Review: Leonard Maltin’s Classic Movie Guide

turner-classic-movies-presents-leonard-maltins-classic-movie-guide-paperback-book-234_500The third edition of Leonard Maltin’s Classic Movie Guide drops tomorrow (September 29, 2015). Updated for the first time since 2010, and presented by Turner Classic Movies (TCM), the Guide covers films “From the Silent Era through 1965.” There’s more than 200 new entries — some of which are running on TCM tonight, including our TCM Party at 8:00 p.m. Eastern, Why Be Good? (Maltin gives it 3 stars out of 4, in case you were wondering.)

The bulk of the book is capsule reviews, each of which includes the film’s year of release, running time, rating, director, major cast, and symbols indicating what formats are available. It’s fairly comprehensive, with more than 10,000 entries. Although it’s light on films before 1920, there’s plenty in here that I’ve never heard of. The “Index of Stars” at the end of the book is a partial listing of selected actors’ filmographies and is handy for recalling the name of a movie when you can only remember who starred in it.

Continue reading “Review: Leonard Maltin’s Classic Movie Guide”

Announcing the 4th Annual WHAT A CHARACTER! Blogathon

UPDATE – November 21: WHAT A CHARACTER! Day 1 Posts are here.

UPDATE – November 13:
The WHAT A CHARACTER! Blogathon has been postponed until next weekend, November 21-22-23. We will promote everyone’s post as usual during those three days. Thank you for your patience and understanding.

WE’RE BACK for number 4!

WHAT A CHARACTER! — a phrase borrowed from Turner Classic Movies (TCM) so that we could dedicate a blogathon to those whose names few remember, but whose faces are familiar – honors the players who rarely got leading parts, exhibiting instead a versatility and depth many leading actors wished they had. Aurora, Kellee, and I never tire of seeing them show up in films or paying tribute to their talents, and as the previous three installments of this event have proven, neither do you. So here we are with the fourth annual WHAT A CHARACTER! Blogathon.

What-A-Character-2015-02 Continue reading “Announcing the 4th Annual WHAT A CHARACTER! Blogathon”

What A Character! 2014 – Ned Sparks

Brusque and grouchy, Ned Sparks’ lovable curmudgeons can usually be found as the still center of a storm of dizzy dancers, temperamental producers, and gangsters in crisis. His onscreen persona was so deadpan that he was reportedly insured with Lloyd’s of London for $100,000 against any photographs taken of him actually smiling. Yet there’s more to this primo supporting player than just a grouchy face…he got his start in show biz as a singer during the 1898 Klondike Gold Rush, and was blacklisted on Broadway for his role in starting the Actors’ Equity Association (AEA).

Edward Arthur Sparkman was born this day in 1883 in clean, friendly, and polite Canada, specifically Guelph, Ontario. He left home at 16 to try gold prospecting in Alaska. When that failed, he joined a musical company in Dawson Creek, and per The New York Times, “knocked around in tent theatricals, medicine shows, and carnivals.” Wouldn’t this be a great movie? Can’t you just hear him complaining? But wait…it gets better… Back in Canada by age 19, he attended a seminary. Briefly. But still. He also worked on a railroad before finally landing in a Toronto theater. Ned-Sparks-470wBy 1907, he was appearing on Broadway, and the Ned Sparks persona we all now know and love made its first appearance as a “cynical desk clerk” in a play called Little Miss Brown. His stage success earned him a six-picture deal with Louis B. Mayer, and, in his screen debut, a re-make of the play in 1915, he played this same role.

Thus the mid-teens saw Sparks working in both New York and Hollywood. Around this time, he was involved with organizing AEA, which sought to protect stage actors. At the time, producers set working conditions and pay scale; could fire anyone, at any time, for any reason; and there was no compensation for the unlimited rehearsal time. In the late teens, Equity went on strike, which led to improved working conditions. However, many members were blacklisted, and as Sparks was one of the founding members, his Broadway career seems to have been severely curtailed. After working pretty much continuously from his arrival in New York through 1918, he didn’t work onstage again until 1920, appearing in his final production in 1921.

