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Showing posts with label Blogathons. Show all posts
Showing posts with label Blogathons. Show all posts

Monday, October 22, 2012

Letter to the Stars Blogathon: Submissions!

I'm back! So soon!

...Just to share with you guys today's links for the blogathon. You can check out yesterday's submissions here. If you don't see yours on that post or mine, worry not: you'll be linked over at Natalie's blog  tomorrow.

Thank you guys so much for participating: I can assure you that Marcela, Nat & I are having a blast reading all your letters! :) Anyway, without further ado, here are the entries being shared today... click the photo to visit the article!

THE HOSTS




THE SUBMISSIONS




Remember... you can still write your posts and send your links in to: alettertothestars@hotmail.com

Thanks again, dahhlings. :)

Tuesday, September 11, 2012

A Letter to the Stars. Or alternatively titled: Co-Hosting Yet ANOTHER Blogathon?

A Letter to the Stars Blogathon 


October 21 - 23 2012 

Wait, I'm co-hosting another blogathon? Wasn't it only a few months ago did I did this? No, it's not deja'vu, it's for real. You'd think I'd wait before throwing myself back into the blogathon pool again, but when one of my favorite people on here, Marcela, asked Nat and I to help her co-host her blogathon, how could I resist? Especially when it's such a particularly incredible idea.

One misfortunate of us Old Hollywood fans is that most of us will never get the oppertunity to write a gushy fan letter to our favorite star. I know  won't. (I did send a letter to Lauren Bacall for her birthday, however. But I'll never get to send fan mail to the other actress with the initials L.B. You know, the one that, to me, is the queen of everything. The one I worship to bits and pieces. Yeah, that girl.)

Okay, so here are the rules:
  1. Just leave a comment here and let us know you're going to be writing to. No dibs on stars, it's okay if someone's already taken who you wanted to do, you can do them too.
  2. The blogathon is taking place on October 21 - 23 (three days, three hosts. Get it?). All you have to do is, on the day you are assigned, write a letter to the star of your choice. It'd probably be a good idea to do your favorite, but hey, it's up to you. No hatemail, though okay? Just tell them why you love them, what are your favorite things about them, their favorite performances, even ask them questions I guess (though, if I were you, I would expect a response... okay, not funny). Anyways, any of the normal things you'd put into a fan letter, except you can't actually send it.
  3. Post your letter and email the link to alettertothestars@hotmail.com
  4. That's it! As the blogathon draws near, you will be assigned a date and a host. For the most part, this worked pretty well for Nat and I last time... If you have conflicts with the date, scheduling can fix it, just so you all know. But let us know if you're having too much conflict anyways and we can fix it up!
There are more banners over at Marcela's post so GO and look! Any questions? You can ask me or Nat, but Marcela's probably the best to ask as it's her idea. (And what a fabulous one at that.) That's pretty much all. I guess you're all scratching your heads wondering who I'm going to write to. I'll leave you all in suspense, but I'll give you a clue: she has red hair and a husband with an accent. ;)

Saturday, August 25, 2012

Gene Kelly Centennial | Du Barry Was a Lady (1943)

This is an entry for the Gene Kelly Centennial Blogathon, hosted by the Classic Movie Blog Association, to celebrate the 100th birthday of one of Hollywood's best hoofers (Gene's actually birthday was the 23rd). Go here to read the rest of the very fabulous entries. Thank you to the CMBA for hosting!




***
I was a little late to the party when signing up for this blogathon, and needless to say, the best of Gene's films had already been grabbed. So unfortunately, this will not be the astute opportunity for me to ramble on endlessly about my love and affection for one of my favorite movies, Singin' in the Rain (1952). Instead I have chosen for a less well known vehicle from earlier on in Gene's career, Du Barry Was a Lady (1943) - it is, alas, no where near the perfection of Singin' in the Rain, but it does costar Lucille Ball, my favorite of all people, and thus I have chosen it to discuss today. 

Du Barry Was a Lady (1943) is the story of a hat check man who is in love with the beautiful nightclub headliner at the club he works for. She, in turn, has the hearts for a poor dancer, who reciprocates her affection, but she knows she must marry for money. The hat check man strikes it rich by winning the Irish sweepstakes, and asks his crush to marry him, which she agrees to, even though she doesn't love him. The moral of all of this is brought to light when the new heir gets slipped a mickey and dreams his is in 18th century Versailles, in which he is King Louis XV, adamantly pursuing Madame Du Barry.  

Lucy practicing one of her dance routines
for the movie backstage
The film was more of a prominent milestone in Lucille Ball's career rather than Gene's. She was cast as the nightclub star May Daly/Madame Du Barry in what was her first film at MGM. She had failed to reach star status at RKO (though she had garnered the title as queen of B movies), and everyone knew - Lucy included - that MGM was her last chance to become an established movie star. As her introduction to the MGM corral of actors (after all, MGM had "more stars than the heavens"), she was cast in this film, which had been a successful Broadway play starring her good friend Ethel Mermen. It was called out to be a lush, Technicolor production, with a roster of songs by Cole Porter. To give Lucy a new image, MGM's chief hairstylist to the stars, Sidney Guilaroff, dyed her hair a stunning shade called "Tango Red", that popped on the Technicolor print, but Lucy herself was not quick to like in real life. (Lucy, born a brunette, had been dyed a Harlow blonde, then a strawberry blonde, which gradually darkened to mahogany brown). Critics were quick to call her "Technicolor Tessie," and declared no actress had looked better in color. Needless to say, Lucy kept this shade for the rest of her life.

This was the second film for budding star Gene Kelly, who obviously played the down on his luck hoofer, Alec Howe. Though only a year younger than his on screen love interest, Lucy had a list of films under her belt whereas this was only the second in what would prove to be a legendary show business career. (One could argue that both Gene and Lucy struck it big in the early 50s, Gene in his most well known film Singin' in the Rain - in '52 - and Lucy a year earlier with I Love Lucy.) Before this, Gene had made his screen debut with For Me and My Gal (1942), which he had made alongside bona fide star Judy Garland. Red Skelton is the third and final co-star, as the lucky hat check man Louis Blore.

The above mentioned are also supported by Virginia O'Brien, a fairly underrated actress in her own right.  Jo Stafford can be spotted as a member of the "Pied Piper" bind, as well as Ava Gardner for a second or two as a perfume girl, and Lana Turner makes a guest appearance as a part of one of Red Skelton's singing sketchs.

Despite the pretty impressive cast, and the cosmetic milestone this was for Lucy, the film ultimately fails to hit the mark (despite doing well at the box office), and I don't think it was a movie that neither Lucy or Gene could look back at and fondly remember. In fact, it might as very well have been one they tried to forget. Though it would for Lucy (because of her hair color change), this movie would also hold no later prominence for the birthday boy, Gene. But as contract players must, both were cast in this film with no questions asked.

This is actually, believe it or not, a movie I own on DVD - it's a part of TCM's Lucille Ball collection. When I offered to my dad the chance to watch this again in preparation of this post, he absolutely refused. And I can't blame him, because this is a real turkey. There are some pros to this film but there are tons of cons, too. (Because, even I couldn't get myself to sit through this again).

