I’m not really one for musicals. I don’t universally enjoy them all. But when I like them, I really like them, and they are among my favorite films of all-time. For instance, 42nd Street, Dames, Swing Time, Singin’ in the Rain, and Romance on the High Seas (1948).
To sum up the plot (bear with me): Married couple Michael and Elvira Kent (Don DeFore and Janis Paige) each constantly suspect the other of infidelity. Michael though is too wrapped up in his work to go on the vacations Elvira plans for their anniversaries, and every year he cancels and they stay home. In the course of booking these trips, she meets Georgia Garrett (Doris Day) at the travel agency. Georgia never goes anywhere either; she’s broke and only goes to the agency to window-shop. When the Kents’ third anniversary rolls around, Elvira has reason to suspect that Michael’s inevitable postponement of this trip, a cruise to Rio, is because of his new blonde secretary.
While she’s still fuming with jealousy, the travel agency mistakenly delivers Georgia’s passport photo to Elvira, and that gives the latter an idea: In these pre-Internet, pre-TSA days, Elvira will send Georgia on the cruise in her place, so that Elvira can stay home and keep an eye on her husband without him knowing she’s still in town. Her insistence on going on the cruise by herself heightens Michael’s suspicion, and he in turn hires private detective Peter Virgil (Jack Carson) to go on the cruise and keep an eye on Elvira. Only with the help of her Uncle Lazlo (S.Z. “Cuddles” Sakall) does Elvira successully sneak Georgia onto the ship. Once the ship sails, many complications ensue.
It’s a plot of Shakespearean complexity — with songs! *
When you think about your very favorite classic movies, what makes them your favorites? The films worth watching multiple times, endlessly discussing, or just chilling out with…what makes them the cinematic equivalent of comfort food? Sure, great writing is key, but those lines are just words without the right actors delivering them. Beautiful costumes are great, but without the right actors wearing them, they’re just clothes. Stunning, authentic art direction and set design are wonderful, but empty, without the right actors inhabiting that world. And gorgeous cinematography can only hold your eye for so long, without the right actors being lit. And so on… Continue reading “Announcing the SIXTH ANNUAL What A Character! Blogathon – Dec. 15-17, 2017”→
The truth of the matter is that while Hollywood admires people who win Oscars, it employs people who make money, and to be able to do one does not necessarily mean you can do the other.
— George Sanders
Today is the third and final day of the 31 Days of Oscar Blogathon, our annual exploration of the phenomenon that is the Academy Awards, still the pinnacle of achievement in the film world. I’m keeping this introduction brief in order to avoid the dreaded wrap-up music, but be sure to check out Day 1, hosted by Aurora at Once Upon A Screen, and Day 2, hosted by Kellee at Outspoken and Freckled. It has been my honor to share five years of Oscar opining with these lovely and talented ladies. Our blogathon takes its cue from Turner Classic Movies’ 31 Days of Oscar, which runs through Friday, March 3.
Danny Reviews spotlights nine decades of the Strangest Oscar Wins of All Time — “not necessarily…bad films or performances, but [those that] don’t fit the traditional milieu of an Academy Award winner.”
Welcome for the fourth time to the 31 Days of Oscars Blogathon redux, making this the fifth installment of our grand celebration of all things Oscar!
Kellee of Outspoken & Freckled, Aurora of Once Upon A Screen, and yours truly of Paula’s Cinema Club started this event to coincide with Turner Classic Movie’s 31 Days of Oscar marathon. For 31 days, TCM spotlights the movies and players that have made a legend of the golden statuette. This Blogathon is our way to pay tribute to the network and the movies we love. We hope you join us in the effort. Details after the jump!
Roscoe Karns (above) welcomes you to the What A Character! Blogathon, now in its fifth fabulous year of celebrating those actors whose faces you know but whose names you may not. I’m your hostess for the Day 3 offerings. Be sure to also check out Day 1, hosted by Kellee at Outspoken and Freckled and Day 2, hosted by Aurora at Once Upon A Screen. It’s been my pleasure to work with these two dames to shed some light on the names below the title. And now, on with the today’s show…
Blogferatu presents a “grossly oversimplified horror overview” of John Carradine‘s career from the ’40s to the ’80s. “And not just any horror movies, but some of his schlockier moments.”
Cliff at Immortal Ephemera explores the sometimes sketchy biography of Stanley Fields, who “had a voice that matched his face. Either could have been raked over gravel.”
Aurora at Once Upon A Screen writes about Edmund Gwenn‘s career, including, but not limited to, his turn as everyone’s favorite Santa Claus and his collaborations with Alfred Hitchcock.
Silver Scenes declare of their WAC! choice, “Thurston Hall is his name and governors, senators, businessmen, and doting fathers are his game.”
Quiggy at The Midnite Drive-In contributes an appreciation of John Hillerman‘s “pomposity and refinement” in four essential roles.
