latest joke in the Kelly family. Still, Grace was determined to make something
of herself. Her sister Lizanne later admitted that Grace âwanted to show daddy
she could do itâ. Grace would later look at her college days as some of the
best days of her life. Finally, she was among like-minded people. She had
inherited a strong work ethic from her parents; she
worked hard to perfect her craft and made money by modeling on the side.
Perhaps as a result of the troubled relationship she had with her father, Grace almost exclusively dated older men. One of the first, was her acting instructor Don Richardson, who was married. This seemed to be a theme in Graceâs love life, as rumors of her dating married men in the industry were rampant once she became a star. The most controversial one was her affair with Dial M For Murder co-star Ray Milland. He reportedly left his wife of 20 years for her, and the press branded Grace as a home-wrecker and worse. Milland ultimately went back to his wife, but Graceâs Catholic family, who had worked hard for a respectable place in the upper echelons, was fed up with the scandalous news reports. So when a story about Grace and married actor William Holden hit the press, Graceâs father and brother stormed into the office of gossip magazine Confidentiality and roughed up some reporters.
Grace was embarrassed about her family, and her Catholic upbringing made her feel guilty. At the end of the day, what she really wanted was a family of her own. Grace felt she finally found that in designer Oleg Cassini, Gene Tierneyâs ex-husband. He was the first man Grace publicly acknowledged as her partner. But tension already set in before he ever even met her family, with her brother Kell telling Time Magazine: âI donât approve of these oddballs she goes out with. I wish she would go out with more athletic types.â Although her mother kept a more open mind, the very Catholic Jack Kelly refused to accept the twice-divorced designer. Grace privately ranted about her family and told Cassini they should just elope, but in the end, she just couldnât go against her father. Her family was too important to her.
Grace Kelly and boyfriend Oleg Cassini
Graceâs love life might have been messy, but
she was still a superstar. She had won an Academy Award, starred in back-to-back
box-office successes and was on the cover of
magazines everywhere. Unfortunately, her family was a lot harder to impress
than the public —
especially her father. When asked about her success, her father said: âI thought it would be
Peggy. Anything that Grace could do, Peggy could always do better.â Needless to say, Grace felt embarrassed that her
father didnât keep his condescending remarks in the family. She was also concerned about the press attacks on her, and worried that her career had nowhere to go but
down.
A solution presented itself in the form of Prince Rainier of Monaco. After meeting when Grace was in France for the Cannes Film Festival, the pair enjoyed a short courtship. Each party was charmed by the other. They wrote each other letters, and romantic feelings soon developed. It wasnât lost on Grace that this romance could solve her problems. She was incredibly disillusioned with Hollywood, and becoming a Princess could be an exciting new chapter in her life. The rumors about her love life made her feel like a joke and Rainier could finally give her the respectability ĂĄnd the family of her own she so craved. Her family was also on her mind as well — after becoming a world-renowned star, they still would not give her the pat on the back she needed. Surely marrying a real-life Prince would suffice? It would give her ânew moneyâ family, the âold moneyâ status that eluded them. Something her hard-working father would appreciate.
Grace Kelly, her parents, and Rainier during the engagement announcement
Rainier was looking to solve a problem too. Monaco was not doing well financially, and without an heir, it would lose its independence. Graceâs Hollywood glamour could rub off on Monaco and attract tourists, and their marriage would hopefully produce an heir. More importantly, they were both ready to settle down and felt that they had found their perfect match. They married after a quick courtship and Grace moved to Monaco. The small principality was over the moon with their glamorous princess.
Graceâs mother was delighted that her daughter was now royalty. But if Grace married Prince Rainier for her fatherâs approval, she should not have bothered. Jack Kelly was used to being the most important man in any room, and he did not appreciate having a son-in-law who overshadowed him. When he visited the palace, he would ridicule the pretentiousness and protocol. In the six years between the wedding and his death, he only made two trips to Monaco. Still, Grace was heartbroken when her father passed away, and she was reportedly despondent for months after. As Rainier later said: âShe was oversensitive to her family. They mattered terribly much to her – more, it certainly seemed, than she mattered to them. Though there were strong family ties with the Kellyâs, there wasnât a lot of heart.â But Grace refused to give up on them.