You might put the first problem of this film in the plot, which is pretty kooky. There's nothing wrong with "fun nonsense" movies, but sometimes they work and sometimes they don't, and this time around it's a case of the latter. This film is actually decent until Red Skelton gets konked back in time where he appears as King Louis XV and Lucy as Madame Du Barry, the king's notorious mistress. There are some interesting scenes, like one in which Red's King Louis chases Lucy's Du Barry around a bedroom, which includes a shot of them jumping around the bed (which, was, in fact, a trampoline - a scene Lucy didn't very much enjoy shooting as it gave her nausea!). As you can imagine, this was a number that went under the close eye of the Hays Code Office; but this film is the squeaky clean all around besides (though, according to my Lucy at the Movies book, the play was a bit raunchier and was sanitized a little before being transferred to the screen).
A promo shot for Du Barry, 1943
I think after the main cast gets shot back to Versailles in the 1700s, the film actually becomes pretty unwatchable, or at least, that's how I remember it. Still, the plot is ridiculous anyways and you couldn't put the fault in any of the cast. Obviously, everyone on here knows what I think of Lucy and I think pretty highly of Gene Kelly and Red Skelton, too - all very talented actors, and they do the best they can.  Ultimately, they are misused. Gene doesn't even get to dance as much as he could've!

So while we can conclude this is certainly not a five star movie, there are a couple of good things about this movie, too. As I said above, the actors give it their best shot. Lucy looks so gorgeous in this. It's always hard for me to pick what was period was the height of her beauty, but this would be one of the top contenders. She sports a blonde wig upon her DuBarry transformation, however, shows off her new hair color in the rest of the film, and the critics weren't kidding when they raved about the new 'Technicolor tessie.' Really, the closeup shots of her as Gene professes his love with a song are killer.

The songs in this movie are by Cole Porter and while it might not be the best work of the famed songwriter, the numbers in here are certainly decent. The most notable is probably "Friendship," the happy song-and-dance number sung by the three title actors at the end of the film. Gene obviously did his own singing, but Lucy was dubbed for all the numbers in this film by Martha Mears - with the exception of this song, for which she did her own singing. The song would also later be used on the episode of I Love Lucy where Lucy and Ethel preform on television for their women's club benefit. They sing the song while they shred each other's identical dresses to pieces!  (It should be added that, unfortunately, a great deal of music from the stage play was emasculated.)

I looked long and hard to find any particularly interesting backstage stories to liven up this post about a very mediocre movie, perhaps about Lucy and the birthday boy, but I could come up with nothing. Gene Kelly, though still in the early stages of stardom, is one of the few truly notable costars Lucy worked with before she had her success in television. He and Lucy would work together three more times. In the same year, they both made appearances in Thousands Cheer, a variety film that lacks plot but is made up of skits and sketches. Then, once again in Ziegfield Follies (1946), a similar film filled with an assortment of routines, but they are in separate skits and don't share any screen time together. (Lucy is in only in it for a few minutes, but I did watch the whole movie and it was interesting - some skits are better than others; there's some nice singing by Lena Horne, Judy Garland does a fun routine that mocks Greer Garson's ladylike image, and a very notable piece where Gene and Fred Astaire dance together!). Gene Kelly also directed Lucy in her short stint in his film A Guide For the Married Man (1967). (And as for Lucy and Red Skelton - when Red won the Emmy in '52 for Best Comedian or Comedienne, he said, "You gave it to the wrong redhead tonight.")

As for Gene Kelly himself, unfortunately, this wasn't one of his better films - and so it's probably silly I chose this movie to discuss on his 100th. All the while, Gene is definitely a performer I love. He was an incredible dancer and watching him preform, he in as an art all by himself. He was very initiative when choosing his routines, and his good looks and charm made him appropriate for more sultry dance moves that Hollywood's other premiere dancer, Fred Astaire, strayed from. He also influenced so much of modern dance; Michael Jackson credited Kelly's influence numerous times. That little scar on his cheek? I've always loved it, because it added a certain degree of ruggedness and a dash of allure. Some say that Astaire was more elegant or debonair, but I think they were two entirely different dancers and it isn't very fair to compare them; they were both beautiful in their craft. And besides, Gene Kelly's lines were just as neat and pretty as Astaire's.

Gene Kelly was fabulous and I adore him to bits. This film may not be incredible, but plenty of his other movies were: first and foremost, Singin' in the Rain, but also Anchors Aweigh (1945), On the Town (1949), and An American in Paris (1951) (amongst many others, I'm sure.) So here's a big happy centennial birthday to one of Hollywood's best. Thanks for the dances, Gene (and all my apologizes for the numerous times I diverted this post over to Lucy, but I think it's okay because you worked with her enough to know how incredible she was!).


Happy 100th birthday, Gene Kelly. 


Friday, July 27, 2012

The Great Recasting | Barefoot in the Park (1943)

Welcome, guys, to the first day of the blogathon!! Nat and I are really excited and a load of links have already come in and we can't wait to get through them all. :) Once again, as you have your post written you can leave it on this post, or my update post, or any post really - just so long I get them. :D 

***
I went through a lot of indecision, but for my recasting I finally came to the conclusion of Barefoot in the Park (1967). A mere two years from our 1965 cutoff date, I'm sure it wouldn't be considered a "modern" movie by most, but it's still a few years off from the "studio era" (of course, Nat and I were well aware that the studio system was nearly long gone by '65, but the 60s fan in me nudged it over a bit. Hope no one minded).

Barefoot in the Park might not be five star viewing, but it's a movie I love - and have loved for quite a bit - all the while. Its stars are Robert Redford and Jane Fonda, two of my favorite actors from that interchanging period between the decline of the studio system and the dawn of modern movies. I really like the both of them and they're absolutely fabulous in the film as a "stuffed shirt" Paul and free spirit Corrie. (They're also seriously beautiful looking together.) They are supported by a very bohemian Charles Boyer and a delicate Mildred Natwick, the graceful character actress I very much love. It is directed by Gene Saks (Cactus Flower).

The plot is a prime example of 1960s fluff, and its one of the main reasons I love it. In the 1967 trailer it's advertised as "one of the happiest movies," and I couldn't agree more. This is a pick-me-up sort of movie that I can always rely on to cheer me up, one I've seen countless times with my mom, so much so that I know all the lyrics to Shama-Shama. Each time I finish watching it, I feel like I've swallowed a big gulp of fresh air and it's always guaranteed to leave me with a smile on my face. And then I feel like running barefoot through the park, too.


Jane Fonda plays Corrie Bratter, a pretty girl with a thirst for adventure and excitement. She's the type of character that'll never turn down the opportunity to do something wild, like dancing to exotic music, tasting strange foods, and appropriately, running barefoot through the park. She's madly in love with a man quite her opposite: Paul Bratter, played by Robert Redford. He's a quiet and neat attorney who likes to follow the rules, stay within the lines, and stick to the familiar. As it so often happens in romantic comedies, opposites attract, and the movie starts off with the newlyweds at the Plaza Hotel for a week long honeymoon that leaves Paul's lips "numb from kissing."