He was still working in silent films though, three or four a year, until his first talkie in 1928, The Big Noise. I won’t lie and tell you I’ve seen any of Sparks’ silents. I’m sure he was good. But his monotone foghorn of a voice and his irritable attitude are so instantly recognizable, and add so much to any picture he’s in, that I can’t imagine he could have affected the audience as much without them. Sound proved a godsend to Sparks’ career, and to us as classic movie fans.

I recommend anything he’s in, but my favorite Sparks year is 1933, and here are three from that year you shouldn’t miss.

42nd Street

Lady for a Day

Gold Diggers of 1933

In 1936, Sparks admitted that the $100K Lloyd’s of London insurance policy story was a publicity stunt. He was “only” insured against smiling for $10,000. Though his personal life included a messy divorce and he lost touch with many of his friends after his retirement, his voice and unflappable cantankerousness pretty much guaranteed his immortality, not only in his films, but as a frequently-caricatured figure in the cartoons we can still enjoy.

Sparks as portrayed in the 1936 Warner Brothers' cartoon, THE COOCOO NUT GROVE
Sparks as portrayed in the 1936 Warner Brothers’ cartoon, THE COOCOO NUT GROVE

Bonus video that won’t embed: Cranky Ned in “Malibu Beach Party”

WHAT A CHARACTER! 2014 – Day 2 – Monday posts

The Third Annual WHAT A CHARACTER! Blogathon — hosted by myself, Aurora of Once Upon A Screen, and Kellee of Outspoken and Freckled — is now in its second day of informative and entertaining posts, as the movie blogosphere spotlights those unsung actors on the periphery of the screen, bringing them to the center of attention.

What-A-Character-2014-01

Vienna’s Classic Hollywood give overviews of not one, but two, unsung character performers, Charles Lane and Fritz Feld.

Sister Celluloid declares that Kathleen Howard “as W.C. Fields wife…took henpecking to operatic heights.”

Caftan Woman celebrates Esther Dale‘s “ability to take even a few seconds of screen time…and turn it into something memorable.”

Aurora at Once Upon a Screen sets out to prove that Thomas Mitchell is “synonymous with versatility.”

Joel’s Classic Film Passion takes a look at two of Harry Dean Stanton‘s many important films, Repo Man and The Straight Story.

Grand Old Movies highlights “that darling boy” whose face you know, but name you might not… Chester Clute.

Movies Silently writes that “One saving grace of Souls for Sale [1923] is its wonderful cast of character actors,” including Mae Busch.

Silent-ology pays tribute to the “funniest drunk of them all,” Arthur Housman.

Second Sight Cinema recalls Peter Lorre, “a great artist who is beloved, but only for a fraction of his gift.”

Silver Scenes investigates Dennis Hoey, the actor best known for portraying Inspector Lestrade in Universal’s Sherlock Holmes series.

Amy’s Rib inventories her favorite films among Charles Coburn‘s work.

Tales of the Easily Distracted finds that Agnes Moorehead was “was practically bulletproof with her chameleon dexterity.”

Reckless Review – CHARLIE CHAPLIN: A BRIEF LIFE by Peter Ackroyd

Charlie Chaplin: A Brief Life, the new biography by Peter Ackroyd, definitely lives up to its billing. Yet for all its brevity, it’s packed with telling details about Chaplin and his life and work. And at times, it’s really two biographies in one, as Ackroyd consistently describes the polarity between the Little Tramp, “Chaplin’s shadow self or alter ego,” and the man himself, which becomes the through line of the story of their parallel lives.

Where the Little Tramp was infused with “common humanity,” Chaplin apparently demonstrated very little or none of that trait in real life. Simply put, he used many friends and colleagues like the props in one of his films, tossing them aside when he was done. He expected absolute fidelity from his lovers and wives while pursuing any other woman who struck his fancy. He seemed to flirt with Communism but equivocated about his beliefs and continued to make a fortune from the stock market.

ccabl-500w

If “hypocrite” is one way to describe Chaplin, another might be “control freak.” I had already known that he was a perfectionist who took on nearly every task in the making a film, but here Ackroyd relates this tendency to the entertainer’s constant anxiety about poverty while giving specifics about the multiple takes and bullying Chaplin employed on set, techniques that wore down his actresses and crew. “Multiple takes” could often mean tens, in some cases hundreds. The scene in City Lights where he buys a flower from a flower girl (Virginia Cherrill), in the process discovering that she is blind, “took two years and 342 takes to assemble.”

