BE MY GUEST.

In August, I was selected to be the guest for the month on the newly site feature “Be My Guest” for the entertainment website “All Good Things” founded by classic film enthusiast, Monty Hawes. During each stint, each chosen participant will answer the following questions that are related to classic film assigned to them. Below are my answers.

1. What made you start blogging?

A: For years I was interested in having my own website dedicated to classic cinema, but since I’ve been interacting with a lot of people on Facebook who maintain blogs focusing on old Hollywood, it really piqued an interest in me to create my own blog, though it took me a while to do so. I finally bit the bullet though when I made up my mind that I wanted to write a book, so I opened up my own blog. Sadly that blog wasn’t very successful, so I closed it down. When I closed it down however, I realized that it may have been a mistake, as a blog takes a lot to maintain, and I could have got more traffic if I gave it a better chance, but I went a while without a blog. It wasn’t until October last year, when I started working permanently for ‘All Good Things’, writing essays and reviews on classic films that I decided to open up a new blog. Luckily I did, as this blog has been very successful, and I have enjoyed being accepted into blogathons. Already, I have received a few awards for my blog, and I’m currently garnering acclaim for an article I wrote on Barbara Stanwyck’s film “Cry Wolf”, for the 1947 Blogathon. With all these blogathons that I’ve been participating in, it also made me interested in hosting my own blogathon, which I am doing in August, when my Barrymore blogathon takes place over Ethel Barrymore’s Birthday week.

2. Who are your favorite classic film stars? name as many as you want and a special emphasis on your #1

A: My absolute favorite actress of all time is Barbara Stanwyck. She is, and will always be my number 1. Not only was she a brilliant actress, she displayed the most versatility among other stars of the time, but sadly her indelible talents and inimitable performances were overlooked, as she never received a single Oscar, though she was nominated four times. In my opinion, she was robbed of several Academy Awards. I have never seen a bad Barbara Stanwyck movie. Every single movie of hers in enthralling. Here is part of my article describing Barbara that I wrote for “Cry Wolf” for the 1947 blogathon.

Barbara Stanwyck was the most versatile actress to ever grace the silver screen. During the annals of her career, she pioneered her way through an array of notable classics, showcasing her inimitable talents through a long series of diverse roles that spotlighted the versatility and in depth emotions she displayed in her range as an actress.

For decades she reigned as one of Hollywood’s most gifted assets, and that assumption is indeed correct. She had the most ability among her contemporaries to demonstrate such raw emotion without having to resort to using histrionics, and yet unlike the majority of her peers, she never received a single Oscar, though she was nominated four times, but sadly missing out on all occasions, which certainly is a robbery, considering that those pictures and a myriad of others on her voluminous resume of films were definitely worthy of an Academy Award.

Below are some of my favorite actresses:

1. Barbara Stanwyck
2. Carole Lombard
3. Ethel Barrymore
4. Katharine Hepburn
5. Bette Davis
6. Lauren Bacall
7. Lillian Gish
8. Ingrid Bergman
9. Judy Garland
10. Angela Lansbury
11. Olivia de Havilland
12. Greer Garson

Favorite Actors:

1. John Barrymore
2. Spencer Tracy
3. Cary Grant
4. Humphrey Bogart
5. Clark Gable
6. Lionel Barrymore
7. George Brent
8. James Mason
9. Melvyn Douglas
10. Claude Rains
11. James Stewart

Of course there are many other actresses and actors that I like, but these are my top favorites.

3. What are some of your favorite films?

A: I have many favorite movies, but it is too hard to list them all, as the list could go on and on forever. Here are some of my favorites.

