John Garfield: Hollywood’s Forgotten Hero

Posted on Posted in Blogathon, Classic Hollywood Movies, Tough GuysTagged , , , , , 25 Comments

When most people think of a hero, they think of a combat soldier, or an ancient mythological Greek or Roman god, or even a DC or Marvel Comic strip superhero.  Very few people think of an actor as a hero. This post is a tribute to John Garfield: An actor, artist, Hollywood star and hero. Even though he did not win an Oscar, he was nominated twice, once for Best Supporting Actor (Four Daughters, 1938) and once for Best Actor (Body and Soul, 1948).

Was he robbed or stubbed? I don’t think so. I think he just ran out of time and had too many obstacles in his way. However, this tribute goes beyond praising his work and contributions to the Arts.  It is also a tribute to him as a great human being who stood strong when most of those around him faltered, failed, and at times betrayed him and others. In life, Garfield performed heroic deeds.

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I am so happy that KG at KG’s Movie Rants is hosting the Unsung Hero Blogathon. It  celebrates various actors who should at least be praised for their contribution to their craft and Art, especially if they did not win an Oscar. You can read more about other deserving actors using the following link:

Announcement: The Unsung Hero Blogathon

I think of Garfield Even Though 

His name and image is unrecognizable by most audiences today and very little credit is given to him for much of his work.  Despite this,  John Garfield’s contributions to movie making and acting are still felt around the world today.  He was one of the trail blazers for removing the rigid controls of the old Hollywood studio system. On screen, he introduced new acting techniques that are still practiced by actors and appreciated by audiences today.  Possibly, and more importantly, his life emphasized the importance that all artists should be  “citizens of the world.” They should not be silent when confronted with inhumane or immoral actions by people or governments. Especially, those who disregard Constitutional rights or even the human rights of others. An example of how relevant this is today, think of Meryl Streep’s moving speech at the 2017 Golden Globe awards.  In case you missed it, I put the link of the video in the References.

I thought of Garfield After Streep’s Golden Globes Message

There were conflicting opinions about her message. Some praised her for her courage to speak out; and, there were others who complained that her job is to entertain and keep quiet. On Twitter, Facebook, Instagram, etc…, you will find artists and actors exercising their freedom of speech. While at the same time you will still find people, under the delusion, that they own these outspoken celebrities and can control them because they are fans and buy tickets to see them. Some even go so far as to personally threaten them or a love one if they continue to speak out. Unfortunately, actors, from the 1920s though 1960s,  were controlled and silenced by the old studio system using tactics similar to these.

What Does This Have to do With Garfield?  Like One of His Noir Films, Let’s Start at The End

On May 21, 1952, Garfield passed away in a two room apartment while sleeping in a friend’s bed. A robust, charismatic mega-star in the prime of his life. He was 39 years old.  Ironically, he once said, that an actor doesn’t mature until they reach the age of 40. Previously, the HUAC (House of American Activities Committee), blacklisted him. This ban forbidden him from working in Hollywood for over a year. Instead of working in Hollywood, he landed the lead part in Broadway play. This is a part that he had badly wanted for years. Even before he became a Hollywood star, he believed this was the part that he was born to play.

His friend, Clifton Odets, who came from the same Jewish neighborhood, wrote a play “The Golden Boy,” for him.  This happened years ago, when Garfinkle was still a struggling actor in New York City. Odets’ play was centered on a talented violinist and boxer, Joe Bonaparte, who must make a fateful decision between money or integrity. This decision will alter his life forever. Tragically, in 1951, John Garfield  will also make a decision that will irreversibly change the course of his life.

Although, Odets pushed for Garfinkle to play the lead, he failed to secure that part for his friend, Julie (Julius Garfinkle). Many believe that the disappointment of not getting the lead part in Golden Boy is what drove Julie to sign a contract with a major Hollywood studio.  When Garfinkle signs a seven-year contract with Warner Brothers, they will change his name from Jacob Julius Garfinkle to John Garfield.  The studio thought Garfinkle sounded too Jewish.  Considering his parents are Jewish; and, they immigrated to the United States from the Ukraine to escape the Russian pogroms, it is safe to say; his name sounded Jewish. By the time Julie (Jack Or Dutch were his other nicknames) reached his 20s, the world was struggling through the Great Depression, The Great Dust Bowl, Hitler’s rise to power, segregation, and anti-Semitism (which was the norm of the day, even in America).

What was Garfield really like?

The contract that Garfield signed with the studio had a surprising and extremely rare option added to it.  The option allowed Garfield time off from making movies to do stage work.  Garfield believed that work in the theater is creating Art; while work in Hollywood was simply making money. The studio did not want to add this option; but, Garfield proved to be a strong negotiator.

Maybe, this skill developed while he was still on the debate team in a special school: He came in 2nd in the City Wide Debate Completion sponsored by the New York Times. While growing up in poverty and living from house to house, he also developed a stammer; but, that didn’t stop him from taking drama and speech classes at this special school (P.S. 45). Nor did the stammer, keep him from becoming a Leader of a street gang.   As Garfield explained: Growing up in a place where there is a gang on every street, you learn that safety is in numbers.

When Julie was seven years old, his mother passed away  from complications of a childbirth, two years earlier. This is when his only sibling, Max, was born.  They were basically raised by relatives in three different city Burroughs: Lower east side of Manhattan, the Bronx and Brooklyn. Their father was indifferent to the boys when they were little. He did remarry and fortunately, they placed Julie in a school for troubled teenagers.  Before these classes, his only positive outlet for his frustrations was in a boxing gym. He was quite good at it and even boxed professionally for a short awhile.  Eventually, he will replace boxing with a new and different kind of excitement. An experimental acting class. This class used unique techniques which later became known as The Method.

How did he seem to others?

He was  a friend, a husband, a father, a son, an athlete, and a wonderful story-teller.  To some people, he could be abrasive at times; yet, for others they remember his soft, soothing voice, and his completely disarming smile. Some, who knew him better, would describe him as funny, adventurous and definitely loyal. Many would say he was  passionate about anyone or anything that he cared about. Others would say he had a wonderful imagination and a creative mind. Regardless of his skills in negotiating deals or charming people, his passion was in acting; and, with the spirit of a true artist, he found himself at odds with the poorly written scripts and/or produced movies that the studio would forced upon him.

Hollywood And So Much More

Before he left the New York stage to go to Hollywood, he took a year off to ride the rails as a hobo and working his way across America doing various jobs.  He met all kinds of people and learned about their lives and surviving the Great Depression.  Many of his tales of that adventurous time would later be depicted in a movie by a friend, Preston Sturges’Sullivan’s Travels (1940).

In Garfield’s first movie, Four Daughters(1938), movie goers had a new experience.  They seen something they had never seen on-screen before.  They did not see an actor pretending to be a character; but, an artist who was the character. For the first time on screen “The Method” is explored and successfully utilized on film.  His craft and his skill as an actor did not go unnoticed. He received a nomination for Best Supporting Actor from the Academy of Arts and Sciences.

Movie clip of Garfield’s break out movie: Four Daughters

http://www.tcm.com/mediaroom/video/458114/Four-Daughters-Movie-Clip-Mickey-Something.html

In a similar way that Garfield was influenced by James Cagney and Edward G. Robinson, many actors will be influenced by his performances. Actors like James Dean, Marlon Brando, Montgomery Cliff, Harvey Keitel, Robert Di Nero, Al Pacino, Sean Penn and many more followed his lead and learn The Method. If it were possible to combine all their faces together into one face; I imagine that I would still see John Garfield’s face.

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A Dream Deferred, Again

Later, as a Hollywood star, John Garfield, had the opportunity again to play the part that he knew he was born to play, Joe Bonaparte.  This opportunity came not on stage; but, as a movie based on the play. Again, the fates refused to smile upon his desire to play his dream role.  Warner Brothers refused to loan him to Columbia Pictures to make the movie. Due to artistic disagreements, Garfield refused to make movies that he deemed as crap.  So, he cheerfully endured 11 suspensions. Warner Brothers found a way to add salt to the wounds of his suspension by not allowing him to have his dream role. In fact, it went to newcomer William Holden.  It became his break out picture which  earned him the nicknames of Golden Boy or Golden Holden.  Eventually, the studio won out and forced Garfield to make some “B” movies that turned out to be much better than they were intended, thanks to his talents; but still, they were “B” movies.

Patriotism And WWII

When WWII began, Garfield tried to enlist.  He was turned down because it was discovered that he had a damaged heart. As a child, he became ill with Scarlet fever which was not diagnosed at that time. Disappointed but still not giving up, he wanted to help in the war effort. So, he, fellow film star Bette Davis and Jules Stein (president of the Music Corporation of America) opened the Hollywood Canteen. It fed and offered entertainment for all Allied soldiers (women and men). It had signed up over 3000 Hollywood volunteers who waited tables, worked the kitchen, danced with or just performed a little show for the servicemen and women.  Most military personnel stopped by just before they “shipped out.”  He also toured with the USO to entertain troops overseas and promoted the buying of War Bonds to support the war effort.  In addition, he also made some very impressive war movies that praised the American soldier during the war.

After The War: A New Independence

In 1946, just after WWII ended and the Cold War begun, Garfield’s contract with Warner Brothers ended.  Instead of signing another contract with another Studio, he decided to go independent and start his own production Company called Enterprise Studio.  He was one of the first actors to do this.  Maybe not so ironically, the first film project was a boxing movie, Body and Soul (1947).

Many critics and Garfield fans hail this movie as a masterpiece.  It is considered by some critics as the best boxing movie ever made.  Garfield portrays a boxer, Charley Davis, who battles to the top while losing his values, principles, and integrity. This is a classic Noir film.  It begins with Charley reminiscing about his past and the his regretful decisions.  This film will influence future movie makers of boxing movies like Martin Scorsese of Raging Bull and Sylvester Stallone of Rocky.

To make the gritty, in your face, realistic boxing sequences, James Wong Howe, cinematographer, used a hand-held camera and moved around the actors on roller skates. It is no wonder why Francis Lyon and Robert Parrish won the Oscar for Best Cinematography, Editing. The movie was also nominated for two other Academy Awards: Best Screenplay (Abraham Polonsky – later blacklisted) and Best Actor (John Garfield). This will be Garfield’s second Academy nomination.

For the casting of this movie, Garfield pushed and demanded that a black actor, Canada Lee, portrayedBen Chaplin. Lee added authenticity to his role as a boxer; since, he used to professionally Box and had 13 KOs (Knock Outs) to his credit. Hiring Lee was a bold and controversial move at a time when segregation was still Law and the cultural norm; and, the Civil Rights Movement will not begin for another eight years.

Modern Day Witch-hunt, HUAC: A Bit of History.  For those of you, who know all about this part of American History, please feel free to scroll pass

Although this was the beginning of the Cold War, before and during World War II, many Americans and intellectuals were bedazzled by the ideology of socialism.  Socialist Russia was our ally who fought with us against Fascism. In defense of these people, socialism does sound attractive, in theory. So, if someone offered an open-minded individual a Socialistic petition to sign, during the war years, which promised some working class equality: Most artist and college students would sign it; however, this does not make them a communist.

Once WWII is over and the fear of Fascism is defeated, another fear will take its place, the Red Scare. This Cold War with the Soviet Union will mostly be fought overseas and with spy hunts everywhere. Fear does very weird things to people who otherwise would never dream of lying or hurting another human being.

Even Shakespeare would be shocked by the “Web of Lies” that were weaved in order to deceive and protect oneself from the accusations of “Being Red!”

There were over 300 names Blacklisted from the Entertainment Industry.  Of those names listed as having communist connections, only one, used to be, a communist party member.  It is interesting to note, most of them were in fact, Jewish (70%).

If there had been a real threat, they should have been arrested as spies. The only people arrested and sent to prison were the few who refuse to lie or who refuse to “cooperate.” For this, they were, ironically, charged with contempt of the law Congress.

The Hollywood Ten: a bit more History

The Hollywood Ten (9 writers and 1 director/producer) were convicted and sent to Federal prison for not being spies; but, because they did not admit to it.  They refuse to name names and cut a deal like Chambers, a real spy.  To protest this miscarriage of justice by Congress, an action group, Commitment For The First Amendment, was formed by Hollywood’s A- listers.  The membership for this group was around 300 people. Garfield was one of those people. They flew to D.C. and protested the HUAC hearings.  It only backfired on them.  It was found out that one of their members used to be in the Communist party, Stanley Hayden. As a result, all members came under suspicion. Then, it was found out, 3 of the Hollywood 10used to be members of the Communist party. None of the members of the Committee For The First Amendment were communists.  Nearly all were New Deal, Liberal Democrats.

Why did President Truman allow this travesty against the law and to the American people happen? According to a television bio-movie, Truman (1995), he didn’t think the America people would be so stupid to buy into HUAC’s brand of patriotism (This must have happened during an election year).

In reality, a 1946 poll, I snicker, claimed 78% of the American people believed Soviet agents infiltrated the United States Government.  As a matter of fact, the United States Justice Department was investigating the Senior Editor of Time Magazine, Whittaker Chambers. Chambers had been a spy for the Soviets. He would testify to HUAC that an underground Communist Network had been working within our government since the 1930s. Then, he started naming names in order to cut a deal.  One of those he named was Alger Hiss. He was an official in the State Department. Truman claimed Hiss was not a spy but a “Red Herring” to protect Chambers.

I am going out on a limb, and suggest, that Hollywood was perhaps a “Red Herring” too. It is like a magic show, distract them here while the trick is played there. This would take the focus off the United States Government. If it could have been proven true, it would have shaken the very foundation of this country, especially after suffering the effects of two World Wars. It is interesting to note that no spies were actually found in the government. As a matter of fact, the hearings tapered off after Senator McCarthy accused the United States Army of being communists. As a result, it is only in Hollywood that the accusations of “Being Red” still continued.