The reporting of the City Lights story is just one example of the remarkable even-handedness Ackroyd maintains throughout the book. He is sympathetic to the entertainer’s childhood trauma, tracing the roots of Chaplin’s personality in his unstable, impoverished early life in truly dismal South London, but he doesn’t shy away from “the erratic, whimsical and imperious way in which Chaplin conducted his private life” either. Of his relationship, or lack thereof, with Cherrill, Ackroyd writes, “At the age of twenty she may have been too old for him.” Chaplin’s ill treatment of Lillita MacMurray (aka Lita Grey), first cast as leading lady in The Gold Rush, may be the most egregious example of his behavior towards women, but there are many other episodes presented here.

Despite the intermittent unpleasantness of his subject, the author also manages to capture the magic of Chaplin’s work, imparting a desire at least in this reader to see more of it, particularly A Woman in Paris, with which “Chaplin established a new cinema of social manners as well as a novel style of acting,” influencing both Ernst Lubitsch and Michael Powell. By what alchemy can someone so detached and cruel produce such heartbreaking emotions in the audience, about which he was ambivalent?

To sum up, Brief Life is a fascinating read. Obviously, completely new content would be an impossibility, but Ackroyd’s perspective on Chaplin’s duality is refreshing and insightful. As regular readers know, I am a relatively new silent film fan, and I learned quite a bit. If there is any flaw in it, it is the lack of footnotes or endnotes; I prefer the line between facts and interpretation to be clearer than that. There is, however, an extensive bibliography. It also does this designer’s heart good to see a book so appropriately well-crafted and old-fashioned — beautifully typeset, complete with a colophon, and silent-era-style typefaces for the headings, on deckle-edged pages. In some cases they do make them like they used to. Brief Life is perfect for any of those with an interest in filmmaking in general or Chaplin in particular…as long as they don’t mind a little of the gilding wearing off the idol.

colophon-deckle-500w

Charlie Chaplin: A Brief Life by Peter Ackroyd is published by Doubleday on October 28.

The getTV Mickey Rooney blogathon MEGAPOST

The audience and I are friends. They allowed me to grow up with them. I’ve let them down several times. They’ve let me down several times. But we’re all family.

Mickey Rooney would have celebrated his 94th birthday this month, and in tribute, getTV is dedicating a substantial portion of the month’s programming to him. Kellee (@IrishJayHawk66) of Outspoken & Freckled, Aurora (@CitizenScreen) of Once Upon a Screen, and myself, Paula (@Paula_Guthat) of Paula’s Cinema Club, are thrilled to join forces with getTV for their first ever blogathon collaboration to celebrate Rooney’s career with The getTV Mickey Rooney Blogathon, running the entire month of September.

As the posts are published, I will update this list. Check back for great new Mickey Rooney posts throughout September.

All about getTV
getTV is a digital subchannel available over the air and on local cable systems dedicated to showcasing Hollywood’s legendary movies. The network, operated by Sony Pictures Television Networks, launched in February 2014. It features Academy Award® winning films and other epic classics titles. getTV distribution is close to covering nearly 70 percent of all U.S. television households across 65 markets, including 40 of the top 50 designated market areas (DMAs). The network is broadcast by Sinclair Broadcast Group, Univision Television Group and Cox Media Group owned stations and others. For information, visit getTV and connect with the network on Facebook and Twitter @getTV.

If you’d like to submit a blog post (or several) dedicated to Mickey Rooney – on his life, career, television work or a particular film – you can do so by submitting the entry to any one of the event hosts throughout the month of September.