Although Grace struggled to adjust to palace life, the birth of her three children brought her much joy. She had hoped to return to acting with the lead in Hitchcockâs Marnie, but after outrage from the public, she accepted the fact that acting was a thing of the past. Instead, she found a creative outlet by making dry flower collages and doing poetry readings. Philanthropy also became important to her as well; among other things, she founded AMADE Mondiale, which promotes and protects the well-being of children around the world.
When Grace finally hit her stride in Monaco, she became the one her family could always turn to. She supported her sister Peggy through two divorces, as well as her brother Kell, when he left his wife for a transsexual woman and subsequently lost his nomination for mayor. She proudly told her friends that she was âmother confessorâ to her many nieces and nephews, and they teased her about her tendency to help solve all of her familyâs problems. At the end of the day, it was Grace who was always there for her family. She never closed her heart to them and was proud to become the person her loved ones could always turn to.
Grace Kelly and her grand-niece Ellen Jones at the Kelly family home in 1979
In hindsight, Graceâs struggles with her family may well have given her the motivation and perseverance she needed to become the person she wanted to be. Her creativity and sensitivity were a family oddity, and itâs a testament to her strength that she never changed to fit in, or pretended to be something she wasnât. On the contrary, she fine-tuned these qualities, using them to make a living doing what she loved, and be the best person she could be. Although she felt unaccepted by her family, she always accepted them and reveled in her role as the one her family could always turn to when they needed help.
Arancha has been fascinated with Classic Hollywood and its stars for years. Her main area of expertise is the behind-the-scenes stories, though she’s pretty sure she could beat you at movie trivia night too. Her website, Classic Hollywood Central, is about everything Classic Hollywood, from actors’ life stories and movie facts to Classic Hollywood myths. You can follow her on Twitter at @ClassicHC.
One of my 2019 articles for Classic Movie Hub concentrated on the distinct makeup that was used in silent films. Now letâs take a closer look at the eraâs most distinct-looking makeup of all!
So if you ask me, one of the best things about the big, zany, timelessly entertaining world of silent comedy is also one of the most dated â that crazy makeup.
White faces, fake mustaches, painted-on eyebrows…it all has a weird, grotesque charm. And you might wonder â just why did comedians in the 1910s and 1920s have such cartoony looks? And why did the tradition stay mainly in the silent era (not counting Groucho Marx)?
Wearing exaggerated makeup was a centuries-long tradition in theatre. Candlelight or oil lamps were used to illuminate the stage, and thick makeup was necessary so audiences could make out the actorsâ faces. The dimmer light usually hid the flaws of heavy makeup, although it could still look garish at times. Different types of characters had particular makeup looks, too, such as âyouthfulâ characters having brightly rouged cheeks, or âelderlyâ characters having heavily lined faces.
Comedians adopted some of the most garish makeup
of all, of course, and the tradition seems to have stuck even as theaters
switched over to brighter gaslights in the 19th century. By the era of
vaudeville in the U.S., comedians looked practically indistinguishable from
actual clowns.
Which is which?
The foundation of this makeup was always pale
greasepaint (a step up from the lard or butter concoctions from the candlelight
days) spread evenly over the face and then set with plenty of powder, which was
smoothed away with a brush. A few layers of powder and the comedian had his
canvas for the rest of the look.
The next step was using a black or brown liner to carefully draw on the eyebrows and line the eyes. This liner tended to come in a tiny pan that had to be warmed up with a match before being applied. Putty could be used to create bulbous noses, warts, or rounder cheeks. And one of the most popular additions to any comedianâs makeup was a crepe mustache. The crepe was made of wool and came in a long braid. Pieces could be clipped off, combed out, and fashioned into a mustache or chin beard of any shape or size. Spirit gum was used to paste it to the face.
Several comic makeups in Just Imagination (1916)
Men and women alike sported whitened faces and boldly lined eyes and eyebrows â it was all part of the fun. And in the early 20th century certain comic characters had specific looks that wouldâve been easily recognizable to audiences back in the day. In a time of increased immigration in the big cities, ethnic humor was popular (although it tended to signal âlowâ slapstick comedy), and some actors specialized in particular ethnic personas. An âIrishâ comic would often have a bald cap and side-whiskers, a âFrench dandyâ usually had a goatee and mustache, and a German character (called âDutchâ back then) had a round chin beard and spectacles. Blackface was also common on the stage â as youâre doubtless aware â and some black performers like the famed Bert Williams wore it as well. Itâs no secret that anything and everything was up for spoofing in vaudeville, and the unpretentious power of heavy makeup was essential.
