Classic Movie Travels: Jeanette Loff

Classic Movie Travels: Jeanette Loff – from Idaho to Hollywood

Jeanette Loff PosesThe beautiful Jeanette Loff poses in a fringe dress.

When I watch early films, I often wonder what became of certain individuals and where their lives took them beyond their work in the film industry. While many stay in the industry, other leave for their own reasons or depart in a twist of fate outside of their control. Though Jeanette Loff made less than 30 films, her appearance in King of Jazz (1930) sparked my interest and inspired me to research her life and career.

Janette Clarinda Lov was born in Orofino, Idaho, to Danish immigrant Marius (Maurice) Lov and Norwegian immigrant Inga Lov. Her father was a professional violinist from Copenhagen and would later own a shop. Marius and Inga had five children, including three sisters and one brother, with Janette being the eldest.

During her infancy, her family relocated often, raising Janette throughout the Pacific Northwest. According to the 1910 census, Marius was 30, Inga was 25, Janette was 4, and Janette’s younger sister, Irene, was 3 years old when the family moved to Otter Tail, Minnesota. By 1913, the family moved to Wadena, Saskatchewan, Canada, where her sister, Myrtle Dorothea, was born in 1914. While there, Janette played the piano at a little theater for one dollar per night and free admission to the show. Her mother was also a pianist, often singing as she played. When Janette was younger, her mother would sing her to sleep. As a result, Janette developed a love of music and imagined herself singing before large audiences. In fact, as Janette played the piano to accompany silent films, she wished that the actors and actresses would sing.

Janette expressed an interest in performing at a young age, playing the title role in the play version of Snow White and the Seven Dwarfs. By age 16, she was a lyric soprano and carried out a leading role in the operetta, Treasure Hunters. 

Jeanette Loff HeadshotClassic 1930’s beauty!

Janette’s high school years were impacted by her family’s frequent moves, although she was excited to move closer to cities where she felt she could realize her dreams of becoming a notable performer. Though she enjoyed the closeness and friendliness of a small town like Wadena, she was excited to move to the city. She briefly attended Lewiston High School in Lewiston, Idaho, but that was soon followed by a family move to Portland, Oregon, when she was 17. There, she continued her musical education at the Ellison-White Conservatory of Music, taking singing lessons and learning how to play the pipe organ. Janette appeared singing theater prologues during vacations from school.

Freshly trained, she would play the organ at theaters in Portland under that stage name of Jan Lov. Eventually, she found herself playing the largest theater in the city. Furthermore, advertising programs announced “Jeanette Loff and the Console,” showing off her new stage name.

Jeanette’s career in films began in 1926 with a series of uncredited roles in Young April (1926), The Collegians (1926), and Uncle Tom’s Cabin (1927). Cecil B. DeMille offered her a contract and she quickly became one of Hollywood busiest starlets, often appearing in ingenue roles and being spotted around town for publicity purposes. In fact, in 1928, Jeanette was the first person to ride with Santa Claus down Hollywood Boulevard at the first Santa Claus Lane Parade in Los Angeles. During the same year, she appeared in Annapolis (1928), Love Over Night (1928), and Hold ‘Em Yale (1928), among several other films.

A young Jeanette Loff and her long hairJeanette Loff and her long, long hair.

Behind the scenes, Jeanette married a salesman named Harry Rosenbloom, though they divorced in 1929. She claimed that he became jealous and violent when watching her onscreen. She also had love affairs with producer Paul Bern, songwriter Walter O’Keefe, and actor Gilbert Roland. Jeanette showed off her soprano voice in films like Party Girl (1930) and King of Jazz (1930). She received critical acclaim for her performance opposite Douglas Fairbanks, Jr., in Party Girl, while her work as a vocalist in King of Jazz was praised in New York Times review. After her parents divorced, Jeanette’s mother and sisters Irene and Myrtle came to live with her in her Beverly Hills, California, home.

Jeanette Loff in King of JazzJeanette Loff in King of Jazz (1930)

Since she felt that her roles were repetitive, she took a break from films in order to work on the stage. She remained under contract to Universal Pictures for some months but made no additional films for the studio. Jeanette relocated to New York City, appearing in musical plays and working with orchestras, prior to returning to films. Additionally, she sang with Charles “Buddy” Rogers’ Orchestra in New York. Jeanette tried to make a comeback with the drama St. Louis Woman (1934) but it was not a hit. After a few more small roles, her career stalled. Her final film roles would be in Hide-Out (1934), Flirtation (1934), and Million Dollar Baby (1934).

In her leisure, Jeanette made trips to Hawaii and San Francisco in 1935. She also traveled to Marseille, France, and New York in 1936. Later that year, she married Los Angeles producer and liquor salesman Bertram Eli Friedlob. They would remain married until her passing.

Jeanette Loff White FlowersGorgeous Loff poses with elegant white flowers.

Tragically, Jeanette ingested ammonia at home on August 1, 1942. This caused severe chemical burns to her throat and mouth. She died of ammonia poisoning three days later. Coroners were unable to determine whether she ingested ammonia either accidentally or intentionally. Jeanette had been suffering from a stomach ailment and may have accidentally taken the wrong bottle of medication. While her death could not be patently ruled either accident or suicide, her family maintained that she had been murdered. Jeanette is interred at Forest Lawn Cemetery in Glendale, California, with her sister, Myrtle Dorothea.

Today, there are a few places in existence that would have been of relevance to Jeanette. In her home state of Idaho, visitors can still see her alma mater, Lewiston High School. It continues to function as a high school and stands at 1114 9th Avenue in Lewiston, Idaho.

Jeanette Loff Lewiston High School, IdahoJeanette Loff’s alma mater, Lewiston High School, Lewiston, Idaho.

According to the Portland Historical Society, the Ellison-White Conservatory of music started in 1915 and then changed to the Portland School of Music in the late 1930s. The school had buildings at 654 Everett Street in 1917; 1539 NE 10th St in 1939; and 931 SW King at Park Place in 1942. Unfortunately, it no longer exists today.

In 1930, Jeanette resided at 1336 N Harper Ave, West Hollywood, California. Here is a shot of the property today:

Jeanette Loff Residence at 1336 N Harper Ave, West Hollywood, CaliforniaJeanette Loff Residence at 1336 N Harper Ave, West Hollywood, California.

In 1940, Jeanette lived at 9233 Doheny Rd. in West Hollywood, California, with her husband, where she was poisoned. Here is the property today:

Jeanette Loff's West Hollywood, California home at 9233 Doheny Rd.Jeanette Loff’s West Hollywood, California home at 9233 Doheny Rd.

Though Jeanette’s life was cut short and there are no places dedicated to her, she can be remembered by the body of work she left behind–especially through the recent restoration of King of Jazz. 

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–Annette Bochenek for Classic Movie Hub

You can read all of Annette’s Classic Movie Travel articles here.

Annette Bochenek of Chicago, Illinois, is a PhD student at Dominican University and an independent scholar of Hollywood’s 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 “Hometowns to Hollywood” film series throughout the Chicago area. She has been featured on Turner Classic Movies and is the president of TCM Backlot’s Chicago chapter. In addition to writing for Classic Movie Hub, she also writes for Silent Film Quarterly, Nostalgia Digest, and Chicago Art Deco SocietyMagazine.

Posted in Classic Movie Travels, Posts by Annette Bochenek | 4 Comments

Looking at the Stars: The First Lady of Song, Ella Fitzgerald

“Man, woman or child, Ella is the best.” – Bing Crosby

It was in 1979 that President Jimmy Carter decreed June to be Black Music Month. President Obama later changed the official designation to African-American Music Appreciation Month. Although it is astonishing that it took until the late 1970s for the talents of African-American vocalists, musicians, composers and artists to be recognized, we’re happy it happened. The work of many of African-Americans have influenced music the world over. With this humble homage to a legend, Classic Movie Hub joins the celebration.