As he heads off to work on the last day of their honeymoon, Corrie rushes off to get settled in their new apartment. A small flat overlooking New York City, there are six flights (plus a steep stoop which Paul calls "that big thing out front") to reach the Bratter apartment at the top. Their apartment complex is also shared by some of "the greatest weirdos in the country," including a couple of whose sex no one is quite sure of. The bedroom can barely fit a bed and to Paul's chagrin, there's no bath, but worst of all, there's a hole in the skylight! They can't figure out how to work the radiator, and it's February, so they spend their first night in the apartment freezing as snow collects in their living room through the skylight.

But Corrie, being the free spirit she is, can't help but love the new apartment, as well as makes friends with the avant-garde bohemian that lives in the attic, Victor Velasco, played by Charles Boyer. He eats strange Japanese foods and scales the building to get into his apartment. Corrie decides to play matchmaker with Victor and her dainty mother, Ethel, (played by Mildred Natwick) who lives out in Connecticut and sleeps on a board each night - more like Paul than Corrie. Naturally, disasters occur which are exemplified by the Bratters' strange living conditions, and puts a humongous stain on the Bratter marriage. And, of course, all these events unfold in utter hilarity.

It's a super fun film. It is based off a Neil Simon play of the same name which premiered in 1963. The dialogue is truly funny, there's a dash of physical comedy involved, and the characters hit their marks. I'm sure there are those that definitely wouldn't agree with me, but in my humble opinion this is a good example of a fluffy movie that can be pretty darn excellent for its genre. To sum the movie up: it's a comical spoof on being newlyweds.

Okay, so now that I'm babbled enough about the movie - and I'm crossing my fingers you grasped the plot, but if you need some help still, check this out - let's get onto the recasting!



I have chosen the year 1943 to recast the film. Twenty-four years before the original release date, my version of the movie would have been released into World War II America, where fluffy, cheerful films were just the kind of getaway moviegoers needed at the cinema. The story is definitely a comedy, requiring a bit of physical comedy  (that mainly has to do with the six flights to reach the Bratter apartment) that, if produced in 1943, could have even resulted in a screwball comedy. That's a entraining thought. The 1967 movie came from the stage as well as by then the screwball comedy was near extinct. But in 1943, this could have easily transferred in a ridiculous romp: with Corrie's vivacious, daffy personality and Paul playing her straight man.

As for the character of Paul Bratter, I have gone with Cary Grant. Cary, my favorite actor was a flawless human being who I would be happily married to  could play anything, and he was particularly fantastic at comedy. Paul is a conservative guy who Corrie accuses of being a "stuffed shirt". Cary was a fantastic straight man to Katharine Hepburn's zany Susan in The Perfect Screwball Comedy (Bringing up Baby), so I think the casting of him as Paul would be spot on.

Then there is Corrie Bratter, a young woman with a magnificent lust for life and thirst for adventure. For this role, I have chosen my second favorite actress, my favorite Swede, that wonderful doll, Ingrid Bergman. Perhaps casting early 1940s Ingrid in this role is against type. After all, there are probably quite a few other actresses at the time who would, by studio moguls, have been considered more appropriate for the role. Though it is true that Ingrid in the 40s did pretty much all dramas (though she did get to show off her comedic flair a little in The Bells of St. Mary's), there's no question that she could do comedy. She got opportunities to do so later in her career: Indiscreet (1958) - also with Cary - The Yellow Rolls Royce (1964), Cactus Flower (1969) - which was a role that had been originally offered to my Lucy - but never in her studio system days. Which is a shame because Ingrid was fantastic at comedy. She had good timing combined with a almost nonchalant subtly to her comedy, and she was fantastic. I adore Ingrid being funny. (She also nearly worked with the Queen of Comedy, Lucy, on an episode of Here's Lucy, but due to some technical difficulties it fell through. ugh. I could DIE.)

I also picked Ingrid because as it is well obvious to anyone who has seen Notorious (1946) - and if you haven't, please go and do so - that Ingrid and Cary have really some of the best chemistry on screen, especially amazing considering they were never romantically involved in real life, wonderful friends, but never lovers. (Though, in my fantasy world, they might've been married...) They re-teamed for Indiscreet twelve years later, a movie that's far from perfect, but I love anyways pretty much because of the two of them. That's a comedy, but I did want to cast them in something when they were younger, hence the year 1943 - Cary would've been thirty-nine, maybe a little long in the tooth for a newlywed but it wouldn't have mattered, and Ingrid would've been twenty-eight - and more youthful. Corrie and Paul are a couple that's really quite in love for a great deal of the picture and Cary and Ingrid would've captured that perfectly. It's the romance of Notorious (which was spoiled when they become bitter to each because of the project, etc.) in the setting of a movie like Indiscreet.


Also, at the end of the day, it only seemed fair that Ingrid & Cary should be the main players of my be recasting, for they were what inspired this blogathon (that time I did a tumblr text post wondering what a 40s version of The Sound of Music would be like with Maria and the Captain played by these two flawless beings).



[all GIFs in this post are mine - the dialogue is from Barefoot in the Park.]


For the role of Victor Velasco, I chose John Barrymore. It was nearly obvious that I was going to have to go with one of the Barrymores for the amorous Victor. Of course, Ethel was out and I couldn't picture Lionel-Mr.Potter.-Barrymore in this type of a role at all. There was always the opportunity to resort to other male character actors of the early 40s - I mean, they were definitely plenty - but none of them deemed the perfect type for the role. John Barrymore, however, I feel would click right into it. Whenever I see John Barrymore, he's playing slightly 'lost' characters, so I could definitely see him tackling on this role. 

And as for an older lady actress appropriate for Victor's affections, I struggled with this quite a bit. All the character actresses I could think of would've sent this movie into a time warp: Thelma Ritter (who didn't seem appropriate besides; for even though I love her I think of her as secretaries and housekeepers), Mildred Natwick (well obviously not!), Mildred Dunnock, etc. All of them were all 50s. I was torn trying to find an actress of the right age. I even considered changing the character to an old maid sister. Finally, I landed up choosing Beulah Bondi. I wish I could have chosen a actress with more star power, but I suppose Bondi would round out the film making it financially possible. (I got to add here, if this film were going to be redone today - I mean, God forbid but still - wouldn't Julie Andrews be a good choice for this role? Maybe Jools is about five or ten years too old in reality, but she doesn't look it.) 

Then there is the director. The director of the '67 film was Gene Saks - Bye Bye Birdie, Cactus Flower, The Odd Couple, Mame. Obviously, there are many directors of the early 40s that would've been compatible with the cast and would've been fit to direct a screwball comedy (for, like I said, I can definitely see it going in that direction). So many choices! Preston Sturges, George Cukor, perhaps an early Billy Wilder - all directors I like very much, but in the end I chose Howard Hawks. Why Hawks? Well, after all, he did direct Bringing up Baby, which, as I said earlier, is my idea of the perfect screwball comedy. Obviously, Cary and Hawks collaborated together but Ingrid and him never did. And so the opportunity for these to greats to have worked together would be too awesome for me to pass up. 