Paula of Paula’s Cinema Club (leave comment below) – Twitter @Paula_Guthat
Aurora of Once Upon a Screen and Twitter @CitizenScreen
Kellee of Outspoken & Freckled and Twitter @IrishJayHawk66

blogathon2

We ask only that you please do the following:

  • Leave us a comment or send us a Tweet with your preferred Rooney topic
  • Let us know when you post your entry so we can promote it
  • Please copy @getTV on all tweets related to this event
  • Include the blogathon banner provided by getTV (above) in your post as well as the following statement:
    • “This post is part of The getTV Mickey Rooney Blogathon hosted by Once Upon a Screen, Outspoken & Freckled and Paula’s Cinema Club taking place throughout the month of September. Please visit the getTV schedule for details on Rooney screenings throughout the month and any of the host sites for a complete list of entries.”
  • Have fun!

Thank you!

Announcing the getTV Mickey Rooney September 2014 Blogathon

In April of this year the world lost Mickey Rooney, an entertainer whose career spanned an unbelievable nine decades. Born in Brooklyn, New York, on September 23, 1920, Rooney was on the Vaudeville stage almost before he could talk, and appeared in his first movie at the age of six. From there the movies became his life. With sidesteps into radio and television Mickey Rooney maintained an enviable relationship with audiences for nearly the entire span of his life.

The audience and I are friends. They allowed me to grow up with them. I’ve let them down several times. They’ve let me down several times. But we’re all family.

Mickey Rooney would have celebrated his 94th birthday this September, and in tribute, getTV is dedicating a substantial portion of the month’s programming to him. Kellee (@IrishJayHawk66) of Outspoken & Freckled, Aurora (@CitizenScreen) of Once Upon a Screen, and myself, Paula (@Paula_Guthat) of Paula’s Cinema Club, are thrilled to join forces with getTV for their first ever blogathon collaboration to celebrate Rooney’s career with The getTV Mickey Rooney Blogathon, running the entire month of September.

mickey-rooney-young-500w

As the posts are published, I will update the blogathon megapost. Check back there for great new Mickey Rooney posts throughout September.

All about getTV
getTV is a digital subchannel available over the air and on local cable systems dedicated to showcasing Hollywood’s legendary movies. The network, operated by Sony Pictures Television Networks, launched in February 2014.  It features Academy Award® winning films and other epic classics titles. getTV distribution is close to covering nearly 70 percent of all U.S. television households across 65 markets, including 40 of the top 50 designated market areas (DMAs). The network is broadcast by Sinclair Broadcast Group, Univision Television Group and Cox Media Group owned stations and others. For information, visit getTV and connect with the network on Facebook and Twitter @getTV.

getTV’s programming in September will include a Labor Day Marathon dedicated to Mickey Rooney as well as themed double features every Thursday at 7 PM EST, as follows:
Thursday, September 4 – Nautical Musicals
Richard Quine’s SOUND OFF, 1952: 7:00 PM ET; 10:40 PM ET
Richard Quine’s ALL ASHORE, 1953: 8:50 PM ET; 12:30 AM ET

Thursday, September 11 – Crime Tales
Peter Godfrey’s HE’S A COCKEYED WONDER, 1950: 7:00 PM ET; 10:40 PM ET
Richard Quine’s DRIVE A CROOKED ROAD, 1954:  8:45 PM ET; 12:25 AM ET

Thursday, September 18 – Military Comedy
Don Taylor’s EVERYTHING’S DUCKY, 1961:  7:00 PM ET; 11:10 PM ET
Richard Quine’s OPERATION MAD BALL, 1957: 8:50 PM ET; 1:00 AM ET

Thursday, September 25 – Young and Older Mickey
Roy William Neill’s BLIND DATE, 1934:  7:00 PM ET; 12:20 AM ET
Carl Reiner’s THE COMIC, 1969: 8:35 PM ET; 12:20 AM ET

You can access the entire getTV schedule here and check to see if getTV is available in your area here.

The getTV Mickey Rooney Blogathon

If you’d like to submit a blog post (or several) dedicated to Mickey Rooney – on his life, career, television work or a particular film – you can do so by submitting the entry to any one of the event hosts throughout the month of September.