African-American Music Appreciation Month has been intended as the focus of this month’s Looking at the Stars column for some time. A problem arose, however, as the attempt was made to narrow the focus to a single aspect, group or person given the depth of black talent we have enjoyed for over a century. In the final analysis I had to go with the one many consider the greatest female vocalist of the 20th Century, a Jazz pioneer of whom this blogger is a devoted fan. This month we honor the First Lady of Song, Ella Fitzgerald.

Ella Fitzgerald

“I never considered myself a singer. My real ambition was to dance.” – Ella Fitzgerald

When Ella Fitzgerald was 15 years old, she entered an amateur night competition at the Apollo Theatre in Harlem. Ella and two of her friends drew straws and she picked the shortest one making her the loser, the one that had to perform a dance. When her time came to perform, however, young Ella was unable to move from fright and decided to sing a song instead. She followed with three encores and took home the 25 dollars prize money. That night no one could have known that Ella Fitzgerald would later be considered a supreme master of her craft, one honored by presidents, the greatest artists of our times, and an enduringly adoring public.

The night at the Apollo led to many other amateur night wins for Ella Fitzgerald until she landed a gig with Chick Webb and his orchestra. The rest is legend. Throughout her storied career Fitzgerald has been honored with numerous hall of fame inductions, recorded over 70 albums and thousands of songs, performed alongside some of the greatest entertainers in history, and was a sought-after guest on every variety show imaginable on radio and television.

“The one radio voice that I listened to above others belonged to Ella Fitzgerald. There was a quality to her voice that fascinated me, and I’d sing along with her, trying to catch the subtle ways she shaded her voice, the casual yet clean way she sang the words.” Doris Day

Ella Fitzgerald appeared in only four movies, which is a shame. The first of these is Arthur Lubin’s Ride ‘Em Cowboy starring Abbott and Costello. Ella plays a maid named Ruby and I have a vivid memory of the first time I saw her sing her hit “A-Tisket, A-Tasket” on a bus in the movie. I became her fan that very day.

Fitzgerald’s next feature film appearance came thirteen years later in Jack Webb’s Pete Kelly’s Blues (1955). Here Ella plays night singer, Maggie Jackson and her musical performances alone are worth the price of admission. One can only imagine what a thrill it was for Webb to have Ella a part of his movie. Pete Kelly’s Blues was first a radio show conceived by Jack Webb thanks to his love of Jazz.

Jack Webb and Ella Fitzgerald on set of PETE KELLY'S BLUES

Allen Reisner’s St. Louis Blues (1958) and Philip Leacock’s Let No Man Write My Epitaph (1960) complete Ella’s filmography. The first is a biopic based on the life of the “Father of the Blues,” composer/musician, W. C. Handy played by Nat “King” Cole in the picture. This is a great viewing choice for African-American Music Appreciation Month with such luminaries as Pearl Bailey, Cab Calloway, Eartha Kitt, Mahalia Jackson, and Ruby Dee joining Cole and Fitzgerald.

Let No Man Write My Epitaph is a straight drama with an outstanding cast besides Ella Fitzgerald who recorded several songs for the soundtrack and received the best acting notices of her career. In this sequel to the 1949 Nicholas Ray film, Knock on Any Door, Ella plays a drug-addicted woman in a tenement where neighbors band together to save a boy. Her performance here provides a glimpse into what could have been had Ella Fitzgerald been offered other dramatic roles. It is difficult to complain about that with sincerity, however, when this amazing talent has left us gold in her life’s work.

Ella Fitzgerald’s style has influenced numerous generations of singers, but for this fan, she is a go-to for serenity. Ella’s voice is magic – it delights with scat and turns the coldest winter’s day to summertime. If you listen to one artist this month – or any month – let it be the First Lady of Song.

Similarly themed pages…

Vincente Minnelli’s Cabin in the Sky (19430)

Ethel Waters page

Movie musicals page

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Until next month,

–Aurora Bugallo for Classic Movie Hub

Aurora Bugallo is a classic film-obsessed blogger, and co-founder and co-host of the Classic Movies and More Youtube show. You can read more of Aurora’s articles at Once Upon a Screen, or you can follow her on Twitter at @CitizenScreen.

Posted in Looking at the Stars | Tagged , | 2 Comments

“About Face: The Life and Times of Dottie Ponedel, Make-up Artist to the Stars” Book Giveaway (June 4 – July 7)

“About Face: The Life and Times of Dottie Ponedel,
Make-up Artist to the Stars”

We have TEN Copies to Give Away in July!

It’s time for our next book giveaway! And, this is a very special one for me, as I have the pleasure of knowing two of the authors, but more about that later… That said, I am delighted to say that CMH will be giving away TEN COPIES of  “About Face: The Life and Times of Dottie Ponedel, Make-up Artist to the Stars” by Dorothy Ponedel, Meredith Ponedel, and Danny Miller, courtesy of Bear Manor Books.

About Face: The Life and Times of Dottie Ponedel, Make-up Artist to the Stars  by meredith ponedel and danny miller

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In order to qualify to win one of these books via this contest giveaway, you must complete the below entry task by Saturday, July 7 at 10PM EST. However, the sooner you enter, the better chance you have of winning, because we will pick two winners on five different days within the contest period, via random drawings, as listed below… So if you don’t win the first week that you enter, you will still be eligible to win during the following weeks until the contest is over.

  • June 9: Two Winners
  • June 16: Two Winners
  • June 23: Two Winners
  • June 30: Two Winners
  • July 7: Two Winners

We will announce each week’s winner on Twitter @ClassicMovieHub and/or right here on this Blog in the comment section below (depending on how you entered), the day after each winner is picked at 10PM EST — for example, we will announce our first week’s winner at 10PM EST on Sunday June 10.

dottie ponedel, judy garland and joan blondellDottie Ponedel with Judy Garland and Joan Blondell

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As I mentioned above, I have the pleasure of knowing two of the authors: respected writer, editor and friend, Danny Miller of Cinephiled (@dannymmiller), and Dottie’s niece, Meredith Ponedel (@Merrydyth), who I had the honor of meeting at the TCM Film Festival a few years ago (and I might add that we hit it off so well that I felt like I knew Meredith for years!).

That said, I’d like to share some interviews that I did with Dottie for the Classic Movies and More YouTube Channel (that I share with @CitizenScreen and @2MovieReviewers):

And here’s Part Two: Meredith Ponedel Interview Part 2 of 3

And Part Three: Meredith Ponedel Interview Part 3 of 3

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And now on to the contest!

ENTRY TASK (2-parts) to be completed by Saturday, July 7 at 10PM EST — BUT remember, the sooner you enter, the more chances you have to win…

1) Answer the below question via the comment section at the bottom of this blog post

2) *Then TWEET (not DM) the following message (if you don’t have twitter, see below):
Just entered to win the “About Face: The Life and Times of Dottie Ponedel, Make-up Artist to the Stars” #BookGiveaway courtesy of @ClassicMovieHub @BearManorMedia and authors @Merrydyth & @dannymmiller #CMHContest Link: http://ow.ly/vUqu30kjIt3

THE QUESTION:
What is it that you respect the most about Dottie Ponedel, and if you’re not familiar with her or her work, why do you want to win this book?

NOTE: if for any reason you encounter a problem commenting here on this blog, please feel free to tweet or DM us, or send an email to clas@gmail.com and we will be happy to create the entry for you.

*If you do not have a Twitter account, you can still enter the contest by simply answering the above question via the comment section at the bottom of this blog — BUT PLEASE ENSURE THAT YOU ADD THIS VERBIAGE TO YOUR ANSWER: I do not have a Twitter account, so I am posting here to enter but cannot tweet the message.