Like I said earlier, this blogathon came as a result of my fantastic imagination dreaming up a 40s version of The Sound of Music with Ingrid and Cary. While that movie most likely would've turned out a hot mess, I have good reason to believe that a film like this could've, in reality, worked. Of course, the point of this blogathon was to play with your imagination and entertain your wildest fantasies - but still, I can't help but have this glimmer of hope that in all honesty, perhaps Barefoot in the Park could've worked in 1943. I mean, after all - The Hayes Code Office would've likely given a stamp of approval to pretty much all aspects of this film (of course, the shots of Corrie in a bra and the newlyweds lying in the same bed together would have to be cut, but otherwise).

And if it were to have actually been made, I could see this being a quality film. Not even the sort you like just because your favorite leads are in it, but a genuinely good movie. This is my own humble opinion of course, and it has to do a lot with the fact that I love the movie. Because, to me, as the script is actually funny, the storyline entertaining, and the score excellent, I can only see turning the decades a few back, adding Ingrid and Cary in the leads, and putting Hawks in the director's chair as enhancing a film which was pretty good to begin with!

Alas, we'll never know, for the play wasn't even written until the 60s. Cest la'vie, I suppose.

***

Okay, that's all for my side of the blogathon! :) The running list of links as they come in (as hosted by me) can be found here. The second part of the blogathon will take place tomorrow over at Nat's blog. THIS IS SO MUCH FUN, GUYS! Thanks for joining in with us!


Wednesday, July 25, 2012

The Great Recasting Update [IMPORTANT for participants]

PLEASE READ THIS POST IF YOU HAVE SIGNED UP FOR THE GREAT RECASTING BLOGATHON.


Before I get into the update, I want to make a very quick announcement/apology. You might be aware of the fact that I missed the movie review I was supposed to post last Sunday. I apologize for missing it. I also want to announce that the SMR will not return this Sunday, either, but the following Sunday after what will be by then a month long hiatus. I don't want to spam you with posts in the following days, and I don't want to make conflicts with the Fri-Sat blogathon. Also, within this next week I'm going to be making some dramatic changes to the interface of this blog. Lucy's birthday celebration will also begin at the beginning of August...So SMR won't be back for another two weeks.

That being said, I'll get on with the update for the blogathon. Nat, who I'm co-hosting with, did a similar post on her blog so I'm crossing my fingers that between both of our posts you will be aware of which day to post on.

As I said: this is a two day blogathon and we have split the list of thirty-four participants between the both of us. I'm hosting Friday, the 27th, and Nat is taking Saturday, the 28th. We have assigned each participant a date. If this date doesn't work for you, let us know as soon as possible so we can fix it. (Bear in mind conflicts can also be fixed with scheduling). Comments on this post or Nat's are greatly appreciated to let us know if your date will work. If not, we'll be assuming your assigned date works for you! :)

FRIDAY, JULY 27: HOSTED BY FRANKLY, MY DEAR 

SATURDAY, JULY 28: HOSTED BY IN THE MOOD
 Marlene Dietrich, The Last Goddess
The Most Beautiful Fraud in the World
I Luv Cinema
The Hollywood Revue
Film-Classics (Bailey and Dan)
A Person in the Dark
Film Flare
(L)Azzy Blog
Best of the Past
No More Popcorn 
The Great Movie Project
Cinematic Katzenjammer
Random Ramblings of a Demented Doorknob 
Eternity of a Dream 

Defiant Success

Those that are being hosted by me can start leaving their links on this post or my own entry when it comes up on Friday. The same applies to those being hosed by Nat, except you should leave links on HER blog. If this is confusing to you in anyway please let us know.

Okay, that's it. Once again: all comments with a thumbs up are helpful because we know if you saw this post or not. If you have any questions, complaints, need to switch the date, ANYTHING, please comment now. Or forever hold your peace. 

All of that being said, Nat and I are super super excited and we hope everything's going to work out fantastic! :D


Wednesday, June 13, 2012

The Great Recasting Blogathon! [hosted by Natalie & I]

Hello lovely followers,

I've got some exciting news (as you might be able to tell from the title) that I hope will make up for my neglecting this blog in the past few months! And that news is that this summer I will be co-hosting a blogathon with my friend Natalie over at In the Mood!

I guess I'd better start off with filling you in on the basic details:

What is this blogathon about? The idea for this blogathon came out of a silly post I did on tumblr about recasting The Sound of Music (1965) in the 1940s with Cary Grant and Ingrid Bergman in the leads. (Don't worry, I only half meant it!). Then Natalie and I got to talking about this and we decided it would be a fun idea for a blogathon. So the premise for this blogathon of ours is as follows: to recast a film made after 1965 in a year pre-1965 with actors in the lead roles and a director that were popular at the time. Supporting cast is optional. You have to explain why you chose the actors & director. We are allowing two recasting per film. If this sounds a little confusing, here is an example: the well known modern film Titanic (1997) was made in 1997, but for this blogathon you could change the year, for example, to 1945, cast Ingrid Bergman in the Kate Winslet role, Cary Grant in the Leonardo diCaprio role, and switch the director from James Cameron to George Cukor. (Use your imagination, okay?? :D) Make sense?!! (If not, please, by all means LET ME KNOW and we will try to explain this better.)

When is this blogathon taking place? July 27 - 28 of this year, which is conveniently a weekend.

What's this co-hosting business all about? So if you are interested in signing up (which I hope you are!), read this carefully! As this is a two day blogathon, Natalie's blog will be covering one day and mine will be covering the other. We will you assign you a date when we get closer to the blogathon. IF YOU WANT TO PARTICIPATE, PLEASE LEAVE A COMMENT ON EITHER MY BLOG OR NATALIE'S, BUT NOT BOTH. This will make it a lot easier for us to keep track of who is participating and no one will get left out.

I'm interested in participating! Do you have any banners? Yay, of course! For your sidebar decorating pleasure (and to help get the word out!) we have -






That's about it! You have more than a month to sign up, but the earlier the better, right?? You can leave your comments now!! We're rather excited, and grateful for your support. :)

Here's hoping this blogathon turns out great!!


Below is the running tab of participants, as well as the movie they chose to recast (if they already knew). Remember, only two posts allowed per film so bear that in mind. Thanks to all who have already joined in, the classic film community is the BEST. And to those who haven't, well, what are you waiting for? ;) *cue cheesy commercial music* 


LIST OF PARTICIPANTS 
Carole and Co. HouseSitter (1992)
Lasso the Movies | Chinatown (1974)
WarrenWilliam.com | Wall Street (1987)
Waitin' on a Sunny Day  | Calendar Girls (2003)
Film Classics | The Winds of War (1987)
Reel Revival 
Journeys in Classic Film | Sixteen Candles (1984)
Widescreen World
Perfect Number 6
Let's Misbehave: A Tribute to Precode Hollywood
Bette's Classic Movie Blog
Shades of Black and White |Shark (1984)
Critical Retro  |The English Patient (1996)
The Great Katharine Hepburn |Harry Potter (2001 - 2011) series
Mythical Monkey |Oceans 11 (2001)
Marlene Dietrich: The Last Goddess |The Devil Wears Prada (2006) 
The Most Beautiful Fraud in the World  | Pulp Fiction (1994)
I Luv Cinema
The Hollywood Revue | Miss Pettigrew Lives For a Day (2008)
Film Flare | Mr. Brooks (2007) 
A Person in the Dark
Best of the Past  | The King's Speech (2010)
No More Popcorn  | Ghostbusters (1984)
The Great Movie Project  | Avatar (2009)
Cinematic Katzenjammer  | The Princess Bride (1987)
Random Ramblings of a Demented Doorknob | Crazy, Stupid, Love (2011)
Eternity of a Dream | Inglorious Bastards (2009)
Defiant Success | The Talented Mr. Ripley (1999)
(L)Azzy Blog 
In the Mood | Raiders of the Lost Ark (1981), The Proposal (2009) [guest post], Liar, Liar (1997) [guest post]

Friday, March 9, 2012

Gone Too Soon || Jean Harlow (1911 - 1937)

When I heard about Comet Over Hollywood's "Gone Too Soon" blogathon earlier this year, I couldn't wait to participate! With the criteria being a star who died before/or at fifty, I knew exactly who I was going to write about: Natalie Wood, of course. But when Jessica opened the door for entries, I was a little too late and discovered that Natalie had already been taken, as well as my second choice, the ever wonderful Carole Lombard.