1. The Spiral Staircase ( 1946 ) with Ethel Barrymore, George Brent and Dorothy McGuire.
2. Bringing Up Baby ( 1938 ) with Katharine Hepburn and Cary Grant.
3. Sorry Wrong Number ( 1948 ) with Barbara Stanwyck
4. Dark Victory ( 1939 ) with Bette Davis
5. Guess Who’s Coming To Dinner ( 1967 ) with Katharine Hepburn and Spencer Tracy
6. My Man Godfrey ( 1936 ) with Carole Lombard and William Powell
7. The Strange Love Of Martha Ivers ( 1946 ) with Barbara Stanwyck
8. Gaslight ( 1944 ) with Ingrid Bergman and Angela Lansbury
9. Dark Passage ( 1947 ) with Lauren Bacall and Humphrey Bogart
10. Now Voyager ( 1942 ) with Bette Davis
11. Twentieth Century ( 1934 ) with Carole Lombard and John Barrymore
12. Broken Blossoms ( 1919 ) with Lillian Gish
13. Woman Of The Year ( 1942 ) with Katharine Hepburn and Spencer Tracy
14. All About Eve ( 1950 ) with Bette Davis
15. No Man Of Her Own ( 1950 ) with Barbara Stanwyck
16. Night Of The Hunter ( 1955 ) with Robert Mitchum and Lillian Gish
17. A Star Is Born ( 1954 ) with Judy Garland and James Mason
18. The Wizard Of Oz ( 1939 ) with Judy Garland
19. No Man Of Her Own ( 1932 ) with Carole Lombard and Clark Gable
20. Rebecca ( 1940 ) with Joan Fontaine and Laurence Olivier. Alfred Hitchcock directed.
21. Midnight ( 1939 ) with John Barrymore and Claudette Colbert
22. The Ghost And Mrs. Muir ( 1947 ) with Gene Tierney.
23. The Farmer’s Daughter ( 1947 ) with Ethel Barrymore and Loretta Young
24. The Heiress ( 1949 ) with Olivia de Havilland
25. Christmas In Connecticut ( 1945 ) with Barbara Stanwyck
26. Letter From An Unknown Woman ( 1948 ) with Joan Fontaine
27. Written On The Wind ( 1956 ) with Lauren Bacall
28. Stella Maris ( 1918 ) with Mary Pickford
29. To Have And Have Not ( 1944 ) with Lauren Bacall and Humphrey Bogart
30. Made For Each Other ( 1939 ) with Carole Lombard and James Stewart
31. Valley Of Decision ( 1945 )
32. Sunset Boulevard ( 1950 )
33. Witness To Murder ( 1954 ) with Barbara Stanwyck
34. Mrs. Miniver ( 1942 ) with Greer Garson and Walter Pidgeon
35. Imitation Of Life ( 1934 ) with Claudette Colbert. I also love the 1959 remake to with Lana Turner, but I definitely favor the original more.
36. An Affair To Remember ( 1957 ) with Cary Grant and Deborah Kerr.
37. The African Queen ) 1951 ) with Katharine Hepburn and Humphrey Bogart
38. Any Barbara Stanwyck movie. She has never appeared in a bad movie. If it’s Barbara, it will leave me enthralled for hours. Sometimes I don’t even come out of my room.

4. Describe your first classic movie experience…like where and when, how old were you, did you see it on TV or at the cinema?

A: I’ve seen old movies with my parents and grandparents when I was little, but I don’t remember anything about them. My earliest recollection of me being introduced to classic film is when I was in year 7, when the school did “The Wizard Of Oz” for the end of year graduation play. At the start of the year, the school announced that they were doing the play at the end of the year, so for the entire year, we watched “The Wizard Of Oz” three times a week and rehearsed for the play every single day. Through watching “The Wizard Of Oz”, I became fascinated by Dorothy, and I remember asking Mum, who Dorothy is, and she said that Judy Garland played Dorothy, and I wanted to know where Dorothy is now. I was upset when Mum said that Judy Garland died from a drug overdose, though at the time, Mum didn’t know it was prescription pills, so she automatically thought it was heavy drugs. I remember falling in love with Judy Garland straight away, and was eager to see more of her films, so we hired “Meet Me In St Louis” and several other of her notable movies. Once I got to High School, I brought a lot of her movies on DVD. It was around the same time, that I started to explore other stars from the golden age, and shortly after I remember watching a Katharine Hepburn movie with my Great Grandma in the back room during a trip back home to Sydney, and I immediately became intrigued by her presence on screen, and I asked my Great Grandma about her. She said that Katharine was still alive, but is very old now. I didn’t know how old at the time, but I looked her up, and was surprised that she was in her 90’s. A few years later, when I was in year 11 in 2003, the news came that Katharine had passed away at the age of 96. I was upset, and remember being late to school because of it. When I arrived at the school, I tried to make conversation with the teacher, so I said in a friendly voice “Katharine Hepburn died over night”. Not to my surprise, as the school always treated me like dirt, the teacher yelled at me, told me to shut up, and punished me with doing detention at recess, lunch and after school, though because I was innocent and never did anything wrong, I decided to walk out of school and go to the shops.