Click here for the full contest rules and more details. 

Please note that only Continental United States (excluding Alaska, Hawaii, and the territory of Puerto Rico) are eligible.

And — BlogHub members ARE eligible to win if they live within the areas noted above.

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About the book: Dottie Ponedel knows how to amuse with rouge. Her autobiography, the story of a pioneering make-up woman in silent movies and early talkies, puts a new foundation on the stars from the Golden Age of movies. Sinners and saints without greasepaint make for memorable close-ups. Enjoy Dottie’s confidential revelations about Judy Garland, Marlene Dietrich, Mae West, Carole Lombard, Clark Gable, Gary Cooper, Joan Blondell, Paulette Goddard, Barbara Stanwyck, and others. “No stranger is going to pat this puss,” Mae West once declared. Mae, and Dottie’s other clients, often demanded her services, but tomcats and contracts seldom blended. Dottie constantly fought all-male make-up departments at the studios to get the recognition she deserved. Amazing challenges facing a woman at the top of her craft play poignantly against her straight-talking, heartwarming, hilarious encounters with famous faces. Dotti Ponedel. The designer with eye liner.

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If you don’t want to wait to win, you can purchase the book by clicking here:

Good Luck!

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–Annmarie Gatti for Classic Movie Hub

Posted in Uncategorized | 38 Comments

“Hollywood Heyday: 75 Candid Interviews with Golden Age Legends” Book Giveaway (June 4 – July 7)

“Hollywood Heyday: 75 Candid Interviews with
Golden Age Legends” 

We have TEN Copies to Give Away!

“In-depth interviews – things that people really want to know — not gossip.”
-Jane Powell

Time for our next book giveaway! CMH is thrilled to be giving away TEN COPIES of the new book, “Hollywood Heyday: 75 Candid Interviews with Golden Age Legends” by David Fantle and Tom Johnson, courtesy of McFarland Books.

Lots of rare and candid interviews here — including Fred Astaire, Gene Kelly, Lucille Ball, Bob Hope, Mel Blanc, Jerry Lewis, Gregory Peck, James Cagney and so many more — over 60 interviews in all — a real page-turner for all of us classic movie fans…

In order to qualify to win one of these books via this contest giveaway, you must complete the below entry task by Saturday, July 7 at 9PM EST. However, the sooner you enter, the better chance you have of winning, because we will pick two winners on five different days within the contest period, via random drawings, as listed below… So if you don’t win the first week that you enter, you will still be eligible to win during the following weeks until the contest is over.

  • June 9: Two Winners
  • June 16: Two Winners
  • June 23: Two Winners
  • June 30: Two Winners
  • July 7: Two Winners

We will announce each week’s winner on Twitter @ClassicMovieHub and/or right here on this Blog in the comment section below (depending on how you entered), the day after each winner is picked at 9PM EST — for example, we will announce our first week’s winner at 9PM EST on Sunday June 10.

hollywood heyday by dave fantle

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ENTRY TASK (2-parts) to be completed by Saturday, July 7 at 9PM EST — BUT remember, the sooner you enter, the more chances you have to win…

1) Answer the below question via the comment section at the bottom of this blog post

2) *Then TWEET (not DM) the following message (if you don’t have twitter, see below):
Just entered to win the “Hollywood Heyday: 75 Candid Interviews with Golden Age Legends” #BookGiveaway courtesy of @ClassicMovieHub  @McFarlandCoPub and @fantle you can enter here: http://ow.ly/j3oA30kl2Ko

THE QUESTION:
Who would you have wanted to interview (or speak with) from among the stars of the Golden Age of Hollywood, and why? 

NOTE: if for any reason you encounter a problem commenting here on this blog, please feel free to tweet or DM us, or send an email to clas@gmail.com and we will be happy to create the entry for you.

*If you do not have a Twitter account, you can still enter the contest by simply answering the above question via the comment section at the bottom of this blog — BUT PLEASE ENSURE THAT YOU ADD THIS VERBIAGE TO YOUR ANSWER: I do not have a Twitter account, so I am posting here to enter but cannot tweet the message.

ALSO: Please allow us 48 hours to approve your comments. Sorry about that, but we are being overwhelmed with spam, and must sort through 100s of comments…

Click here for the full contest rules and more details. 

Please note that continental United States and Canadian residents are eligible.

And — BlogHub members ARE eligible to win if they live within the areas noted above.

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About the book: “What audacity!” exclaimed actor Robert Wagner when he heard about the authors’ adolescent exploits in nabbing interviews with Hollywood celebrities. In 1978, Fantle and Johnson, St. Paul teenagers, boarded a plane to meet with Fred Astaire and Gene Kelly. They had written the stars requesting interviews–and to their amazement, both agreed. Over the years, more than 250 other stars also agreed–Lucille Ball, Bob Hope, James Cagney, Mickey Rooney, Debbie Reynolds, George Burns, Rod Steiger, Milton Berle, Frank Capra and Hoagy Carmichael, to name a few. Published for the first time and with exclusive photos, this selection of 75 interviews chronicles the authors’ 40-year quest for insights and anecdotes from iconic 20th century artists.

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If you don’t want to wait to win, you can purchase the book by clicking here:

Good Luck!

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–Annmarie Gatti for Classic Movie Hub

Posted in Contests & Giveaways | Tagged | 48 Comments

FilmStruck: We’re giving away EIGHT Annual Subscriptions in June and July!

It’s a Classic Movie Streaming Celebration!
We’re giving away EIGHT Annual Subscriptions to FilmStruck!
Now through July 28th!

We are so VERY EXCITED to announce our longterm partnership with FilmStruck, the ultimate classic movie streaming service! To kick things off, we have a very special contest giveaway to announce today – CMH will be giving away EIGHT annual subscriptions to FilmStruck during the months of June and July! But, that’s not all, we’ll be continuing our contests with FilmStruck on a monthly basis going forward, so please stay tuned for more fun giveaways!

For those of you who aren’t familiar with the service, FilmStruck is the exclusive streaming home of the Criterion Collection, Warner Archives, TCM Select, and lots of rare TCM archival content and exclusive bonus content. That said, I’ve been using FilmStruck for about a month now, and I find it to be a Treasure Trove of classics — so I encourage you all to enter this contest — it is well worth it!

filmstruck classic movie hub contest

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Okay, so let’s get started…

In order to qualify to win one of these subscriptions via this contest giveaway, you must complete the below entry task by Saturday, July 28th at 10PM EST. However, the sooner you enter, the better chance you have of winning, because we will pick a winner on EIGHT different days within the contest period, via random drawings, as listed below… So if you don’t win the first week that you enter, you will still be eligible to win during the following weeks until the contest is over.

  • June 9: One Winner
  • June 15: One Winner
  • June 23: One Winner
  • June 30: One Winner
  • July 7: One Winner
  • July 14: One Winner
  • July 21: One Winner
  • July 28: One Winner

We will announce each week’s winner on Twitter @ClassicMovieHub (or this blog, depending how you entered), the day after each winner is picked at 10PM EST — for example, we will announce our first week’s winner on Sunday June 10 at 10PM EST.

filmstruck sample movies

Click here to learn more about FilmStruck

 

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Here’s how you can enter:

ENTRY TASK (2-parts) to be completed by Saturday, July 28 at 10PM EST — BUT remember, the sooner you enter, the more chances you have to win…

1) Answer the below question via the comment section at the bottom of this blog post

2) Then TWEET (not DM) the following message*:
Just entered to win the #FilmStruck Annual Subscription #Giveaway courtesy of @FilmStruck and @ClassicMovieHub – #CMHContest – you can #EnterToWin here http://ow.ly/WmNH30kjFKf

THE QUESTION:
Why would you like to win a subscription to FilmStruck? 