Still wanting to participate, I decided I'd take a stab at Jean Harlow, who I barely knew anything about. Now that I think about it, perhaps it's good thing I chose someone that I didn't know much about, because I got to learn something and write about someone new. Right? ;)



"SHE DID NOT WANT TO BE FAMOUS. SHE WANTED TO BE HAPPY."

- Clark Gable 

***

Like I said before, I honestly knew nothing about Jean Harlow before writing this post, save that she'd died young and was good friends with Clark Gable. The only movie of hers I'd seen was Libeled Lady (1936), and that too had been a few years before. But now that I've researched a bit about her, my goodness, her life and early death were quite interesting!

If you were to stop a random person on the street and ask them who first comes to their mind when conjuring up the image of a platinum blond, ivory skinned, red lipped beauty draped in fur and diamonds, they'd reply easily with "Marilyn Monroe." Marilyn, who came to a demise almost as tragic as Jean's, would glorify the "blonde bombshell" image and make it iconic. But it was, in fact, not her who created it but Jean Harlow, some twenty years before.

She was born Harlean Carpenter on March 3rd, 1911, in Kansas City, Missouri. Her childhood was overshadowed by a domineering mother, a greedy stepfather, and illness; suffering meningitis at the age of five and scarlet fever at fifteen. In her family, she was nicknamed the "Baby," and when she became a movie star, she was the "baby" of the MGM lot. Perhaps it was her dimples and playful personality, which made Jean's performances as femme fatales even appealing because there was that underlying, childlike quality to her - very much the type that Marilyn Monroe would exhibit in later years. 

Jean made a vision on the screen. She was the icon of everything that was beautiful or glamorous in the 1930's, a poster child for sensuality laced with comedy - a good example is the famous line she delivered in Howard Hughes' 1930 film, Hell's Angels: "Would you be shocked if I changed into something more comfortable?" This one line could sum up the majority of the image that was built up for her; a sex symbol downplayed by a girlish grin; the girl next door wrapped up in expensive furs and perfume.

Her career flourished in the 1930s, as she turned out films like Red Dust (1932), Dinner at Eight (1933), and Libeled Lady (1936). Her best friend, her 'brother', was Clark Gable, who she starred alongside a total of six times. They were so close they truly considered each other siblings and Clark was known to have been the only one who didn't  call her "Baby", instead addressing her by his own affectionate nickname of "sis."

In 1935, after two failed marriages and a husband who had committed suicide, Jean took up with fellow film star William Powell. Bill Powell, with his impish mustache and mischievous manner, was no stranger to dating beautiful blondes. He'd just had a very clean, neatly done divorce with Carole Lombard (whom he still consider a friend), the screwball queen who would soon begin an affair with Jean's best friend, Clark. (Ironically, Carole would die prematurely and tragically too). 

As Clark's quote about her would express, babylike Jean didn't want Hollywood, but to be a wife and mother of many children. When she found true love with Bill, this was what she wanted, right away - so much so she was eager marry him, quit her successful career, and settle down to have a family. But Bill wasn't ready. He had two divorces under his belt and didn't want children. They would become engaged, but marriage was slow coming and Jean was left waiting.



From 1936, her path took a turn for the worst. She became pregnant with William Powell's baby. She was pulled in the many directions, for she wanted to keep the baby but also knew that Bill didn't want a child. To make matters worse, the couple were still not yet married. Under pressure from her mother, she went ahead and got an abortion, never telling Bill of the child. This put on a toll on her emotionally and physically. Upon attending the Oscars of that year with Bill, Clark, and Carole Lombard she was so sick that Carole had to help her to the powder room to recover. In the early part of the next year, she suffered a bout of influenza. Even dental surgery to have two teeth removed that spring put a great strain on her, all of this setting the tone for her final months. Jean's failing health was like a train heading dangerously down the wrong track, but she kept pushing on.

She began the filming of Saratoga (1937) with her 'brother' Clark. By now, Jean began to gain weight despite the constant diets she was on to keep her trim figure. Her usually pearly complexion of skin had faded into a shade that was gray and sickly looking. On film she had lost her typical glow and radiance, and in reality her condition grew worse. But Jean was a trooper and not one to disappoint the many cast members who were working on the film - so she pushed on.

One day on set (May the 29th), a scene called for Clark to pick her up and throw her onto a couch. But when Clark picked up his friend he was faced with a great struggle. He noticed more closely the gray hue of her bloated face, her heavy breathing, and the sweat lacing her brow. He gently laid her down on the couch and called for the director to cut. Despite the protests of the star that she could go on, the studio doctor insisted she be sent to a medical center.

But her "Mama Jean" 's religion did not believe in doctors, so instead of being sent to a hospital, she brought Jean home and cared for her herself, alongside some nurses, for a week. 

For seven days, the movie queen rested in bed amongst tangled silk bedsheets, her limp peroxide blonde hair fanning the pillow she lay upon. Jean did not improve. She desperately tried to spend this 'resting period' getting through the beginning of Margaret Mitchell's Gone With the Wind, but she was too frail to turn the pages. When her mother finally allowed to be submitted into Good Samaritan hospital on the eighth day of her grave illness, following episodes of vomiting and delirium, Jean reminded her nursemaid to pack her copy of Gone With the Wind so she could finish it while she was there. The nursemaid shook her head, "She'll never finish it," and this prediction was to come true.

At the hospital, her mother only let Clark Gable and William Powell visit her, both greatly disturbed by the appearance of the woman they both loved so much. Up until this point the reason of her illness was believed to have been an inflamed gallbladder, but when Clark leaned into kiss her he smelled what he thought was urine on her breath. He told this to the doctors and it was quickly discovered that Jean was suffering from urine poisoning, or what is known today as acute kidney injury. 



What had been happening to Jean that over the years her kidneys had been failing, and it was leading up to a great  illness like what she was experiencing. The reason she was becoming so heavy was because her body was being filled with toxins. All of this might have been repercussions of the scarlet fever she'd fared when she was fifteen. But in 1937, it was hard to treat kidney failure, and even though for years afterwards rumors would swirl that it was her mother's fault, for not taking her to the hospital sooner, she really could not have been helped. Kidney failure was just untreatable in this time.