I know I’ve seen many old movies before my first experience with it in year 7, when I was 11 years old, but I was too young to remember the times before that, so the truth is, Judy Garland was my stepping stone into the world of classic cinema. She is my first love, and I will always be in debt to her. Now I will never watch anything but a classic film. Classics all the way for me. They don’t make them like they use to.

5. Describe the perfect way for you to watch a classic film?

A: I love snuggling in bed at night and watching a classic film, while drinking tea and eating sushi. I have my own kettle by my bedside, so I can easily turn the kettle on and keep pouring tea, while I’m being enthralled by the movie that’s on the screen. I also watch movies in the afternoon quite often, and that’s usually the time when Mum will sit down and watch it with me.

6. How many friends, family members or co-workers share your love of classic films?

A: Nobody in my family is as passionate or obsessed with classic film as I am, but they do love old movies, especially my Mum, Grandma, Great Grandma, and my Aunty Val, who I barely remember, as she died when I was still only young, but my Mum has always said that I take after her in many ways with my strong interest in classic cinema and writing. My Great Grandma, who I love and miss so very much loved staying up late watching classic films, which is exactly what I do, and she sometimes told me stories about the stars that she heard while she was growing up.

Back in 1979, my Mum and Grandma were fortunate enough to see Lauren Bacall interviewed live on stage on “The Mike Walsh Show” in Sydney, and they were even more lucky to attain front row seats, thanks to my Mum who pushed in front of the assembled crowd.

My Grandparents have always been huge fans of Barbara Stanwyck. It was actually them that made me delve into Barbara’s filmography, as unfortunately there was a time that all I had of Barbara Stanwyck was “Double Indemnity”, which I enjoyed, but I found it hard to look past Barbara’s blonde wig in the movie. For years they were encouraging me to look into Barbara, and two years ago, I finally did, when I ordered a Barbara box set online. I was immediately hooked and fell in love with her straight away and went on an online shopping spree ordering every single Barbara DVD that I could get my hands on. Discovering Barbara Stanwyck was one of the best things that has ever happened to me, as I can honestly say that she is my favorite actress of all time, and I will forever be in debt to my Grandparents, who are the masterminds behind me being a madly obsessed and fanatical Stanwyckian.

My Mum has always admired Bette Davis for as long as she can remember. She found herself intrigued by her often fighty attitude, and every time Bette’s name was mentioned, her ears would prick. My Mum still considers Bette to be one of her favorite actresses of all time, like me, but after introducing Mum to Barbara Stanwyck, she honestly says that Barbara is her favorite actress of all time. ( She takes after her daughter, haha )

Also, my Great Grand pop loved Fred Astaire and Ginger Rogers, and I remember him telling me all about them. With all that, it’s only natural that I have inherited my families interest in classic cinema.

7. What is your favorite decade: the 20’s, 30’s, 40’s, 50’s or 60’s?

A: My absolute favorite decade is the 30’s, as that was the period when screwball comedies reached it’s pinnacle, and some of the greatest movies were made during that decade. I also love the 40’s, because I adore Film Noir, and many meritorious vehicles were released then.