Gary (aka @santaisthinking) guest blogs on Kellee’s Outspoken and Freckled about Victor McLaglen in two chapters: “His Adventurous Youth – Boers, Boxing, and Baghdad” and “His Career – Big Screen Grins and Bromance.”
Then Kellee herself analyzes why Joan Blondell, that “down-to-earth, tell-it-like-it-is scene-stealer,” rarely got top billing, despite her “talent, enduring work ethic and generosity of spirit.”
Happy reading, leave a comment, start a conversation! Additional awesomeness expected throughout the day so check back here soon. Many thanks to everyone who has supplied such entertaining and educational posts this year. I’ve personally expanded both my knowledge and my to-watch list, and I hope you all have too.
Just like everybody goes to Rick’s, everybody knows Leonid Kinskey, whether they know his name or not. Kinskey portrays Sascha, the voluble Russian bartender, in that classic of all classics, Casablanca (1943). We meet him quite early on, when Yvonne, Rick’s latest ex-girlfriend, has had a little too much to drink and needs to be escorted home. But as I learned, there’s more to Kinskey than Sascha. Not that I won’t bask in the glory that is Casablanca first…
Paula’s note: This post is one of several by movie maven Jack Deth that I have had the pleasure of hosting on this site. See the rest here.
Welcome Bloggers, Cinephiles, Film Fans, and Aficionados of “Just Plain Good!”
Having received an invitation from our hostess Paula to expand and illuminate that arena of young and unrecognized talent usually relegated to the back of a crowd or corner of a set before being noticed and given lines to speak and scenes to execute, I would be remiss to not give it my best effort and reach back to an unsung purveyor of the thespian craft, who literally started off in the background of Midnight Cowboy, Alice’s Restaurant, Little Big Man, and Cold Turkey in the late 1960s and early 1970s.
Plying his craft while being one of many. Building up a body of work and a reputation for being able to fill any slot for any type of dumpy, balding, kind of slimy, local or municipal bureaucrat, guard, telegrapher, cop, or barber. Sometimes affixing a Southern accent, or sticking to his high-pitched, upstate New York pronunciations, while using whatever was at hand to enhance his many characters. Before crossing my path in a big way in a small, very personal cinematic gem ramrodded by Dustin Hoffman and directed by Ulu Grossbard. A film which also prompted the parole of recidivist convict, Edward Bunker (Mr. Blue in Reservoir Dogs), through his semi-autobiographic novel, No Beast So Fierce. Which makes up the two fingers of Rye for this…
On December 09, 2016, movie fans wish a very happy 100th birthday to Issur Danielovitch Demsky, better known as Kirk Douglas.* For my natal tribute, I’ve chosen his charmingly menacing performance as Whit Sterling in possibly the most noir of all noirs, Out of the Past. Please note, there are major spoilers ahead. If you have not seen Out of the Past, what is the matter with you? I kid…bookmark this page, go watch it, and then come back.
What’s great about being a character actor is you know that you can survive forever. It’s not about the gloss of your eyebrows.
— Martin Short
We’re back for a fifth consecutive year to honor the versatility and depth of supporting players with the WHAT A CHARACTER! Blogathon. Based on a phrase borrowed from Turner Classic Movies (TCM), the WAC! Blogathon is an event that many look forward to each year. It’s a chance to pay tribute to the Louise Beavers and Eddie Andersons of the movie world — the names that seldom or never appeared above the title. Your enthusiasm for spotlighting the oft-nameless faces that appear in countless beloved movies is admirable, and Aurora, Kellee, and I extend sincere thanks to all of the bloggers who have joined us in the previous four years. We invite you all to help us make the fifth outing extra special. Get all the details after the jump…
Greetings all and sundry!
Having taken advantage of the much-hyped East Coast Snow Storm, and watched from my 23rd floor balcony as the surface dwellers dug themselves out, I’ve had time to contemplate the films of 1987 and their standing with the Academy of Motion Pictures Arts and Sciences.
A year sadly near void of the earlier risk takers and “All In!” gamblers of the previous decade, with many of the Academy choices leading toward less controversial, more palatable fare. So, keeping that in mind, allow me a few moments of your time to explore, excavate, and investigate the confusing, sometimes annoying choices of…
The 60th Academy Awards: Playing It Safe!
According to Box Office Mojo, a neat little reference source which proves useful in this treatise, 1987 was a rather prosperous year for film. With 238 entrants through the year, from the sublime (The Princess Bride) to the ridiculous (Ishtar, Real Men, Death Wish 4: The Crackdown), lots of diversions and variants in-between, and a surprising number of films in its Top 25 films nominated for Oscars.
For those uninitiated, I’ll be laying out this amalgam in the same way I’ve presented earlier critiques of the Academy’s decisions, entailing “The Top Six” categories, taking a “Top Down” perspective, plus a few personal bones to pick in the lower tiers.