Her state of kidney disease was so advanced, Jean could only excrete waste through the forms of breath and sweat. Her situation, which had been downplayed before this, became immediately an emergency as the hospital became besides themselves with ways to treat her. They shaved her bottle blonde hair away in desperation, for they thought some fluid might be able to drained from her head. But there was nothing that could be done for Jean. She lapsed into a coma and not much later, on June 3rd, 1937, at about 11:37 A.M she passed away. She was twenty-six.

It was a sad and tragic end to a star who had shone so brightly. Even though she had been ignoring her constant illness, fatigues, sunburn, etc. which were all symptoms of this disease, the capacity of medical knowledge at the time was not enough to treat her kidney failure. This was a time before dialysis.

News of the death of "Baby" spread fast throughout MGM. Spencer Tracy wrote somberly in his diary, "Jean Harlow died today. Grand gal." When the word was released to the general public, the cause of death given was uremia, which was what was stated in the official doctor's records. Throughout the years, rumors and suspicion would plague Jean's 'mysterious' death, though it wasn't all that mysterious at all. It was indeed a sad and haunting way for the movie star to pass, but the reasons were pretty clear cut. That terrible bout of scarlet fever she'd suffered at the age of fifteen had weakened her kidneys and her fate had become sealed from that point on. Still, people came up with their own reasons for her death - alcoholism, a botched abortion, or even that the peroxide MGM used to keep her hair that famous blonde shade had poisoned her. When the medical records were released the public in the 1990s, the reasons for Jean's death became quite obvious and the issue was put to rest. Though people may continue to say she might have been 'saved' had she not waited so long for proper medical care, it is untrue. In 1937, nothing could have saved her.

MGM planned a lavish funeral for her, and William Powell secured a glamorous crypt for at Forest Lawn. She was buried in one of the sexy gowns she'd worn in Libeled Lady (1936), and it is said a single white gardenia was slipped inside the casket, with a note from William Powell in her hands that read, "Goodnight, my dearest darling." The inscription on her gravestone is simple: "Our Baby."

With her early, tragic death, "Harlow" became an icon. Though her trademark bombshell looks would be overshadowed by Marilyn Monroe's rendition of the style in later years, for the earlier part of the 20th century it was Jean who claimed this iconic status. She was remembered as a wisp of a glamorous figure, suddenly there and suddenly not; some even like to claim her ghost haunts the old home she shared with her third husband, Paul Bern, who committed suicide. (I don't go for that whole, Classic Hollywood and ghosts thing, it's not the way I'd like to remember them; I think of them as family, which fills me with warm feelings, and not with spooky ones; you know?). In the 1960s, a film of her life was created, with Carroll Baker playing her.

Clark Gable, who likely knew her better than anyone, was very right when he said she never wanted to be famous; only to be happy. Jean Harlow would most likely have been satisfied still being "Harlean Carpenter" and living in some middle class home someplace, being a housewife with plenty of kids and going to the movie matinee on occasion - dreaming of being the leading lady of that film only for about two hours, then happily returning to her world and knowing that was where she belonged. 

According to one MGM writer, "The day 'the baby' died there wasn't one sound in the commissary for three hours... not one goddamn sound."


"I'm not a great actress, and I never thought I was. But I happen to have something the public likes."

***

After all this researching I've done on Jean, I'm really happy I chose her for this blogathon. I learned so much about her; and if you'll remember, I chose her as one of the ten actresses I wanted to see more of in 2012, and now I'm definitely apt to see her movies. I sympathize with her story so much after reading about her. I feel particularly sad knowing she was about Lucy's age when she died.

Also, all the information I gathered for this post about her was what I learned online, so if you're a real hardcore Jean fan and know tons of information on her, feel free to correct me ;) I apologize for any discrepancies there may be with her health diagnosis, I tried my best! :) OH, also, if anyone wants to suggest any Jean movies as well as any biographies about her, please comment letting me know! I'm really eager to find out more about her and see some of her films. I'm especially looking for her books about her.

I hope you liked my contribution and be sure and check out Comet over Hollywood for the rest of the entries! There are sure to be many great posts and I can't wait to read them! :) And a special thank you to Jessica for arranging this blogathon to pay tribute to the many stars we lost way too soon.

Saturday, December 24, 2011

Humphrey Bogart Blogathon || Interview with a Bogie Fan + Me!

NOTE: This post was written a few days ago in anticipation of how busy I would be these past few days, and therefore I was supposed to get online and post it yesterday. But I had a lot of friends over, and was really busy, and I didn't get to do it :/ So I'm posting it today - the thing is, I already had another post planned for today. Since I already pledged myself to reviewing my very favorite Christmas film tomorrow, I'll still be going through with that post and will be publishing it later today. Yeah, I'll be popping up in your feed twice today. I don't like to bombard people with posts in one day, so I'm really sorry, guys! The post originally planned for the 24th will be up later. Thanks and sorry, everyone!

It's finally time for Meredith's "Humphrey Bogart Blogathon," in honor of Bogie's birthday! His birthday is actually on Christmas Day, but we're celebrating early here. Anyway, plenty of blogs have joined on this fun occasion and I'm sure there are going to be plenty of great posts, so be sure and check out the lineup at Meredith's blog, Forever Classics.

My love of classic films should be credited to my dad - he's the one who showed me my first one, and ever since I lost my heart to Classic Hollywood. He himself is a big movie buff, and one of his favorite actors is none other than Bogie! So for this post, I took it upon myself to interview him about Bogie. It took a lot of persuading (ME: Dad, I'm going to interview you for my blog! DAD: ....) , but I did manage to get some answers out of him, and then I took my own survey. So here is his answers and mine on the one and only, Humphrey Bogart! [My comments are in italics.]

Bogie Q/A With my Dad 

1. Which Bogie movie is your favorite?

DAD: (jokingly) Well, let me see... I really liked "We're No Angels," and then I loved "The Petrified Forest"....

ME: (rolls eyes) How about "Casablanca"?

DAD: Was he in that? Well, okay, I guess "Casablanca."

"Casablanca" is one of my dad's favorites movies ever. I dug up one of his old movie reviews for it, and  he says, "It doesn't get much better than this tale of intrigue and romance." He ended off his review by saying, "Thankfully, we'll always have Casablanca!"  I must agree.

The Bogie statue that my dad keeps in his office
2. Which Bogie co-star is your favorite?

DAD: Lauren Bacall.

ME: Why, and which movie?

DAD: Because they were married in real life, and "To Have and Have Not." 

ME: They fell in love on the set of that movie.

DAD: Yes. They used to tell Bogie's wife at the time [the incredibly jealous Meyo Methot], when he was out with Lauren, that he's "with the cast," as if to mean the whole cast - but it was just Lauren, really.

3. What's your favorite Bogie character?

DAD: Rick Blaine ("Casablanca"). Though it's hard to pick, he did play such hard boiled characters. They were always the toughest of guys.


4. What's your favorite Bogie line?

DAD: (still teasing) "Frankly my dear, I don't give a damn"?

ME: (rolls eyes again) I said Humphrey Bogart, not Clark Gable!

DAD: Okay, okay. "We'll always have Paris." (Casablanca).

I was pretty sure he was going to pick "Here's looking at you kid," obviously from the same movie, but I like this line, too. Then again, it's probably because I like Paris so much. 