8. What classic films have you yet to see but really want to?

A: I would love to see Ethel Barrymore’s silent films, but sadly they are now lost. I really hope that reels can be found and released on DVD. I would also like to see “Kind Lady”, starring Ethel Barrymore and Angela Lansbury. I’ve been looking everywhere for it, but unfortunately it’s not available anywhere. Of course there are many other films that I’m dying to see.

9. What is your favorite genre?

A: I enjoy many different genres, but my favorite genres would be, Film Noir, Thriller and Screwball Comedies, and I mean as in Screwball, which is intelligent comedy. I’m not really into all that silly slapstick comedy stuff. The Noir films have superb cinematography, and dark shadows that I find captivating. I also have a guilty pleasure for the tearjerkers. I don’t know why, but I love them. I guess that sometimes I just need a good cry.

10. If you threw a movie themed party, describe how you would do it?

A: I haven’t really thrown any movie themed parties, as there is nobody here to invite to it, but sometimes my good friend Richard, who is the director of the International Judy Garland Club hosts a Judy party at his house on June 10th, which is Judy’s Birthday. I also hold a mini party of my own on the Birthdays of my favorite actresses, where I will celebrate by drinking wine, or their favorite alcoholic beverage, while watching their films and eating a tasty snack.

11. What are some films that are widely praised that you couldn’t care less about?

A: I’ve seen so many enthralling classic films in my life, but I’ve also seen some that just don’t seem to interest me. Here are some.

1. The Women ( 1939 ). I know many people consider it to be among their favorite movies, but I’ve never been able to understand why it is so popular. To me, it’s just a stupid film filled with a lot of nonsense.
2. His Girl Friday ( 1940 ). I know this is your favorite Monty, and it’s another movie that many people love, though for some reason I’ve never liked it. I did however give it a second chance to see if I could adjust my opinion of it, but the end result proved the same. It just didn’t hold my interest.
3. Lawrence Of Arabia ( 1962 ).
4. Most of Joan Crawford’s later day films. They are nothing but B grade flops, that are filmed on a stingy budget. When I was a Joan Crawford fan, I found it hard watching a star of her status having to resort to those type roles at the end of her career.
5. The Paradine Case ( 1947 )
6. Gentleman’s Agreement ( 1947 )

12. What are some of your favorite film characters?

A: It’s hard to list all of them, but here are a few. I also like a lot of villains, so don’t judge me.

1. Katharine Hepburn as Susan Vance in “Bringing Up Baby” ( 1938 )
2. Cary Grant as David Huxley in “Bringing Up Baby” ( 1938 )
3. Ethel Barrymore as Mrs. Warren in “The Spiral Staircase” ( 1946 )
4. Barbara Stanwyck as Elizabeth Lane in “Christmas In Connecticut” ( 1945 )
5. Bette Davis as Judith Traherne in “Dark Victory” ( 1939 )
6. Carole Lombard as Lily Garland in “Twentieth Century” ( 1934 )
7. Bette Davis as Margo Channing in “All About Eve” ( 1950 )
8. Barbara Stanwyck as Sandra Marshall in “Cry Wolf” ( 1947 )
9. Barbara Stanwyck as Martha Ivers in “The Strange Love Of Martha Ivers ( 1946 ). I know Martha is a villain, but I love her in this.
10. Bette Davis as Stanley Timberlake in “In This Our Life” ( 1942 ). Stanley is all full of spice.
11. Bette Davis as Charlotte Vale in “Now Voyager” ( 1942 )
12. Carole Lombard as Anne Lee in “Vigil In The Night” ( 1940 )

13. Name some classic film stars that you don’t care for?

1. Doris Day. I use to like her, but she’s never been one of my favorites. Now I can’t stand her.
2. June Allyson
3. Joan Crawford. This will shock many people, but after several altercations, and a very personal reason that I don’t want to share, I’ve lost all respect for Joan Crawford.
4. Rosalind Russell
5. Marilyn Monroe
6. Jane Russell
7. Jack Palance
8. Gig Young
9. Virginia Weidler
10. Marion Davies
11. Most stars of today’s generation, minus Kate Winslet and Drew Barrymore, who I both admire, though this is only classic stars.
12. Ann Blyth
13. Diane Baker

14. How many movies do you own?

A: That is a very hard question. My bedroom is a classic movie DVD shop, that is still growing. I own so many movies, that it is impossible to count. I would have to say that I definitely have way over 2,000.