*If you do not have a Twitter account, you can still enter the contest by simply answering the above question via the comment section at the bottom of this blog — BUT PLEASE ENSURE THAT YOU ADD THIS VERBIAGE TO YOUR ANSWER: I do not have a Twitter account, so I am posting here to enter but cannot tweet the message.

NOTE: if for any reason you encounter a problem commenting here on this blog, please feel free to tweet or DM us, or send an email to clas@gmail.com and we will be happy to create the entry for you.

Please allow us at least 48 hours to approve (and publish) your comment, as we have an unprecedented amount of spam to sift through…

…..

Click here for the full contest rules. 

Please note that only United States (excluding the territory of Puerto Rico) entrants are eligible.

We’ve gotten some questions about this, so to clarify: Entrants are only eligible if they do not currently have an active FilmStruck account, and/or if they have not had an active FilmStruck account within the past 12 months, and/or if they have not tried a free trial of Film Struck within the past 12 months.

And — BlogHub members ARE eligible to win if they live within the United States (as noted above).

Good Luck!

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–Annmarie Gatti for Classic Movie Hub

Posted in Contests & Giveaways, FilmStruck Forum, Posts by Annmarie Gatti | Tagged , , , , , | 136 Comments

Pre-Code Corner: Three Wise Girls All Mixed Up

Three Wise Girls All Mixed Up

Three Wise Girls (1932) is a rather apt screen title for a book one reviewer for the Studio Relations Committee (SRC) termed: “An exceedingly tawdry and cheap piece of literature designed to thrill a moronic public by its blatant sex detail.”

The SRC obviously didn’t think much of this story. Truthfully, neither did I. I couldn’t get past Jean Harlow as the good girl, despite the sass she brought to the part and, in toning the story down, Columbia placed some clear ethical boundaries on Harlow’s Cassie that came across as rather implausible to me upon my initial viewing. However, after giving the film another go, I eventually pried my focus from Cassie; instead, I found myself absorbed by the way the picture details the perception of love, class, and privilege for viewers during the Great Depression.

Three Wise GIrls Movie Ad 1932Not gonna lie, this tagline is pretty off the mark.

But first, a summary: Fed up with small-town jobs and small-town sleazy men, respectable gal Cassie (Jean Harlow) moves to the big city in hopes of a better opportunity, like her friend Gladys (Mae Clarke) secured. There, Cassie rooms with Dot (Marie Prevost) and hops from job to job until she lands a gig alongside Gladys as a model. As she navigates city life, Cassie meets a wealthy suitor, Jerry (Walter Byron), who later turns out to be married, and defies Gladys’ advice as her friend heartbreakingly pines after her own wedded beau, Arthur (Jameson Thomas). In the end, two of the three wise girls find happiness; tragedy befalls the other.

Jean Harlow as Cassie in Three Wise Girls (1932)Cassie (Jean Harlow) just wants a comfortable life and some respect, is that so much to ask?

“You better get yourself another soda jerker, Lem.”
Distinctions in social standing pop up throughout Three Wise Girls. In fact, that’s what prompts Cassie to ditch her local soda fountain (and one handsy boss) for a big city soda fountain… and another groping manager. Within the first 3 minutes of the film, Cassie’s mother, Mrs. Barnes (Lucy Beaumont), excitedly comments that Gladys just sent her mother, Mrs. Kane (Kathrin Clare Ware), a beautiful new dress. Lost in thought as she gets ready for bed, Cassie sighs a reply, “Gee, at this rate these shoes aren’t going to last much longer. I can almost put my finger through it now.” The juxtaposition between Gladys’ ‘successful’ life and Cassie’s existence is starkly defined. However, as much as Mrs. Barnes admires Mrs. Kane’s lavish wares, when Cassie expresses an ambition to one day shower her mother with nice things, like a Rolls Royce, Mrs. Barnes assures her daughter that she’s perfectly happy with what they have. Could this piece of dialogue be a pacifier for 1930s audiences? Perhaps. But Cassie, not content with her lot in life, compares her ”respectful” $15 a week to Gladys $200 and gets a notion, cemented when Mrs. Barnes eagerly calls her attention to the new car Gladys bought Mrs. Kane, which just so happens to be parked outside her work. With that, Cassie’s mind is made up – both for her and her mother’s sake. She’s going to New York.

Walter Byron and Jean Harlow in Three Wise Girls (1932)Jerry (Walter Byron) is in need of a Bromo Seltzer stat if only he can keep conscious long enough to drink it.

“What have you got against the world? It seems to be treating you alright.”
Success and wealth don’t just drop in on Cassie’s New York doorstep. Actually, they literally stumble into the soda fountain she’s working at in the form of Jerry (Walter Byron), a man rich enough to nurse his hangover well into the next day without any repercussions. To say they don’t hit it off would be an understatement, but when Cassie lays one on her boss for trying to lay a hand on her and Jerry swoops in with a save, she eventually gives in and lets him drive her home. In the car, Jerry tells Cassie that he’s fed up with his world – the formal dinners, pompous butlers – heck, he even ditched his swank, wild party the night before to get blitzed at a speakeasy. Cassie finds it hard to buy into his “problems” and even harder to swallow the fact that he drops her off at home without making a pass at her. On all counts, Jerry’s certainly not what Cassie expected. And she certainly never expected to fall in love with him, either.

Marie Prevost as Dot in Three Wise Girls (1932)“Aw, there’s one of the finest little weenies that ever graced a paper plate. It’s a little shriveled from old age. But, of course, you can’t have everything.” Ladies and gentlemen, Dot (Marie Prevost).

“Don’t tell me you had dinner at one of those horrible places like the Ritz?”
Cassie stands as a suitable middle in the social barometer between Dot and Gladys, especially when she starts to date Jerry while keeping one foot in Dot’s world and dipping the other in the upper echelons. Her two pals’ focus remains on love and men, but with very different perspectives: Dot spends her days cooped up in their apartment typing envelopes for a living and dreaming of meeting a man – seriously, a plumber will do – to put a ring on it and save her from the monotony and hardship; meanwhile, Gladys cautions Cassie against falling for Jerry and following in her footsteps, because she’s absolutely miserable that she can’t have Arthur, whose socially conscious wife refuses a divorce. One scene that expresses this disparity well occurs after Cassie meets Gladys’ beau Arthur for the first time. Within a minute of Gladys leaving them alone, Arthur propositions Cassie. That episode leaves a rotten enough flavor in her mouth that Cassie decides not to accept Arthur and Gladys’ posh dinner party invite, and instead, she heads back downtown to her lowly apartment and Dot. Upon walking in the door, Dot drolly offers Cassie a small array of almost-rotting food, to no avail, and mourns over the grub she has to throw out. Dot’s baloney and slightly curdled milk are a far cry from what Cassie would have savored with Gladys and co.

Mae Clarke as Gladys in Three Wise Girls (1932)This screenshot captured a millisecond of Gladys (Mae Clarke) smiling. In case you haven’t already guessed it, hers is the tragic ending.