5. "The Big Sleep" vs. "To Have and Have Not."

DAD: "To Have and Have Not."

ME: There was really no point in asking this one, was there? I can't blame you, "The Big Sleep" is so confuzzling!

He still likes "The Big Sleep", though. I think I liked "The Big Street" better - with Lucy and Henry Fonda. Okay, just kidding. Or maybe not... ?


6. What's your favorite Bogie/John Houston collaboration?


ME: (by accident) What's your favorite Bogie/John Ford collaboration?

DAD: (incredulous) Bogie and John Ford? They only made like one movie together...

ME: Ooops. I meant, Bogie and John Huston. They made plenty of movies together, didn't they?

DAD: "The African Queen."


Believe it or not, that's actually the book's
cover - then it's got "Humphrey Bogart" and
the author's name on the  back. Interesting...
to say the least.


7. What's the best book written about Bogie [that you've read]?

DAD: "Humphrey Bogart," by Nathaniel Benchley.

ME: (suspicious) Isn't that an old eighties biography on Bogie?

DAD: I guess so, but hey, upon it's release it was called the best book on Bogie to date!

ME: Yeah, but that was way back in 1985!

I'm just kidding. Honestly, the eighties aren't old to me at all, because this is coming from a girl who stares at her friends and insists that if something occurred seventy or sixty years ago, it's still technically "modern" times. (When you speak of history, anyway...)


8. Who directed Bogie best?

DAD: Howard Hawks.

ME: (pressing for more) And why? Which movie? Wait, let me guess - "To Have and Have Not"?

DAD: Yes and because he brought out the real Bogie!

I honestly don't know if he was joking here or not... [about the "real" Bogie] lol. :D


9. Who is someone you wished Bogie had worked with?


*mulls it over.* DAD: Alfred Hitchcock would have been cool.

ME: Good answer!

I really have to agree, why didn't that happen? That would have been really awesome, a Bogie/Hitchcock collaboration.


10. What's a character that Bogie was miscast in?

DAD: Finally, the last question!

ME: Okay, okay! So, what was Bogie miscast in?

DAD: Well, I don't really think he was right as Linus Larrabee in "Sabrina" (1954).

ME: I agree with you. But why?

DAD: Well, I just think he was too old - and it was a little hard to believe that Audrey Hepburn dumped William Holden for Humphrey Bogart.



Then it was my turn to answer my OWN questions!


Bogie Q/A With Me!

1. Which Bogie movie is your favorite?
The same as my dad - "Casablanca." I don't care if it's a stereotype to love this movie, it will forever be one of my favorites!

2. Which Bogie co-star is your favorite?
I really love Lauren Bacall, and Bogie and Bacall are one of my favorite off screen couples. But I'm going to have to go with Ingrid Bergman, as in "Casablanca." I just loved Ingrid and Bogie together! I mean, Bogie did once say: "I didn’t do anything I’ve never done before, but when the camera moves in on that Bergman face, and she's saying she loves you, it would make anybody feel romantic." But Lauren Bacall is a definitely a  close runner up, and Katharine Hepburn ("The African Queen"), too. 


3. What's your favorite Bogie character?
I have to agree with my dad here, too - Rick Blaine. But I also liked Charlie Allnut, from "The African Queen" (in terms of being a little more original).

4. What's your favorite Bogie line?
Again, totally unoriginal, but "Here's looking at you, kid." 

5. "The Big Sleep" vs. "To Have and Have Not."
"To Have and Have Not" - "The Big Sleep," confused the heck out of me, which I probably shouldn't feel so bad about, because that's what it usually does to most people. I don't think I'd be able to follow its plot if you paid me money, lol!

6. What's your favorite Bogie/John Houston collaboration?
"The African Queen", without a question. I loved Kate and Bogie together, and I really want to read the book she wrote about her time in Africa with Huston, Bogie, and Bacall. 
[via]

7. What's the best book written about Bogie [that you've read]?
I actually haven't read anything on Bogie yet! But I really loved Lauren Bacall's autobiography, "By Myself and Then Some." She talks lovingly of Bogie in it, and she actually made me cry when she talked about the last years of his life, and when he died. I really recommend it. You can read my review of it here.

8. Who directed Bogie best?
I think perhaps John Huston, but I also want to give a special nod to Michael Curtiz ("Casablanca"). An underrated director despite the famous film "Casablanca" is.

9. Who is someone you wished Bogie had worked with?
I too would have loved to see him work with Alfred Hitchcock. But in terms of co-stars, I don't know if this is weird or random - but I think it might have been interesting to see him and Vivien Leigh together. Okay, yes, weird and random for sure, but she's honestly the first one that popped into my mind. (Yeah, I don't know what's wrong with me either).

10. What's a character that Bogie was miscast in?
Linus Larabee all the way. Don't get me wrong - I love "Sabrina." I just have to agree a lot with what my dad said. Plus, if you read about what was going on backstage, it's not very pleasant. Bogie and Audrey didn't get along, he once said something like, it's okay to work with Audrey Hepburn so long you don't mind fifty takes (or something like that). Too bad, because both Bogie and Audrey are favorites of mine and I would have wanted them to get along! :/

***

Okay, I hope this post did manage to be entertaining, I really had to badger my dad to get take my interview! lol. And I also apologize once more for throwing off the blogging schedule I had already set out for myself, with so many posts to do this week. The other post should be up later today, and it'll set me back on track. But like I said, I don't like publishing two posts in a day so I'm real sorry, guys.

A big thank you to Meredith for hosting this blogathon, happy birthday to Bogie, and a merry Christmas in advance!!



Wednesday, December 21, 2011

Dueling Divas || Greer vs. Joan ["When Ladies Meet"]

I'm here to write a post for Backlots's "Dueling Divas Blogathon," but first, guys... THANK YOU!!! Over the past two days I have not only reached fifty followers, I've exceeded it. Honestly, you people, I can't thank you enough! Like, every one of you that follow me! I'm sorry if it sounds like I'm overreacting - but I'm thinking back to when no one followed me, and there were no comments, and it was just loneliness, and now I get awesome comments from all of you like everyday, and for me it's really really supportive. <3 So thanks soo  much for following me, I'm really Vivien Leigh cat smiling, and in my appreciation here's a GIF of Greer smiling as large as I am now:

[via]

Thank you so, so, much all of you! And now, onto the blogathon [but THANK YOU AGAIN!]:

***
A quick warning: There may be a few spoilers in this, but I'll give you a great fair warning when they're on the way. Apologizes!

About a month ago, I wrote a review for a 1941 MGM vehicle, "When Ladies Meet," starring Joan Crawford, Robert Taylor, and one of my newest favorite actresses, Greer Garson. In my review I gave this film three out of five stars, and you can check out the review to read more about what I thought of the actual movie. For this blogathon, I'm going to focus on the rivalry between Greer and Joan's characters in this movie - though the irony of it is, at times they don't really act like rivals at all. Here's the plot, supplied by IMdb [with some slight doctoring by yours truly]:

Mary (Joan Crawford), a writer working on a novel about a love triangle, is attracted to her publisher, Rogers (Herbert Marshall). Her suitor Jimmy (Robert Taylor) is determined to break them up; he introduces Mary to the publisher's wife, Claire (Greer Garson), without telling Mary who she is - and the two land up liking each other. 


