Raquel Stecher's Blog, page 2
September 17, 2023
Final Roundup: 2023 Classic Film Reading Challenge
And that's a wrap on the 2023 Classic Film Reading Challenge! Congratulations to all of the participants who read books and submitted reviews. I'm very proud of you all. Please know that I read/watched and shared every single review. It's always a joy to see what you all are reading.
If you're interested in participating next year, please see the note at the bottom of this post as the challenge will be changing moving forward.The following participants completed the 2023 Classic Film Reading Challenge:
Alejandro V. — Andy W. — Angela P. — Bailee W. — Chuck P. — Chris M.Jess I. — John M. — Laura G. — Ralph C. — Shawn H.
For the giveaway I chose six winners and they are:
Alejandro V. — Andy W. — Bailee W. — Chris M. — Laura G. — Shawn H.
Now onto the reviews!(Check out the first roundup for the initial batch)
Alejandro on Goodreads
Captain of Her Soul: The Life of Marion Davies by Lara Gabrielle
"If written biographies can be considered an art form, author Gabrielle achieves that distinction."David Lean: A Biography by Kevin Brownlow
"The book is also full of photos in honor of Lean’s wishes for the biography, which was completed shortly after the filmmaker died. Brownlow said Lean wanted “illustrations…and lots of good bloody pictures.” Brownlow delivers on that promise, and so much more."
Pinocchio: The Making of the Disney Epic by J.B. Kaufman
"Because of the beautiful art and photos and coffee-table format, it’s not just a great book on film production, but also an ideal gift for friends and family."
Andy of Journeys in Darkness and Light
Class, Crime & International Film Noir: Globalizing America’s Dark Art by Dennis Broe
"If nothing else, Class, Crime & International Film Noir proves that film noir was (and remains) a global phenomenon that fans should not ignore."
Movies Are Magic: The Director’s Cut by Jennifer Churchill, illustrated by Howard Edwards Creative, Asanka Herath
"My hat’s off to Churchill, Weston, and Oscar, for presenting such a fun book that can be enjoyed for years to come."
Showdown: Confronting Modern America in the Western Film by John H. Lee
"Although the book was published over 40 years ago, we are still confronting many of its issues, but doing so from a greater distance. There’s certainly value in reading Showdown, but the discussion clearly cannot stop here..."
Suite for Barbara Loden by Nathalie Léger and Cécile Menon
"Suite for Barbara Loden shows us that often there are no easy answers, no objective entity which can measure the value of a person. Sometimes we are the least qualified to judge ourselves, but that doesn’t stop us from doing so."
The Warner Brothers by Chris Yogerst
"Yogerst packs a tremendous amount of the history of the Warner Brothers and the studio into one volume, making for an informative and compelling read. Anyone with an interest in movie history, especially of the major U.S. studios, will want to add this book to their collection immediately."
Angela of The Hollywood Revue
High Sierra by W.R. Burnett
"It’s easy to see why High Sierra remains a staple gangster story. Mad Dog Roy is a really compelling character, and the book gives more insights to his worldview that we don’t see in the movie. So if you’re a fan of the movie, the book is very much worth checking out. Even if you’ve never seen the movie, it’s a very solid read on its own."
I Am a Fugitive From a Georgia Chain Gang by Robert E. Burns
"I’ve long been a big fan of I Am a Fugitive from a Chain Gang because of its gripping, hard-hitting style. I was not disappointed to find out that the book version was equally captivating."
Little Caesar by W.R. Burnett
"This book is pretty much exactly what you think of when you try to imagine a stereotypical 1920s gangster story — a gangster longing for more power, a big heist, and lots of classic gangster nicknames like Scabby and Big Boy. It absolutely set the stage for the whole genre."
Long Haul by A.I. Bezzerides (They Drive by Night)
"If you’re specifically looking for a crime story to read, then Long Haul obviously isn’t going to be what you had in mind. However, if you tend to like the novels that film noir movies were based on, you could still appreciate Long Haul."
The Public Enemy by John Bright
"The good news is that the book is very much worth reading. The bad news is that you have to be pretty lucky to be able to check it out."
Scarface by Armitage Trail
"It goes without saying that Scarface is one of the most quintessential gangster stories of all time. However, this is a case where I like both versions of the movie better than the book."
Bailee on Goodreads
The Lonely Life: An Autobiography by Bette Davis
"I really don't think I can accurately describe the deep desire I have to want to consume all things Bette Davis right now and how I so wish I could meet her... Also, as I listened to this on audiobook, I have to mention how it seemed like the narrator, Suzanne Toren, really got Bette's voice and way of speaking down."Long Day's Journey into Night by Eugene O'Neill
"this play feels so rooted in its time- not only with certain elements of the story but the intended performance(s) in particular... I can very much see Katharine Hepburn and Jessica Lange perfectly emulating the role of Mary."
Miss D and Me: Life With the Invincible Bette Davis by Kathryn Sermak with Danelle Morton
"I thought this was written very well; again, as if Kathryn is taking you back with her to those moments, in those moments."Pygmalion by George Bernard Shaw
"this is something you really have to be in the mood for. I think it's supposed to be a comedy(?) but Higgins is just so unlikeable that sometimes it's not that funny and more so annoying, and especially from today's perspective."
This 'n That by Bette Davis with Michael Herskowitz
"Having a good amount of focus on her family life- her marriages and children- this definitely feels more reflective than recounting one's life. Pointing out mistakes and wondering where a different choice would have led."Twelve Angry Men by Reginald Rose
"This was simple, yet very good."
Carl of The Movie Palace Podcast on Instagram
Scandals of Classic Hollywood by Anne Helen Peters
"it’s worth noting that this is an engrossing read from start to finish. Petersen’s prose is both smart and straightforward, and her research is first-rate."
Image courtesy of Chris of Digging Star WarsChris of Digging Star Wars
Animating culture: Hollywood Cartoons from the Sound Era by Eric Smoodin
"And that is the beauty of Snoodin’s book: whether you are a Disney fan or not, the read is fascinating and supported by tons of research. It’s legit and captivating."
Bobby Darin by Al DiOrio
"DiOrio, however, never loses track of Darin’s tenaciousness and ability to create art that will last more than a lifetime. He also chronicles friends, family, lovers, and wives. It’s all in there. It is a well-researched, meticulously-constructed telling of the life and death of Walden Robert Cassotto/Bobby Darin."
Hollywood: The Oral History by Jeanine Basinger and Sam Wasson
"The book does its job. It gives you an inside look at the glory days of the Studio system – and its downfall. It unspools the chaos of the 1950s and 1960s and marches you into the 1970s with soundbite after soundbite of the next wave of filmmakers that would forever change the industry and the world."
Chuck on Goodreads
The Monster Movies of Universal Studios by James L. Neibaur
"If you are a fan of the Universal Monster films, you'll want to pick up this book. This is the type of book I will reference often around Halloween when many of these films air or are available to stream."
The Phantom Empire: Movies in the Mind of the 20th Century by Geoffrey O'Brien
"the book is not necessarily a linear history of film, but a long form poem or monologue that touches on virtually every type of film ever made. This different approach might not be for everyone, but I found it original and unique from every other film book I have ever read."
Image courtesy of Jess of Box Office PoisonsJess of Box Office Poisons
Gloria Swanson: The Ultimate Star by Stephen Michael Shearer
"I'd definitely recommend this book if you're looking to deepen your knowledge of the silent era and one of its most famous stars; it does a better job at painting a complete portrait of the time than any other book I read this summer.
The Million Dollar Mermaid by Esther Williams
"Esther was the ‘million dollar mermaid’ and the ‘mermaid tycoon’ but as you’ll find when you read The Million Dollar Mermaid, she was so much more than that. This all-American starlet was confident and powerful and adaptable."
The Movies, Mr. Griffith, and Me by Lillian Gish
"I have to admit that I didn’t think I was going to be able to finish this summer’s Classic Film Reading Challenge and it was down to this book. I rallied and here we are, but I totally and completely did not enjoy Lillian Gish’s autobiography, The Movies, Mr. Griffith, and Me."
Jessica of Comet Over Hollywood
Gidget: The Little Girl with Big Ideas by Frederick Kohner
"While there are several differences, I love both the book and the film. This was my fourth time reading the book, and I enjoyed revisiting it every time."
Gidget Goes Hawaiian by Frederick Kohner
"While the whole premise of the story is silly, the 120-page book adaptation is much better than the movie."Gidget to Rome by Frederick Kohner
"I think that the book’s biggest crime is that it’s boring."