“Don’t get in my class.”
“Why shouldn’t she get in your class? What’s wrong with your class?”
In this third act scene, the only one all three ladies share, the class gets conflated with love. The age-old struggle between security and happiness comes roaring out as Dot and Gladys spew competing advice at Cassie, who is trying to figure out what to do about Jerry. While Dot pushes for security, Gladys urges Cassie to be strong and stresses an idea that could have either stung or uplifted viewers during the Great Depression: just because she has all the appearances of a privileged life doesn’t mean she’s happy or better off. The dialogue here bounces between Dot and Gladys and leaps between reality (barely scraping by, in Dot’s case) and perceived reality (Gladys having a swell time living in the lap of luxury). When Gladys insists she’d scrub floors if she had to do it all over again, Dot fires away, accusing her of forgetting how hard it is to dwell on the other side of the tracks. But Gladys affirms that she’s not riding high the way Dot observes on the outside because she’s at the mercy of her man:

He can walk out on you whenever he pleases, and what can you do? Do you know what you become when you live the way I do? A panhandler. You have to bow and scrape and beg for everything you get, and that goes for love as well as money. Their wives get everything – the home, security, respect – everything. And what do you get? Nothing. Nothing but grief.

Jean Harlow in Three Wise Girls (1932)Modeling in front of your lover’s wife – the one you just found out about – is never a pleasant experience.

Comparing Gladys to a panhandler was undoubtedly choice wording that illuminated her situation, albeit a bit dramatically, in harshly relatable terms for a 1930s audience. In displaying through the film’s well-to-do characters, particularly Gladys and Jerry, that wealth doesn’t necessarily punch your ticket for a cheery existence, Columbia was imparting an apt message to the viewers. Life was hard for everyone during this decade in one way or another, even if it might not have appeared that way on the surface. In the end, Three Wise Girls affirms that you can find contentment on any wrung of the social ladder – even Dot scored with Jerry’s chauffeur – but it boils down to what you end up making of your situation. Sounds like a good lesson for all ages and eras to follow, doesn’t it?

…..

–Kim Luperi for Classic Movie Hub

You can read all of Kim’s Pre-Code Corner articles here.

Kim Luperi is a New Jersey transplant living in sunny Los Angeles. She counts her weekly research in the Academy’s Production Code Administration files as a hobby and has written for TCM, AFI Fest, the Pre-Code Companion, MovieMaker Magazine and the American Cinematheque. You can read more of Kim’s articles at I See A Dark Theater or by following her on twitter at @Kimbo3200.

 

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What’s Happening in Classics: June 2018

The CMH Guide for June 2018:
Movie Screenings, 
TV Schedules, Contests and More!

Welcome to our first monthly ‘CMH Guide’ for Classics! There’s so much going on every month in the wonderful world of classics, we thought we’d launch a monthly guide to help everyone plan ahead. This is a work in progress of course, so all suggestions are welcome!

What's happening in classic movies and tv classic movie hub guide

TCM…

  • Star of the month: Leslie Howard – Mondays primetime
  • TCM Spotlight: Hollywood Musicals – Tuesdays and Thursdays primetime
  • Saturday Morning Matinees – inspired by weekend family programming in movie theaters across the country from the 1930s into the 1950s
  • Happy Father’s Day: Sunday, June 17th
  • And, you can sign up for TCM’s free online class Mad About Musicals here (it runs June 3-30)

For more info about what’s playing on TCM this month, visit the TCM Movie Schedule at CMH here.

mad about musicals tcm online courseClick on the above image to join June’s Mad About Musicals free online course

FilmStruck… subscription needed…

  • Contest: Check back here on this blog on Monday June 4th — because CMH will be giving away one-year subscriptions to FilmStruck all month long!
  • Films: The Brilliance of Busby Berkley and more!
  • Featured Collections: Lauren Bacall, Peter Sellers Before Clouseau, David Lean, early Hitchcock and more!
  • Podcast: Alicia Malone hosts a lively podcast with fascinating guests…
  • FilmStruck Forum: CMH will be launching our monthly FilmStruck Column

Movies TV Network…

  • Always a nice collection of classics mixed into the Movies TV Network schedule (which also includes more recent films). This month’s mix includes The African Queen, Pal Joey, Penny Serenade, High Noon, and more.
  • And Sunday Night Noir.
  • And five new affiliates coming soon: Charlotte NC, Salt Lake City UT, Boise ID, Wausau WI and Victoria TX.
  • Where to Watch.

GetTV…

MeTV…

Antenna TV…

Decades TV… 

Fathom Events… movies on the Big Screen at select theaters nationwide…

fathom events tcm big screen classics 2018

Click above to see the full Fathom Events classic movie schedule

Blogathons…

  • Broadway Bound Blogathon (June 1-3)
  • The Great Hammer-Amicus Blogathon (June 1-3)
  • The Second Annual Judy Garland Blogathon (June 8-10)

For a full listing of Blogathons, click here. Or add your own and we will help promote it.

TCM Parties for June… Follow along and live tweet using the #TCMParty hashtag…

  • The Americanization of Emily (June 3)
  • Of Human Bondage (June 11)
  • The Talk of the Town (June 24)
  • The Beast with Five Fingers (June 29)

Check out the complete list and times here.

Movie Screenings across the US…

From Indiscreet to The Kid to Rio Bravo and more, check out the CMH Event Calendar to see what’s playing at Theaters across the US including:

If we’re missing a ‘classic movie’ theater in your neighborhood, please let us know!

ClassicMoviesEvents300 croppedClick above to visit the CMH Events Calendar

And of course our Monthly Contests! Including:

For a listing of all of our CMH contests, click here.

And a Happy Classic Viewing to All!

…..

–Annmarie Gatti for Classic Movie Hub

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The Funny Papers: A Love Letter to Danny Kaye

A Love Letter to Danny Kaye

“Life is a great big canvas, and you should throw all the paint on it you can.” – Danny Kaye

According to my baby book, my first crush was Donny Osmond. Don’t judge – it was a different time. I think it was a combination of “Puppy Love” and assuredly the big teeth. But undoubtedly, my next crush was Danny Kaye. Well, in a way. My crush on Cary Grant was much stronger, in the attraction sense. But with Danny Kaye, it was more of a profound admiration. I wanted to BE him. Get it? Got it. Good.

Danny Kaye Red HeadshotThe multi-talented, Danny Kaye.

As a kid, my first Danny Kaye film was Melvin Frank’s/Norman Panama’s The Court Jester (1955). When I first witnessed Kaye’s silliness and heard his jet-speed linguistics with a mastery of accents, I knew no one could possibly compare. He kept me in stitches. I was fascinated by his ease in swiftly switching from one accent to another, often in the midst of a song and dance, while performing physical comedy with hilarious precision.

Danny_Kaye_in_The_Court_Jester_1955Danny Kaye in The Court Jester (1955).

I was privileged to see Fred Willard and Illeana Douglas introduce the recently restored version in all the glorious Technicolor jewel tones up on the mega screen at Grauman’s TCL Chinese Theater at the 2016 TCM Film Festival. The Court Jester remains his most popular film, with good reason. Stylistically similar to The Adventures of Robin Hood (1938) and A Connecticut Yankee in King Arthur’s Court (1949), this vibrant, medieval-styled comedy showcases Kaye’s myriad of talents, by splitting him into multiple characters via impersonations and hypnosis. Thus allowing him to flip in and out from his standard coward to the dashing hero and back again with lightning speed. Highlights include the infamous “The Pellet With The Poison” scene:

Danny Kaye: The pellet with the poison is in the vessel with the pestle, the chalice from the palace has the brew that is true, right?
Mildred Natwick: Right, but there’s been a change. They … broke the chalice from the palace.
Danny Kaye: They … broke the chalice from the palace?
Mildred Natwick: … and replaced it with a flagon.
Danny Kaye: A flagon?
Mildred Natwick: … with a figure of a dragon.
Danny Kaye: A flagon with a dragon.
Mildred Natwick: RIGHT.
Danny Kaye: But, did you put the pellet with the poison in the vessel with the pestle?
Mildred Natwick: Noooo, the pellet with the poison is in the flagon with the dragon, the vessel with the pestle has the brew that is true.
Danny Kaye: The pellet with the poison’s in the flagon with the dragon, the vessel with the pestle has the brew that is true.
Mildred Natwick: Just remember that.
Danny Kaye: Yes, thank you very much.