Paula of Paula’s Cinema Club (leave comment below) – Twitter @Paula_Guthat
Aurora of Once Upon a Screen and Twitter @CitizenScreen
Kellee of Outspoken & Freckled and Twitter @IrishJayHawk66

blogathon2

We ask only that you please do the following:

  •     Leave us a comment or send us a Tweet with your preferred Rooney topic
  •     Let us know when you post your entry so we can promote it
  •     Please copy @getTV on all tweets related to this event
  •     Include the blogathon banner provided by getTV (above) in your post as well as the following statement:
    • “This post is part of The getTV Mickey Rooney Blogathon hosted by Once Upon a Screen, Outspoken & Freckled and Paula’s Cinema Club taking place throughout the month of September.  Please visit the getTV schedule for details on Rooney screenings throughout the month and any of the host sites for a complete list of entries.”
  • Have fun!

Thank you!

Participants
OPERATION MAD BALL – Once Upon a Screen
THE BLACK STALLION – Outspoken & Freckled
NATIONAL VELVET – Minoo for Classic Movie Hub
BLIND DATE – Paula’s Cinema Club
ALL ASHORE – Vintage Cameo
‘Andy Hardy’ vs. 1950s Rooney – Critica Retro
THE ATOMIC KID – Jack Deth
BREAKFAST AT TIFFANY’S – Girls Do Film
Rooney at Disney – Margaret Perry
HOW TO STUFF A WILD BIKINI – Blog of the Darned
STRIKE UP THE BAND – [This] Girl Friday
MY PAL, THE KING – Sister Celluloid
“The Comedian” on “Playhouse 90” – Caftan Woman
KILLER MCCOY – Another Old Movie Blog
BOYS’ TOWN – AnnMarie at Classic Movie Hub
IT’S A MAD, MAD, MAD, MAD WORLD – Maeghan
LOVE FINDS ANDY HARDY – Once Upon a Screen
BLIND DATE – Rob
BABES ON BROADWAY – The Hollywood Revue of 2014

 

British Invaders Blogathon: THE SECRET HISTORY OF MI6 is a movie waiting to happen…

This post is part of A Shroud of ThoughtsBritish Invaders Blogathon. Terry has been blogging there for an amazing 10 years. Happy blogaversary, Terry, and many many more!

britishinvadersaharddaysnight-500w
As you may know, one of my favorite film genres is the spy picture. I’ve spent enough hours with James Bond, Jason Bourne, Miss Froy, Captain Hardt, Gus Bennett, Hubert Bonisseur de la Bath, and Evelyn Salt to know a good spy story when I see one, or in this case, read one. And quite appropriately — since Britain’s spies dominate the world’s pop culture consciousness — it’s about as British as you can get.

Secret-History-MI6
I love this cover design by Tal Goretsky, click through to visit his site

On the occasion of the 100th anniversary of Britain’s Secret Intelligence Service (MI6’s original and still official name) in 2009, its then-chief Sir John Scarlett commissioned Keith Jeffery, a History professor at Queen’s College Belfast, to write a history of the organization from its founding in 1909 through its adolescence in the early Cold War, 1949. The result is The Secret History of MI6, a fascinating tale of dedication, determination, occasional infighting, and patriotism.

Right away, I was surprised to learn that one of the most famous and highly-regarded intelligence services in the world was so underfunded that, at various times until the early 1940s, most personnel were not paid. So only those with sufficient private incomes could afford to work there, which would explain that upper-crust style that has carried through to many of the movies.

Colin Firth looking fine in a three-piece suit in TINKER TAILOR SOLDIER SPY  (2011)
Maybe someone should look into how these guys are paying for their snappy suits…I’m just saying. TINKER TAILOR SOLDIER SPY (2011)

Other aspects of the book will seem familiar as well. After all, the two authors who are arguably most responsible for our collective notions of how spies and spying work — Ian Fleming and David Cornwell (aka John LeCarré) — were both employed in British intelligence (Fleming was in naval intelligence, Cornwell in SIS). Graham Greene, another purveyor of espionage tales like Our Man In Havana, was recruited into SIS by his sister, Elisabeth, who already worked there. (His supervisor? Now-notorious double agent Kim Philby.)