John on Goodreads
Fear Strikes Out: The Jim Piersall Story by Jim Piersall and Al Hirshberg
"Having seen the film a few years back, I naturally assumed the memoir to be somewhat different and I was correct. Piersall’s memoir is precise and no nonsense. The tone is conversational. He held nothing back and never pointed blame on another person nor did he look for pity."
Straight Lady: The Life and Times of Margaret Dumont, "The Fifth Marx Brother" by Chris Enss and Howard Kazanjian
"Despite being a slim volume, this book gives a candid look into the long career of an actress who became famous - not as a luxurious star garnishing movie marquees and Hollywood headlines, but as a stalwart figure who often was on the wrong end of the joke or a gag."
This Is More Than I Can Stand: A Biography of Charlie Hall by John Ullah
"If you are a fan of Laurel and Hardy, this book should be on the must-read list. There is definitely some new perspective that is offered and plenty of stories that like the boys themselves are very funny."
This Was Hollywood: Forgotten Stars and Stories by Carla Valderrama
"Going on vacation and need a great read? Or just looking for a literary trip back to the Golden Age of Hollywood, you’ll find a fascinating history lesson in this book."Warner Bros.: 100 Years of Storytelling by Mark A. Vieira
"highly recommended for film fans both young and old. It is not the deep dive into the history and inner workings of the studio, or its founders but a visual celebration of the studio’s films through the decades."
Karen of Shadows and Satin
Marilyn Monroe: The Biography by Donald Spoto
"This is one of the best movie star biographies that I’ve ever read; I was sorry to learn that author Donald Spoto died earlier this year at the age of 81 – I would certainly have written to him to let him know how much I was affected by his book."
Laura of Laura's Miscellaneous Musings
Ernest Lehman: The Sweet Smell of Success by Jon Krampner
"This biography is an impressive work of research; the end notes alone run for over 50 pages! It provides great insight into Lehman's work alongside his personal life."
In Lonely Places: Film Noir Beyond the City by Imogen Sara Smith
"In recent years Imogen Sara Smith has become one of my favorite film historians. Whether it's in commentary tracks, featurettes, or books, I find her thoughtful comments exceptionally evocative and insightful. I thus thoroughly enjoyed her book."
The John Wayne B-Westerns 1932-1939 by James L. Neibaur
"THE JOHN WAYNE B-WESTERNS 1932-1939 is an informative and useful book which achieves its goal of explaining these films' significance in the context of Wayne's career."
Ruth Roman: A Career Portrait by Derek Sculthorpe
"Schulthorpe was able to provide an impressive amount of detail on Roman's early years and beyond; the book is packed with information on Roman's work, along with a great deal of information on roles she didn't get. The author skillfully weaves quotes from the actress herself into the narrative."
Letícia of Cine Suffragette
The Girls in the Picture by Melanie Benjamin
"It was good research, it is clear, and a good amount of talent that made this book possible. It’s the best kind of historical fiction, the well-researched one. And if it hints on feminist issues, like “The Girls in the Picture” does, better yet."
Miriam's Vintage Classics
Sirk on Sirk: Interviews with Jon Halliday
"There is a saying we have in Catalan... 'the good jam is in the small jar.' And that's the exactly the case with this book of interviews."
Molly of Classic Mollywood
Fright Favorites: 31 Movies to Haunt Your Halloween and Beyond by David J. Skal
"The way Skal talks about each movie is thoughtful and really does each film justice. Skal gives you a historical and sometimes technical insight into each film, which was absolutely fascinating to me."
Ralph on LibraryThing
Godzilla on My Mind: Fifty Years of the King of Monsters by William Tsutsui
"This book is a fun and informative overview of how the films came to be and evolved from a serious horror film Gojira centered on a giant radioactive lizard that was a manifestation of the atomic bomb come to life into a kid friendly comedy inflected series of giant monster battles with Godzilla as the defender of Japan."
Jamaica Inn by Daphne Du Maurier
"Having seen the restored Jamaica Inn prior to reading the novel the changes of the 1939 film actually preserved the mysteries of the novel for this reader. I highly recommend both book and film of Jamaica Inn which can each be enjoyed for their differing merits."
Seven Samurai by Joan Mellen
"Professor Mellen provides excellent analysis on Kurosawa's composition of characters illustrated with images from the film examining class, interpersonal relationships, group dynamics, and even foreshadowing the fate of characters and the samurai as a class."
Tarzan: The Centennial Celebration by Scott Tracy Griffin
"Author Scott Tracy Griffin has created an extremely worthwhile salute that doubles as a historical look at the evolution of popular media while keeping its focus on the celebration of Edgar Rice Burroughs iconic character Tarzan."
Raquel of Out of the Past
Ida Lupino: A Biography by William Donati
"Ida Lupino: A Biography by William Donati is a mixed bag. While it offers the reader plenty of interesting information and a cohesive outline of Lupino's extraordinary career, it's plagued by some odd choices in narrative. I would recommend this anyone who is interested in learning more about Lupino. It's a good starting point it covers a lot of territory in just under 300 reading pages. "
Designing Hollywood by Christian Esquevin
"While Designing Hollywood has plenty of interesting information about studio-era costume design, it reads too much like a standard reference book to be engaging."
Robert Belissimo at the Movies
Cinematic Encounters: Interviews and Dialogues by Jonathan Rosenbaum
"This book was so fantastic that my watch list grew is now another 1,000 movies... there is so much to discover."
My Cousin Maria Schneider: A Memoir by Vanessa Schneider, translated by Molly Ringwald
"A tough read in a lot of ways... It felt so personal to me. Really well done. Really well-written."
Paul Newman: The Extraordinary Life of an Ordinary Man: A Memoir by Paul Newman and Stewart Stern
"so personal, so vulnerable, so incredibly truthful. The man truly went inside of himself and left nothing but his soul."
Shawn of The Everyday Cinephile
All Quiet on the Western Front by Erich Maria Remarque
"Remarque’s work remains just as fresh and moving today as it was in 1928. Even with the shortcomings of the later two screen adaptations, I think all three films are also worth watching before or after reading the original novel."
But Have You Read the Book? by Kristen Lopez
"If you go in expecting a book centered solely on the classic era you’ll be a little disappointed. If you know that going in though, you’ll end up like me: immersed at the crossroads of literature and cinema with a boatload of books to read and movies to watch."
Filming the West of Zane Grey by Ed Hulse
"Filming the West of Zane Grey accomplishes its objective to bring to light Zane Grey’s impact on the Western genre although it is not an exhaustive account but merely the start to more rigorous analysis and discussion on the topic."
How Motion Pictures Are Made by Homer Croy
"How Motion Pictures Are Made inaccuracies and occasional dim-sighted views don’t detract from the knowledge contained or the enjoyment of reading this time capsule of 1910s cinema."
Yolanda of Dishonored Lady on Instagram
Tab Hunter Confidential: The Making of a Movie Star by Tab Hunter and Eddie Muller
"Tab Hunter Confidential... is one for everyone wanting to know how stars are made and torn down during their careers and the need to stay true to one’s self."
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STATUS OF THE 2024 CLASSIC FILM READING CHALLENGE: I've decided to move forward with a self-directed challenge. I will announce the challenge and update the main page. However, you don't have to sign up or submit reviews. There also won't be any round-ups or giveaways. What I'll have posted will be some general guidelines about how to participate in the challenge on your own. Feel free to use the #classicfilmreading hashtag and share your reviews with others. I understand that this may be disappointing but I hope you'll still consider joining next year!
September 15, 2023
Designing Hollywood: Studio Wardrobe in the Golden Age by Christian Esquevin
Designing Hollywood
Studio Wardrobe in the Golden Ageby Christian EsquevinHardcover ISBN: 9780813197913August 2023University Press of Kentucky 256 pages
Amazon — Barnes and Noble — Powell's
"Modern glamour was born in Hollywood, where the combination of beautiful stars dressed in glimmering gowns traveled in movies and photos around the world." — Christian Esquevin
Author and researcher Christian Esquevin transports readers to the world of studio-era fashion in his new book Designing Hollywood: Studio Wardrobe in the Golden Age. The book is organized into several chapters each focusing on a different movie studio: Universal, Fox, Paramount, Warner Bros., MGM, Columbia and RKO. These chapters are book-ended by an introduction and wrap-up. Each section chronicles the history of the studio, the work of their costume designers, the professional relationship between designer and star and whether or not the studio made any efforts to preserve their costume collections. The focus here is solely on women's costumes. The book contains various black-and-white publicity photos of actresses in notable costumes and a handful of photos of the designers themselves. There is also a small insert of full-color design sketches. The author also describes individual costumes to help with visualization where photos are not available. While this was not intended to be a coffee table book, the larger format and eye-catching cover design does make it a beautiful book to keep on display.