The Fateful Decision

When Garfield was asked to testify before the HUAC on April 23, 1951, he refused to give names or cut a deal like most of the “cooperating” Hollywood witnesses.

Here is Garfield’s final words to the HUAC:

“When I was originally requested to appear before the committee, I said that I would answer all questions, fully and without any reservations, and that is what I have done. I have nothing to be ashamed of and nothing to hide. My life is an open book. I was glad to appear before you and talk with you. I am no Red. I am no pink. I am no fellow traveler. I am a Democrat by politics, a liberal by inclination, and a loyal citizen of this country by every act of my life.

Despite his patriotic efforts during the war, he was still Blacklisted for not lying. Congress expected him to lie and admit he was guilty of being a member of the communist party. Then, ask for mercy because he was duped by the “Reds.”  He was supposed to denounce them and cut a deal. He was suppose to lie again on his peers, friends and even on his own family (Roberta, his wife, had an expired Communist party card).  For readers, who are completely at lost about this time in American History, I highly recommend the movie, The Way We Were(1973).  I know it is sappy; but, it helps to understand the mindset of people during this turbulent time; plus, the movie is wonderful to watch.

A Dream, Not Deferred And What Could Have Been

Despite the blacklisting, Garfield fulfilled his dream.  “Golden Boy” was revived on Broadway between March 12, 1952 and April 6, 1952.  He had completed  55 performances. Actor Jack Klugman played his brother, Frank Bonaparte in the play.  In an interview, Klugman describe Garfield’s excitement of doing a future project with his old friend Elia Kazan (another blacklister).  He was going to partly base the story on Garfield.  Klugman later learned the name of that project was On the Waterfront(1954).  The plot included a story of a boxer who made the decision to take a dive and ruin his life. I can only imagine how the iconic Brando scenes could have been done by Garfield. It would have been his “mature” moment as an actor. If only, he could have been permitted to do it. If only, he had lived long enough.  It would have been awesome.

His Last Stressful Days

Ten days before Garfield died, his friend and colleague, Canada Lee (Blacklisted) had died of a heat attack at the age of 45.  Weeks before Garfield died, he was informed, during one of his stage performances, that Federal charges were being bought against him in contempt of court (not naming names) and possibly perjury under oath.  Variety magazine claims Garfield was going to recant his denial under oath to the HUAC in an upcoming interview because he wanted to cut a deal with the government.

If Garfield had went back to court, there would be no deals; and, if found guilty, he would spend time in a Federal prison.  A couple of days before he died, he found out that CBS cancelled a show he had performed before a live television audience. It was a scene from Golden Boy.  Kim Stanley (aka female Brando) performed it with him.  Again the HUAC had intervened and prevented his work. In addition to all these stress factors that week, it was rumored that he separated from his wife, Roberta, of 21 years.  This was not unusual in their long marriage.  The night he died, Roberta was expecting him to come home.

So, on May 2o, 1952, he played a rigorous game of tennis. Then, he and a friend ate a heavy dinner. Later, he complained of not feeling well and just needed to rest. His friend, insisted that he take the bed; and, she would rest on the couch. Why didn’t he call his doctor? He was under a doctor’s care since he had a heart attack the year before.  I can only assume that growing up in poverty creates some life long habits, like not going to the doctor when you feel ill.  Besides, he just didn’t play tough guys in the movies, he was a tough guy.

The following morning she decided to let him sleep in. When she went to wake him, she bought him a glass of orange juice.  When he did not respond, she called his doctor. He died on May 21, 1952, just within a few miles of where he was born on March 4, 1913 and a few hours before his friend, Clifford Odets, would cut a deal with HUAC.

John Garfield deserves a Posthumous Honorary Academy Award. His life and work had a positive, historical impact on Hollywood, the stage, and even on the American political system. By giving him this award, he would be given credit for his achievements and his family and friends could finally receive some justice to his memory. John Garfield is what America is all about: Courageous, creative, hard-working, tenacious, honorable, and defending those who can’t defend themselves. If the Academy honors Garfield’s memory in this way, perhaps, he might finally rest in peace because he will always be remembered.

If you would like to know more about Garfield and his work, check out another Garfield Blogathon that has great reviews of his movies. The link is below:

http://phyllislovesclassicmovies.blogspot.com/2017/03/the-john-garfield-original-rebel.html

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Link to the cancelled television show.  The quality is pretty bad; but, you can still see some of the Garfield Charisma that audiences loved.

https://www.youtube.com/watch?v=EhySOam5P2Y

REFERENCES

History on the HUAC

http://spartacus-educational.com/USAgarfieldJ2.htm

A very Brief Bio on Garfield on Facebook

https://m.facebook.com/tragichollywood/posts/1235439816469230:0

Interview with Jack Klugman about John Garfield

http://www.huffingtonpost.com/robert-david-jaffee/witness-to-a-persecution-_b_2735083.html

Information about the Committee for the First Amendment

https://en.m.wikipedia.org/wiki/Committee_for_the_First_Amendment

Meryl Streep’s Speech at the 2017 Golden Globe Awards:  Garfield would have been very proud to call her his friend

http://www.bing.com/videos/search?q=meryl+streep+speech&view=detail&mid=6616F7764A047B721E9F6616F7764A047B721E9F&FORM=VIRE

A Funny Thing Happen: Buster Keaton

Posted on Posted in Blogathon, Classic Hollywood Movies, Comedy, DirectorsTagged , 20 Comments

 

Why Do We Still Remember Buster Keaton?

Even though it has been 100 years since Buster Keaton started making movies, his film shorts and movies keep collecting new fans every year. They have a timeless appeal to the human heart and funny bone.  It is with great honor, that I can contribute this post  to the celebration of one of the greatest film makers of all time.  If you love movies, Keaton movies are a must to watch. To learn more about him and his movies there are several posts to  read  thanks to Lea S from Silent-ology. She is hosting this Keaton Tribute.  You can find these posts on Keaton using the link below:

https://silentology.wordpress.com/2017/02/10/blogathon-update-the-third-annual-busterthon-is-almost-here/#more-27136

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Buster Keaton helped pioneer the movie and Television industry; however, he did so much more.  Besides acting,writing, directing, producing, choreographing and doing his own stunts,  he mentored and continues to influence comedians and film makers today. He started making movie shorts (around 22 gag minutes) at a time when most film was thought to be a collection of pictures, flickering quickly across a reel of film. Moving pictures or Flickers, as they were called at the turn of the 20th century, were a novelty past time for potential trill seekers, vaudeville gags or even a bit of pornography.

To explore and celebrate Keaton’s stage and film work, I wanted to look at some elements of his Genius, some historical basics about theater, his movement from one performing art to another, and finally his to his last movie: Funny Thing Happened on The Way to The Forum.

Elements of Genius

Comedians like Keaton, Chaplin, and “Fatty” Arbuckle took the everyman (underdog) and bought him to heroic heights using their own brand of comedy.  While Chaplin made a homeless man heroic, Keaton made the working man a hero.  Keaton’s hero was a regular guy trying to do the right thing, personally and professionally; but, life kept throwing obstacles in his way which forced him to become extraordinary.  Keaton’s dead pan or stoic expression when facing these obstacles became part of his trademark. How philosophically Greek of him!  Stoicism is a Greek/Roman world view or belief: Regardless of what life throws at you, it is your fate; so, no whining or complaining allowed. Just accept it and move on with your life.  Keaton’s stoic expression earned him the title, Mr. Stone face.

While the muscles in his face may have been set to stone acceptance, his expressive and soulful eyes screamed a myriad of emotions. If the eyes are the Windows to the Soul, Keaton’s eyes gave his audiences a grand tour.  Revered actor, Spencer Tracey, claimed the best performance is found in no performance, just quite, subtle, pauses.  This is definitely one of the many elements to Keaton’s genius: timing, soulful eyes and stoicism. His signature look also included a “pork pie” hat that he would eventually have to make himself. Keaton said a comedian does funny things; a good comedian makes “things” funny.  That hat is one of those things.

Some Art (stage comedy) 

Keaton was more than just an actor/comedian; he was a performer who understood the depth and history of his Art.  Just as philosophy (Stoicism) flourished in Ancient Greece and Rome; so did theater. According to the classics, there are two basic types of the human condition. These are considered divine or god-like: Sadness (includes ranges of loneliness, grief, loss, crying, and Tragedy), and Joy (includes ranges of elation, happiness, redemption, laughter, and Comedy). There is a rule for these two types; you cannot not have one without the other.  Remember the symbol for theater: the connected masks of two opposite expressions: One is laughter and the other is sorrow.  Some comedians have tried to define and explain comedy by using the expression, Tragedy Plus.  Comedian Sid Caesar explained it this way:

If you have no tragedy, you have no comedy.  Crying and laughing are the same emotion.  If you laugh too hard, you cry.  And vice versa.

The movie Forrest Grump is a perfect example of this: It is tragic story of a mentally challenged and physically disabled orphan boy  who is raised by a single mother who is willing do anything to help her son, and does.  His best friend  grows up being sexually abused by her father. She loves him too; but, as an adult cannot see pass his limitations.  He goes to college to play football and soon after is drafted in the Vietnam war where he finds himself, in jungle combat, holding  his only real friend in his arms as he dies of his wounds. Laughing yet?

Some in Hollywood claim a person looks determine their believability on film.  For instance, an odd looking person would be best suited for comedy rather than drama.  Of course the ancient Greeks couldn’t disagree more. So, while looking at these pictures of Keaton, we ponder the question: could Keaton have played Hamlet or been a leading man?

Born and Nurtured in the Performing Arts

Buster Keaton parents worked the Vaudeville circuit.  They were literally “on the road” doing a show in Piqua, Kansas when Joseph Frank Keaton was born on October 4, 1895.

Vaudeville is a multi-act (usually around 12 different acts) variety stage show that was popular in the USA and Canada during the late 1890s and early 1900s.  Since it started with an all-male audience, it had an element of the obscenely comical. Many Vaudeville performers eventually migrated to the flickers/movies. Some were successful and many were not.

Keaton’s father had a business partner: The great magician, Harry Houdini.  They owned a traveling show: Mohawk Indian Medicine Show.  They performed their acts and sold a “medicine” on the side.  It was Houdini who witnessed 18 month old baby Keaton tumbled down a long flight of stairs; after the fall, the toddler stood up as if nothing happened.  Houdini said, referring to the fall, “that’s a Buster.”  Keaton loved to tell that story; so, the nickname stayed with him for the rest of his life.

Keaton’s Dad understood the power of a pratfall in physical comedy.  Besides, he must have believed that a family that clowns together, stays together.  It did not take long for the toddler to became part of the act at the age of 3 years old.  While being thrown into the stage screen or elsewhere, in a skit about a child being disciplined, Keaton’s Dad soon realized that a laughing baby was not as funny as a straight-faced baby.  So, Keaton learned to control the urge to smile or laugh while performing the “toss about.”

From Vaudeville To Silent Movies and Life

Due to his father’s alcoholism affecting their act, Keaton’s mother took him and left Vaudeville for New York City.   Keaton meets and befriends  “Fatty” Arbuckle who is under contract to Joseph M. Schenck. Keaton is hired as his gag man (comedy writer) and eventually co-star. His first movie was The Butcher Boy.  By 1920, he had starred in 14 movie shorts with Arbuckle.

It is in silent movies that Keaton will precisely execute his hilarious stunts and surprising gags.  According to Keaton landing on his feet like a cat came natural to him.  He said you have to stay limp and break a fall with a hand or foot, if not, he would have been killed years ago. I have included a video link that highlight some of his most popular stunts. Any stunt he did with trains or grabbing and holding onto a moving vehicle mesmerize me.  Just remember, those stunts are done as you see them; so,  there were bruises and fractures involved.  He even broke his neck in a scene where tons of water fall on his head from a water tower.

Similar to one of Keaton’s movie plots, an obstacle interrupts the Young 22 year old’s life: World War I – The Great War. The last war to be fought by civilized man.  Or, so they believed.  Keaton served in the 40th Division in France.  Luckily the “Sunshine” Division delivered supplies to the troops.  It was a bit safer than fighting in ” No Man’s Land” between enemy trenches.  Nonetheless, it was still seriously dangerous work.  Keaton suffered an ear infection that left him with permanent partial hearing.

 

Keaton’s Impact on Silent Movies  

So, Keaton is born in Vaudeville, eventually makes history in silent films, and goes on to influence early television and finally perform in “talkies” movies.  To understand what I mean by making history in Silent movies, I’ll use the words of two experts.  One is by Orsen Wells. Many film historians believe Wells made the greatest movie in film history: Citizen Kane.  Wells said, The General (1926), which Keaton directed and starred, was cinema’s highest achievement in comedy and perhaps the greatest film ever made.  This is high praise indeed; but, he isn’t the only one singing Keaton’s praises. 

Film Critic Roger Ebert went even further with his praise: Keaton is the “greatest actor-director in the history of Film.”  I totally agree with both gentleman.  By influence in television, I mean he done things like write gags for people like Red Skelton and the Marx Brothers or tutored and influenced people like Lucille Ball in comedic basics and timing.  Most film experts agree that out of all the films he made the following three are Keaton masterpieces. If you only watch three Keaton’s films, make sure you don’t miss these three: Sherlock Jr. (1925) / The General (1926) / The Cameraman (1928)

A Funny Thing Happened on The Way to The Forum (1966)

Keaton’s career spanned from 1898 and ended in 1966. Just a few months before his death (February 1, 1966), he was working on  Funny Thing Happened on The Way to The Forum in Spain from September to November in 1965. It is based on a book by Bert Shevelove and Larry Gelbart.  Their book is based on a collection of Roman plays by Plautus.  However most of the book uses one play in particular, Pseudolus (192 A.D). The book evolved into a criticality acclaimed and long running Broadway musical.