For instance…the chief of the Service was always known by a single letter — not M, but C, from the last name of the first chief, Sir Mansfield Smith-Cumming. There is an actual Q or Quartermaster Branch, officially known as “Stores and Equipment Administration.” Q Branch’s first project, in 1915, was secret writing ink. Agents were often referred to by numbers, though not double-0s.

From the very beginning, many field agents and “local talent” did (and probably still do) enjoy the high life. As early as 1910, Cumming wrote in his diary that spies always wanted more money than their information was worth and “‘all…without exception make a strong point of [eating and drinking] in the best style and at the most expensive restaurants.'” Cumming himself was “a keen pioneer motorist and a hair-raisingly fast driver,” who helped found a yacht club and got his pilot’s license in 1913 when he was 54 years old.

universalexportsAnd, just like Austin “Danger” Powers, most British operatives conducted their business under their own names, usually with international business cover. Just like James Bond’s Universal Export. (A catch-all governmental office was also invented early on, specifically to provide cover — Passport Control, employees of which all have diplomatic immunity.)

On the other hand, there are the stories I hadn’t heard. Jeffery was faced with a tough task when he agreed to write Secret History. SIS routinely destroyed all its intelligence. Almost as soon as information was received at headquarters and distributed to the relevant department or office, the papers were burned. However, he managed to find material enough for several great movies or mini-series.

One aspect of espionage I never thought of before is the difficulty the British had in disguising the intel they got from the signals interception and decryption at Bletchley Park during World War II. Jeffery illustrates in several instances that If they had acted on everything they knew, it would have been obvious they had broken the code, and the Nazis would have changed it. I wonder if this will be addressed in The Imitation Game, the upcoming movie about Alan Turing.

Another movie-ready WWII story is that of the “Dick Jones” network, which ran very successfully in Tunisia, after a rough start. “Jones” was captured, imprisoned and sentenced when first dropped into the country in late 1942, but was released by the French authorities when the Germans invaded. He had organized well during his stay in prison and by November 1942, his network was supplying information “‘so operationally valuable that First Army were literally hanging on our daily signals to them.'” The network grew with “high grade morale,” which led to “low grade security,” and many were arrested in January 1943. Some were executed and “Jones” himself landed in Colditz Castle as a prisoner of war.

A biography of Cumming, the first chief of SIS, would also make an interesting film. Cumming endured various personal tribulations while fighting to keep the fledgling Secret Service alive and separate from other agencies and branches of government. Now universally acknowledged to have been the perfect choice for the job, he was basically making up the espionage playbook as he went along, and his position was never secure at the time. Aside from fast vehicles, he was fascinated by gadgets and tradecraft, and some of his techniques are still in use today.

The book also includes accounts of British/French espionage successes during WWII. One in particular is that of Marie Madeleine Fourcade, and I hope it gets optioned soon. Fourcade, born the same year as SIS, led the French Resistance network Alliance, which gathered intel about German logistics inside occupied France and transmitted it by various means to Britain. This was incredibly dangerous work, and many Alliance members were captured, tortured, and killed by the Gestapo. Fourcade herself was captured four times. She was released twice, and twice she escaped — once by disrobing and squeezing herself out of a cell window, and once by being smuggled out in a mailbag. She and all her network had animal codenames, thus the title of her book, L’Arche de Noé, or Noah’s Ark.

A few of the faces of courageous Marie Madeleine Fourcade, leader of the Alliance network in occupied France during World War II
A few of the faces of courageous Marie Madeleine Fourcade, leader of the Alliance network in occupied France during World War II

 The Secret History of MI6 is a scholarly work and does sometimes get bogged in bureaucratic minutiae, but the vast majority of it is a compelling read. I do hope there will be a second volume, at least covering the rest of the 20th century.