While Designing Hollywood was well-researched and informative, it suffers from an awkward format, limited context and little to no extrapolation. There is little discussion about the impact these costume designers had on the film industry and there only brief mentions of their influence on the general public and on the fashion industry as a whole. The narrative has little flow and lacked any real insight or takeaways that would have made for a richer experience for the reader. Some chapters are better than others. I preferred the Paramount, MGM, RKO and Warner Bros. chapters over those on Universal, Fox and Columbia.
In my opinion, the book should have focused on the careers of the individual costume designers rather than the studios. Chapters on Irene, Edith Head, Orry-Kelly, Adrian, Mary Ann Nyberg, Walter Plunkett, etc. would have read been more engaging and still could have maintained the studio-era theme.
Because the book chapters are organized by studio, the overall timeline feels disjointed. For example, costume designer Irene's work for Universal Studios is detailed at length in the first chapter. At one point the author quickly changes from Irene's career to her tragic death without any transition. “Irene designed Day’s costumes for this film… on November 15, 1962, Irene slit her wrist and jumped out of a window at the Knickerbocker Hotel in Hollywood.” In chapter six on MGM, Irene is introduced again: "Irene was born Irene Lentz on December 15, 1901, in South Dakota." It feels odd to read about her death in chapter one only to have her come to life again in chapter six.
I did notice a few errors in the book. The author writes: “Ann Dvorak (pronounced vor-shack) had also starred in Scarface in the same year but here gave her finest performance as a woman on a downward spiral." Except that's not how its pronounced in this instance. Rather it's d-voh-rAHk. There is also a mention of the TCM Classic Film Festival but it reads that TCM sponsors the festival and not that they host it.
While Designing Hollywood has plenty of interesting information about studio-era costume design, it reads too much like a standard reference book to be engaging.
This is my fourth and final review for the 2023 Classic Film Reading Challenge.
Thank you to University Press of Kentucky for sending me a copy of Designing Hollywood for review.
All content is property of Out of the Past: A Classic Film Blog. Copyright © 2007-2023
September 10, 2023
Ida Lupino: A Biography by William Donati
Ida Lupino: A Biography
by William DonatiPaperback ISBN: 9780813196480January 2023University Press of Kentucky360 pages
Amazon — Barnes and Noble — Powell's
“Emotionally, Ida was a jumble of contradictions, infused with the polarity often present in intensely creative individuals.” — William Donati
Ida Lupino is one of the great outliers of the film industry. In a time when there were limited roles for women except for being an actress or writer, Lupino managed not only take on both roles but to also add director, producer and businesswoman to her list. To modern age audiences she's a feminist icon. But in reality Ida Lupino was a walking contradiction. Even as a pioneer female filmmaker who was fiercely independent she held onto traditional values when it came to gender roles. She leveraged her fame to advance her career but also advocated for her privacy. Some regarded her as a warm person and others pointed out her iciness. Lupino was not about to be pigeonholed into a single category of any kind. She was a complex person and unapologetically herself.
Originally published in 1997, William Donati's book Ida Lupino: A Biography chronicles the life of an actress-filmmaker who lived her entire life in show business. The book was originally meant to be Lupino's autobiography written with the help of Donati. But the project stalled and when Lupino died in 1995 Donati moved forward with a more traditional biography. The book was recently reissued this year by the University Press of Kentucky but I haven't been able to confirm if any notable changes were made to the original text.
The book begins with Ida Lupino's formative years as a member of the Lupino showbiz family, her close bonds with her father Stanley and mother Connie, her move from the UK to Hollywood to pursue a career as a film actress and her early days a Paramount contract star playing ingenue roles and her bout with polio. We learn about her friendship with Thelma Todd and the events of that fateful night when Todd mysteriously died (the author had also written a book about Todd). Then there were Ida Lupino's marriages to actor Louis Hayward, writer and filmmaker Collier Young and her particularly tumultuous relationship with Howard Duff which are all discussed at length. The author offers only brief glimpses into Lupino's mental health struggles and her fraught relationship with her daughter Bridget Duff. Almost every film that Lupino acted in and a majority of her television work is discussed. Her work with The Filmakers—the production company she started with her husband Collier Young— and the more involved projects she made while at Warner Bros. get the most coverage.
Some interesting facts I learned from the book:
Lupino was such a perfectionist that she often drove herself to exhaustion, illness and/or injury.She greatly admired anyone who took the business seriously and preferred to work with people were as driven as she was.Producer Mark hellinger stepped in to vouch for Lupino so she would get cast in the film They Drive by Night (1940). That film as well as High Sierra (1941) became breakout roles for both Ida Lupino and her co-star Humphrey Bogart.Ann Sheridan and Lupino often got the same types of roles and replaced each other in different projects. For example, when Lupino turned down a role in King's Row (1942), it went to Ann Sheridan.When Jack Warner offered her a 7 year contract he told her she'd be another Bette Davis for Warner Bros.To prepare for Moontide (1942), Lupino took French actor Jean Gabin on a tour of the seedier parts of Los Angeles for a "first-hand look at vice and violence."The Hard Way (1943) and Devotion (1946) were two of Lupino's most challenging productions due to complications with the studio, WWII and Stanley Lupino's death from cancer.Agent Charles K. Feldman sought Lupino as a client and even bought the rights to Road House (1948) and sold them to Twentieth Century Fox with the stipulation that Lupino be cast in the lead.Lupino enjoyed working with The Breen Office and welcomed their changes which she didn't view as censorship but rather as improvements.For her hard-hitting drama Not Wanted (1949), which she produced and eventually directed, she couldn't use the title "Unwed Mother" because it was too salacious. But the restrictions did not apply to marketing materials so she plastered UNWED MOTHER in bold type in various newspaper ads to promote the movie.She fostered new talent by casting Sally Forrest and Keefe Braselle in Not Wanted (1949) and Never Fear (1950).Lupino and Young struck a deal with Howard Hughes to partner on three films between RKO and The Filmakers production company. Lupino was one of the few executives Hughes would actually agree to meet with directly. While the Motion Picture Association objected to the making of The Hitch-Hiker (1953), Lupino and The Filmakers went ahead with the production. Lupino had already gotten permission from prisoner Billy Cook and the two men he kidnapped. Their story was the basis of the movie.Many of us know that The Bigamist (1953) had Lupino starring and directing in a film that also included her ex-husband Collier Young and his new wife Joan Fontaine. While that seems like it would have been an uncomfortable situation, Lupino and her third husband Duff were friendly with Young and Fontaine and the couples often spent time with each other.According to the author, "with The Bigamist, Ida Lupino became the first woman to direct herself in a major motion picture."Lupino was quick to adapt and in the early 1950s that meant transitioning to television. She insisted that her husband Howard Duff be her co-star in the TV sitcom Mr. Adams and Eve. The story idea was developed by her ex-husband Collier Young.Producer William Frye personally chose Ida Lupino to direct which would be her last production The Trouble with Angels (1966). They originally wanted to cast Greta Garbo but couldn't get her out of retirement and was replaced by Rosalind Russell.I love this quote from Rosalind Russell about Lupino: "The sex of a director doesn't mean a hoot. The one all-important thing is talent. Somehow it has evolved that directing is a man's profession. A woman has a tough, almost impossible time breaking down this caste barrier. Miss Arzner managed it. Ida is doing it now."
This biography suffers from inherent bias which was to be expected considering the book began its life as Lupino's autobiography. It's clear that the author very much admires and respects his subject. Lupino is treated with reverence but some of the more superfluous language feels cloying. However, the author does not shy away from exploring Lupino's self-destructive behavior, her contradictions and her co-dependent relationships with men. I was frustrated with some of the outdated language used and wondered if in this new edition some of that could have been edited out.
Ida Lupino: A Biography by William Donati is a mixed bag. While it offers the reader plenty of interesting information and a cohesive outline of Lupino's extraordinary career, it's plagued by some odd choices in narrative. I would recommend this anyone who is interested in learning more about Lupino. It's a good starting point it covers a lot of territory in just under 300 reading pages. Some of the more personal aspects of Lupino's life probably wouldn't have been revealed had it not been for the author's friendship with Lupino. There are some insights here that the reader might not find elsewhere that definitely add value to the text overall.