15. Regarding film/TV, what would be your dream job?

A: Well at the moment I’m in the midst of planning for a proposed biography. I haven’t started the research phrase as yet, but I will be soon. I love writing, and I would like a job writing about classic films and stars. I would also like to be a film historian.

16. How many fellow classic movie lovers have you actually met in person?

A: When I traveled to New york in 2011 for “Judy In New York”, I met a lot of Judy fans as well as classic film fanatics during that event. Some of these people are high up, and luckily I keep in touch with them over Facebook. I also met some of them for the second time during a trip to Los Angeles late last year. Also in Los Angeles, I met Vincent Paterno, who is the founder of the notable blog “Carole And Co”. All that is not including classic film enthusiasts that I’ve met over here, and I’m planning to meet some more at the end of the year.

17. Have you been to any type of film festivals and or met any classic stars? or visited any famous film sites or landmarks?

A: I’ve actually been very lucky classic film wise. In 2011, I traveled to New York alone, and this was my first time over seas to attend a Judy Garland event called “Judy In New York”.

1. During the event we visited all Judy sites in New York, including, Carnegie Hall, where she gave her legendary concert on April 23rd, 1961. We were there right in the very same theatre on the 50th anniversary.
2. The Palace on Broadway
3. Ferncliff Cemetery, visiting Judy and Joan Crawford’s crypts.
4. Many more famous sites in New York
5. Bette Davis’s grave at Forest Lawn
6. Grauman’s Chinese Theater.
7. Hollywood Walk Of Fame
8. The Dakota Building ( Residence of Lauren Bacall and John Lennon )
9. Movie star homes.

In the way of other classic film related things. I’ve seen Angela Lansbury live on stage in “Driving Miss Daisy”, and I was fortunate enough to meet her twice, have my photo taken with her, and attain a few autographs. I’ve also met Petula Clark twice after her concerts. Got photos taken and attained autographs. I did see Liza Minnelli in concert, and I was so close to meeting her, but that didn’t come to fruition.

As for other film related things, I’ve seen a few classic films on the big screen at the cinema, the last occasion being last night, when I went with Mum to the premiere of “Ingrid Bergman, In Her Own Words” at Luna Palace. I’ve also seen Barbara Stanwyck in “Double Indemnity” at my favorite art deco old movie house in May. I’ve seen several Judy movies at the cinema, including, “The Wizard Of Oz” about 3 times, “Meet Me In St Louis” and “For Me And My Gal”. I’ve also seen “Maytime” on the big screen a few years ago, and I’ve seen “Mildred Pierce” on the big screen at Bondi. In August, I’m seeing Greer Garson in “Goodbye Mr. Chips” at my favorite art deco old movie house.

Oh, I almost forgot to mention. In LA last year, I seen the Hollywood Costume Exhibit, where I had the chance to view some famous gowns and clothing worn by classic stars in the movies. My favorite costume of the day was Carole Lombard’s beautiful shimming gold gown in “My Man Godfrey”. Judy Garland’s Dorothy gingham dress and Ruby Slippers were there as well as many others.

I can also mention here that I walked right past Kate Winslet in the street in New York. It was outside the kids school. We were so close that we almost bumped into each other. I almost met her, in fact I thought I was, but sadly she was engaged in a telephone conversation the first time, and coming out of the school, she was with the school principal, who was complaining to her, and she was upset, on the verge of tears.