It is important to note that many elements of an ancient Roman play evolved into the elements of a successful Vaudeville stage show.  Music is one of the main attractions for both types of stages.  As a matter of fact, Greek/Roman plays kept a chorus of singers on stage that sang  the actions or emotions throughout the play. Not surprisingly, the movie begins with the main character singing the praises of the show to the movie audience.

The song, A Comedy Tonight, expresses the fun and surprises of people popping up in disguise, puns galore, mistaken identities, uniting lovers, outwitting adversaries, courtesans, music, some dancing, slamming doors, some transgender, and basically a giddy romp of daffiness. The music in the Broadway play and movie were brilliantly composed by Steven Sondheim. The movie is a combination of a Classic plot, vaudeville format, and  1960s views on equality and love.

Keaton’s character (Erronius) is a elder Roman senator.  Who is not only a bit blind and hard of hearing but also senile.  He has been away looking for his children who were kidnapped by pirates.  In the house next door, lives Michael Hordern (Senex) who is wealthy (Patrician) Roman citizen with a domineering wife, Patricia Jessel (Domina).  They have a horny 18 year old son (Hero) who is helplessly in love with the girl (Philia) from another house next to theirs.  Hero is played by a very young Michael Crawford (Phantom of the Opera).  Hero has never spoken but a few words to Philia.  He fell in love while watching her from his window.  It makes no difference because their love is ill fated since she is of lower birth (slave-courtesan [Virgin]. Philia lives in a brothel managed by the greedy, Pimp master, Phil Silvers (Marcus Lycus).

The star of this musical comedy is Pseudolus (Zero Montel) who is Hero’s personal slave. Since the  hero is an underdog (slave), it already sounds like a  Keaton movie.  Pseudolus is a quick witted and resourceful slave who is always looking for money in any way he can; usually by conniving, lying and trickery.  What he wants most is to be freed in this 1966 musical.  Pseudolus agrees “to get the girl” if Hero agrees to free him.  Of course in the original play, the idea of freeing a slave would never be part of their agreement. In 192 A.D., the Roman audience would have rioted and mobbed the festival Temple at such a suggestion.  Besides, if they had starting freeing slaves, which would have created Roman jobs, the Roman Empire may have not Fell as it did.

The plan is to get the girl; Hero will convince her to love him; then, they will runaway and live happily ever. However, they need a love portion to convince Philia she loves him. Remember, they haven’t actually spent time getting to know each other yet. This is a crazy, bold scheme that  Psuedolus is more than ready to implement in order to be free.

While Hero’s parents are away to visit the Mother-in-Law, Pseudolus and Hero pay a visit to the brothel House of Marcus Lycus to find the Philia.  Of course, they have to look at all the merchandise (ladies) that the House of Lycus has to offer.  None of them are Philia since she is not up for sell. They discover she is promised to a Roman Captain, Miles Gloriosus.   In the Broadway play, the Captain introduces himself to the audience in song, I am Parade.  Even Carly Simon’s song, You’re So Vain doesn’t hold a candle to this insufferable Captain’s view of himself. Later in the movie, he sings some of this in another song, Bring me My Bride.

Psuedolus lies to Lycus and insists he must buy her for Senex; or, he will be beaten or worst. He cannot tell Lycus that it is Hero really wants to buy the girl.   Since Hero is only 18 years old, he cannot buy a slave. Again, ideas from the 1960s change the original storyline. This movie was made during the Vietnam war when 18 became the average age for a soldier serving overseas.  Many 18 year olds were drafted and sent to fight in Vietnam while at the same time they not allowed to vote or buy alcohol in the states.

Lycus explains to Pseudolus that he is very frighten of the Captain because a few years ago he sold him a “dud virgin.” So, it is very important that virginal Philia is perfect for this flesh transaction.  Besides, Lycus doesn’t trust Pseudolus. He doubts that he has the money to buy Philia.  He is correct. Psuedolus lies and tells him he came into money from his uncle who was recently killed. Here is one of many gags straight out of Vaudeville:  Psuedolus’ uncle was an elephant trainer who was killed during the mating season.

However, when Lycus revels to  Psuedolus that Philia is from Thrace, quick witted Psuedolus lies and tells Lycus that  Thrace is in the droves of a terrible plague. So, if the Captain would be angry enough to kill him over a “dud virgin” what might he do to him for inflicting the plague on his House?  Lycus rightfully becomes even more frightful and being a greedy businessman realizes His House of the Courtesan are also exposed to this horrendous disease. Cunning Psuedolus offers to take the “infected”girl from House of Lycus to the House of Senex (Hero’s Dad). And as an added a favor, he will pretend to be Lycus and face the Fearsome Captain, himself. Lycus believes he has manipulated Psuedolus to his advantage. Of course, we know Psuedolus out maneuvered Lycus.

So, Hero and Psuedolus bring Philia home. To calm her, they lie by telling her the Captain will come for her there.  In the meantime, Hero is running around Rome looking for the ingredients for a love portion.  However, the head slave, Hysterium  (Jack Gilford), who is the best groveling, obedient slave in Rome, discovers Philia and knows Psuedolus must be behind this confused girl’s presence. He threatens to tell the master and expose the whole sham. Psuedolus uses some good old fashion blackmail to convince Hysterium to help the lovers runaway before their master (Senex) returns and finds out.

Senex (Hero’s Dad) is ordered to go back home early; since, he broke a gift for his Mother-in-law. When he returns, he finds Philia, who thinks he is her Captain.  She offers herself to him.  Luckily they don’t get very far before they are discovered. To explain her presence, Senex is told she is the new maid. This is when the guys sing a very sexest song, Everyone Ought to have a Maid while posing throughout Roman ruins.  Psuedolus needing to get Senex out of the house before the Captain shows up uses his master’s desire for the new maid (Philia) to convince him to bathe in the empty House of Erronius, just next door; so, he could have more privacy with Philia later.

While in the House of Erronius,  Senex is singing and cooing about his future conquest. It is at that moment, Erronius (Keaton) returns home after 20 years of searching for his children.  I love the fact that Keaton worn a Roman hat that reminds his fans of his signature pork pie one.

In one of the funniest scenes in the movie, Erronius  (half blind and deaf) is stopped from entering his house by Hysterium who just left his singing master in the bath. Erronius tells  Hysterium  of his kidnapped children by pirates. He explains that he has traveled the world to find them.  Even though twenty years has passed, he will know that they are his children because they both worn a ring like his: The rings have a gaggle (at least seven) of geese carved into each of them. Hysterium is desperately trying to keep the old senator from entering his house. Senex is singing so loudly that even near deaf Erronius says it sounds like his house is haunted. Hysterium  immediately repeats to him that he cannot enter that house because his house is haunted. At that moment, Pseudolus overhears them. He hears Erronius say he needed a soothsayer. Psuedolus disguising himself as a soothsayer tells the senator to run around the seven hills of Rome seven times in order to get rid of the haunting.  Here is a clip  of that scene.

Keaton’s First Scene in Funny Thing Happened On The Way To The Forum

Keaton was very ill while making this movie.  Most of his stunts were done by others.  However, that is not how Keaton “rolled.” There is a scene where Keaton runs into a branch of a tree and falls hard to the ground.  It is typical Keaton stunt because you don’t see it coming; and, it is hilarious. Keaton did that stunt himself without warning to the director or anyone else. I think Keaton knew that this movie was his swansong.  He passed away a few months after the movie wrapped in November of 1965. He passed away from  lung cancer on February 1, 1966.  The movie was released in October of 1966. His third wife of twenty six years, was with him at home. People said he was restless and played cards the night before he died.   He had come full circle in his life.  He started in Vaudeville in 1898 and ended his career making a movie that is as vaudeville as you can get in 1965. Comedy and Tragedy coming together and making perfectly divine laughter and sadness.

 

He deserves Paradise who makes his companions laugh – Koran

None of the images are owned by me

References:

Links:

SONG LYRICS BY STEVEN SONDHEIM: Comedy Tonight (Prologue)

http://www.lyricsfreak.com/s/stephen+sondheim/comedy+tonight_20170416.html

SUMMARY OF ORIGINAL PLAY: PSUEDOLUS BY PLAUTUS (ancient Roman playwright, April of 192 B.C. [Third Day of Feastival])

https://en.m.wikipedia.org/wiki/Pseudolus

The Art of A Gag: by Every Frame A Painting         https://m.youtube.com/#/watch?v=UWEjxkkB8Xs

Biography link

http://www.biography.com/people/buster-keaton-9361442

 

 

Norman Jewison: Canada’s Beloved Director

Posted on Posted in Blogathon, Canadians, DirectorsTagged , 19 Comments

O Canada! A vast country that shares its southern border with the United States. A country that has such unusual weather that some describe it as 9 months of Winter and 3 months of Fall. A country that tries to explain to the rest of the world why the sport of curling is fascinating.  While at the same time, their National sport, hockey, symbolizes their struggles in the below zero freeze.  A country with a strong world leader that is sexy too, Justin Trudeau.  A country so far off the controversial radar that William Shatner has to remind people that he is a Canadian.  A country that is so laid back that even peace loving U2 front man, Bono claims: The world needs more Canada!  So, here it is!  A blogathon that celebrates many Canadian artists who have contributed enormous amounts of work to the Arts and entertainment industries and ultimately and happily, to us.

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Thank you Kristina of  Speakeasy (https://hqofk.wordpress.com) and Ruth of Sliver Screenings (https://silverscreenings.org/tag/ocanada-blogathon/ ) for hosting this #OCanadaBlogathon. This truly is a celebration of those Canadians who helped shaped cinema and television.  The main focus of my blog, Life Daily Lessons, is to examine the arts in its various forms in order to learn more about our human journey and connectedness. With this in mind, I chose director, Norman Jewison from a long list of Canadians.  I recognized his name because I have collected many of his movies. Even though I know very little about him personally, a great deal of his work has touched my life and made that cosmic connection to me as an individual.

Jewison’s Early Work

Jewison was born in Toronto, Ontario on July 21, 1926. After earning his B.A. from Victoria College at the University of Toronto, his first job in show business started in 1952 working with various television projects for the CBC (Canadian Broadcasting Corporation). That eventually led to a job in New York City working on a television show, Hit Parade, at the old Ed Sullivan Theater. His first movie as a director was in 1962, 40 pounds of Trouble with Tony Curtis and Suzanne Pleshette.  The following year, he directed Doris Day, James Garner and Arlene Francis in The Thrill of It All (1963).  The following year he again directed Doris Day  in Send Me No Flowers (1964) with Rock Hudson and Tony Randall (The last film for all three together). In 1965, he directed yet another romantic comedy, The Art of Love, starring Dick Van Dike, James Garner, Elke Sommer and Angie Dickinson.

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Jewison’s life as a director was about to drastically change in 1965 with the released another movie that same year. Only, this was very different movie than his romantic comedies.  Jewison was asked to replace director Sam Peckinpah on a project called The Cincinnati Kid.  The story line involves a poker player, Steve McQueen, who wants to prove he is the best by challenging the reputable best, Edward  G. Robinson.  Although Jewison referred to this film as his “Ugly Duckling” this drama was his golden opportunity to begin working on films with much more serious themes.

But, before he started to work on one the best dramatic movies ever made in the 60s, he directed one of my all-time favorite comedies.  It was based on a true story that ended up in Nathaniel Benchley’s book, The Off-Islanders.  The movie The Russians Are Coming, the Russians Are Coming (1965) is based on his book.  It stars a wonderful character actor, Alan Arkin as the Russian Submarine Officer, Lt. Yuri Rozanov. Oh yes, I confess.  I am still crushing on Adam Arkin today.  This was his debut appearance on film. He was so good in this comedy that he was nominated for an Oscar for Best Actor. It also stars comic legend Carl Reiner along with a long list of accomplished and gifted performers such as Eva Marie Saint, Brian Keith, Jonathan Winters, Paul Ford and many others.

 

Three Movies that are close to his heart and his humanity

There are few movies that made an impact on movie goers concerning racial tensions of the 60s,70s, and 90s like Jewison movies.  For me, the question is how did a Canadian acutely depict the disturbing prejudices and Jim Crow laws of the Old South, USA (In The Heat of The Night and A Soldier’s Story).  Jewison tells his story of a hitchhiking trip to New Orleans while going through other Southern states.   While on his trek through the state of Missouri, near the end of WWII (1945), an impressionable, 18 year old Jewison got a ride from a man in a red pick up truck. What he discovered on this ride would leave its mark on his psyche forever.

In case you didn’t know, Jewison is not Jewish.  His mother is a British immigrant to Canada and his Canadian father is of the Scotch-Irish heritage.  The “kind” driver of the red truck bragged that his truck was used in a recent lynching earlier that day. It was used to dragged the victim through the streets.  Jewison was shocked and sicken not only for the atrocity of the acts but also by the man’s obvious pride in participating in such brutality. I would love to hear Jewison’s response to the following question: What if the truck driver discovered his name and did not believe that he was not Jewish? I wonder how this story would have changed? I am  sure Jewison may have thought of that too.

This tragic injustice haunted his later work, if it did not actually inspired it.  He made three movies that addressed racial injustice in the United States. The first movie he made based on this theme was, In The Heat of The Night (1967). It is a murder mystery that stars Sidney Poitier, Rod Steiger, and Warren Oats. Not surprisingly, Jewison is not the only person on this film that had a harrowing experience in the South.  Poitier agreed to do this film if it was not filmed in the South.  In 1964 on a visit to Greenville Mississippi, he and Harry Belafonte delivered $70,000 in donations to Civil Rights workers.  At one point, the KKK followed them and nearly ran them off the road. Poitier also demanded that in the scene where the haughty Philadelphian police detective Virgil Tibbs (Poitier) is slapped by a bigoted cotton plantation owner, Tibbs slaps back, hard.  It is a another memorable scene in movie history. In The Heat of The Night won an Oscar for Best Movie and Rod Steiger won an Oscar for Best Actor.