Slapstick duo Ham and Bud.
By the time film became popular, comedians
carried their exaggerated looks over to the big screen. The limits of the old,
orthochromatic film made the contrast of white faces and black-lined eyes even
stronger than before, adding to the clown effect. The simple touches of liner
and crepe also kept goofy reactions from disappearing under the klieg lights.
The 1910s was probably the height of the exaggerated makeup style, pairing
perfectly with the frenetic slapstick that characterized countless one- and
two-reel shorts made by Keystone, Joker, Essanay, and many other studios.
What was one key to becoming a successful screen comedian? Adopting a signature makeup look, of course. The most obvious example is Charlie Chaplin, whose small, neat âtoothbrushâ mustache, curving eyebrows and lined eyes were both expressive and instantly recognizable. More than one comedian literally copied Chaplinâs look, such as Billy West and the shameless Charlie Aplin (yes, Aplin).
The one and only Chaplin.
Ford Sterling was another popular comedian who had a signature look, a âDutchâ getup complete with chin whiskers. Billy Bevan had a drooping, cartoony mustache and arching eyebrows. Louise Fazenda had big lined eyes and spit curls. Larry Semon always had bold black eyebrows, and the slapstick duo Ham and Bud always sported chunky mustaches.
Some glorious looks from a Keystone comedy.
Some comedians had more fearless styles than others, with varying results. Mack Swain had a wide mustache, heavily darkened eyes (the entire eye area, in fact), and a single lock of hair stuck to his forehead. Harold Lloyd initially tried to imitate Charlie Chaplin by adding two little dots of a mustache instead of just the toothbrush (it didnât last long). Jimmy Aubrey had one of the most bizarre getups, with heavy eyebrows and a mustache that looked like two melting caterpillars.
Holy cow, Aubrey.
By the 1920s, the old exaggerated makeup was going out of style, along with much of the ethnic humor (to the relief of some immigrant organizations). The crude, frenzied slapstick of the 1910s was replaced by subtler, toned-down comedy. And accordingly, comedy makeup got toned down too. Some comedians eventually stopped wearing crepe, while others kept their signature mustaches but made them more natural-looking and ditched the heavy liner. Some adopted clean-shaven âeverymanâ looks â even Larry Semon gave it a shot. And others, like Louise Fazenda, let go of their signature looks but found steady work in character parts.
And yes, there were a hardy few who continued on
their merry greasepaint ways, particularly the iconic Charlie Chaplin. But by
the talkies, the heyday of bold eyeliner and eyebrows and wacky mustaches was
largely in the past.
Snub Pollard held on for a long time.
In the â50s and â60s, the old silent comedy makeup style was nostalgic to many folks who remembered the silent clowns fondly. Nowadays the greasepaint and crepe mustaches seem old-timey to the point of being surreal. But Iâd say that this very surrealism, combined with the joyous lack of pretension, will attract curious viewers â and new fans â for years to come.
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.
How Many Films did James Cagney and Pat O’Brien Star in Together?
It’s a friendship that’s endured for 55 years.– Pat O’Brien, about his friendship with James Cagney
James Cagney and Pat O’Brien were friends for almost 60 years, working together in numerous films from 1934-1940, and reuniting one last time for their final film performances in 1981.
James Cagney and Pat O’Brien starred in NINE films together:
It could have been the colossal ants. Or the big locusts. Maybe the giant leeches. Most likely it was that house-sized tarantula. Iâll never really know the one film that started my obsession with big-bug movies (âbugâ being used loosely), but I know why it happened: I was introduced to them by my dad whose whose unapologetic enjoyment of these films I still carry today. (Giant rabbits? Where?)
Although they necessarily scary by todayâs standards, they are fascinating enough to get the imagination going while drawing out a few eewws along the way.
Giant bug movies were a hit as soon as they invaded the big screen in the early 1950s and itâs easy to see why in the context of the time. Fears of nuclear bombs and communism in post-war America were manifested in these attacking hordes of ants, locusts and pretty much any small creature you could blow up 100 times its size and have it destroy a a small town. (Invading aliens similarly mirrored fears at the time, but bugs are more fun.)
Scientist Pat Medford (Joan Weldon) and FBI Agent Robert Graham (James Arness) fight off a giant ant in Them!