Queen Elizabeth british flag parachute

 

31 Days of Oscar: Week 3 — ACTING

We have now arrived at week 3 of the 31 Days of Oscar blogathon, which coincides with Turner Classic Movies’ month-long celebration of the very best in cinema. Co-hosted by me (@Paula_Guthat), Aurora (@CitizenScreen) of Once Upon A Screen, and Kellee (@IrishJayhawk66) of Outspoken & Freckled, the third installment of our Second Annual Oscar extravaganza addresses Acting, arguably the most remembered aspect of any film, particularly Academy Award contenders.

Hepburn Oscar banner

For various reasons, including a successful run of Blue Jasmine at Cinema Detroit, I’ve been thinking more about the Best Actress category this year than any other. Oscar front-runner Cate Blanchett is simply genius in the title role. Many people have mentioned to us that her acting (and to a lesser extent, that of the rest of the cast) are the reason they like or even love this unexpectedly downbeat movie. (Sally Hawkins is, of course, excellent. But Andrew Dice Clay? Really? Really. He’s actually good in it.) And I have agree, and also add that I think this is because Blanchett makes Jasmine seem like a real — albeit self-absorbed and delusional — person. I’m pretty sure Blanchett will win, she just earned a BAFTA, but the other contenders are Amy Adams, Sandra Bullock, Judi Dench and Meryl Streep, so I guess it’s not a done deal. Be that as it may, I believe that Blanchett, assisted by the rest of Jasmine‘s acting troupe, is what kept people coming into the theater seven months after the film’s premiere.

And now, without further ado, here are this week’s posts:

Pam at Once Upon A Screen — The Golden Age of Hollywood Revisited: Henry Fonda Finally Wins An Oscar

The Gal Herself — In Praise of Practical Magic: Julie Andrews

Emily of The Vintage Cameo — Actors Playing Actors

Margaret of The Great Katharine Hepburn — Katharine Hepburn’s One and Only Academy Awards Appearance

Rich of Wide Screen World — Oscar Trading Cards: Actor Assortment

Karen of Shadows and Satin — Van Heflin in Johnny Eager (1941)

ImagineMDD — Hume Cronyn: One Life, a Boatload of Characters

Lê of Crítica Retrô — Best Oscar Acceptance Speeches

Kelly of …On Popcorn and Movies — The Origins of Smolder…Gary Cooper and a little bit about Pitt

Ivan of Thrilling Days of Yesteryear — Stuart Whitman in The Mark (1961)

Shane of Classic Film Haven — The Amazing Stories of Harold Russell and Haing S. Ngor

Aurora of Once Upon A Screen — Spencer Tracy: Oscar and the Actor’s Actor


More of the Second Annual 31 Days of Oscar Blogathon:

Week 1 – SNUBS posts are here.
Week 2 – Music, Costumes, Cinematography, Writing, etc. posts are here.
Week 4 – The Directors posts are here.

31 Days of Oscar – The Snubs: Barbara Stanwyck in STELLA DALLAS

This chorus girl could grab your heart and tear it to pieces.
— Frank Capra

It’s difficult to consider Oscar snubs without thinking of Barbara Stanwyck. I remember reading a few years ago that she had never won an Academy Award. “That can’t be right,” I thought. One thing about this modern world, no one ever has to wonder about any factual information. In a couple minutes, I had confirmed without a doubt that, though Stanwyck received an honorary Oscar for “superlative creativity and unique contribution to the art of screen acting” in 1982, she had been nominated four times for the Best Actress Oscar, and indeed had never claimed the prize.

The four nominations were for her work as: the title character in Stella Dallas (1937), Sugarpuss O’Shea in Ball of Fire (1941), Phyllis Dietrichson in Double Indemnity (1944), and Leona Stevenson in Sorry, Wrong Number (1948). Of these, the Stella Dallas loss is the one that Stanwyck herself apparently regretted.

Stella posterThis film had the kind of source material that still draws nominations today. It was based on an acclaimed novel about a woman who marries up and can’t fit in. Eventually she gives up her daughter, whom she loves more than anyone or anything else in the world, so the latter can have a better life. The role required the actress to age 20 years. It was a plum, and Stanwyck wanted it. However, producer Samuel Goldwyn wanted a screen test. Stanwyck felt she’d proven her abilities over seven years working in Hollywood, and refused to make it.