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The second movie, A Soldier’s Story (1984), stars Howard E. Rollins, Jr.  and  Adolph Caesar. Near the end of WWII, a black officer is sent to Louisiana to investigate the murder of a black sergeant. A black officer is “unheard of” in the Jim Crow South. Prejudices and racism are explored through the bitter and hostile white reaction to the investigating officer.  It was nominated for three Oscars: Best Picture, Best Supporting Actor (Adolph Caesar), and Best Screenplay Adaptation.

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The third movie, The Hurricane (1999), stars Denzel Washinton, Vicellous Reon Shannon, Deborah Kara Unger and Liev Schreiber.  This movie depicts the true story of middleweight boxer, Rubin Carter, who is falsely accused and sent to prison for 3 life sentences for 3 murders committed in a New Jersey bar.  Unlike the first two movies this one is not set in the South.  It is based on Carter’s autobiography, The Sixteenth Round: From Number 1 Contender to 45472 and a book by authors Sam Chaiton and Terry Swinton: Lazarus and the Hurricane.  This movie touches on the politics of racism in America too. Although Denzel Washington was nominated for an Oscar for Best Actor, he did not win; but, he did win the Golden Globe for Best Actor.  Jewison and the movie was also nominated for Golden Globe awards.

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Jewison’s own words best sums up these three movies.  Jewison: So, I make a lot of movies.  I love them all; but, the ones dearest to me are the ones that address Civil Rights and social injustice.  Since Director Jewison’s movie list contains 44 movies,  I obviously cannot post about each one of them in this blog.  But, I have posted a link in the References if you choose to look them over and possibly watch some you might have missed.

Five More Personal Favorites of Mine:

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1) Moonstruck (1987) A romantic comedy that stars Cher, Nicholas Cage, Vincent Gardenia, Olympia Durkakis, and Danny Aiello. Jewison said Cher had infallible comic timing. She believes all Directors are mad and crazy; and, Jewison agrees with her. Three Oscars were won for this movie: Cher (Best Actress in Leading Role), Olympia Dukakis (Best Actress in Supporting Role) and John Patrick Stanley (Best Writing). It is rare to see a comedy receive a Best Picture award from the Oscars. This was the first year that all nomintees for Best Director did not come from the United States. Jewison lost to Director, Bernardo Bertolucci, for The Last Emperor.

2) Fiddler On The Roof (1971) A musical drama based on a Russian Jewish family during the time of the Pogroms (offical persecutions). It stars Topol, Norma Crane, Leonard Frey, Molly Picon, and Paul Mann. Tevye (Topol) has five daughters that he must find husbands.  The three eldest daughters wish to pick their own husbands for love.  Tevyve  must face the challenging changes happening to his family while trying to hold to his valued traditions and customs. I know everyone is buzzing about a recent musical, La La Land; so, maybe more neo-musicals are coming back to big screen. If they are even half as good as Fiddler on The Roof, they should be very successful.  There is another musical Jewison directed, Jesus Christ Superstar.  This not one of my personal favorites although the music is awesome.  For Fiddler on the Roof,  John Williams won an Oscar for the Best Music. It also won Oscars for Best Sound and Best Cinematography. It was nominated for 5 more Oscar categories  including Best Picture, Best actor, Best Actor in a Supporting Role, Best Director, and Best Art Direction-Set Decoration.

3) The Thomas Crown Affair (1968) A romantic heist thriller that stars Steve McQueen and Faye Dunaway.  If it wasn’t for the superbly charged chemistry between the two lead actors this may have not have made my Jewison favorite list.  Let’s just say, I have never looked at a game of chess the same way again. Jewison said Steve McQueen was the most difficult actor he had ever worked with.  McQueen is suppose to have told a writer on another film, Cincinnati Kid, that he is better at walking than he is at talking. That could be interpreted with a double meaning.

4) And Justice For All (1979) Courtroom drama staring Al Pacino, Jack Warden, Lee Strasberg, John Forsythe, Jeffery Tambor, and Christine Lahti.  This film has one of Pacino’s most memorable performances. It is nearly the last scene in the movie.  Oddly enough, it is also was the first scene to be filmed.  He is a lawyer who defends innocent clients and not so innocent clients, even guilty ones too.  This is an intense and smartly written movie about the justice system itself.. Valerie Curtin and Barry Levinson were nominated for an Oscar for Best Screenplay and Pacino for Best Actor in a Leading role. If you are a Pacino fan or wanted to know why he has so many critics loving his performances, you have to see this movie.

5) Agnes Of God (1985)  It stars Jane Fonda, Anne Bancroft, and Meg Tilly. This is a murder mystery that pits Faith against Facts.  A young, other worldly nun (Meg Tilly) is found in her room with a dead baby. She has no memory of how the baby died. However, she will later claim an angel impregnated her; so, a psychiatrist (Jane Fonda) is called in to investigate. The young nun is protected by the Mother Superior (Anne Bancroft) who wants her left alone. Is Mother Superior trying to cover up something? The movie did not win any Oscars; but, it was nominated in 3 categories:  Meg Tilly for Best Actress in a Supporting Role, Anne Bancroft for Best Actress in a Leading Role and Best Music.  The whole time I watched this movie I was constantly wondering if it miraculously happened as the young nun had believed it or would an alternative  truth finally be discovered.

Indirect Life Lesson From Norman Jewison

Jewison gave excellent advice about being a good Director.  That same advice could easily be applied to a person’s life.  So,  in the following comments or paraphrasing of them, if you  switch out the words Director or Directing with the word life,  you will discover wisdom that could be applied to an individual’s life.

Directing movies (living life) is like being at war. Everybody is telling you something different.  There are always obstacles in the way.  You have to fight for what you believe in.  You have to defend yourself constantly. It is a matter of confidence.  With a lack of confidence and indecisiveness, everybody will take over…

Most important for a Director (life) is to keep working…

How else can you learn new things?  Which is the point. .

Thank you Norman Jewison for making all those movies.  Thank you for establishing The Canadian Centre for The Advanced Film Studies in Toronto in 1986. Thank you for The Norman and Margaret Jewison Charitable Foundation that continues to give millions to other charities.  Thank you Canada for honoring Jewison with two distinguished awards:  The O.C. (Officer of The Order of Canada) on December 14, 1998 and the C.C. (Companion of The Order of Canada) on November 1, 1991.  Finally, thank you Norman Jewison for making the world a better place through your artistic works and love.  Basically, thank you for being Canadian.  What would the world be without Canada and Canadians like you?  As Bono claimed: The world needs more Canada!

References

A list of Jewison’s movies, Biography and Images

http://www.imdb.com/name/nm0422484/bio?ref_=nmmi_bio_sm

 

 

Swing High, Swing Low With Carole Lombard and Fred MacMurray

Posted on Posted in Blogathon, Classic Hollywood MoviesTagged , , , , , , , , , , , , , 9 Comments

 

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I love these Blogathons.  It gives me an opportunity to view a Hollywood classic that I might have missed. Swing High, Swing Low (1937) is an example of a delightful Lombard movie that I missed. Since, Carole Lombard’s work is always a joy to view, I really need to thank Laura from Phyllis Loves Classic Movies http://phyllislovesclassicmovies.blogspot.com/  and Crystal from In The Good Old Days Of Classic Hollywood https://crystalkalyana.wordpress.com/for hosting this blogathon which is a tribute to one of my favorite actresses, the Profane Carole Lombard.

This particular Lombard movie, Swing High, Swing Low (1937), is the third of four movies she made with another charming actor, Fred MacMurray.  Not only do these two incredible actors have superb screen presence and are very easy on the eye, they share that rare quality of lovely chemistry to boot.  This is a cinematic treat.

For me, Swing High, Swing Low is not your typical “screwball romantic comedy” where boy meets girl, boy loses girl, and boy finds girl again. This movie has some buried treasures in it that makes it even more fun to watch. One treasure is near the end. It has a darker twist that you would not expect in a movie of its genre.

The film begins with some terrific footage and set designs of the Panama Canal. Maggie King (Lombard) is excitedly looking out the port hole of a cruise ship that is going through the locks. This is impressive probably because director, Mitchell Liesen (Death Takes A Holiday, 1934) was a costume designer and set designer before becoming a director. When learning about Mr. Leisen as a director, two words come to mind, underrated and meticulous. His work was sadly ignored until the 70s which is why this film went into Public Domain in 1965. It astounds me that this director could be ignored who claims everything he knows about directing came from working with Cecil B. DeMille. Oh well, Hollywood politics.

Maggie encourages a customer, whose head is under a hair dryer, to join her while looking at the workings of the locks. The lady patron, with mud on her face, assures Maggie she has seen it all before. Maggie’s friend, Ella (Jean Dixon) comes in and reminds her to check the customer’s hair when the timer goes off. They both rush over to the Mrs Mudface and find a catastrophe. Her hair looks more like burnt spaghetti.  As a matter of fact, Maggie lifts one of the hair spirals cleanly off the patron’s head. When the manager comes in and sees the hair fiasco, he tells them that after they clean up their mess to see him, immediately.

This situation is what is referred to as a “screwball comedy.” As a matter of fact, Lombard worn the crown of Queen of Screwball Comedy with as much pride as Clark Gable did the title of King of  Hollywood. To be honest, I do not think this title does Lombard justice.  Screwball has a bit of negative to it. It says, it is funny because it so stupid…Lombard was many things but dumb was not one of them.  Her delivery of comical lines reminds people of classic Hollywood actresses like Jean Harlow and Mae West. For me, she is the female version of a Ryan Reynolds (Dead Pool, 2016).  They sarcastically deliver their lines in such a way that the other person is the butt of the joke. We, as an audience, laugh with them, not at them.

When Maggie was hanging out the edge of the ship’s port window and before Ella walks in, she hears someone calling out to her from the docks.  It is a patrolling American solider, Skid Johnson (Fred MacMurray).  Maggie says to the soldier: I hope you are not talking to me perchance? A very brass Johnson replies: No, on purpose! Maggie reminds him that he is on duty and not suppose to be talking to her.  He asks if the rest of her is as pretty as her face. She replies that she weighs 200 pounds and is barefoot. He laughs and tells her this is his last day in the Army. He wants her to celebrate with him and he begs her to meet him on the dock under the moon at Balboa.  He claims that he would be in his civvies and wearing a gardenia in his shirt pocket; so, she would know him. Maggie replies: Mister, I wouldn’t know you if you had a rose behind your ear!

During the meeting with the manager of the ship’s beauty salon, we learn Maggie is a hairdresser imposter, who is helped by her friend Ella. Why? She did not have enough money to buy a ticket to California.  Maggie worked at a night club, not as a singer, and did not make much money.  I keep thinking she might have been a cigarette girl who walks around trying to sell club patrons cigars or cigarettes. Maggie needed to go to California to do a background check on a wealthy cattle rancher who proposed to her.  She knew him for over three years; but, now he wants to marry her.  Perhaps, Maggie has been burned before or just a cynic or both, either way that is her reason for her deception.  Yes, the reason sounds a bit screwball.

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Next we see Ella and Maggie trying to find a taxi.  Ella says cabbies want $3.00 but if either one of them can find a cabbie for $2.00, “holler.” Yes, times has changed, one of the joys of watching classic Hollywood movies.  Ella is approached by Skid Johnson with a fake Spanish accent, he tells her: $1.00. Ella hollers for Maggie. Then, we see the girls sight seeing in the backseat of a convertible Rolls-Royce with Skid as their driver. He is pretending to be their guide.  The girls should have known something wasn’t right just from the expensive car being a cab. This is before, Uber.

Skid reads aloud from a guide-book hidden on the front seat. As Skid reads the wrong description to one of their stops which is a 15th century Cathedral, Maggie realizes he is actually reading the description of the President’s palace. She readily tells him, he is a liar and not a real guide. Skid readily tells her she is a liar for she does not weigh 200 pounds; and, she is wearing shoes. Besides, he tells her, he wore the rose behind his ear.

Charmer that he is, he tries to  convince the ladies to celebrate his last day in the Army. Skid explains that his friend Harry (Charles Butterworth) can join them as Ella’s date. He then hypes the advantages of Harry being a date. He tells them that they are riding in Harry’s car; he lives with Harry, and Harry is the hottest piano player, ever. Maggie tries to slow down Skid’s rhetoric when she asks: Hey, you talk awful fast. Have you ever tried to sell anything? Skid relies: Sure! me! Maggie replies: Well, if you had something good to sell, you would be really wonderful at it.  Ella tells Maggie that they are going to this celebration.

When Harry meets Ella, he is wearing a trench coat and suffering from a sickness. He then offers Ella a quinine pill. Ella asks him why he was offering her a quinine pill. Harry clumsily replies: you know, we are in the topics?  Ella, who is annoyed with Harry, says: N0, thanks. If you are my date, I already have my pill. I just have to say, I love Charles Butterworth’s laid back characterization of Harry. His performance reminds me of another Harry (Adrian Scarborough) on HBO’s Blunt Talk.  Both Harrys are very easy-going and extremely loyal to their friends. They are always supportive no matter how crazy the scheme. Both performers are incredible and wonderful to watch.

The first stop of their the date is for a bite to eat before they celebrate at a local club. While eating fresh seafood cooked on a dock near an open market, Harry discovers his oysters do not agree with him.  Even though this is a black and white film, I swear Harry looked green. Unfortunately, Ella and Harry have to leave Maggie and Skid on their own.