Interestingly, it was a dinosaur that led Warner Bros. to later make the film credited with starting the big-bug craze. In 1953, the studio released The Beast from 20,000 Fathoms, a true classic about a hibernating dinosaur jostled awake by A-bomb testing in the Arctic Circle that terrorized the East Coast of North America. The filmâs unexpected box-office success â thanks to stop-motion animation genius Ray Harryhausen and his fictional Rhedosaurus â stirred up interest in other giant creature films.
George Worthing Yates â who would go on to write such B-movie gems as It Came from Beneath the Sea (1955), Earth vs. the Flying Saucers (1956) and Attack of the Puppet People (1958) â had written a story treatment about giant ants terrorizing the New York City subway system. Warner Bros. bought the original story and a screenplay was written by Ted Sherdeman and Russell Hughes with the setting moved to the more cost-efficient California. (The movie also was planned to be shot in color and 3D but was eventually made in black and white â again for budget reasons â with only the filmâs title in color.)
Them! was originally going to be filmed in color and 3D. Both were cut because of budget constraints and this title shot from the opening credits is all that remains in the film.
Not only wouldThem! be the highest grossing film of 1954 for Warner Bros., it opened the door to big-bug films that were only limited by the imagination. That they had the bonus of the easy-to-follow formula provided by The Beast from 20,000 Fathoms and Them! made these films easy to replicate: Start with mysterious deaths and destruction; add a scientist(s) and the military; have fantastic proclamations and explanations (âWe may be witnesses to a biblical prophecy come true!â); and show throngs of people running and screaming in terror.
The public was hooked and the shift was felt throughout the industry.
As Bela Lugosi (played by Martin Landau) said in Tim Burton’s film Ed Wood: “Nobody wants vampires anymore. Now all they want is giant bugs.”
The best remains Them!
âItâs Them
alright.â
Them! begins
with a mystery.
An adorable little girl is found wandering the desert in her pajamas by highway patrol officers. Clutching her doll, the unresponsive child appears to be in shock. The officers take her to a nearby camping site to find her family, but itâs torn apart and no one is around.
âThis wasnât caved in, it was caved out,â Officer Ben Peterson (played by James Whitmore) proclaims as he examines the wreckage where he notices, oddly enough, that sugar cubes are missing.
Two highway patrol officers, including one played by James Whitmore at right, discover a vacation trailer destroyed in Them!.
A puzzling,
high-pitched sound comes from the desert, temporarily waking the little girl
who returns to her catatonic state as quickly as the sound subsides without
anyone noticing. (âItâs the wind â itâs freakish in these parts,â is an explanation
neither officer believes.)
As an atmospheric sandstorm brews creating even more odd sounds, they discover the nearby general store is also destroyed.
âThis wasnât pushed in, it was pulled out,â Ben says examining the missing store wall. Sadly, they discover the body of kindly Gramps Johnson. Once again, sugar is missing but money hasnât been touched and that leads to the logical conclusion that it’s the work of a homicidal maniac.
âNo money stolen, violent wreckage, just sugar taken,â Ben says.
Just sugar taken â nothing
strange about that.
Officer Ben Peterson (James Whitmore) is protective of the traumatized little girl (Sandy Descher) he found in the desert in Them!
Brought in to help with the mystery are FBI agent Robert Graham (played by a handsome and blond James Arness) and scientists from the Department of Agriculture Harold Medford (Edmund Gwenn) and his daughter Pat (Joan Weldon).
When Dr. Medford learns the destructive activities are all taking place near Alamogordo, New Mexico, where in reality the first atom bomb tests took place in 1945, that seems to confirm his suspicions. (Using the example of real A-bomb tests surely would cause unease with moviegoers.) Dr. Medford puts a glass of formic acid â a compound in ant venom – under the catatonic girlâs nose leading to one of the most effective and timeless scenes in 1950s horror as she jumps awake screaming âThem! Them! Them!â â giving the film its title.
Itâs one of a surprising number of effective scenes in this taut sci-fi thriller that include a giant ant slowly rising over a scientist’s head; an officer turning lights off one by one, shrouding himself in darkness as the winds and that awful whistling sound return; and the chilling image of an ant throwing a human rib cage down a small dirt mound as it lands among other bones and debris including a gun holster. (âYou just found your missing persons.â)
The filmâs documentary style also builds tension. There are moments watching it in 2021 that we can imagine we are viewing live cable news.