Other big screen vehicles allowed this musical dynamo to express his array of special assets. In hits such as The Secret Life of Walter Mitty (1947), On the Riviera (1951), and the holiday classic, White Christmas (1954), he proved he could be a bankable mix of leading man good looks, a uniquely talented clown, and he could act, dance, and sing, too!

Bing Crosby and Danny Kaye in White Christmas (1954)Bing Crosby and Danny Kaye in White Christmas (1954).

Kaye’s talents were too big to be limited to the big screen. He dazzled the bright stage lights with multiple musical appearances- from his Broadway stage debut in The Straw Hat Revue in 1939, to Two By Two in 1971. Another medium that served as a top-rated outlet for Kaye was radio. He aired a popular program in his own namesake for two seasons, starting in 1945. He drew major stars such as Orson Welles and it co-starred Eve Arden. But he discovered the physicality of his style of entertainment was best experienced visually.

Danny Kaye Radio Show Script (1946)Radio script from The Danny Kaye Show – March 1, 1946.

While much of the 1930s was devoted to stage work, and he spent the bulk of the ‘40s and ‘50s performing in popular film roles, he also tackled the ever-booming medium of television starting in the early 60s. His appearances on TV specials were so well received that he was given his own regular series. The Danny Kaye Show was wildly successful (he won an Emmy in its first season), and ran for four seasons. A variety show format with skits, dancing, and musical numbers, it attracted the biggest stars of the time such as Lucille Ball, Louis Armstrong, Vincent Price, and Mary Tyler Moore.

After the ‘60s, he continued working in TV but less frequently. His last television roles were memorable; such as his rare dramatic role in Skokie (1981), with his incredibly poignant performance as a Holocaust survivor in the cross-hairs of a legal debate of assembly rights vs. hate speech with neo-Nazis, and as late as 1986, as Dr. Burns the dentist in The Cosby Show, less than a year prior to his death.

But what’s most impressive about him is everything he accomplished that has nothing to do with acting, singing or comedy. Danny Kaye was an extremely devoted activist and humanitarian, especially in regards to children and social justice and he committed much of his life to charitable work. As a liberal Democrat, he opposed the witch hunt activities of the HUAC Hollywood blacklisting and joined others like Humphrey Bogart, Lauren Bacall, Gene Kelly, and Paul Henreid in the Committee for the First Amendment’s formal protest in Washington in 1947. Kaye served as the very first Goodwill Ambassador for the United Nations Children’s Fund (UNICEF), starting in 1954. He traveled the globe for over 33 years, until his death in 1987, to raise support for UNICEF and millions of children in need.

Danny Kaye UNICEFUNICEF’s first Goodwill Ambassador, Danny Kaye.

“Children are the same the world over,” Kaye once said. “They may have a different culture, but an ache or a laugh is universal.” He joined UNICEF’s official delegation in Oslo in 1965 when the organization received the Nobel Peace Prize. He received two Academy Awards~ an honorary Oscar in 1955, and again in 1982, with the Jean Hersholt Academy Award for his humanitarian work.

According to the UNICEF site, “he promoted the ‘Trick-or-Treat for UNICEF’ campaign by flying his own plane on whirlwind tours to enlist volunteers. The last such trip, in 1968, touched down in 65 US and Canadian cities in five days and put Kaye in the Guinness Book of Records as the World’s Fastest-Flying Entertainer.”

Danny Kaye Trick or Treat for UNICEFDanny Kaye promoting Trick-or-Treat for UNICEF.

He was also a master chef in Chinese cooking- hosting celebrities and world-class French chefs, an early owner of the Seattle Mariners’ baseball team – known for rattling off baseball stats like an encyclopedia, and was a licensed commercial pilot for single, multi-engine, and certain business class planes, including Boeing 747 and DC-10. To the delight of critics and fans alike, he often conducted renowned orchestras, including the New York Philharmonic, raising MILLIONS of dollars for charity. Yet surprisingly, he couldn’t read a single note of music- he was able to do it all by ear. In his true Kaye style of physical comedy, he famously would trade his baton for a fly swatter while conducting “The Flight Of The Bumble Bee.”

Danny Kaye serves guests in his Chinese Kitchen.Danny Kaye serves guests in his Chinese kitchen.

Not too shabby for a kid from Brooklyn who dropped out of school by age thirteen. His parents, Jacob and Clar Kaminski, were Ukrainian Jewish immigrants. The youngest of three sons and the only one born in America, Danny Kaye was born on January 18, 1911, named David Daniel, or as his parents called him, “Duvidelleh.”

He got his first taste of showbiz from touring the “Borscht Belt” Jewish resorts of the Catskills in his teen years, eventually making his way to clubs and bigger stages in NYC. Samuel Goldwyn’s wife Francis would be the talent scout who discovered Kaye on the NY stage, and who insisted his natural red hair be dyed into a golden strawberry blonde.

Danny Kaye & Sylvia FineDanny Kaye with wife, and former Brooklynite, Sylvia Fine.

By 1939, during his first Broadway show, he met another former kid from Brooklyn, Sylvia Fine, and married her in 1940. Sylvia was the wife and supportive business partner to Danny, not unlike Alma Reville was to Alfred Hitchcock. Sylvia wrote the music and lyrics to many of the songs he performed and essentially managed most of his career. Sylvia was a Hollywood success in her own right, working in production (often on his shows) throughout her long career, earning two Oscar nominations and two Emmy nominations, and she was awarded a Peabody in 1980.

Danny Kaye, Dena Kaye, and Sylvia FineFamily picture of Danny Kaye, Dena Kaye, and Sylvia Fine.

Their only child, Dena, was born December 17, 1946. Danny and Sylvia were separated the very next year, blaming their busy careers. Interestingly, they remained married yet separated, while working together professionally, for forty years, until his death. Sylvia died a few years after Danny in 1991 and is buried aside him at the Kenisco Cemetary in Valhalla, NY. What’s also interesting about Danny and Sylvia is that while they didn’t meet until 1939, they grew up in the same neighborhood in Brooklyn. At one point in his early days before his rise to stardom, Danny unsuccessfully worked a string of odd jobs. He worked for a dentist but was fired in short time for using the dental drills for creative carpentry. Unknown to any of them at the time, that dentist would later become Danny’s father-in-law.

I realize that my love for Danny Kaye’s zany style of comedy and lyricisms may not be matched in equal measure for everyone. Humor is very subjective, after all. But I imagine it’s nearly impossible to find anyone not impressed by the variety and magnitude of the accomplishments of this rapid-fire, tongue-twisting, brilliant, and deeply compassionate Renaissance man. You were truly one of a kind, Danny Kaye. XO…

 …..

–Kellee Pratt for Classic Movie Hub

When not performing marketing and social media as her day gig, Kellee Pratt writes for her own classic film blog, Outspoken & Freckled (kelleepratt.com). Kellee teaches classic film courses in her college town in Kansas (Screwball Comedy this Fall). Unapologetic social butterfly, she’s an active tweetaholic/original alum for #TCMParty, member of the CMBA, Social Producer for TCM (2015, 2016), and busy mom of four kids and 3 fur babies. You can follow Kellee on twitter at @IrishJayHawk66.

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Five Fun Facts About The Dolly Sisters

Five Fun Facts About The Dolly Sisters

The Dolly SistersClassic flapper girls!

“They’re Beautiful…They’re Glamorous…They’re Scandalous!”