So Maggie and Skid end up at a swinging Jazz/Latino nightclub.  Maggie was not in a great mood.  She and Skid argue over the notion that a trumpet could sound romantic. Maggie argues she loves music; but, not impressed with the trumpet. So, Skid goes over to the band and picks up a trumpret. He masterfully plays the sweetest sounds  which wooes our cynical Maggie. This is a great scene and perfectly directed. However, I wondered why it was decided that Fred MacMurray should play a trumpet in the movie instead of a saxophone?  I mean MacMurray started in the business as a vocalist and saxophone player.  Why not the sax?  Hands down, the saxophone is dead to rights, sexy. MacMurray could have played the saxophone himself. Instead, two other musicians dubbed his playing the trumpet in this film. Then, I found another  treasure.

There are two playwrights for this movie: Virginia Vann Upp (Cover Girl, Gilda, Affair in Trinidad, Here Comes the Groom…)  and Oscar Hammerstein II (The King and I, South Pacific, Oklahoma, State Fair, Carmen Jones…) Well, if Hammerstein thought the trumpet is a sexy instrument for wooing a person’s heart, who am I to argue or disagree?  Having Hammerstein II working on this film might explain why the music is so good in this movie. For the sake of an argument, I wanted to see if I could find  another trumpet player who could play as sexy as I heard in this movie. It didn’t take me long to find one.  If you have the time or just curious, you can hear for yourself that the trumpet is definitely a sexy instrument. Check out  Chris Botti playing My Funny Valentine in the link under references at the end of the post. He is playing To Trudie Styler  (aka Mrs. Sting).  No question to the validity of a trumpet’s romantic sounds.  As they say, I stand corrected.

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While Skid is playing his heart out, and Maggie is getting all toasty warm, she removes her hat.  This catches the eye of a very handsome and suave looking Latino. His smooth Spanish voice is inebriating to Maggie; until, he tries to guide her away from the bar. She refuses to go; and, he becomes very angry.  Skid jumps in to her rescue.  Apparently, the misunderstanding  has something to do with local custom.  A lady who removes her hat at the bar means she is available.  A fight issues; police are called, and Maggie and Skid spend the night in jail while her ship sails away.

swing-high-swing-low-1937-fred-macmurray-carole-lombard-shsl-003-p-bkk070

Here is another treasure. That suave Latino is no other than a very young Anthony Quinn.  I don’t believe he spoke a word of English in this movie. Even though this was a very small part, you had to notice him.  He had worked on other Lombard films, so; Lombard even considered him a friend. There is a Hollywood story that Lombard needed an escort to a Hollywood event; and, she asked him to take her.  He never showed up.  Can you believe it? He stood up the most glamorous woman in Hollywood at the time.  When she ran into him later, she really let him have it, vagaries and all. He explained that he was very poor; and, he was too ashamed to tell her.  By the time, he finished his story, Lombard was in tears.  She made sure he had a raise from the studio and a tailored suit.

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So, here is Maggie with no money, no job, and no place to live. Skid has a solution. She could live with Harry and him.  She would possess the only key to her bedroom.  They would help her get a job at the club; until, she could save the money to buy a ticket to go home. This sounds so familiar. Maggie eventually convinces the club owner that Skid, Harry and she wrote a  great song.  It was so good that it should performed at her club. The owner agrees.

Another treasure, Carole Lombard debuts her singing voice in this movie.  She can really sing too.  Her voice sounds similar to Marlene Dietrich, especially on certain low notes.  Oddly enough, I found this old advertisement with Carole Lombard selling Lucky Stripe cigarettes.  Cigarettes do alter the voice into a raspy, lower octave. While singing at the nightclub, Maggie meets another singing act, Anita Alvarez (Dorothy Lamour). Another treasure,  this was only  Lamour’s second movie. She played the home wrecker type since she was Skid’s past lover.  Her motto might have been “if I can’t have him, neither can you!” There’s another Hollywood story about Lombard and Lamour. When Lamour showered up on set, Lombard marched her to a make up artist to fix those eyebrows.

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While living with the boys, Maggie discovers Skid’s more serious character defects like gambling, drinking, fighting, and lack of self-esteem. Despite this, she and he fall madly in love. Of course, this love must be tested. Skid asks her to marry him.  And on the day of their nuptials, her ex friend/fiance shows up.  He apologizes for taking so long to find her; but, he just found out a few days ago where she was. As soon as Ella got back, she told him everything.  Before Maggie can tell this poor fella that she is getting married to another guy, Skid happily waltzes in and invites Maggie’s guy friend to their wedding.  How do you spell, awkward? This sad cattle baron  actually goes to their wedding.

Eventually, a New York City agent catches their act and offers Skid a job in a Night Club in New York.  He only wanted Skid because female singers were “a dime a dozen.” After all, this was during the Great Depression. Many people were out of work and would do anything for a job. Skid with his low self-esteem, must be convinced by Maggie that this is his chance to make it big, be famous, get rich, and make his mark on the world.  Once he settled in, he would send for Maggie to be at his side.  That was the plan…

Remember that home wrecker, Anita Alvarez? She is now Skid’s singer in the New York night club.  Remember, his character defects, gambling, drinking, fighting, and low self-esteem? Well, all of this keeps him from communicating with Maggie. Meanwhile,the club owner in Panama, feels sorry for her and gives her the money to go find Skid.

She telegrams him to meet her at the docks.  He never received the message from her, thanks to the home wrecker, Anita. Maggie waits hours at the docks. Finally, she gives up and gets a room. She tries to get a hold of Skid. He is not in his room because he passed out in Anita’s room.  Frustrated, Maggie finally calls Anita to try to find her husband.  Hungover, Skid answers the phone.

This is where the film begin to have a very dark twist.  Lombard is so desolated by hearing Skid voice over the phone, she is speechless and hangs up. Her performance is so intense in this scene, you feel that your heart is ripped out with hers.  Maggie sends Skid a message that she was the voice over the phone. She wished him well and said good-bye.  She gets a divorce and marries again,and moves out of the country.  Skid completely falls apart.  He literally drinks away his life and career.

But, remember this is a movie made during the hardest economic times in United States history.  People paid good money, they don’t have, to feel good again.  So, the ending of this “screwball comedy”  will have the typical happy ending that they expect. But, it conveys a serious warning about what is truly valuable in life.

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A biblical reference sums it up nicely: What do you gain, if you have all the treasures in the world, but lose your soul?” Skid lost his soul when he had it all because he forgot what was truly valuable. The message is clear: no matter what hard times come your way, always remember to treasure those who truly love you, friend or family. See, I told you there was treasures to be found in this movie.

References:

Chris Botti: My Funny Valentine link

https://www.bing.com/videos/search?q=chris+botti+videos&&view=detail&mid=2AAFEB47ED8936247C1A2AAFEB47ED8936247C1A&rvsmid=70C0C46E76606742580A70C0C46E76606742580A&fsscr=-3809&FORM=VDFSRV

 

The whole movie Link

https://www.bing.com/videos/search?q=swing+high+swing+low+movie&view=detail&mid=5649B4326187F2E91FD65649B4326187F2E91FD6&FORM=VIRE

Some links used for reference

http://www.imdb.com/name/nm0001479/

http://www.tcm.com/tcmdb/person/115700%7C27807/Carole-Lombard/

Book:

Harris, Warren G. Gable and Lombard. Published by Greymalkin Media Las Angeles and New York, 1974

 

What A Character! Dame Margaret Rutherford

Posted on Posted in BlogathonTagged , , , , , , 26 Comments

 

Character actors do not usually star as the lead in a movie; however, their supporting performance is still vital to the success of a film.  Their roles varies with unique personalities that are often found to be eccentric, quirky, villainous, or just plain interesting.  Whatever the role, you can be sure that an excellent character actor will enhance the plot of the story and the film as a whole.  As a matter of fact, many of them have a tenancy to steal the scene.

In my last post, I examined a few acting techniques by character actor, Agnes Moorehead.  I felt her techniques helped her to create powerful performances. Obviously, she is one of my favorite actresses; but, there are others. Some of my more current favorites would have to include Robert Duvall, Kathy Bates, Stanley Tucci,  Gena Rowlands, and Paul Giamatti and the list goes on. Character actors are that rare breed that you can usually depend on to give an outstanding performance even if the movie or show is a stinker.  At the top of my list for favorite character actors would have to be Dame Margaret Rutherford (May 11, 1896 – May 22, 1972).

The first movie I saw this colorful actress in was Murder, She Said (1961).  She played Agatha Christie’s super sleuth, Miss Marple.  At the time she made this movie, she was 70 years old. This movie was the first of four films by director George Pollack based on Agatha Christie’s sweet, elderly amateur detective with Rutherford as the bold and eccentric Miss Marple .

The film was based on a 1957 novel by Christie, 4:50 From Paddington. In the books, Miss Marple is a serious, soft-spoken, and a well-mannered spinster of independent means. In appearance, she is of small stature. Rutherford isn’t anything like Christie’s image of her beloved character.  As a matter of fact, Christie hated all four movies.

Book that movie Murder, She Said is based on
Margaret Rutherford meeting with Agatha Christie

An interesting note, Christie’s first pick to play her beloved Miss Marple was actress Joan Hickson.  Hickson actually had a small part in this movie as a maid. Years earlier, Christie seen her in a stage play of another of her novels, Appointment With Death. She sent her a note: I hope one day you will play my dear Miss Marple.  And of course, she will, superbly, in the BBC adaption of all the original Miss Marple novels in the 90s.

Unlike Miss Marple of the books, who is genteel and prim in every way, Rutherford’s Miss Marple has the energy of a steam roller and almost the size of one too, with a witty, sharp tongue. I much prefer Rutherford’s interpretation of the character; and, it would appear Agatha Christie admired her as an actress too, despite the fact she loathe the films.

In 1962, Christie dedicated her novel, The Mirror Crack’d On Both Sides, to Rutherford “in admiration.”  That speaks volumes for Rutherford’s ingenious portrayal of the indomitable Miss Marple, especially in view of the fact how much the author acknowledged she hated the movies. Miss Hicks final performance as Miss Marple was the based on this particular book in 1992.

To appreciate Rutherford’s portrayal of Miss Marple, you need only view the first ten minutes of this movie.  Of course it goes without saying, you will want to finish it too.  Murder, She Said begins with Miss Marple moving quickly through Paddington train station.  As she walks, upbeat 60s music plays in the background. While watching her, I was thought of Paddington the Bear. I think it was because of her hat and the fact she was at Paddington station.  I learned that Rutherford worn her own personal clothes in the movie. I wonder if this helped her to get into “the skin” of her character.

 

As she walks through the station, she has a porter following her with her bags. She stops at a newspaper stand and quickly buys a paperback novel.  Once on board the train and in her compartment, she settles in her seat and puts on her reading glasses. She opens her recently purchase paperback book ominously titled, Death Has Windows.

In the next scene, we see her relaxed hands barely holding on to her recently purchased book, her head resting back, and her eyes shut. Suddenly, a loud passing train abruptly awakens her. Nearing the destination station, the trains are slowing down as they pass each other. As she looks out her window, she watches the people in the slower moving train. She sees a man attempting to eat his sandwich which he quickly puts down when he sees her watching him. Then, she sees a little girl looking out the window in the next compartment.  When the little girl sees her, she sticks out her tongue. Our not so prim Miss Marple sticks her tongue out too. That’s when I fell in love with the Rutherford’s Miss Marple. I doubt the book Miss Marple would ever react so child like and ornery.

After that humorous scene, we now see a different compartment with the blinds down. As Miss Marple is still looking out her window, the blinds suddenly fly up, revealing the back of a man with gloved hands wrapped around a woman’s throat.  She is fighting for her life; but, cannot break his hold around her neck.  Miss Marple frantically watches as he chokes the life out the beautiful blonde woman.  Miss Marple reports the murder to the train conductor who enters her compartment to checks her ticket. The ticket conductor is hesitate to report a murder. He sees an Miss Marple as an old maid, waking up after reading a murder mystery, titled Death has Windows, and dreams she saw a murder.  He suggests this to her; but,  she insists she knows what she saw; and he had better report it.

Next, we see Miss Marple in her own comfortable home. We observe a tidy house except for several newspapers scattered about. Inspector Craddock pays her visit concerning the report.  She offers him to set down where he proceeds to sit on her knitting needles. He painfully, explains that they could not find a woman at the train station or hospitals that matched her description. Miss Marple reminded him that she was dead.  He replied a through search was made along the whole track line and no body was found. She realizes that the inspector does not believe her. She informs him that she may be a spinster; but, she is not a dotty old maid.

She puts on her cape coat and picks up a stack of books.  She marches to her bike and feverishly rides to the library to speak to her librarian friend, Mr. Stringer. Mr Stringer ( Stringer Davis) is not in the books.  Rutherford demanded that her real husband play the added part of Miss Marple’s special companion. I love that Rutherford gave Miss Marple this buddy friendship.  It made her more earthy and urbane. Their friendship is a joy to watch as she explains to him what they must do.  They are adorable and almost child like in their planning.

The plan is to search the grounds around the tracks for the body or for clues to where the body was thrown.  Although, Mr Stringer is against the idea considering they are trespassing and it is very dangerous, he does as Miss Marple directs, like all good friends do. After Mr Stringer is nearly hit by a train, Miss Marple finds a clue. Lodged between the stones, she discovers a piece of torn fur from the collar of the coat of the victim. She deduced that the body must have been dragged over the wall.