Dr. Medford also shows a very short and efficiently informative film on ants to educate a meeting of leaders – and moviegoers. (Not all films were successful with this tact: Deadly Mantis would be better off without the long opening explainer that includes a lesson in radar.)
Although they find the ants and destroy their nest, it’s not even close to being over. Two egg cases that belonged to the queens – who can fly – are empty and the rest of the film details the methodical nationwide hunt for them. The final sequences, which include a search for two missing boys, make the most of the atmospheric Los Angeles storm drain system – a perfect place for big ants to hide.
âWe havenât seen the end of them. Weâve only had a close view of the beginning of what may be the end of us,â Dr. Medford says with the same requisite deference to an end of the world scenario seen in other films including one that even has the name The Beginning of the End
It wasn’t a big bug, but the giant octopus in It Came From Beneath the Sea certainly counts when it comes to the giant creature films of 1950s.
Though Warner Bros. started this craze, the studio didnât keep it going. Luckily, others stepped in, going beyond bugs to include an octopus so big it could wrap itself around the Golden Gate Bridge (It Came from Beneath the Sea) and people who towered over power lines (The Attack of the 50-Ft. Woman, The Amazing Colossal Man).
âWhen man entered the atomic age, he opened doors to a new world. What we will eventually find in that new world, nobody can predict,â Dr. Medford warns at the end of Them!
Not surprisingly, neither science nor the movie world have closed that door yet. The results of humans destroying nature remain a subgenre of sci-fi and horror films. In the 1970s, environmental concerns were especially prevalent in films that went for quantity of creatures over size as armies of creepy crawlies attacked in films such as Bug (1975), produced by William Castle; Empire of the Ants (1977) based on an H.G. Wells story; Kingdom of the Spiders (1977), and The Swarm (1978).
Yes, that giant tarantula is eye-level with the second story of this house in Tarantula.
Other big-bug films
Here are a few suggestions of other 1950s films to add to your watch list.
Tarantula (1955). Directed by Jack Arnold, this is film of my nightmares. An experiment by a benevolent scientist trying to create a super nutrient to help feed the world goes wrong, causing an arachnid to grow to giant proportions. The tarantula goes solo in this, but he grows large enough to tower over a house and that’s a terrifying site.
Beginning of the End(1957). Bert I. Gordon directs Peter Graves in this melodramatic take on giant grasshoppers overtaking the world. Not quite up there with Them! but still a good time.
Black Scorpion(1957). This time a volcanic eruption in Mexico is to blame for unleashing an army of scorpions that are bigger than men. If you are creeped out by the thought of being crushed to death by giant claws this might not be for you. Willis OâBrien (King Kong) was the special effects supervisor. Richard Denning and Mara Corday co-star.
The title character in The Deadly Mantis rises from the ice after a nuclear explosion.
Deadly Mantis(1957). Another volcanic eruption, another giant creature awakens from a frozen slumber. Recommended viewing if you can ignore the talky opening explanation. (Just give us the bugs, please.) Craig Stevens,William Hopper and Alix Talton help the U.S. Army battle the giant insect.
Attack of the Giant Leeches(1959). Thereâs something strange in the swamp waters leading to a string of mysterious deaths in this film from executive producer Roger Corman.
The Killer Shrews (1959). Once again, research to stop world hunger goes terribly wrong causing an accidental growth spurt in rodents. Action takes place on a remote island where a captain and first mate are stuck by a storm after delivering supplies to a group of researchers.
Key players in Them!
The film had a cast of future all-stars.
After Them!, James Arness put on a cowboy hat for his next role as Sheriff Matt Dillon on Gunsmoke, a series that lasted for 20 seasons.
Fess Parker is only in the film for one scene as a pilot put in an insane asylum after seeing flying saucers that looked like ants. The day of shooting, representatives from Disney were on set to check out James Arness to star in Davy Crockett. They were so impressed by Parker, they cast him instead.
That’s a 23-year-old Leonard Nimoy making a cameo in Them! as he monitors suspicious activity including “thefts of sugar” and high-pitched sounds.
Leonard Nimoy has a cameo as an officer who grabs a report off a teletype machine.
William Schallert, who would later star in such popular TV series as The Patty Duke Show, is in an early scene as an ambulance driver.
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 of the Classic Movie Blog Association. Toni was the president of the former Buffalo chapter of TCM Backlot and now leads 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.