This is my third book review for my Classic Film Reading Challenge.
Thank you to the University Press of Kentucky for sending me a digital copy for review. And thank you to the Greater Boston Film Classics Club for inviting me to host a virtual discussion on this book!All content is property of Out of the Past: A Classic Film Blog. Copyright © 2007-2023
August 24, 2023
Soundies: The Ultimate Collection and interview with curator Susan Delson
For anyone who loves the 1940s music, dance and overall style, discovering Soundies is an absolute treat. What is a Soundie you may be asking? The Soundie was a precursor to the music video. These bite-sized musical short films were the length of a song and featured performers singing, dancing and even acting out skits. Soundies were produced specifically to be played in a Panoram, a coin-operated jukebox with a small screen. These short musicals made on low budgets with up-and-coming talent and highlighted contemporary trends in pop culture. They gained momentum especially during WWII and eventually petered out after the war was over. To me each Soundie is a little window into a bygone era.
Kino Studio Classics has blessed the public with the release of Soundies: The Ultimate Collection, a four disc Blu-ray set includes 200 Soundies as well as numerous introductions by curator Susan Delson, Media Conservationist Ina Archer as well as interviews with Soundies experts Matt Barton and Mark Cantor. A booklet inside includes essays as well as an extensive list of themes and individual Soundies in order of appearance. This list proved especially helpful to keep track.Each disc features 6 themed with 8 Soundies each. The themes vary and an introduction helps put them into context. Themes include: trending song and dance forms, the WWII homefront, sexuality and subversiveness, urban and rural culture, Latin, Asian and African-American styles as well as a four-part Straight from the Panoram series which plays 8 different Soundies as they would be shown on a real Panoram.
My personal favorites from the set include: Swing for Sale, Hot Chocolate, Got a Penny for Benny, G.I Jive, Frim Fram Sauce, Four or Five Times, Paper Doll, He's a Latin from Manhattan, Time Takes Care of Everything and Ta Ha WaHhu Wa.
There is so much energy and vivacity in these Soundies that it seems a shame to watch them sitting down. I highly recommend getting up and dancing to the beat. A much more enjoyable way to experience these Soundies.
This set is an absolute winner. I love the packaging and design, the number of diverse selection, and the introductions that helped provided historical and cultural context. The Soundies themselves are of mixed quality depending on their source material but overall they look really fantastic on Blu-ray. I do wish the intros and interviews were a bit more higher quality in presentation. Otherwise I think this is an outstanding Blu-ray set and would make the perfect gift for a classic movie fan.
I'm thrilled to have interviewed the series curator Susan Delson. Check out the interview below:
Historian Susan Delson. Photo courtesy of Susan DelsonInterview with Curator Susan Delson
Raquel Stecher: As a cultural historian, how did you first become interested in Soundies?
Susan Delson: I came across Soundies while writing a previous book, Dudley Murphy, Hollywood Wild Card. It’s a film study and biography of a little-known director whose career crossed over from silent film to sound. Murphy had an adventurous career—from Ballet mécanique to The Emperor Jones—and closed out his Hollywood years by making ten Soundies in 1941.
I started by screening Murphy’s Soundies at the Library of Congress—there weren’t many on YouTube at that point. Then I discovered the breadth of the LC’s Soundies holdings, which are vast. And I was hooked.
Raquel Stecher: It's clear that a lot of thought was put into curating the collection of soundies into different categories for this blu-ray collection. Can you tell me a bit about how each program was curated and what you hope viewers will pay special attention to?
Susan Delson: I spent years screening and researching Soundies before I began writing my book, Soundies and the Changing Image of Black Americans on Screen: One Dime at a Time. I’d been a film programmer in the past, and right from the start, potential program themes were part of my Soundies thinking. I figured I’d present these films eventually, one way or another.
As I started programming the Kino Lorber set, I knew that I wanted to explore the full scope of the history embedded in the films—American history, African American history, entertainment history, and especially the change-making undercurrents in the culture back then. Soundies are a terrific way of getting into all of that—and at the same time, a lot of fun.
Each of the four [Blu-rays] in the set has its own theme, and those took shape pretty quickly: Introducing Soundies, Life in the Soundies Era, Musical Evolutions, and Women, Sexuality, and Gender.
There are six eight-film programs on each [Blu-ray], and all of them explore a different aspect of that disc’s theme. Except for the last program on each disc, called “Straight from the Panoram.” With those, I re-created an eight-film reel exactly as the Soundies Corporation released it back then—a program from a different year on each disc.
In response to your question, what I hope viewers will pay attention to is probably all of the above—the history, the cultural undercurrents, and above all, the fun. I also hope they discover lots of terrific performers they hadn’t known about. For me, that was one of the most exciting things about the whole project.
Raquel Stecher: I was particularly interested in the Soundies programs that reflected different aspects of American life during WWII. How do these Soundies give viewers a window into the culture of that era?
Susan Delson: There’s an immediacy to Soundies’ depiction of home-front life that you don’t generally get in Hollywood movies of that era. There’s nothing quite like Louis Jordan making sly double-entendres in Ration Blues to give you a sense of what living with wartime rationing might have been like. Or the Pretty Priorities (what a name!) doing a joking, patriotic strip tease to support scrap drives for the war effort in Take It Off.
In many films, there’s a creative, playful attention to personal style—this was the zoot suit era, after all. There’s a focus on dance, too, which makes sense when you realize that in the 1940s everyone danced, whether it was the foxtrot, the samba, or the jitterbug. There are some Soundies, like Hot Chocolate (“Cottontail”) or Swing for Sale, that people might have watched over and over just to pick up some new dance moves.
The company behind Soundies—the Soundies Distributing Corporation of America— released a new eight-film reel every week. That’s over 400 films a year. They had to keep pace with popular culture, if only to keep the product flowing. The films had to be made quickly and cheaply. And with little or no time for rehearsal, let alone directorial vision, performers often had a lot of say in how they presented themselves on screen—much more than they might have had in Hollywood. With Soundies, you get a street-level, pop-culture perspective that you don’t get in mainstream media of the day.
Raquel Stecher: The blu-ray set features a diverse mix of Soundies with Black, Asian and Latino performers. I was particularly delighted to see Soundies featuring Dorothy Dandridge, the Mills Brothers, Ricardo Montalban, Nat King Cole and more. Can you talk a bit about why this was important and what you believe are some of the highlights of the collection?
Susan Delson: The diversity you’re talking about is really important. It’s what distinguishes Soundies from most of 1940s popular culture, and I’d say it’s the main concept behind the whole Kino Lorber set.
As you can see in the [Blu-rays], the Soundies Corporation was committed to presenting a diverse array of talent. Not out of idealism or altruism—they were a business and they absolutely wanted to make money. But the Soundies Corporation recognized an underserved audience when they saw one, and they knew there was a market for films that showed, on screen, a more complete view of who we were back then—Black, Latinx, Hawaiian, Asian, Eastern European, and more. There’s so much talent here that doesn’t appear on screen anywhere else during these years.
Among the highlights, I’d have to start with the first film on disc 1, Duke Ellington’s Jam Session. It’s by far the most popular Soundie online, closing in on 3 million YouTube views (mostly under the title “C Jam Blues,” which is the number the band is playing). Dorothy Dandridge’s Soundies are another highlight—she was 19 when she made them, and she’s absolutely incandescent.
Then there are the discoveries. The vocal harmony trio Day, Dawn, and Dusk has such a smart, sophisticated take on high culture, on American history, and gender play. We have three of their Soundies in the set, and every one is a gem.
My colleague Ina Archer, who does some of the on-camera intros in the set, calls another vocal harmony group, the Delta Rhythm Boys, the house band for Soundies. I agree. They really set the style for Soundies produced in New York, and they’re wonderful to watch.
Raquel Stecher: I have so many favorites from this collection, especially Hot Chocolate, Paper Doll, Frim Fram Sauce, Johnny Zero, etc. What are some of your personal favorites?
Susan Delson: All of the ones you mention are terrific. I also love Along the Navajo Trail, with John Shadrack Horace and Johnny Moore’s 3 Blazers. It’s the only country-western Soundie I came across that stars Black performers, and they’re great. Sticking with country-western, I also love Why Did I Fall for Abner, with Carolina Cotton and Merle Haggard. Everyone looks like they had a terrific time shooting that one—including the all-woman backup band, the Glee Gates Trio with two additional musicians. They’re terrific.