She decides that she wants to see the estate behind the wall. My Stringer tries to hoist her over the wall. He clumsily helps her to the top but not over it. As she looks from the top to the other side, she sees a man with gun and dog. She decides to change the plan. She finds the address to the estate and becomes an employed as a maid for a referral agency. She requests to work at the estate where she soon learns they have quite a turnover for help. This is another variation from the books. Book Miss Marple never worked a day in her life.  Rutherford’s Miss Marple has had many jobs. Once she reports to the house, she finds the Lord and master of the estate does not much approve of her. Again, this is a comedy.  Miss Marple is very quick with the subtle insults and sarcasm as she finally solves the crime. Which makes this a delightful movie. Even this trailer for the movie is done in an endearing way to include the audience in the great adventure to solve the crime.

https://www.bing.com/videos/search?q=murder+she+said+you+tube&view=detail&mid=AE7AE1D683DD0C9D9B86AE7AE1D683DD0C9D9B86&

Rutherford is an Oscar winning actress, Golden Globe winner, and has been honored by the Queen of England with the OBE(Order of the British Empire) in 1961 and the DBE (Dame Commander ) in 1967.  She has appeared in over 40 movies. Many considered her a National Treasure. I love watching her performances no matter how small or in what varied role she chose to play.  To me and to many others, she is a great actress and a according to all those who knew her, a great human being too. A more personal discussion requires a separate blog to do her any justice because her life is amazing.

This is the 5th Annual What a character Blogathon! It is hosted by: Paula’s Cinema Club; Once Upon A Screen; and Outspoken and Freckled.  I am very happy to contribute a post about one of my favorite character actors: Margaret Rutherford.

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You can read more posts about other wonderful characters actors using the following links:

It’s here! 5th annual WHAT A CHARACTER! BLOGATHON: Day 1

https://wordpress.com/read/blogs/23966024/posts/20279

Before The Witch, The Fabulous Agnes Moorehead

Posted on Posted in BlogathonTagged , , , , , 18 Comments

What a delightful subject to be writing about! Agnes Moorehead: A polished and flawless character actress. To celebrate her birthday, December 6th, Crystal, In the Good old Days of Classic Hollywood, came up with the idea for a special Blogathon to celebrate Moorehead’s life and work. So, I would like to thank her for the invitation to contribute and to invite all readers to read more about Moorehead’s work using the link below:

https://crystalkalyana.wordpress.com/2016/09/05/announcing-the-agnes-moorehead-blogathon/

Most of us remember her as Endora, the witch and mother of Samantha Stephens (Elizabeth Montgomery) in the popular 60s TV show, Bewitched (1968 – 1972). Endora was controlling, over the top, bitchy, en vogue, meddling, protective and always the  funny “Mama Witch” who could not stand the idea that her daughter was married to a mere mortal. Endora was the real deal when it came to being the ultimate  bitch to her son-in-law, Darrin Stephens (played by Dick York and later Dick Sargent).  Endora enjoyed to make Darrin’s life miserable in inconvenience ways like changing him into various animals or tempting him to do something naughty to prove to Samantha he was not worthy of her. Of course, Endora’s schemes never worked; but we loved her nonetheless.

When Samantha or Endora would make their magic, they would always make up an incantation that rhymed and used their body to send the spell. Samantha always twitched her nose to create her magic; and, Endora always used the twist of  her wrists and hands to perform her enchantments. When I was a kid this would fascinate me.  Those small body movements convinced me their magic worked. I have learned that many great actors use physical  mannerisms to become the characters they portray.  By utilizing the smallest body gestures to convey something about that character’s thoughts or emotions, they appear to become the person they are portraying.

Voice is another tool actors use to help their audience enter into their character’s world. Moorhead was a genius when using these two tools. No matter what Endora was up too, we hung onto her every word.  Endora spoke with perfect diction in an unrecognizable accent.  Moorehead’s accent had the same effect on me as did Audrey Hepburn’s accent.  It sounded a bit British but not really.  I know now neither of them were British. 

Agnes Moorehead was born in Clinton Massachusetts, near Boston, in 1900, to a mother who was a trained opera singer and a father who was a Presbyterian minister. Both parents,  by nature and practice, taught her the incredible value of a powerful, melodic voice. She most assuredly practiced her voice in the Church choir and doing imitations of more colorful parishioners at the family dinner table.

One of the first things I admired about Moorhead was how she completely submerges herself into the roles she plays. She studies each character by learning each characteristic nuance they might display. This most certainly involves but not limited to facial expressions and body movements like hand gestures or the tilt of the head.  Once you observe her performances, you truly understand what the term consummate actor really means. It is no wonder her acting career spans over 50 years. Her performances vary in all sorts of  entertainment mediums: movies, theater, voice overs, and Radio.

Radio is a great art form.  It could be described as the technological poetry of modern man.  As a matter of fact, it is Agnes Moorehead’s voice that first brought her to fame.  If you think about the early days of radio as an art form rather than just a means of communication, you will come to appreciate those early radio shows which were usually performed live, on the air.

On radio, a story is conveyed through the emotions of the voice and maybe some added background sounds. If you compare the effectiveness of ancient storytellers to radio storytellers, you will find a huge discrepancy.  Like radio, ancient storytellers depended not only on a good story, but also the effectiveness of the emotions conveyed in the voice. Unlike radio, storytellers also depended on their physical gestures and movements to impress a story on their audience.  Despite this similarity, there is one huge disadvantage for Radio: no one sees the storyteller.  The audience relies only on their hearing and listening skills and the talents of a wonderfully gifted voice.

Moorhead had a voice made for Radio.  Her most memorable character was the terrified wife on Sorry Wrong Number.  She performed it 8 times from 1942 to 1960. Radio led her to another great voice in radio Orson Wells.  She became one of the original actors of his Mercury Theatre. However, it is her performance in Sorry Wrong Number that is most memorable to radio audiences.  While listening for her cries of help as woman who is finally murdered, it is unforgettable.

 

So, Moorehead is a woman of many talents. Her voice and mannerisms are used effectively  in her art.  To understand this better, I decided to look at two very different movie characters in two very different movies that she made within a year of each other. The evil Mrs Reed is the British character in Jane Eyre (1943) and the lovely Baroness Aspasia Conti is the French character in Mrs Parkington (1944).

In Jane Eyre, Moorehead plays Mrs Reed.  This movie runs for one hour and 36 minutes, Moorehead may have had a total of 5 minutes screen time.  However brief she is on-screen, she is unforgettable as the evil Mrs Reed. This character is a widow with two children. Her husband’s dying wish is that she promise to take care of his orphaned niece, Jane Eyre (Margaret O’Brien). Although Mrs Reed attempts to take care of the high-spirited and very intelligent child, her care involves verbal abuse, neglect, and some old-fashioned torture. She allows her children to bully and abuse Jane also.

Finally, Mrs Reed has had enough of the uncontrollable Jane when she begins getting the best of her son in a fight.  She calls for Mr. Brocklehurst who  man is the director and treasurer of Lowood School for orphaned girls. Moorehead as Mrs Reed coldly explains to Mr. Brocklehurst that she has done her best with the child and Jane repays her with lies. The whole time during this exchange, Moorehead is calmly petting her lap-dog while her son sits quietly next to her. The boy quietly admires his mother as she speaks as continues to pet the dog.  We understand through Moorehead’s characterization that Mrs Reed is a very malicious woman.  The message is sent loud and clear: If you let her train and control you like a dog, you too can be petted.  High spirited and honest Jane refuses to be a lap dog.

Moorehead’s accent and voice is British with that aristocratic tone throughout her brief conversation. Her accent sounds so natural that you would never know that she was not a British aristocrat.  When Jane leaves to go to Lowood School, she turns back to yell at Mrs Reed who is watches her leave from a window.  Basically, Jane tells back at her that if she was a liar, she would say she loves Mrs Reed and that she would miss her.  But, she is not a liar; and, she hates Mrs Reed and hopes never to see her face again. Jane ends by saying that Mrs Reed was cruel and cold-hearted; and, she refuses to come back to visit her, never to return.

Years later, a grown up Jane does go back  to a much older and sick Mrs Reed. Her son and Jane’s abuser, gambled away the family fortune, and mostly stayed with a bad crowd in a drunken stupor.  He eventually commits suicide.  Mrs Reed has a stroke upon hearing of her son’s death and cannot recover. A completely different Mrs Reed emerges.  She begs Jane not to leave her.  Jane forgives her and promises to never leave. Moorhead lies dying in bed as we last see her in this movie.  She is weak and unclear of her surroundings.  Yet,even in this very emotional reunion, Moorehead conveys in her characterization of Mrs Reed a concern for only herself.  No remorse or apologies can be found from the cold and possibly evil Mrs Reed for poor, sweet Jane.

In  contrast, in the movie Mrs Parkington, Moorhead was not the first choice to play lovable Baroness Conti.  Moorhead feared being typecast as a dark, unlikable character; so, she fought hard for this part.  She convinced the director to look at her audition.  He saw it and agreed that she would be perfect for the part. Just to emphasize how good she was as the Baroness, she received a Golden Globe and an Oscar nomination for Best Supporting Actress. Mrs Parkington stars another one of my favorite actresses, Geer Garson, who plays the titled character: Susie Parkington. Her husband Major Augustus Parkington is played by likeable actor Walter Pigeon. An actor who also has a great voice. He has a resonating baritone voice. At the beginning of the movie he first sees Susie looking out a second story window.  He winks and she winks back.  He is impressed with the lovely, decisively bold Susie. He falls fast for  this impoverished hard-working young lady. He finds her lovely, inquisitive, smart and charming.  Susie works as a maid in her mother’s boarding house. When the Major asks to rent a room, he is told there are none available.  So, smart, inquisitive Susie graciously gives up her room for him to rent.  She is a smart cookie who recognizes an opportunity when it knocks.  We soon discover the life of the town depends on a silver mine owed by the powerful and charismatic, Augustus Parkington. Susie really is a smart cookie.

This movie reminds me of several movies that follows.  It is basically a Cinderella story that shows what happens after she marries the Prince (Ever After, 1990). It begins with Mrs Parkington 86th Birthday dinner. During the event, she reminisces about her life with the decreased”Major.” This is very similar to the television movie-series, Woman of Substance (1984).  At the “Christmas dinner party” we meet the  Parkington’s spoiled children and grandchildren who prove to be unworthy of their inheritance and power. There is one exception, who is a shining star, granddaughter, Jane.

It is during Mrs Parkington’s trip to the past, that we meet Moorehead’s character, Baroness Anpasita Conti.  Again, she uses every aspect of her body and voice to provide the movie viewer with a completely believable person.  The Baroness is a French aristocrat who is the Major’s main squeeze. She is also his confident and friend. We first see the Baroness while she is still in bed. The Major abruptly wakes her when he rushes in to shock her with the announcement that he just married.  He confesses that he is a scoundrel; but, he loves the girl.  He asked his friend the Baroness to help his new bride adjust to a different social class that he feels his new bride would be totally at lost.

The Baroness does some of her own confession.  She asked the Major to open the Windows and pull back the drapes.  She wants him to take a long hard look at the real woman, without the shadows and “war paint.” She is letting him know that this is the real her without the masks, cosmetics and pretense.  The Major is a little surprised to learn that she is much older than he realize. She is his friend and will help his bride.  This is definitely a twist.  Why would we believe that his long time mistress would want to help his new bride? That is an arduous task for any actress, let alone one who has brilliantly convinced audiences that she is the impediment of evil.  Moorhead plays such villainous characters it is understandable why the director hesitated to cast her for this part. Only a very talented actress like Moorehead could convince the audience, that the Baroness is honestly this loyal to her friend the Major.

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With her French accent and her open expressions, she uses her hands and eyes to convey complete sincerity. When she exposes her physical flawlessly of lost youth, she is saying: the gloves are off, where do we begin? The consummate actress has us totally convinced she is a caring, loving friend of the Major’s in any way he needs her. It is also in a way, to make each of us wish the Baroness was our friend too.

It is no surprise that Moorehead received an Oscar  nomination for Best Supporting actress for her performance in Mrs Parkington. When one compares the evil Mrs Reed with the tender Baroness Conti, you can see two completely different people.  These two women are nothing alike.  They do not even look-alike even though they are played by the same actress.  If you study the pictures of the two characters, you can see the unfriendly, expressionless face of Mrs Reed in contrast to the relaxed and open face of the Baroness.  If you listen to each, not only are their accents different, English verses French, but in their pitch and pause within each sentence.  Which craft is this? Certainly, not witchcraft.

If Agnes Moorehead were alive today, she would have.

N:  celebrated her 116th birthday. Unfortunately, she passed away at the age of 74  from uterine cancer. She always believed her cancer came from exposure to radiation poisoning from a movie site in the Nevada desert. She was one of the other 54 cancer victims, which included movie legend, John Wayne,  who worked on that movie, The Conquered (1958).  Apparently, a weeks before the shoot began, atomic testing done there.

Agnes Moorehead was a truly gifted artist who could work miracles on film, radio, and in person. She mesmerize us with the sheer force of her personality, imagination and skills. Her dedication to her arts gave us unforgettable characters.  Her attention to detail as she studied the people she met and the characters she played gave us unforgettable characters.  Those close to her described her grace and sense of humor. She certainly had a brilliant career. In closing, she proved she was so much more than even Endora’s magic could conjure up.

aggie-blogathon

https://crystalkalyana.wordpress.com/2016/09/05/announcing-the-agnes-moorehead-blogathon/

From Fiction to Flim: Outlander’s Costume Designer Terri Dresbach

Posted on Posted in Appearnce, accuracy, description, makeup, casting, costume, and more, BlogathonTagged , , 20 Comments

 

Vivan Leigh as Scarlette O’Hara

How could anyone forget the scene in  Gone With The Wind when Scarlett O’Hara (Vivian Leigh) creates a beautiful emerald-green dress made from hanging drapes? Despite the war, Scarlett frantically searched and found fabric to sew herself a fashionable dress. This inspiration was the by-product of “Necessity.” According to awards winning costume designer, Terry Dresbach, while working within the time constraints of a weekly TV show and building a workshop from scratch, she claims this is why people lost their heads in 18th century France… people were sick to death of doing all this stuff and not getting paid for it.  She understands the pressure of her work and for those of her teams. From designing her own fabrics to embroidery machines, there is a lot of work to making thousands of costumes. Yet, all of this time consuming work is not the exciting part or even the heart of what she does.  Her costume designs are not just a piece of clothing but “the embodiment of a character.” Dresbach defines the difference between a fashion designer and a costume designer as this: costume designers are storytellers.  They create people from the ground up.  So, where does that leave the author’s book?  Dresbach says the book is the blueprint but not the bible.