18. What classic films have you seen the most times?

A: I’ve seen all of my favorites about ten million times, so I can’t really say. I watch them over and over again and never tire to get sick of them. If I had to say one film, I would have to say “The Wizard Of Oz”. I’ve been watching it since I was a kid. Though many of my other favorites will be way up there too.

19. Who are some of your film crushes? that make your heart go aflutter?

1. John Barrymore
2. Clark Gable
3. Humphrey Bogart
4. George Brent
5. Rock Hudson
6. Elvis
7. Robert Taylor
8. Melvyn Douglas
9. Rudolph Valentino ( My Great Grandma loved him too )

20. What film memorabilia do you own?

A: I’m actually very lucky memorabilia wise too. I am the proud owner of Lauren Bacall’s autographs. I wrote to her home address a few times, and she replied back to me twice, signing and personalizing every single photo I sent her, and there were literally heaps. She was very generous with me. In fact she went out of her way. As for other autographs, I’ve got a few autographs from Angela Lansbury and Petula Clark, who I’ve both met.

1. I own a script that use to belong to Bette Davis
2. Two giant Barbara Stanwyck posters that are proudly displayed on my bedroom wall, and other classic film star posters.
3. Albums full of classic film star photos.
4. Barbara Stanwyck watch
5. Katharine Hepburn tea cup
6. Joan Crawford doll
7. Carole Lombard necklace. Sterling silver
8. Barbara Stanwyck drinking flask.
9. Many biographies and autobiographies.
10. My millions of DVDs
11. Beautiful framed photo of Ethel and John Barrymore and Barbara Stanwyck etc.
12. Many many more film related items.

21. If you could have visited the set of one classic movie while it was being made, which film would you choose?

A: It’s hard to choose just one, because I would have loved to have been present on the set of an array of different movies. If I had to say one, I would probably say “Bringing Up Baby”. In my opinion, that is the funniest film, and I reckon that they would have shared many laughs during the production.

22. What is your favorite TV Show?

A: The Barbara Stanwyck Show ( 1960 – 1961 ). I own the complete series on DVD. This is not your average television show either, each episode brings an entirely different story and different genre, including suspense, mystery, drama, western, and many others.

23. Who are your favorite character actors?

A: Sadly the character actors are underrated and largely forgotten about today. In a lot of cases, it was the supporting cast that gave that little extra spark to the movie. Here are some of my favorites.

1. Ethel Barrymore
2. Spring Byington
3. Charles Coburn
4. S.Z Cuddles Sakall

24. What is your favorite Alfred Hitchcock movie?

A: I love Alfred Hitchcock, and I’m a big fan of a lot of his movies, but my favorites are:

1. Rebecca ( 1940 )
2. North By Northwest ( 1959 )
3. Psycho ( 1960 )

25. Who is your favorite singer?

A: Judy Garland ( The greatest entertainer of all time ). I also like Nat King Cole, Petula Clark, Mario Lanza and many more.

26. If you had to invite five stars to a dinner party, dead or alive, who would you invite?

A: I wish. Barbara Stanwyck, Katharine Hepburn, Bette Davis, Ethel Barrymore and John Barrymore. I would love to have others over too, but just with five, I think I would go with the above list.

Thank you Monty for inviting me to be your guest. I’m honored to be able to talk about my passion for classic film, and I hope that the younger generation of today will take my advice and discover the world of classic cinama ( The time when movies were movies ) and not rubbish, like today. Once again, thank you. It’s been a pleasure.

THE 1947, BLOGATHON: CRY WOLF

This is my second contribution for the 1947 blogathon, hosted by Speakeasy and Shadows And Satin. Check out the other entries being exhibited during the event here!

When discussing the decades of cinema, 1939, has always been considered to be the greatest year for movies, and that is indeed correct, as it was during this twelve months that beloved classics like “The Wizard Of Oz” and “Gone With The Wind”, as well as several other notable productions, including my favorite “Dark Victory” hit the cinemas. Though 1939, was not the only time that motion pictures reached it’s pinnacle. During the annals of cinematic history, there has been many triumphant years, where the movies were at great depths. One of these years is 1947, which is also known to be an hellacious period for movies, with an array of memorable classics being released that year. Not only did some of the world’s top grossing films arrive at the box office, it was also a time when the Film Noir genre was at it’s zenith.