So read the tagline for Twentieth Century Fox’s glossy, highly fictionalized biopic about the famous (and infamous) Dolly Sisters. In the film, Betty Grable and June Havoc portray the twin sweethearts of Broadway and cabaret stages. Over fifty years later, Emma Hamilton and Zoe Richards portrayed the twins on the PBS miniseries, Mr. Selfridge. In both portrayals, the twins are presented as blonde gold diggers. In reality, the Dollies resembled Louise Brooks in appearance and, though they had a taste for extravagance and wealthy men, were much more than the bubble-headed girl’s film and television make them out to be.

"The Dolly Sisters" film starring Betty Grable and June Haver.An array of images from “The Dolly Sisters” film starring Betty Grable and June Haver.

Rosie and Jenny Dolly were born in Budapest, Hungary on October 25, 1892, as Janszieka (Jenny) and Roszicka (Rosie). After their father’s business fell apart, the family moved to New York where the girls began to make money by dancing. They invented their own dances to perform on vaudeville; their mother helped sew their costumes. Eventually, producers took notice of their animation and high spirits if not their so-so singing and dancing skills. “They had that indefinable something made even more special by the fact that they were identical twins,” Dolly Sisters’ biographer Gary Chapman commented. They worked their way up to Broadway and the glorious stages of the great Ziegfeld and Shubert Brothers. Rosie and Jenny took the memorable name “Dolly” because legend has it, one critic proclaimed them to be “as cute as dolls”.

Sheet music for one of the Dolly Sisters' most popular Ziegfeld Follies numbers, "Bumble Bee."Sheet music for one of the Dolly Sisters’ most popular Ziegfeld Follies numbers, “Bumble Bee.”

Florenz Ziegfeld aided them in creating their trademark look in 1911 when he signed them for the Follies. For a routine in which they portrayed Siamese twins, Ziegfeld’s costumers adorned the girls in costumes that brought out the hint of the gypsy in their slanted eyes, black hair, and petite figures. Their jewels, head-dresses, and finger-cymbals all spoke of the Far East. The striking sisters became musts at Jazz Age parties and fashion designers loved using the twins to show off their latest creations.

The Dolly Sisters in Ziegfeld Follies CostumesThe Dolly Sisters in their Follies Bergere costumes.

Here are five fun facts to illuminate more about these misunderstood Ziegfeld Girls:
The Dolly Sisters had many admirers: the Prince of Wales (Edward VIII), King Alphonso of Spain, American mogul Harry Selfridge, and Diamond Jim Brady. There’s an erroneous belief that the Dollies ruined their suitors (most notably Harry Selfridge). Not true! Selfridge, according to the Dollies’ biographer Gary Chapman, brought on his own ruination “because of his obsession with twin dancers.” Though the girls may have appeared manipulative and teasing to their suitors, they were eternally romantic. They went into each new affair with excitement and hope that they would find the true love that eluded them.

The Dolly Twins Flapper CostumesAn iconic image of the Dollies in elaborate costumes.

Jenny and Rosie did have a rivalry, and, for a time, they seemed to marry and divorce in sync with one another. In 1913, Rosie married Jean Schwartz, author of “Rockabye Your Baby With a Dixie Melody.” In 1914, Jenny married creator of the Fox Trot, Harry Fox. Though marriage led to separate careers from 1915-1916, with the twins appearing independent of one another in films, they were so close that they could not stay apart for long (they were so close that they dressed alike both on and off the stage!). They became a permanent team again in 1916 and made a hit playing at the famed Palace Theatre. In 1920, Jenny divorced Fox. The following year, Rosie divorced Schwartz. The twins, like many in the Lost Generation, relocated to Paris and would stay there for most of their lives.

The Dolly SIsters SiameseThe Dollies in their Siamese Twin act for the Follies.

Rosie and Jenny, in Ziegfeld’s opinion, did not have much talent, but they were cute. His opinion may have held some truth. The Dollies were, according to Daily Mail author Martha de Lacey, “were perhaps the first celebrities to be famous simply for being famous.” The rags to riches twins basked in their wealth and the attention lavished upon them. But the Depression ended their not so proverbial days of wine and roses. In 1933, Jenny was in a near-fatal car accident that ruined her lovely face. Endless plastic surgeries did nothing to make her appear again like her sister. She expressed that she wished she had died rather than live on, as she put it, “a broken shell.’ In 1941, she hung herself from a curtain rod with the sash of her dressing gown. Rosie was in a seemingly happy marriage and seemed to have forgotten her sister and her failure to invite Jenny to a Memorial Day dinner appears to have been the last straw.

A heartbroken Rosie unsuccessfully attempted to follow her sister in 1962 by overdosing on pills. Rosie’s unhappiness is reflected in her statement, made upon her return to New York in the ‘60s: ‘I found out that America has changed— I’m in New York, old friends you call up when you arrive – they’ve forgotten you. They don’t call back.’ In 1970, Rosie died of heart failure. Both Rosie and Jenny had become addicted to attention and celebrity, and without much but their looks to fall back on, they found it incredibly difficult to accept the impermanence of their fame and beauty.

They played classic “twin tricks.” Once, a beau invited Rosie to lunch, but she wasn’t that attracted to him. So, she ate quite a bit of food and then excused herself. Jenny took her place and ordered more food. This made the unwanted beau lose interest. Rosie and Jenny loved being twins, making it all the more tragic that they grew apart in their later years.
The Dollies were not flashy. Their costumes actually covered up a lot of skin, while other cabaret performers virtually stripped during their performances. They also let admirers come to them; they did not pursue. Diamond Jim Brady pursued them most fervently. He gave them diamonds and a Rolls Royce, among other precious items. However, the relationship remained strictly platonic. The Dollies’ love, it seems, could not be bought.
The Dolly Sisters may not be well-remembered today, but they truly reflect the essence of the Roaring Twenties and the triumph and tragedy of the Lost Generation.

…..

– Sara and Cynthia Brideson for Classic Movie Hub

Sara and Cynthia Brideson are avid classic movie fans, and twin authors of Ziegfeld and His Follies: A Biography of Broadway’s Greatest Producer and Also Starring: Forty Biographical Essays on the Greatest Character Actors of Hollywood’s Golden Era, 1930-1965. They also are currently working on comprehensive biographies of Gene Kelly and Margaret Sullavan. You can follow them on twitter at @saraandcynthia or like them on Facebook at Cynthia and Sara Brideson.

If you’re interested in learning more about Cynthia’s and Sara’s books, please click through to amazon via the below links:

    

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Film Noir Review: Vertigo (1958)

“If I let you change me, will that do it?
If I do what you tell me, will you love me?”

As cinema’s reigning “Master of Suspense”, Alfred Hitchcock usually made a point of keeping his audience in the loop. He believed that information and tension went hand in hand, and that by telling us what was going to happen, we would grip to our seats tighter, and fear more intensely for the characters. Films like Rope, Strangers on a Train, and Rear Window validated this practice, as they turned potboiler pulp stories into masterful displays of showmanship. “I’ll make this dip a little deeper, that will make them scream”, Hitchcock once said, coining a much-copied roller-coaster analogy. It’s the greatest tactic he ever contributed to the medium.

That said, the film we’re discussing today, Vertigo, is a bit different. It has the bizarre distinction of being both Hitchcock’s most celebrated effort, and the one in which he least relies on his beloved “roller-coaster” tactics. It eschews every tradition and glossy trope he previously set in favor of an abstract, at times terrifying descent into the psyche of its main character. It’s stylish, yes, but it’s also intimate, and personal in ways that Hitchcock rarely allowed himself to be.

The film's promotional poster.

The film’s promotional poster.