As a fan of Outlander, I have seen her  beautiful creations for two wonderful seasons; however, I would not have been motivated enough to learn about Dresbach and her team’s painstaking work if it had not been for Christina Wehner and Andrea Lindgren’s invitation to contribute in their sponsored Blogfest: Characters in Costume: Fiction and Film.  I would like to thank her for this invitation and for the opportunity to contribute to this intriguing and enjoyable topic. I encourage everyone to read an array of blogs written for and contributed to this blogfest. This is the link ….

https://christinawehner.wordpress.com/2016/09/07/announcing-the-characters-in-costume-blogfest-fiction-and-film/

Outlander is a television series that can be described as a romantic adventure, sometimes fantasy, that spans over two centuries.  It is also produced with historical accuracy. It is based on a series of  bestselling novels written by author Diana Gabaldon. Although Gabaldon is a brilliant storyteller, she also has the mind of a scientist. When is comes to anything that surrounds her story, like any great novelist, she does her research.

Many of Gabaldon’s characters and events are taken from historical record. By implementing history in the story, readers wholeheartedly absorb the elements of time travel, magic, and even at times, the supernatural.

Dresbach has an intimidating challenge before her.  The show begins with a British Army Nurse, Claire Randall (Caitriona Balfe) in a British hospital, during combat, in war-torn France (1945). Then, a year later in the Scottish Highlands, we find Claire and her husband Frank Randall (Tobias Menzies) on a second honeymoon before he starts his new job as a history professor at Oxford.  Next, we find Claire traveling back in time in 1743, three years before the second Jacobite Rising (1746).  It is here she meets and falls  in love with  outlaw and tragic hero, Jamie Fraser (Sam Heughan).  Finally, the season  ends with the couple sailing for Paris France to start a new life.  All of this in just the first season.

To design and make thousands of costumes that are historically accurate and covers several eras of time in different locations like England, Scotland, France, and Boston within a relatively short amount of time can make Santa’s workshop look easy in comparison.  There are books and a numerous magazine articles (onlinks that I used as a source) on Dresbach’s workshop and the making of Outlander.

When comparing a fictional character’s dress to their film counterpart, Dresbach’s interpretation is very close but definitely different. To better understand the connection between history and fiction and her artistic work and interpretation, it is necessary to look at a few examples of her designs.  Dresbach uses subtle visual cues in her storytelling. For instance, the everyday task of getting dressed, or in the symbolism and functionally of a uniform  and even knowing the mindset of a character by their choice of garment.

To give you an example of how historically accurate Dresbach’s costumes are, here is a “deleted” scene, really an edited scene, from the Season I.  Here you find newlyweds waking up in their first home.  Jamie Fraser (Sam Heughan) is dressing himself in his Highlander kilt as Claire(Caitriona Balfe) tries to encourage him back to bed. The Kilt is the national symbol of Scotland.  When a man wears a kilt, he is referred to as a “Man and a Half.” A full kilt is two yards wide and six to eight yards long. This garment isn’t just considered functional and life saving, it also represents a man’s sense of honor.  This is one of the reasons the British outlawed the wearing of kilts or tartans from 1746 to 1782. Seriously, when have you seen a man put on such a cherished garment? In the movies or on television? None? So, Sam Heughan dresses himself in this very complex garment. Watch as Heughan carefully and with pride fold each pleat (sett: one inch exposed pleat) in this  very  complicated process of putting on a belted full kilt.

Another example of Dresbach clear attention to historical  and character costume design can be seen in the first morning dressing of the beloved, time traveller from the 20th century, Claire in 18th century noble women’s dress. Gabaldon describes this in Book I, Outlander, chapter 5, page 65:

Mistress FitzGibbons …laid out a pile of garments on the bed.  There was a  long yellowish linen chemise, with a thin edging of lace, a petticoat of fine cotton, two overshirts in shades of brown, and a pale lemon-yellow bodice.  Brown-striped stockings of wool and a pair of yellow slippers completed the ensemble. … Turning out the pocket like a gunnysack, she produced a handful of ribbons and bits of jewelry.

In this description from the book, Gabaldon does not mention the bum roll or the putting on of layers.  Not to worry Dresbach doesn’t miss a tick. You can witness for yourself how Dresbach dresses Claire in the the Leoch castle.  Here is the scene from the Season I.  Claire is being dressed for the first time in 18th century clothing.  This is how the writers and directors decided to interpret that section of the book; and how Dresbach dressed her. In the book, Claire is given yellow slippers. That is not a color you would want to wear in a drafty, dirty castle.  I like how the writers added Mrs FitzGibbons’s interpretation of Claire’s scanty discarded modern undergarments:  If this scene doesn’t convince anyone of how a costume designer is every bit as important to a character and story, nothing ever will.  Again, this scene was edited and not completely deleted in the show.

https://www.youtube.com/watch?v=wwEAiWV9PR0

To further explain the historical  detail that Dresbach uses in her work, here are two photos of baddie Captain Black Jack Randall (Tobias Menzies beautifully played dual roles, 20th century husband, Frank Randall and 18th century, evil Black Jack Randall). The first photo is as a Captain Jack Randall in Season I and the other is of him later in Season II, as a demoted officer. Look carefully at the two uniforms.  They are different…brass buttons and all.  Without being told, we know that he has been demoted.  Would most fans of the show notice?  Probably not, but again Desbach is creating character and storytelling through her designs.

Such attention to detail, helps builds suspense. A perfect example of this can be seen on the Jamie and Claire’s wedding night.  Poor virgin Jamie, has to untie some 60 loops on Claire’s bodice/corset before he can even see what is in store for him, for  that night and for life.  While Jamie painstakingly unties, you have time to see and understand the desire and clumsiness of a first timer.  It is the most honest and sexiest honeymoon scene, I have ever seen on film.  I cannot imagine such a scene being possible without Dresbach’s costume designs.  How long does it take Jamie to untie each of those loops? A while, which to him  probably felt like forever. Costume design is as important to the story and character as are the actors, writers, director, and crew.

I would like to add one more personal opinion about the concept that Outlander as a “bodice ripping” Fembolt fest.  First of all, most men could not rip open a bodice with their bare hands; unless, it was untied first or cut. I mean a historical bodice not a Fredericks of Hollywood or Victoria Secret bustier.  If a man even tried to rip the bodice, it would take a very long time.  There is whale bone or animal bone sewed along the sides to keep you in and for it not to lose its shape. Plus, it is an expensive piece of clothing to replace.  Now, a person could cut it away the bodice like Black Jack did to Claire before he attempted to rape her; but,  violently forcing a person to have sex  is not sexy. It is criminal.  Romance writers need to double-check their book covers to make sure they are not sending the wrong message out there about the difference between rape and romance. In  Gabaldon’s books there is rape and one spanking.  Also in the books, there is nothing sexy about it just like in reality. This is a societal problem; and, I repeat a criminal act.   I felt I needed to add this.

Here are some visual aids about real corset or bodices:

The last example of Dresbach’s design I would like to point out is the Claire’s clothes in Versailles France during the reign of Louis XIV.  As Dresbach explained this is a directive of executive producer, husband Ron D. Moore,  18th century should be as foreign to 20th century Claire as if she landed on another planet.  In the first season, Claire’s clothes were borrowed.  In the second season, she had them designed.  When I first saw the designs, I did not understand why her dresses were so historically skewed.  I wondered why Claire’s clothes were decidedly different than that of the fashion of the day.  I wish they would have wrote in a scene at the dressmaker’s salon where you see and hear Claire’s input on how to design her clothes.  Now, it makes perfect sense why there is a 20th century in her flaire in her 18th century dress.

f7109f15a1c60a0d-research2Outlander Season 2 2016outlander-600x800

When Dresbach refers to herself and other costume designers as storytellers, I understand her completely now.  I see how she works with actors to give birth their characters.  From dressing in the morning, to wearing kilts to uniforms of honor, and to designing their clothes in another century, it makes perfect sense.

Before learning about Terry Dresbach, the only costume designer that I could name was the late, great Edith Head.  Now, I am in awe of Dresbach.  To me she is the ultimate costumer designer. Even her name is the perfect name for a dress designer. Terry can “tear” into that cloth or that project. Dres? Really? That is too obvious.  Bach? The German passion to create art or visual music for the eyes, the “dress.” Personally, I think Terry Dresbach is as close to a superhero you can get. Sorry, Ron Moore (producer, writer) but I could easily see Deadpool in Terry’s future. Terry Dresbach brings a character to life from the pages of fiction. Without her, their story cannot be fully told because the actors wear the skin of their garments within their soul.

Dresbach’s Web site address:

http://www.terrydresbach.com/posts-by-category/

OnLine Sources:

http://www.latimes.com/fashion/la-ig-adv-outlander-costumes-20160607-snap-story.html

http://www.harpersbazaar.com/culture/a15048/terry-dresbach-outlander-season-2-costumes/

http://www.huffingtonpost.com/news/terry-dresbach/

http://www.goldenglobes.com/articles/dressing-romance-outlander-%E2%80%93-genius-terry-dresbach

‘Outlander’ Costume Designer Terry Dresbach Talks Bringing History to Life

Terry Dresbach in her own words:

https://m.youtube.com/#/watch?v=0_owiLQMmq4

The Heiress: What I learned at the Movies Blogathon

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I would to thank Kristina (Speakeasy)  and Ruth (Sliver Screenings) for hosting this blogathon: Things I Learned at the Movies. I really enjoyed writing on this topic

Things I Learned from the Movies: Day 1 Recap

To say movies can make an impression or can teach people life lessons is an understatement, especially for an adolescent.  Many describe a youth’s ability to absorb knowledge to that of a sponge since they are always looking for information in order to understand the world around them.  The prime problem is they used flawed judgement and logic. This frontal part of the brain does not completely develop until they are well through their teens. That is probably why the movie, The Heiress (1949) haunted me for most of my life while it taught me a few important lessons about the complexities of human relationships and a woman’s role in relation to her power.

In 1969, my perception of a woman’s role was heavily influenced as I read and  viewed two wonderful classics at the tender age of 14.  Like most of my peers, I avoided watching anything in  black and white; unless, it was a featurette like Our Gang, The Three Stooges, Laurel and Hardy, Abbott and Costello or Charlie Chaplin movie clips.  In other words, I only watched the slap stick comedies.  The Heiress was the first drama I watched on the sliver screen, at least from beginning to end.  It was during the time that I daydreamed of what it would be like to be an adult. How easy life would be when I  became independent and make my own decisions.  What little did I know then.

If you have not seen the movie, The Heiress, I warn you; there are spoilers ahead.  If you have not seen it, I urge any movie lover to watch it. This movie was nominated for eight Academy Awards.  It won four: Best Actress in a Drama (second Oscar for Olivia de Havilland) Best Original score by Alan Copeland, Best Art Direction and Best Costume Design.

It was directed by William Wyler (Little Foxes, 1941 and The Best Years of Our Lives, 1946). Wyler is considered one of greatest directors even today.  Besides Olivia de Hallivand’s Oscar winning performance, it also included the third film for newcomer and hottie, Montgomery Clift. He  was cast as the fortune hunter. He is the charming and dashing, Morris Townsend. It was adapted to screen by married couple, Augustus and Ruth Goetz. Their play, then screen play, was adapted from a magazine article, later a book, by Henry James: Washington Square. James claimed it was based on a true story told to him by a friend. Enough said, if you haven’t seen, please do.

So, in the late 60s, I was home trying ok to read the “boring” Odyssey by Homer. It was a Freshman English assignment.  Poor Penelope, weaving that tapestry by day and taking it apart at night. While these horrible men, suitors who took over her home, are destroying her property during their drunken partying. They demanded, by ancient Greek law, for her to choose a new husband.  Once she is married, her new husband would possess and own all her property and titles and even her, herself. Women were considered the property of their fathers or husbands. I was so happy to be living in modern times in the southern state of Florida.  Women even had the right to vote, though it was not encouraged. Yet, even in the 60s a woman still needed the signature of her father or husband to open a checking account.

Lesson One: Nothing is written in stone that cannot be changed; no matter how long it’s been done or how splendidly advanced the item or thinking.

Penelope was compelled to promised to choose one of the invading house guests as a husband.  She had only one small request:  She would be allowed to complete a tapestry before she had to choose. She successfully bought time to think and find a solution. To increase her time and advantage, every night, she would secretly unravel the work she did during the day.  She was Odysseus’ widow.  A widow with no proof her husband, King of Ithaca, was dead.  A widow who still loved her husband very much but has not seen him for twenty years due to the Trojan War. To a teenager in angst, this is the ultimate romance.  So, for any Outlander fans who happened upon this blog,  I want you to know that I really “get” Jamie and Claire who are still madly in love after twenty years and two centuries apart.

Lesson Two: Real heroes are regular people who do miraculous things during desperate times.

Since this Blogathon is about what we learned through the movies, I have to explain why I even watched a black and white movie at fourteen.  Although Penelope’s challenges intrigued me at the time, I still would rather do anything then keep reading that archaic story.  With decision-making skill on target, I turned on the television

There she was: a plain Jane with no self-confidence but possibly intelligence and a seemingly broken spirit. Yes, I identified with Catherine Sloper (Olivia de Havilland) immediately.  In just a few minutes, I understood her and her predicament with a domineering parent.  Unlike me, she was an only child.  She carried the guilt of her mother dying due to her birth. Catherine’s  father, Doctor Austin Sloper (Ralph Richardson), will not let her forget that his beautiful and talented wife is no more because of this girl.  I certainly understood guilt, whether real or imagined, of a disappointed parent.  Doctor Sloper complains to his sister and Catherine’s aunts how disappointed he is with his daughter. He has spent a fortune on schools of music, dance, and social graces; and, none of them improved Catherine in his eyes.  She will never measure up to her beautiful and lovely mother.  Yes, as a teenager, I really felt her pain, her guilt and even her uncomfortable shyness around everyone, especially her only parent.