Barbara Stanwyck was the most versatile actress to ever grace the silver screen. During the annals of her career, she pioneered her way through an array of notable classics, showcasing her inimitable talents through a long series of diverse roles that spotlighted the versatility and in depth emotions she displayed in her range as an actress.

For decades she reigned as one of Hollywood’s most gifted assets, and that assumption is indeed correct. She had the most ability among her contemporaries to demonstrate such raw emotion without having to resort to using histrionics, and yet unlike the majority of her peers, she never received a single Oscar, though she was nominated four times, but sadly missing out on all occasions, which certainly is a robbery, considering that those pictures and a myriad of others on her voluminous resume of films were definitely worthy of an Academy Award.

The recipe for Barbara Stanwyck’s success is that she never stopped working. Year after year she would turn in profitable features in many different genres, and since the triumphant results she obtained for her thunderous portrayal of Phyllis Dietrichson in the Film Noir masterpiece “Double Indemnity”, she became the preferred candidate for Film Noir, an aspect of her career that she shined in and came accustomed to.

Following the auspicious outcome of “The Strange Love Of Martha Ivers” in 1946, Barbara Stanwyck was cast in five productions in 1947, that boasted wide encomium, but never attained the status that her previous films had acquired. Among these vehicles came the Warner Brothers, Mystery/ Film Noir production, “Cry Wolf”, that starred Stanwyck alongside the Tasmanian born, Errol Flynn, in one of his non swashbuckling roles.

“Cry Wolf” was a rather obscure movie for it’s time and appeared to be very unrealistic, though it had the potential to be a masterpiece, as all the elements of a remarkable thriller were there. From the mysterious and suspenseful plot to the dark creepy mansion, filled with howls in the night, and situated on a large estate in an unknown location is what mounts to an enduring chiller, but sadly it didn’t seem to coalesce with most audiences, which is a shame, because it has the appeal to be a beloved classic.

The film was directed by Stanwyck’s close friend, Peter Godfrey, who placed his directorial efforts in two other Stanwyck productions, “The Two Mrs. Carroll’s” and “Christmas In Connecticut”, but like “The Two Mrs. Carroll’s, the pictures main fault is with the director, who never quite developed the knack for Film Noir, as he did with comedies like “Christmas In Connecticut”, where he received accolades for his commendable efforts. Though being close friends with Peter, Barbara dismissed that his shortcomings as a director was the main cause for the films insignificance.

The story was based on the novel of the same name by Marjorie Carleton, which was released in early 1945, and by April that year, Warner Brothers were impressed by the nature of the plot, and set about purchasing the film rights for a vehicle starring Barbara Stanwyck and Dennis Morgan, though by the time things went into finalization, Errol Flynn was assigned the role of Mark Caldwell, and Dorothy Malone was offered the role of Julie, until Warners saw Julie as the perfect role for the newcomer Geraldine Brooks to make her film debut.

The film revolves around the story of Sandra Marshall ( Barbara Stanwyck ), who first enters the scene at the Caldwell estate, claiming to be the widow of the recently deceased Jim Caldwell. At first, Mark ( Errol Flynn ) doesn’t believe her allegations, and views her as a callous human being chasing the inheritance. However he invites Sandra to stay at the house while he examines the will, and to see if Julie is telling the truth.

On her first evening at the mansion she befriends Jim’s dispirited sister, Julie ( Geraldine Brooks ) a virtual prisoner in her own house since being under Mark’s strict guardianship. To Julie, Sandra couldn’t have arrived at a better time. She sees Sandra as a sister, and the only person she can turn to for support.