The film stars James Stewart as Scottie Ferguson, a police detective forced to retire when a rooftop chase leads to the death of a colleague and a diagnosis of vertigo. Racked with guilt, Scottie sees a chance at redemption when an old college chum, Gavin Elster (Tom Helmore), asks him to tail his wife Madeleine (Kim Novak). You see, Madeleine has developed an obsession with a dead relative of hers, Carlotta Valdes, and Elster fears that she may be urged to kill herself as Carlotta did. Scottie is predictably skeptical, but as the investigation wears on, his willingness to believe, and his own growing obsession with Madeleine, obscures what’s really going on.

Vertigo makes no attempt to conceal Scottie’s personal reasons for taking the case. His skepticism melts away the moment he lays eyes on Madeleine, and his wholesome, upright demeanor turns carnal. He must be near her, he must possess her. The tailing scenes that follow add fuel to this erotic flame as Scottie becomes a veritable stalker– albeit, one with a license and an hourly rate. He tails Madeleine through a maze of San Francisco’s various landmarks, enacting a geographical tango that grows in intensity with her increasingly erratic behavior. (As an SF native, I can confidently say that no film better reflects the city’s romantic notion of the past.) Scottie makes contact with Madeleine after she attempts to drown herself, and the two immediately begin a torrid affair.

Scottie and Madeleine at the California Redwood Forest.

Scottie and Madeleine at the California Redwood Forest.

Hitchcock introduces the mystery of Carlotta Valdes as the film’s central conflict, the threat that Scottie and Madeleine must overcome on their way to a happy ending. He neither tells us nor shows us anything that suggests otherwise, so we forge ahead, confident in our surroundings. The couple journey to an old Spanish mission, San Juan Bautista, hoping it’ll solve a piece of the mystery, but Madeleine (and the director) suddenly pull the rug out from under us. Madeleine scrambles up the mission bell tower, knowing that Scottie’s vertigo will render him useless, and  jumps to her death, mirroring Carlotta’s untimely fate. The death is ruled a suicide, and Scottie, our supposed hero, is placed in a mental institution, unable to cope with the loss of the woman he loved. If Vertigo were a play, this is where the mid-act curtain would come down, and the silence in the audience would be deafening.

Stewart’s performance, and the film as a whole, explores the trauma of this loss in the second act. Whereas the Scottie we initially meet has warmth and charm, the Scottie who gets released from the institution has an emotional anguish that he can barely repress. He breaks ties with his friend Midge (Barbara Bel Geddes, adding to the film’s roster of lovelorn losers). He wanders the streets, every so often seeing a blonde woman or a dress that reminds him of Madeline. Hitchcock stages these scenes with surprising tenderness, one of the rare instances where he puts himself on level emotional ground with his characters, rather than above them, pulling their strings.

Scottie is eventually shaken out of his stupor when he meets Judy (also played by Novak), a spitting image of Madeline with dark hair. Scottie seduces Judy with the intent of remaking her in Madeline’s image, but what he doesn’t know is that Judy is the woman he previously fell in love with, and that she and Elster were in cahoots to murder the real Madeline all along.

Judy willingly undergoes Scottie's plan to "recreate" Madeleine.

Judy willingly undergoes Scottie’s plan to “recreate” Madeleine.

From a critical (and monthly column) standpoint, Vertigo is only marginally film noir. It has a detective, a mystery, and the backdrop of San Francisco, one of the genre’s capital cities, but to call it noir would be like calling Sgt. Pepper’s Lonely Hearts Club Band a rock album. It’s technically correct, but the sheer magnitude of its artistry transcends. It’s bigger than any one genre. That said, the instances where Hitchcock uses (or more accurately, “twists”) noir to his advantage rank among the strongest in the film. The opening chase is blanketed in almost complete darkness, obscuring our vision to such an extent that we feel as vulnerable as the dangling Scottie. The film takes a lengthy detour into daylight with the fuzzy, dreamlike Madeleine scenes, but scenes with Judy, after she agrees to indulge Scottie’s obsession, return us to the darkness permanently.

The scene where Judy returns from the beauty salon, hair bleached and looking exactly as she did when she was Madeleine, is the film’s creative apex. Scottie gazes at her, basking in the joy of having recreated the dead woman he once loved. Hitchcock takes the neon sign outside the window and shines it on Judy, turning noir’s greatest emblem of grittiness into a ghostly effect. The couple embrace, and space and time seem to come crashing down around them. The backdrop shifts between the room and the earlier scene at San Juan Bautista, while Bernard Herrmann’s score, among the most lush ever written, reaches a blaring orchestral (and metaphorically suggestive) climax.

Judy emerges from the bathroom as Madeleine.

Judy emerges from the bathroom as Madeleine.

While there’s an air of triumph to the scene, the interesting thing is that Scottie seems to acknowledge the artificiality of it all. He momentarily breaks his embrace of Judy to look around the room, suggesting that he too sees time falling in on itself. Is he breaking the fourth wall? Is it all happening in his mind? Is it… real? The questions fade before they can be answered, and Scottie embraces Judy once more, but I’ve always found this moment to be most important because of what Hitchcock is saying.

Much has been said over the years about Hitchcock’s obsession with creating the perfect blonde, or, in the case of Grace Kelly (the first choice to play Madeleine), hanging onto the perfect blonde. Vertigo has been cited as his coming to grips with this on film, and rightfully so, but not enough has been said about how cleverly he manages to convey it. Hitchcock knew the film was perverse, and rather than attempt to hide it, he uses it to explore the tragic nature of these perversions. He doesn’t let us condemn Scottie from afar, he forces us experience the entire film through his compromised point-of-view. The storytelling is so fluid, the command of style and emotion so intoxicating, that we start to understand, and in some instances, empathize with Scottie’s plight. We share in his grotesque nightmares, his inability to tell fantasy from reality. By the time he stops to realize what he’s done, we too have become obsessed.

Scottie realizes what he's done to Judy.

Scottie realizes–perhaps for the first time– what he’s done to Judy.

Scottie eventually discovers Judy’s betrayal, and takes her back to the bell tower where she “died” to confront her.  As he delivers his heartbroken tirade, however, Judy accidentally trips and falls. Scottie attempts to grab her, but he is too late. Judy is dead, like Madeleine and Carlotta Valdes before her. Scottie stumbles out onto the ledge and into the night, struggling to process the guilt. His vertigo, the very reason he was chosen as a patsy, is seemingly cured. The dream is over.

Long after the blunt-force trauma of Psycho has dulled and the cozy paranoia of Rear Window has settled in, Vertigo remains Hitchcock’s most disturbing film. Its visceral depictions of love and obsession (and where the two overlap) are troubling to watch, as they fail to provide concrete solutions or feel-good outcomes. The same can be said for the layered performances given by Stewart and Novak. The former has never been more tragically inept, while the latter is heartbreaking as a woman who endlessly compromises herself for approval. Their importance to the film cannot be overstated. They provide a soft, melancholy spell that, were it not there, would greatly weaken Hitchcock’s vision.

Scottie's vertigo-- and the love of his life-- is gone.

Scottie’s vertigo– and the love of his life– is gone.

It’s the only time in Hitchcock’s oeuvre where he doesn’t rely on corrupt organizations or unstable loners for dramatic conflict. In this case, the conflict, like the titular affliction, comes from within. It comes from our universal desire to be loved, and the desperate measures we would take to maintain that love. Hitchcock will always be the “Master of Suspense”, but with Vertigo, he toned down the trickery and allowed himself to simply be masterful. It remains his finest hour behind the camera, and one of cinema’s finest hours ever. A+

TRIVIA: Vertigo was unavailable for decades, until Hitchcock’s daughter, Patricia, restored the film as part of Universal’s home release collection.

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–Danilo Castro for Classic Movie Hub

Danilo Castro is a film noir specialist and Contributing Writer for Classic Movie Hub. You can read more of Danilo’s articles and reviews at the Film Noir Archive, or you can follow Danilo on Twitter @DaniloSCastro.

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