Lesson Three: Never let your children feel unloved or not valued for who they are really are, flawed and human.

Catherine’s aunt, Lavinia (Miriam Hopkins) is a widow who the Doctor invited to live with them as a chaperone and guide for Catherine.   He hoped she could help Catherine with her awkward and at times her nonexistence conversation with others outside of the home.  From the Doctor and Lavinia’s discussion, we learn that Catherine usually hides in a corner to avoid people and embarrassment during social events.   As a matter of fact, when the Doctor asks his daughter about an Engagement Ball for his niece, she explains that she cannot go since she is working on her embroidery.  Wait a minute, this sounds like a Penelope excuse.  From ancient Greece to New York in the late 1800s, women’s roles have not changed much if we are still using the sewing excuse to get out of doing what a male in authority wants her to do.  Oh yeah, I get Catherine.

At the ball, Catherine is forced upon an eligible bachelor who has no interest in her at all.  He begrudgingly dances the steps and afterwards, hurriedly places Catherine on a garden bench.  He asks if she would like a drink with no intention of bringing it back to her. He has successfully escaped.   Sadly, Catherine realizes she has been disposed of again.  After Aunt Lavinia sits with her to console her hurt feelings, an extremely handsome Morris Townsend introduces himself and asks Catherine for a dance.  Frighten Catherine appears to nearly jumps out of her own skin. She has a hard time looking in his eyes. She apologizes and tells a lie that she is booked until the fifth dance.  At this point, her aunt seizes the opportunity to leave them alone.  Morris sits next to her and informs her that his dance card is full too. He shows her his blank dance card. Then, Catherine laughs and shows Morris her blank dance card.

Lesson Four: If you want to put people at ease, be willing to laugh at yourself.

Morris sweet talks Catherine into a dance. While they are awkwardly dancing, he stops and politely asks for an arrangement: I will not kick you while we dance,  if you will not kick me.  Catherine laughs again.  They begin the dance again.  This time he instructs her to look at him as he counts the beats. Before, you know it, Catherine is no longer self-conscious; and, you can see her actually enjoying herself.  To the point, where she even dances a bit without a partner.  The couple go back to the bench, where Catherine nervously fans herself. Thinking she might need a drink to cool down, Morris asks if she would like a drink.  She adamantly refuses.  You can actually see the fear in her eyes at the though of Morris’ abandonment.  Not understanding her strong objection to the refreshment, he asks if she is a member of the Temperance Movement.  She replies that she thinks she is.  Morris laughs, not believing her, and says he is not.  He leaves to get them both a drink.

While Morris is away, aunt Lavinia returns with an overly enthusiastic dancer that she graciously dumps on poor Catherine.  While Catherine is trying to keep up with the dancing fool, Morris returns with the drinks. He is very disappointed that Catherine had not waited for him.  Aunt Lavinia sees this disappointment and tries to soothe his hurt ego . During this exchange, the Doctor finds Lavinia talking to Morris and informs her they should go.  Morris pleas with the Doctor to stay. You can almost see the disdain on his face for this young upstart, a stranger, trying to tell him what to do. It is obvious to the Doctor Morris, without proper introductions, is a fortune hunter, especially since he is interested in Catherine. Once Catherine returns, she apologizes for being detained withthe dance trap. Morris laughs and says he is glad she did not intend to dance with him; or, he may have been forced to call him out to fight with sabers. Again, Catherine laughs. Morris then  asks what her what her father’s office hours were. Innocently, Catherine asks if he is ill. Again, Morris laughs.  No he says, to a shocked Catherine, I want to call on you.

Aunt Lavinia is enchanted with the handsome Morris too; and, she encourages him to pay a call on them when doctor daddy is not home.  I think to myself, great idea.  This will keep the Doctor from spoiling their developing relationship.  Everyone knows Catherine has zero chance of not falling in love with the charismatic, kind, and doting Morris.  Poor girl is starved for positive male attention.  Of course, Morris is a perfect Prince Charming. You know she is in over her head when he brings sheet music to the house to play on the piano. Morris plays and sings, in French…the language of love, a 18th century French love song, Plaisir D’Amor.  If you are unfamiliar with this song, the melody of the song reminds me of a love song covered by Elvis: I Can’t Help Falling in Love.  Morris asks Catherine if she knew what the words meant.  She does not. Morris plays the melody again but speaks the words in English:

The joys of love lasts but a short time while…the pain of love lasts all your life.

Of course, once the father is made aware of his daughter’s deceitful relationship, aided and encouraged by her chaperone, aunt Lavinia,  he decides to put an end to their courtship.  For years, I often wondered why he reacted this way.  He obviously viewed Catherine as a burden.  He believed his money would be the only thing that would attract any suitors.  So, why, did he take such an offend to Morris?  I had to wait until I was older to understand that there may have been many reasons. One reasons might have been that he considered Catherine as his property, to marry off to a man of his choosing and not hers. Let’s face it, Morris did not ask her father if he could court her.  He was smart enough to know that Doctor Sloper had an instant dislike for him.  Hence, the sneaking around to see her when the Doctor was at work.

Another reason could have been that he saw that Morris  was as beautiful as his late wife. Some part of him wanted to punish his daughter for keeping him from his beloved.  She didn’t deserve the handsome Morris. At least, that’s one of my the thought  that satisfied my confusion of his particular hostile reaction to Morris.  In the play, the character of Morris was definitely a rake. No one doubted he did not love Catherine.  In the movie, the character was purposefully played ambiguously.  The audience thought he might be greedy and wanted the money; but, he could have fallen in love with Catherine too.  The reason was too not present newbie Montgomery Clift, future heart-throb, as a villain.  What it really did was allow the audience to believe as Catherine that he was capable of love; and therefore, he might love her.

Lesson Five: People who claim to love us are still capable of doing cruel things to us too.

Well if you want to know or come up with your own thoughts to what happens in this wonderful story, you have to watch the movie.  I never spoil the best part or parts of anything.  I wish I could sometimes…espicially with the turn of events in this particular movie.  Just like Homer in his tales of story weaving, more contemporary stories weave theirs too with as many twists and turns to make all of us think and hopefully understand our own life through the Arts.

Lesson Six: Stories of women throughout time have a common thread, sometimes literally, it is a story of struggle, to embrace their power.

th-17  th-5  th-3

https://www.youtube.com/watch?v=aLXzow5YP7U#action=share

From North and South to Dallas: Lesley Anne Down

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As part of the Dallas  Blogathon, bloggers were asked to pick an actor from the long-running TV show Dallas (1978-1991).  It was requested that we  write a blog about a regular or a guest star on the show but in a different role, other than Dallas. It was suggested to me to pick Lesley Anne Down; since, I am a fan of Patrick Swayze; and,they both stared in the mini -series North And South. It is a great suggestion; but,  I never seen North and South. So  I decided  to write about Lesley Ann Warren in Victor/Victoria. I love that movie.

Of course, that was a huge mistake. I felt a little better later when I read that Lesley Anne Down joked with a reporter that she is constantly getting mail for Lesley Ann Warren. After reading her candid comment about people mixing up the two actresses, I felt a connection; and, I instantly knew that I really liked her as a person. Even though I knew next to nothing about her.  So, I bought the DVD North and South and prepared for a bingefest.  It is 1392 minutes long without commercials.  That is 23.2 hours of movie watching. Basically, it took me 3 days to binge watch this mini-series.  Was it worth it? Absolutely!

The beautiful, British Down  co-starred in Dallas in 1990.  In my humble opinion, she is as beautiful as Ava Gardner (who died that same year of pneumonia)  or Elizabeth Taylor. In Dallas, season 11, she played Stephanie Rogers.  In her role as an expert public relations agent, she is intent on capturing the heart and mind of Cliff Barnes, J.R. Ewing’s nemesis on the show.  During this time, she signed a contract for a 10-week shoot. She created quite a stir with the salary she negotiated for her role in the show.  An unheard of  amount of $250,000. Who is this actress who was able to secure such a lucrative amount of money?  Remember this was before the big money of Oprah Winfrey or Ray Romano or even the equality pay demanded by Hollywood actresses today.  I think part of the answer lies in her stunning performance as Madelyn Fabray- LaMott in the Emmy award-winning North and South (1985-1986).

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Ms Down was born in London, England on March 17,1954.  She started modeling at the tender age of ten.  Although Down retired two years ago at the age of 60, most American audiences can still remember her charismatic portrayal as Madelyn Fabray LaMott in North and South. This mini-series is based on three books of  historical fiction by author John Jakes.  His trilogy follows the friendship of two West Point cadets and their families before, during, and after the American Civil War. This is a war that is described as a war that forced brother against brother and nearly destroys both in the process.

The Maines are from  South Carolina and the Hazards are from Northern Pennsylvania. Patrick Swayze plays Orry Maines and James Read plays George Hazard. Before Orry Maines meets George (his Bestie), he meets Madelyn soon after he said his goodbyes to his family. While  traveling on the road to the pretigous West Point, to train as an officer in the United States Army, he comes across a coach lying on its side in water.

Madelyn’s coach wheel had broken and turned itself over in a  section of a flooded road.  Orry rides up and sees the beautiful southern belle in distress and promptly jumps from his horse to assist. When she explains to  him she is on her way to meet her father who is visiting the owner of  the LaMott plantation,  Orry offers to take her on his horse (side-saddle, of course).  Apparently, the LaMott plantation is neighbors to the Maines’ plantation.  Little does Madelyn know that her French Daddy is shopping for a rich husband for her. While at the same time evil and mean plantation owner Daniel LaMott (played perfectly by actor David Caradine) is shopping for a southern bell- trophy wife. By the time Orry and Madelyn arrive at the LaMott planation, Orry knows she is the woman he wants to be with for the rest of his life. However after they arrive, Orry must tell her that he will not see her again for two years due to  his training at West Point.  The newly discovered star-crossed lovers promise  to wait for one another.

They keep their promises and write daily; but, neither one will receive that first letter.  Daddy Fabray intercepts each letter coming in and each letter going out.  He wants his daughter  to marry the filthy rich and powerful LaMott. Madelyn eventually is persuaded that Orry must have found someone else or decided she was not the girl for him after all.  Meanwhile, LaMott is working hard at wooing her by spoiling her with his loving attentions and gifts.

I mean really, what’s a girl going to do? It has been over two years and no word from Orry. Madelyn finally gives in to her father’s and LaMott’s encouragements. She agrees to marry LaMott. Can you believe it? On their wedding day, Orry comes home. He still loves her; and as soon as he speaks to her and looks into her beautiful eyes, she admits, she still loves him too; but, she cannot love him back.  She is a married lady, now.  As if it would be easy to forget you love handsome and kind-hearted Orry over mean-spirited not so cute LaMott? I mean, really!  What’s a girl suppose to do?

North and South
NORTH AND SOUTH, Patrick Swayze, Lesley-Anne Down, 1985,

Ms Down plays the long-suffering and abused wife so well that even the most virtuous audience wants her and Orry to “hook up” and have their secret adulterous affair. Down completely submerges herself in the role of Madelyn to such a degree that you believe every unbelievable facet of her pure and good personality. One of the elements of her portrayal of Madelyn that makes her character believable, is her sharply crafted southern accent.  It is this accent that definitely aids her in achieving such a stunning performance.  Unless you are an excellent southern actor like Billy Bob Thornton or a superb actor like Tom Hardy in “Lawless,” most actors articulate poor southern accents. For Patrick Swayze, this was not so much of a challenge because he is a southerner from Texas. Most people can sound somewhat southerner; but, very few can speak with an accent that sounds aristocratic and culturally enriched.  Ms Down accomplished both the mannerisms and the authentic accent while avoiding the  stereotype that most southern audiences have had to endure while watching movies or Television. With an array of talented qualities in Down’s performance, it is no wonder why she was nominated for a Golden Globe for Best Actress in a television drama in 1986.

6

In an interview, Down gave excellent advice about going into acting. She said:  you have to want it really bad so that nothing else matters. Most people don’t make it because there is a lot of things that happen to you on your way. She explained she hated school and stop going at the age of 12 years old.  She started as a model which eventually led to acting.  She said the casting couch was not a Hollywood myth.  She claims that she  hated her years as a teenager. They were stressed and intense. Fortunately for us and her, she did make it.

On a personal note, she has two sons from two marriages.  She met her final and present husband on the set of North and South.  Don E. Flauntleroy was the cinematographer for the mini-series. Patrick Swayze, in his autobiography which he finished shortly before he died in 2009, describe Down as a generous and funny lady who he greatly admired. He said she would invite cast and crew to the expensive hotel she was staying at during the shoot. They were invited to fine dinning and would hang out there later on most nights. That is very generous indeed. It was rumoured she was going through a divorce from her second husband at the time.  Some suggested he actually paid for all that generosity.  My response is, so? If she spent the money on making people happy who is to question her ability and desire to do so?

As always in my blogs, I like to pass on lessons or wisdom that I discover from my subjects or topics. I find that Ms Down is not so different from most of us who have struggled to reach our goals.  She has had to overcome great obstacles  in order to obtain her successful acting career.  She is as complex and as complicated as any character she has chosen to play.  It has been suggested that great acting comes from the actor’s soul. They in turn share that honesty and truth with their audience.  Ms Down has shared many passionate performances with her audiences over the years. From the sweet, noble Madelyn to the cunning, ambitious Stephanie Rogers,  Ms Down has shared a part of her soul with all of us.  From North and South to Dallas, this accomplished actress has given to her Art and her audience with her honest role portrayals.