I also have a soft spot for Soundies that make me laugh, like A Little Jive Is Good for You and Operatin’ Rhythm. And just about all the films on disc 4 that explore women’s sexuality and gender play.
Raquel Stecher: What do you hope viewers will get out of watching Soundies: The Ultimate Collection?
Susan Delson: I hope the films will add some nuance and complexity to our thinking about the World War II years, beyond the “Greatest Generation” gloss. The culture back then was a lot more complicated and contradictory than people might think—emphasis on contradictory—and we see that in the films.
In my introductory essay in the [Blu-ray] booklet, I write that Soundies speak in multiple voices, and they don’t all say the same thing. For me, that’s a real plus. If there’s one thing I hope viewers take away from Soundies: The Ultimate Collection, it’s that our country is, and long has been, a place of multiple voices, cultures, and peoples.
With these films, you really get the sense that as a nation, our diversity is our strength. And they make that point in a way that’s fun to watch and listen to. I hope everyone has as much fun with these films as I had in putting the programs together.
Amazon — Barnes and Noble — Deep Discount —Kino Lorber
All content is property of Out of the Past: A Classic Film Blog. Copyright © 2007-2023
July 31, 2023
The Classic Film Collective: Nazimova by Gavin Lambert
This was originally published in the former The Classic Film Collective Patreon.
Nazimova: A Biography by Gavin LambertUniversity Press of KentuckyPaperback ISBN: 9780813153421432 pages
Amazon — Barnes and Noble
“When I first came to America I had so much luck it frightened me… And then the luck turned.” — Nazimova
With her dark and wild hair, her downturned eyes and her incredible confidence, Nazimova was bonafide star. This actress who made waves on stage and on the silent screen is the subject of Gavin Lambert’s 1997 biography, recently reissued in paperback by University Press of Kentucky.
Alla Nazimova was born Mariam Edez Adelaida Leventon in Crimea, Russia in 1879. Nazimova came from a Russian Jewish family and suffered from severe neglect after her parents’ divorce. She sought solace with acting and became part of the Moscow theatrical scene. The author goes into incredible detail about childhood and teen years thanks to Nazimova’s own unfinished autobiography that he used as reference. Towards the end of her life she spent countless hours detailing her origin story but never got to write about what happened after the age of 17. Luckily, she left behind many other details in the form of correspondence and diary entries that the author had access to and references frequently throughout the book.
What made Nazimova so special as an actress was her stage and screen presence, her ability to play characters much younger than herself, her incredible memory, her attention to detail and her personal and professional networking skills. She was a master at both the technical and social aspects of being an actress. It was natural that Nazimova would make her way to Broadway. Despite her heavy accent which some criticized, Nazimova soon became a star in the New York theatre world.
Metro Pictures came around with an incredible offer: a contract that would make her one of the highest paid actresses in silent film and give her approval of the director, leading man and the script. The author goes into detail about each of Nazimova’s films. There is a lot of detail for her early Metro Pictures films, including WAR BRIDES (1916), Revelation (1918) and TOYS OF FATE (1918), all of which are unfortunately lost. When Metro Pictures moved to Hollywood, Nazimova followed suit. She made silent films with them until a terrible falling out led her to start her own production company. Now with complete creative control, she produced and starred in films like CAMILLE (1921) and SALOME (1924). By 1925, Nazimova had abandoned films for the New York stage. She returned to Hollywood in the 1940s with small roles in films like ESCAPE (1940) and BLOOD AND SAND (1941). In fact, her final role in SINCE YOU WENT AWAY (1944) was written specifically for her.
The crux of Lambert’s biography is Nazimova’s relationships with family, lovers and professional collaborators. Nazimova was queer and preferred to be in relationships with women. Her relationship with her common law husband Charles Bryant (they weren’t legally married but pretended to be so for many years) was a means to protect her professional image. He was also producer, actor and director for many of her films, which further gave Nazimova control over her projects. Lambert offers the reader many stories about key figures like June Mathis, Jean Acker, Rudolph Valentino, Natacha Rambova and many more. I was surprised to discover that much celebrated genre producer Val Lewton was Nazimova’s nephew! And of course, there are Nazimova’s homes including the The Garden of Allah and Who-Tok, both of which no longer exist although stories of these grand homes continue to be part of her legacy.
My biggest issue with Lambert’s biography on Nazimova is some of the outdated language. There are a few sexist and racist terms, direct quotations from people in Nazimova’s life, that I feel could have been nixed in the reissue. Fortunately, these are few and far between. There is quite a lot of details about Nazimova’s sex life but I felt it was done in a respectful manner. Lambert really does demonstrate how these relationships were key to her growth as a performer and were also how she navigated her social world.
Never salacious and always informative, Gavin Lambert’s biography captures the dramatic rise and fall of the late great Nazimova.
Thank you to University Press of Kentucky for sending me a digital copy of this book to review!
All content is property of Out of the Past: A Classic Film Blog. Copyright © 2007-2023July 22, 2023
First Roundup: 2023 Classic Film Reading Challenge
I'm excited to share the first round-up of reviews for this year's Classic Film Reading Challenge.
We currently have 36 submitted reviews and plenty more coming. Chuck and Laura are leading the challenge with four review each! We still have about two months left in the challenge so plenty of time to catch up on some reading.
If you don't see your review posted below, make sure you submit it to the form on the challenge page!
Now onto the reviews!
Stack photo courtesy of @classicsarah_ on TwitterAlejandro on Goodreads
Beyond Paradise: The Life of Ramon Novarro by André Soares
"Soares’ book is a reexamination of Novarro’s legacy, who despite his flaws was a good man who cared for his friends and family and gave generous donations to charities and churches to help his community."
Empire of Dreams: The Epic Life of Cecil B. DeMille by Scott Eyman
" Truly a book worthy of its titanic subject."
Truly, Madly: Vivien Leigh, Laurence Olivier, and the Romance of the Century by Stephen Galloway
"Engrossing and thoroughly researched, Galloway’s book is incisive in its accounts gained through new interviews with their friends and family and gives the definitive look at this iconic relationship."
Reading challenge photo courtesy of @awolverton77 on TwitterAndy of Journeys in Darkness and Light
100 Great Film Performances You Should Remember by John DiLeo
"The book is loaded with wonderful performances and great writing... DiLeo knows his stuff, and his wealth of knowledge and insight is clear throughout."
Carl of The Movie Palace Podcast on Instagram
Ava Gardner: Love is Nothing by Lee Server
"Server’s book is very detailed & the scope of his research is impressive. He draws upon a wide array of sources to paint a picture of a complex woman who defies easy categorisation."
Chris of Digging Star Wars
American Silent Film by William K. Everson
"Everson didn’t fear anyone in the film history... He dissed other writers, historians, critics, scholars, and even Frank Capra. He also doesn’t hold back on sprinkling in his political beliefs either. But, if you can see past all that, you’re in for a good history lesson on the early days of American cinema and beyond.
Film Music: A Very Short Introduction by Kathryn Kalinak
"takes great strides to include music throughout the world from the early twentieth century to today in her conversation on scores and soundtracks."
Citizen Kane: A Filmmaker's Journey by Harlan Lebo
"Lebo’s book is THE book to read in order to fully appreciate Welles’ masterpiece. I highly recommend it."
Chuck on Goodreads
The Art of the Screwball Comedy: Madcap Entertainment from the 1930s to Today by Doris Milberg
"her book takes it a couple of steps further by showing that the Screwball Comedy influenced many other romantic comedy films that came after the genre's heyday."
Italian Neorealism: Rebuilding The Cinematic City by Mark Shiel
"or those seeking an introduction to Italian neorealism will be pleased with this analysis on one of the most important film movements of the 20th Century."
The Talented Mr. Ripley by Patricia Highsmith
"Highsmith crafts a darkly delicious portrait of mid-century class inequity, identity theft and murder set among gorgeous Italian locales..."
Lawrence Tierney: Hollywood's Real-Life Tough Guy by Burt Kearns
"Die-hard noir fans will be pleased with this book as Kearns provides an entertaining and well researched portrait of one of Hollywood's wildest actors."
Jeff on Goodreads
Dino: Living High in the Dirty Business of Dreams by Nick Tosches
"Simply put, this might be the best bio I have ever read, music, film, or otherwise. Martin is so interestingly situated in twentieth century popular culture, and Tosches style of inserting himself into the vernacular and attitudes of his subject matter sweeps you along."
Jess of Box Office Poisons
Mary Pickford: From Here to Hollywood by Scott Eyman
"If you're looking for a portrait of the silent years of Hollywood, this might be it."