In this first ring we have --

[via]


Claire Woodruff. [Greer Garson]. Beautiful redheaded wife of book publisher Rogers Woodruff [Herbert Marshall]. Bright personality and a little bit of a social butterfly. An elegant dresser and a fan of color blocking. She is an expert sailor and knows everything there is about boats and the like. She does hurt inside over her husband's numerous, obvious infidelities, but it's hard to tell by her bubbly, bright personality.  


And then over in the other ring, we have --
[I actually made this one, that's why it's so awful. ';)]


Mary Howard. [Joan Crawford]. Sometimes called Minnie by friends. A liberally thinking best selling novelist who is appreciative of new thinking and ideas. [Her latest novel happens to be about a love triangle.] Adored by suitor Jimmy [Robert Taylor] but madly in love with her new publisher, Rogers. He's married - but it doesn't matter... sort of. Interesting dresser and lover of big spectacle glasses that make her eyes look even bigger [if that's possible.]













Now that we've got our characters straight, the plot consists of a love triangle between these two beautiful ladies and Herbert Marshall - with Robert Taylor pulling the strings. His character, Jimmy, meets Claire at a party the same night Mary and Rogers are having a romantic dinner at home. He decides to have Claire and Mary meet, hence the title of this film, in hopes of breaking up Mary and Rogers's relationship. However, when he introduces the two to each other, he tricks Claire into pretending to be someone else, and therefore Mary doesn't know that the girl she is so quickly becoming friends with is actually her lover's wife. (After all, she was probably expecting  a frump, not Greer Garson.)

Okay, I'm going to give away the ending of the film here just because I think it needs to be included, but if you'd like you can just skip onto the next paragraph and onto the duel! In the end of the film, everything comes clean. Claire and Mary figure out who each other really are, and Rogers breaks it to Mary that he was never planning on leaving Claire for her. Claire and Mary manage to make amends, for they have respect for each other (after a very deep conversation between the two of them), and Claire leaves by herself (with Rogers chasing after her a little later.) Mary and Jimmy are left alone and the movie ends with the two of them in each other's arms. Predictable for the 40's, the married couple gets back together (most likely), proving adultery wrong - it all coincides with the Hays Code.

The irony of this rivalry is that when Claire and Mary actually meet each other, it isn't even a rivalry at all. Though before they probably contained nasty thoughts about one another, when they meet, well, it's all different - albeit, they don't know really know who the other is. Upon their first meeting, Jimmy introduces Claire to Mary as his "cousin," though Claire and Jimmy purposely act very flirty with one another, and Mary becomes obviously irked. But not much later and the two women are friends, and that night they have a very personal, honest conversation between the two of them. It is here where Claire gives away that her husband is a publisher (she doesn't give a name), and admits his many infidelities and how she feels about them. Here is where the two women grow in immense respect for each other: a respect so great that about ten minutes later, when Rogers bursts in the room and the truth comes out, they still manage to uphold that decency for one another.

Which lady was I rooting for? Okay, it's pretty obvious and call me biased: but Claire, or Greer, all the way. Yes, Mary was the writer, which was one thing I did like about her. But to me Claire's personality was the more likable one. She was really charming, and fashionable, and pretty - you kind of wondered what was wrong with Rogers for cheating on her all the time! I was "impressed", so to say, by her knowledge of sailing. There's a scene where she takes Jimmy on a boating trip that's so hilarious, mostly because Claire knows possibly everything about the boat and Jimmy is a mess. ;)

So yes, I was Team Claire. Since I didn't really like the Rogers character at all ("You dirty cheating rat!"), I more or less wanted Claire to land up with Jimmy. [SPOILER: That obviously didn't happen, but I really would've liked it to, they would've made a cute couple, I think.] 

Then there was Mary. I liked her obviously because she was a novelist, but a lot of it ended there. [Yeah, I can see you guys shaking your heads because you think this obviously isn't a fair comparison, not for me.] I think what bothered me the most was her ignorance of Claire [before she met her and she was a figment of existence, probably a frump who would happen to be her lover's wife]. I think it made her look selfish that upon beginning her affair with Rogers, she was only constrained by a little bit of guilt. It almost disgusted me when she took Rogers out to her friend's farm in Connecticut [this would later become the location of her meeting with Claire] to carry out the affair in a safe environment, more or less to protect herself instead of avoiding hurting Claire.

Plus, her fashion sense was kind of weird. I liked Claire's elegant gowns a lot (and the color blocked day dress she's wearing in the GIF above), but I just wasn't going crazy over Mary's Star Wars-Jedi like dress. And when you threw in the glasses she kinda looked like Gandhi.

When this movie was made, Greer was known for her work in 1940's "Pride and Prejudice", but Joan Crawford was the bigger movie star - it would be another year until the release of "Random Harvest" and "Mrs. Miniver," and Greer's successes in these two vehicles would launch a career that would make her the biggest star of the World War Two era. So at the time, Joan was the more popular one, but reviews of the film today often present Greer as the better actress in this film, and I must agree. But as I said in my review of this movie, Greer and Joan's acting styles are completely different - Greer is refined, Joan is more obvious - and therefore it isn't fair to contrast the two.

I did my best to try and find what the off screen relationship was between the two of these actresses: did they like each other? or not really? Here's what I found:
Greer showing off her legs backstage.


  • "Joan was completely nonplussed that I refused to feud with her," said Greer. Apparently Joan grew more irked during filming when she perhaps realized how Greer's character was steeling the film, and it was not a "thankless" role as she had anticipated. About eight years later, Joan would seek revenge by embarrasing Greer at a dinner party. Joan seated Greer's then time beau (and later husband), Buddy Fogelson, at the main table with herself, and sent Greer to sit at the studio electricians table, "Because you get along with everybody, dear!"
  • Joan's camp on the other hand, claims, that Joan was simply surprised that Greer was being headlined in this film along such big stars as she and Robert Taylor. She couldn't understand what she was doing there - but then again, she thought Claire's role a "thankless" one.

Oh, well!

Whose side are you on? [Even if you haven't seen this movie.] This is an interesting rivalry, on screen (where at times it wasn't much of a rivalry at all), and off screen, it appears, too!

I had a lot of fun with this topic and I thank Lara at Backlots for coming up with such an interesting topic! Be sure and go over to her blog so you can check out all the other entries! Thank you for hosting this, Lara! 


 ***
By the way, despite the fact that I like Greer Garson a LOT (as we all know) and I was on her side in many ways in this post, I don't want you all to think I despise Joan or anything! And yes, I am Team Bette... but really. And to prove it to you, here's a candid GIF of Joan looking beautiful  with some gorgeous auburn hair: 


Oh, and I thought you all ought to know that while I was writing this post, Jeopardy was on TV and there was a Classic Cinema topic!!! One of the questions was about "Mrs. Miniver," and I nearly fell out of my chair before screaming at the screen the quite obvious answer! I got the daily double, too, after endlessly  insisting, "The African Queen! The African Queen!" 

THANKS AGAIN FOR THE FIFTY + FOLLOWERS, EVERYONE! :) I'll be back soon to write a post for the Humphrey Bogart Blogathon!