She was not a sure thing to play Stella. The director, King Vidor, wanted her to, but Goldwyn was remaking his own 1925 version of the film, and he maintained that Stanwyck didn’t have enough sex appeal. He favored, among others, Ruth Chatterton, who turned it down.

One of many things I’ve learned from reading Victoria Wilson’s comprehensive Stanwyck bio, Steel-True, is that Joel McCrea, a frequent co-worker and friend of Stanwyck’s, was enlisted by her agent and friend, Zeppo Marx, to persuade her to make the necessary test. McCrea got nowhere. He then approached Goldwyn and pointed out that if Stanwyck was dating the handsome and very popular Robert Taylor, then she must have something going on.

I always knew Taylor was idolized in his day. Another thing I’ve learned from Steel-True is how really extremely popular he was. More than 25 years before the Beatles, Taylor was routinely getting mobbed and having his clothes torn off. He often needed a police escort to go out in public.

Goldwyn wouldn’t hear any of it. Stanwyck would have to agree to a test, which she eventually did. Per Steel-True, her test was cut into a reel with 47 others, but there was no doubt about it. Even Goldwyn had to agree, Stanwyck was Stella.

Stella-Laurel-color-tintStanwyck is stunningly great in the film. She simply became Stella Dallas, cheap and vulgar yet lovable and generous, so that the melodramatic aspects of the character evaporate and leave a real person. She makes it believable that someone who desperately wants to move up in class somehow doesn’t know she is too much. If you don’t feel for her in the scene in the train car where Stella overhears her daughter Laurel’s “friends” ripping on her walk and clothing choices and then pretends, for Laurel’s sake, not to have heard them….check your chest, you might not have a heart in there.

The film was both a popular and a critical success. It and Stanwyck both got great reviews. Per TCM, “the movie was so popular it became a radio serial in October 1937, dramatizing the later lives of characters in the movie. The serial lasted for eight years.” [Emphasis mine.]

So what happened? First, her competition for the Academy Award for Best Actress in 1938 was formidable: Irene Dunne for The Awful Truth; Greta Garbo for Camille (co-starring Stanwyck’s beau, Robert Taylor); Janet Gaynor for A Star Is Born; and the previous year’s winner for The Great Ziegfeld, Luise Rainer for The Good Earth.

Also, Stanwyck rebelled against the system, refusing to be tied to any one studio. At the time she was cast as Stella Dallas, she had contracts with two studios, RKO and Fox, and was working on a picture at a third, Paramount. She had been suspended many times when she refused to work on a picture that was wrong for her, and had been involved in breach of contract litigation. Studios were notorious for sometimes throwing together a big star and a weak script, relying on the talent’s drawing power to make money, and Stanwyck avoided those productions for the most part. However, as Wilson writes, “Barbara’s independence from the studios came at a price.” She often took roles that were originally meant for someone else. In terms of Oscar voting, she missed out on the consistent support and yards of good press that “team players” got.

I also think the realism of Stanwyck’s performance may have been another contributing factor. She is always so natural, and almost never seems to be acting.

A Stanwyck win was widely predicted, but whatever the reasons, Rainer prevailed on Oscar night, for the second year in a row.

PS: The Variety review of Stella Dallas contended that it was incredible that Stella would wear such crazy outfits when Laurel’s apparel, designed and made by Stella herself, was so elegant. I disagree. I think Stella would have wanted her daughter to fit in as much as possible so she would have copied her friends’ clothes. Stella knows she doesn’t fit in by that point, so she would not have done the same for herself.

Leigh Oscar banner flatThis post is part of the second annual 31 Days of Oscar blogathon hosted by Paula’s Cinema Club, Outspoken and Freckled, and Once Upon a Screen.  For more posts featuring Oscar snubs, visit the megapost at Outspoken and Freckled, and stay tuned for more Oscar-related posts throughout the month. Our blogathon gets its inspiration from Turner Classic Movies’ 31 Days of Oscar, “where every movie shown is an Oscar winner or nominee.”