Miller's High Life by Ann Miller with Norma Lee Browning
"Ann Miller was a capital-S Star and wrote like one. This is everything you'd want in a juicy Hollywood tale: charm, wit, a lot of glamour and a lot of tea!"
Veronica: The Autobiography of Veronica Lake by Veronica Lake with Donald Bain
"Reading her post-Hollywood story, you get the sense that Veronica was happy to be out of the fish bowl, but I'm not sure I'd describe her as particularly happy outside of it either.
John on Goodreads
But Have You Read the Book? 52 Literary Gems That Inspired Our Favorite Films by Kristen Lopez
"My only true criticism is based on the fact that since this is a TCM publication which led me to think that there were to be more film adaptations from the 30’s and 40’s. Despite that minor detail, author Kristin Lopez gives readers a well-researched and well written collection of essays that invites film fans to further explore and compare the written component of many of their favorite motion pictures."
Kayla of Whimsically Classic
Veronica: The Autobiography of Veronica Lake by Veronica Lake with Donald Bain
"Lake very matter-of-factly tells her life story, without making any excuses and without being pretentious. She doesn’t dwell on the negative in her life, and just accepts everything as-is."
Kevin on Goodreads
The Genius of the System: Hollywood Filmmaking in the Studio Era by Thomas Schatz
"You can’t run the Hollywood Dream Factory without a solid balance sheet. Then and perhaps even more now, that is the fundamental tenet at the core of this book about the rise and fall of the Hollywood studio system between two World Wars."
High Noon: The Hollywood Blacklist and the Making of an American Classic by Glenn Frankel
"Frankel expertly weaves all of these themes together with social and film history and observations on film production for a highly enjoyable and recommended read."
Mexploitation Cinema by Doyle Greene
"Greene does a masterful job “unmasking” these masked wrestler and monster movies though to show how they reflect the tension between traditional societal values rooted in the Catholic Church and a country attempting to forge its own national identity after WWII."
Reading stack photo courtesy of @LaurasMiscMovie on TwitterLaura of Laura's Miscellaneous Musings
But Have You Read the Book? 52 Literary Gems That Inspired Our Favorite Films by Kristen Lopez
"As a classic film fan I was disappointed that only nine of the book’s 52 films predated 1960, as there are so many wonderful options to discuss from those decades... Either way, it’s a brisk, enjoyable read."
Hollywood's Hard-Luck Ladies by Laura Wagner
"Despite the sad overarching theme, I enjoyed the book and recommend it to anyone interested in the actresses profiled."
Noir Bar: Cocktails Inspired by the World of Film Noir by Eddie Muller
"beautifully designed, a great read, and educational — pretty much everything I could want, even as someone who doesn’t imbibe. For those who love cocktails, the book will be that much more enjoyable and useful."
Warner Bros.: 100 Years of Storytelling by Mark Vieira
"a meticulously produced book which will be enjoyed by both serious and casual film fans. It will invite longtime film lovers to revisit old favorites & inspire newcomers to check out many titles for the first time."
Molly of Classic Mollywood
Peyton Place by Grace Metalious
"I didn't hate Peyton Place, but it wasn't the best book I have ever read... Overall, the book was juicy but it definitely was missing character development."
Ralph on LibraryThing
Courtroom's Finest Hour in American Cinema by Thomas J. Harris
"This slim hardcover book is a thoughtful examination of courtroom films and I am very the glad to have read it along with watching or re-watching the films discussed."
Rear Window: And Other Stories by Cornell Woolrich
"Woolrich's stories have been adapted many times in the mediums of film, television, and radio and never more successfully and popularly than by Alfred Hitchcock for the film Rear Window based on the 1942 short story originally titled "It Had to Be Murder.... This is an entertaining collection although the individual stories and their twists might stand up best not being read consecutively."
Raquel on Out of the Past
Reel West: Blood on the Moon by Alan K. Rode
"an informative and engaging read. This concise book gives the reader plenty to chew on without overloading them with too much research."
Straight Lady: The Life and Times of Margaret Dumont, "The Fifth Marx Brother" by Chris Enss and Howard Kazanjian
"an enjoyable read and recommended for Marx Brothers enthusiasts who want to know a bit more about Dumont. The book is very matter-of-fact and it's straightforward and simplistic approach will appeal to readers who want to focus on the information rather than read something with more editorial interjections."
Robert of Robert Bellissimo At the Movies
Noir Bar: Cocktails Inspired by the World of Film Noir by Eddie Muller
"[The book] is as tasty as those drinks..."
Shawn of The Everyday Cinephile
Cecil B. DeMille: An Empire of Dreams by Scott Eyman
"provides a much-needed investigation of DeMille’s life and career, examining his many films and exploring the seeming contradictions in DeMille’s personal life and public persona."
Cinema Speculation by Quentin Tarantino
"I wish more creatives would publish their own long-winded musings of the classic-era films without feeling the need to edit out or tone down their own personal biases... reading an off-the-cuff approach infused with so many unabashed personal opinions proved to be turn-paging fodder that reinvigorated my own passion for film."
Yolanda of Dishonored Lady on Instagram
Music in the Shadows: Noir Musical Films by Sheri Chinen Biesen
"The book can feel like a short academic textbook but in a good way... The book highlights parallels within early film noirs and music-infused films."
Playing the Field by Mamie Van Doren
"My takeaway was being impressed that she was an incredibly hard worker. She performed for years after movie offers were few and far between."
All content is property of Out of the Past: A Classic Film Blog. Copyright © 2007-2023
July 12, 2023
Blood on the Moon by Alan K. Rode
Reel West: Blood on the Moon by Alan K. Rode
University of New Mexico PressPaperback ISBN: 9780826364692March 2023136 pages
Amazon — Barnes and Noble — Larry Edmunds — Powell's
“The film transplanted the dark urban environs of the city into the West’s iconography.... Akin to Chandleresque private detective or a returning WWII veteran trudging through the brick alleys and gilded neighborhoods of the apocryphal urban noir environment, Mitchum travels through a similarly alienating domain, where loyalties shift and things are assuredly not what they initially seem.” — Alan K. Rode
Robert Wise's Blood on the Moon (1948) has had a bit of a renaissance in recent years. It's come to be appreciated as a notable film of its era—one that strikes a perfect balance between its two genres: the Western and the Film Noir. Based on the novel by Luke Short, the film stars Robert Mitchum as Jim Garry, a gunslinger who is hired by his old buddy Tate (Robert Preston) to settle a dispute between Tate and a cattle rancher. Jim falls for the rancher's headstrong daughter Amy (Barbara Bel Geddes) and comes to realize that Tate is actually scheming to steal the rancher's cattle from under him. The story unfolds like a Film Noir detective story with a notable Western backdrop, a thrilling bar brawl and a climactic shoot-out.
In 2020 the Warner Archive Collection released a Blu-Ray edition of Blood on the Moon that garnered much excitement from the classic film community. In 2023 the film was screened at the TCM Classic Film Festival to a packed theater. Blood on the Moon was introduced by film historian Alan K. Rode who recently published a book solely about the movie.
Blood on the Moon by Alan K. Rode is part of the University of New Mexico Press' Reel West series in which each book focuses on one particular film from the Western genre. This slim volume on Blood on the Moon offers readers an opportunity to learn about the background of the film, the key players involved and its place in film history.
The book manages to be comprehensive without bogging down the text with superfluous information. The introduction examines the context and importance of the film. The following chapters details the pre-production, in-production and post-production life of Blood on the Moon while giving the reader background on the notable individuals involved. We learn about the author of the original novel, Luke Short, screenwriter Lillie Hayward, home studio RKO, director Robert Wise, cinematographer Nicholas Musuraca, actors Robert Mitchum, Barbara Bel Geddes, Phyllis Thaxter, Robert Preston, Walter Brennan and more.
Some interesting facts from the book:
The title Blood on the Moon is a reference to a “hunter’s moon” which appears red or to a total lunar eclipse. It “has been considered a foreboding signal or a portent of doom.”One of the last movies green-lighted for RKO by Dore Schary before Howard Hughes took over.The movie rights to Luke Short's novel Gunman's Chance were bought by RKO. It wasn't developed until director Robert Wise and Theron Wrath came across several versions of the script in the story department and realized that it " a viable film property that had been mishandled by RKO.”"Preston and Mitchum were a simpatico team who worked well together and enjoyed playing practical jokes on Barbara Bel Geddes and Phyllis Thaxter.”“The leading actors were selected by Dore Schary, but Wise cast all the supporting players…”The film had a bigger budget than other Westerns produced by RKO. It still went over budget due to inhospitable weather.
Author Alan K. Rode's Reel West: Blood on the Moon is an informative and engaging read. This concise book gives the reader plenty to chew on without overloading them with too much research. I recommend this book only to readers who are familiar with the movie as you'll need knowledge of the plot and the key players in order to appreciate the information presented to you.
This is my second book review for this year's Classic Film Reading Challenge.
I purchased Blood on the Moon from Larry Edmund's Bookshop this past April. My copy is autographed by the author.
All content is property of Out of the Past: A Classic Film Blog. Copyright © 2007-2023
July 2, 2023
The Classic Film Collective: All for Beauty
This was originally published in the former The Classic Film Collective Patreon.
All for Beauty Makeup and Hairdressing in Hollywood's Studio Era by Adrienne L. McLeanRutgers University PressPaperback ISBN: 9780813563589326 pages
Amazon — Barnes and Noble — Powell's
Ever since I started following makeup artist and historian Erin Parsons on TikTok (watch her full-length vintage makeup collection tour on YouTube, it’s amazing!), I’ve been interested in learning more about makeup in old Hollywood. So when I saw that Rutgers University Press was publishing Adrienne L. McLean’s new book on studio era makeup and hairdressing, it was a no brainer that this book would find its way into my research library.
All for Beauty: Makeup and Hairdressing in Hollywood’s Studio Era by Adrienne L. McLean is a scholarly text that examines the business of makeup and hairdressing within Hollywood (silent film era to the late 1960s), the emergence of artists within the industry and the techniques implemented. McLean primarily focuses on “straight makeup” which is to say it excludes costume makeup that is made to exaggerate, depict a historical period or to transform an actor into a fantastical creature. We’re talking foundation, blush, lipstick, eyeliner, mascara, false eyelashes, some contouring, body makeup. Hairdressing is less of a focus but the author does examine the use of wigs in film and how some of the top makeup artists began as wigmakers.
McLean’s book is heady stuff and not a light read. If you're interested in the subject matter, I recommend reading the book a little differently. The final chapter Cosmetics, Coiffures, Characterization is the one you should start with first. This is where movie star makeup is examined at length in terms of intent, method and end result. Then if you find yourself wanting more information on the business side of things or want to learn about the individual artists, then read the introduction and first two chapters.
The author’s intent with the book was to examine, in her words, “why people in studio-era Hollywood movies, usually but not always stars, look so unnaturally perfect on the screen.” Starting in the silent era, there was a pushback against exaggerated makeup on screen. There was a shift towards a more natural look but one that depicted an actress (and actors too) as perfectly flawless. McLean also discusses at length how patriarchy, capitalism, sexism and racism were the strongest forces behind makeup and hairdressing as a business and as a science in the industry. Key figures include: Max Factor, the Westmores, Sydney Guilaroff, Vic Meadows, William Tuttle, Robert Stephanoff, Dot Ponedel, Jack Dawn, Ben Nye, etc.
There are a numerous color and black and white photographs throughout as well as some makeup charts from specific movie productions. It’s a relatively short book at around 300 pages (229 pages of actual reading material before you get to the backmatter). But it's quite dense as its packed with lots of information.
Here are some interesting quotes from the book:
All content is property of Out of the Past: A Classic Film Blog. Copyright © 2007-2023
“Motion pictures are often invoked as major factors in turning ordinary women’s cosmetic use into normative, indeed indispensable, components of public femininity rather than signs of moral looseness or depravity.”
“any application of color or shading was likely to read as a dark blotch or a stark line. Filmmakers working with orthochromatic were therefore unable to employ either foundation or rouge to represent basic states like robust health, a tan, youth, or a bloom on the cheeks. (As Kevin Brownlow remarks, silent actors are ‘strangely pale; there are no olive skins or tanned complexions’ because of the amount of greasepaint and powder used.)”
Robert Stack wrote in his autobiography “of the efforts studio head Jack Pierce and the ‘makeup boys’ at Universal made to turn him into a ‘young Robert Taylor’ for his first starring role, opposite Deanna Durbin, in 1939, which included darkening and straightening Stack’s hair and giving him a hair lace widow’s peak.”
“Lauren Bacall, a former model, had to elicit Howard Hawks’s help to keep Perc Westmore from straightening her teeth, plucking her eyebrows, shaving her hairline and in general ‘redesign[ing her] face’ for her first test in 1943 for To Have and Have Not.” [Hawks wanted her exactly as she was.]
“It was the first stop of the day for most if not all Hollywood actors and makeup artists and hairdressers became some stars’ trusted, and often influential, friends and companions. This was certainly the case with Rita Hayworth and Robert Schiffer and hairdresser Helen Hunt; Barbara Stanwyck and her hairdresser Hollis Barnes; and Marlene Dietrich, Joan Blondell, and Judy Garland and Dot Ponedel.”
“According to [Donald] Bogle, actor Herb Jeffries, who ‘had experimented with makeup for Black Americans,’ also had a substantial impact on the looks of [Lena] Horne and Dorothy Dandridge in their films and personal appearances, although white makeup artists worked on both.”
Cary Grant made himself very tan so he could avoid the use of cosmetics for his films. For North by Northwest (1959), “Eva Marie Saint had to wear foundation, according to [makeup artist William] Tuttle, ‘probably two or three shades darker than we’d put on the average man to get a closer relationship between the two.’”
"[Esther Williams] had to look perfectly groomed underwater as well as on dry land… The body makeup that WIlliam Tuttle eventually settled upon for Williams, a mica-laced powder with the salubrious name of Texas Dirt… Ultimately simple Vaseline mixed with baby oil (Sydney Guilaroff later claimed it was olive oil) was used for the maintenance of her hair in studio tanks and pools."
“One of the most famous of Lena Horne’s stories about her early days at MGM in the 1940s has to do with the Max Factor company’s development of a ‘Light Egyptian’ Pan-Cake especially for her (there were other shades of ‘Egyptian’ as well), which Horne claims was instead used on white actors (like Ava Gardner as Julie LaVerne in Show Boat) who were taking roles that Horne herself was not allowed to play."
“The long scar on her left cheek that Carole Lombard suffered as the result of a 1926 automobile accident was acknowledged in interviews and fan magazines at the time, but disguised by makeup as well as careful framing in her films and publicity photos.”
In Mary Astor’s book A Life on Film she wrote “There was eyebrow shadow, brown, and mascara, black and then something that was called ‘cosmetique,’ a black cake of guck that was melted over a spirit lamp and then applied to the ends of the eyelashes with a match or a toothpick. This was ‘beading’: It accomplished what false eyelashes do today…”
June 20, 2023
Straight Lady: The Life and Times of Margaret Dumont, "The Fifth Marx Brother"
Straight Lady The Life and Times of Margaret Dumont, "The Fifth Marx Brother" by Chris Enss and Howard KazanjianLyons PressHardcover ISBN: 9781493060405208 pagesOctober 2022Amazon — Barnes and Noble — Powell's
“For more than four decades, the statuesque funny lady played the role of an austere dowager and grande dame of the social set on stage and screen... Margaret [Dumont] suffered each insult or physical assault with a classic assurance that made her the greatest grande dame in the history of filmed comedy.” — Chris Enss and Howard Kazanjian
The Marx Brothers had a winning formula for their success as a comedy team. Each brother had their own individual persona and when put together with their physical antics and whip smart verbal jabs—they really had some of the best comebacks of all time—they created this magnificent maelstrom of chaos that left audiences in stitches. Before making a movie, they'd take their story concept to the stage to perfect their antics before a live audience. By the time the cameras started rolling, they were primed and ready to make movie magic. But one of the most important elements of their formula was having a straight man or lady. Whether it was their brother Zeppo Marx or a comedienne like Thelma Todd, their performances were enhanced by the presence of someone who could keep their composure. Arguably their best comedic partner was Margaret Dumont, a talented actress who excelled at this role and became an important member of the Marx Brothers troupe.
In their book Straight Lady: The Life and Times of Margaret Dumont, "The Fifth Marx Brother", authors Chris Enss and Howard Kazanjian make the case that Margaret Dumont not only played a pivotal role in the Marx Brothers' success but that her own success was intrinsically tied to theirs. Dumont and the Marx Brothers had a sort of symbiotic relationship and while they would work on projects separately, there some something special about their collaborations.
This biography is fairly short with about 159 reading pages. It's clear that there isn't that much information about Margaret Dumont and the authors did a great job filling in the timeline with interesting information about the Marx Brothers and the movies they made with and without Dumont. It reads very much like a Dumont-Marx biographical hybrid.
Here are some interesting facts about Margaret Dumont from the book:She changed her name from Daisy Juliette Baker to Daisy Dumont and eventually to Margaret Dumont. Her past was riddled with scandal—she was born out of wedlock and the result of an extra marital affair—so changing her name was crucial if she was going to have any success in the theater. She changed Daisy to Margaret when she graduated from ingenue roles to dowager ones.She briefly gave up acting when she married John Moller Jr. and became a society woman. He died in 1918 during the influenza pandemic and after his death she returned to the stage.After the success of The Cocoanuts (1929) and Animal Crackers (1930), the public became convinced that Margaret Dumont was secretly married to Groucho Marx and the two had a difficult time trying to dispel the rumor.Dumont suffered many injuries as a result of the Marx Brothers' physical antics. She was notably injured during the making of Duck Soup (1933) and by the time she made A Day at the Races (1937) she wore a harness "to prevent from having her ribs broken."The Marx Brothers loved to pull pranks on Dumont off-screen. In one instance, they went too far when they called the cops to report Dumont was working as a hotel prostitute. After the incident, Groucho Marx apologized to Dumont and promised that they'd never do anything to hurt her again.Margaret Dumont was passed over for several Marx Brothers pictures. Most notably for Go West (1940) because the thought was that a Western setting wouldn't suit her established persona of a society woman.Dumont collaborated with many comedians including W.C. Fields, Danny Kaye, Laurel and Hardy, Red Skelton and Jack Benny. She was permanently typecast as a straight lady and "pompous dowager" despite her great range as an actress and singer.Groucho Marx and Margaret Dumont reunited for a skit on a TV variety show in early 1965. Dumont died shortly after this reunion and their episode aired one month after her death.
Straight Lady: The Life and Times of Margaret Dumont, "The Fifth Marx Brother" is an enjoyable read and recommended for Marx Brothers enthusiasts who want to know a bit more about Dumont. The book is very matter-of-fact and it's straightforward and simplistic approach will appeal to readers who want to focus on the information rather than read something with more editorial interjections. The edition I read was a slightly oversized but slim hardcover edition with a beautiful dust jacket and plenty of black-and-white photographs within.
Thank you to Lyons Press for sending me a copy of this book for review.
This is my first review for the 2023 Classic Film Reading Challenge.
All content is property of Out of the Past: A Classic Film Blog. Copyright © 2007-2023
June 18, 2023
The Classic Film Collective: In a Lonely Place by Dorothy B. Hughes
In a Lonely Place by Dorothy B. HughesNew York Review of Books Paperback ISBN: 9781681371474224 pages
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"Lost in a world of swirling fog and crashing wave, a world empty of all but these things and his grief and the keening of the fog horn far at sea. Lost in a lonely place..." — Dorothy B. Hughes
The 1950 film adaptation of Dorothy B. Hughes novel In a Lonely Place is one of the most celebrated entries into the film noir canon. Bolstered by Nicholas Ray’s direction and Humphrey Bogart and Gloria Grahame’s excellent performances, In a Lonely Place (1950) is a tense and ultimately terrifying story of a writer’s downward spiral. Bogart plays Dix Steele, a Hollywood screenwriter working on his next adaptation. He hasn’t had a hit movie in a long time and the pressure from his agent Mel (Art Smith) and his own internal pressure as an artist is starting to get to him. When hat check girl Mildred (Martha Stewart, no not that one, the other one) is brutally murdered, Dix becomes a suspect having been the last one to see her alive. On the case is Dix’s war buddy Brub (Frank Lovejoy) and Captain Lochner (Carl Benton Reid). While the investigation is happening, Dix starts to fall for his neighbor, actress Laurel Gray (Gloria Grahame). Their romance is plagued with the tension caused by the investigation, Dix’s manic fits of creativity, his need for control and the threat of violence that lays under the surface. The situation is volatile and Laurel is in constant danger. Is Dix really the murderer? Or is he just falling apart with the suspicion hanging over his head?
The film noir adaptation is so vastly different from Dorothy B. Hughes’ novel that reading the book and watching the movie will make you feel like you just experienced parallel universes. The novel is narrated in the third person omniscient point of view. However, the narrator never strays from Dix giving the reader the perspective of the serial killer. And yes, he is a serial killer. It’s known from the very beginning of the novel that Dix Steele is a former airman who fought during WWII. He found an opportunity to live in his friend Mel Terriss’ (not his agent like in the movie) apartment. Mel’s absence is explained away by Dix as him having traveled to Rio de Janeiro for a job but the reader knows something is up. Dix has been killing one woman a month. He stalks vulnerable young women at night, lures them to an isolated spot and strangles them. The book goes into detail about how Dix hunts his prey but spares us the bloody details of the actual crimes.
The irony is that Dix’s war buddy Brub is a police detective investigating the string of murders. Dix is pretends to be a crime writer and this affords him access to particulars of the investigation. The pretense is that Dix needs material for his work but really Dix is gaining knowledge on how best to get away with future crimes. Brub’s wife Sylvia is one of the most important characters in the story. In the film, Sylvia (Jeff Donnell) is a minor character, one who frets over her husband’s work and triggers one of Dix’s outbursts when she reveals something she wasn’t supposed to. In the novel however, she is the first person to suspect Dix and works diligently to lure him in, study him, gather materials for the case. She’s more effective as a detective than her actual detective husband Brub. The film did this character dirty!
(Jeff Donnell as Sylvia and Gloria Graham as Laurel)
The Brub character is the polar opposite of Dix. He feels that his war experience has led him to want to help people. He’s devoted to his work and is for the most part a gentleman (except for his overt lust for other women including Laurel Gray). Dix is a sociopath whose war experience may have given him a taste for blood. He’s also incredibly lonely and isolated which is really key to his character and to the title of the story. Dix spends a lot of time doing solitary things: driving, hanging out at the beach, stalking his prey, etc. In the movie, Dix is a hardworking screenwriter. In the novel, Dix pretends to write but really doesn’t want to work at all. He doesn’t understand why he can’t live off a trust like his friend Mel or why his rich uncle Fergus won’t give him more money. When actress Laurel Gray comes into his life, he begins to imagine what it would be like to have a long-term relationship with a woman he doesn’t hunt and kill. She reminds him of a long lost love and the calmer days before his killing spree.
Laurel Gray is probably the best represented in the film. Gloria Grahame captures Laurel’s ambivalence about the movie business, her attraction to Dix and her growing suspicion of Dix. In the movie, she’s much more a victim of domestic violence. She suffers as Dix becomes more and more controlling. In the novel, she’s not in love with Dix at all. She recognizes that they’re both similar in their selfishness but that they are meant to be together for a good time not a long time. She says to him:
“I knew you from the first time I looked at you just like you knew me. Because we’re just alike. We’re out to get it, and we don’t care how we get it."
Laurel and Sylvia are both objects of Dix’ lust and are both key to his downfall. I really enjoyed how Dorothy B. Hughes approached the psyche of her serial killer protagonist and the women in his orb. Laurel and Sylvia are the heroes in the novel. As they slowly draw away from Dix, we feel the tension and know that something big is about to happen. The authorities are only effective once both women have done the work on their end. Otherwise Dix might have kept going.
Dorothy B. Hughes was a fantastic writer. I enjoyed how she describes the fog, the beach, Dix’s isolation and loneliness and how the reader has to pick up on subtle clues outside of Dix’s point of view. Here are some of my favorite quotes from the book:
"Why hide this beautiful creature under the blanket of your indifference?"
"There was a save delight in being a lone wolf. It wasn't happiness.. He was a lone wolf; he didn't have to account to anyone nor did he intend to."
"She was greedy and callous and a bitch, but she was fire and a man needed fire."
"This was the beginning of something good. So good that he was enjoying its immediacy without thought, without plan. She was beside him, that was enough. He had needed her for so long a time. He had always needed her. It was a dream. A dream he had not dared dream, a woman like this."
I highly recommend reading In a Lonely Place by Dorothy B. Hughes. If you’re worried it will ruin the movie for you, don’t! The two stories are so different. There is no way they could have stayed true to the novel and pleased both Columbia Pictures and the Production Code Administration. Both can be thoroughly enjoyed as two separate art forms.
Have you read In a Lonely Place? What are your thoughts on how the changes they made from the movie?All content is property of Out of the Past: A Classic Film Blog. Copyright © 2007-2023