As time progresses, Sandra becomes unsettled by numerous happenings in the mansion, including Jim’s closed coffin, the missing pipes in Jim’s bedroom, Mark’s equivocal aura, and the locked laboratory. Suspicions arise when Sandra begins to hear the screams in the middle of the night, that has always bothered Julie. With this latest mystery, Sandra starts investigating the bizarre death of Jim Caldwell and unraveling the mystery that surrounds him.

Barbara Stanwyck was a virtuoso of the motion picture industry, and never failed to deliver a laudable and intense performance. While this movie is a solid thriller, it is amusing to see her peregrinating her way around the remote mansion, climbing rooftops, going in and out windows, and going up and down dumbwaiters to get to the secret and locked laboratory, trying to elicit the truth.

For years, Barbara Stanwyck had been doing her own stunts and this continued right through her “Big Valley” days in the late 1960’s. Some of the daring obstacles she faces here could be quite dangerous if not performed properly, but instead, it all appears second nature to Barbara as she climbs out onto the wet slate roof in a skirt and heels, falls off a horse, climbs fences, and running hastily around a commodious dark mansion.

It’s also interesting to note that this is one of the last films we see Barbara Stanwyck with long dark hair. By 1948, when she starred in “Sorry Wrong Number”, she was sporting a shorter style cut and her hair appeared grey, which would continue to remain the same for the rest of her life.

“Cry Wolf” is also an excellent departure for Errol Flynn, who had the opportunity to steer away from his swashbuckling roles, to portray the part of the reserved and sceptical Mark Caldwell. Many say that he appeared wooden and out of character here, but in truth, he actually got the chance to prove that he was just as adept playing a heavy solid part to the same affect.

The film also spotlights a stellar supporting cast that includes Geraldine Brooks in her film debut, Richard Basehart in the role of Mark’s brother, and Jerome Cowan among others.

“Cry Wolf” is a spectacular mystery, thriller that will continue to enthrall audiences of all ages for many decades to come.

Trivia:

Dennis Morgan was considered before Errol Flynn was ultimately cast.

Quotes:

Mark Caldwell: You know, if I was to bring this battle of the wits down to direct insults, I’d say you were one of the most cold-blooded, scheming women I’ve ever met in my life!

Sandra Marshall: You’ve already said that.

Mark Caldwell: May I make a suggestion?

Sandra Marshall: What?

Mark Caldwell: Next time you hear some odd noise in the night, just follow the memorable custom of your sex and stick your head under the bedclothes.

Mark Caldwell: I don’t know what plans you have in that devious feminine mind of yours, but if you’re trying to enlist Julie’s sympathy, don’t do it.

Sandra Marshall: And if i ignore your advice?

Mark Caldwell: I shall kick you out!

Cast:

Barbara Stanwyck: Born Ruby Catherine Stevens on July 16th, 1907 in Brooklyn, New York. Died: January 20th, 1990 in Santa Monica, California. Aged 82.

Errol Flynn: Born Errol Flynn on June 20th, 1909 in Tasmania, Australia. Died: October 14th, 1959 in Vancouver, Canada. Aged 50.

THE 1947 BLOGATHON: DARK PASSAGE

This is my first contribution for the 1947 blogathon, hosted by Speakeasy and Shadows And Satin. Check out the other entries being exhibited during the event here!

When discussing the decades of cinema, 1939, has always been considered to be the greatest year for movies, and that is indeed correct, as it was during this twelve months that beloved classics like “The Wizard Of Oz” and “Gone With The Wind”, as well as several other notable productions, including my favorite “Dark Victory” hit the cinemas. Though 1939, was not the only time that motion pictures reached it’s pinnacle. During the annals of cinematic history, there has been many triumphant years, where the movies were at great depths. One of these years is 1947, which is also known to be an hellacious period for movies, with an array of memorable classics being released that year. Not only did some of the world’s top grossing films arrive at the box office, it was also a time when the Film Noir genre was at it’s zenith.

Without a doubt “Dark Passage” is one of the most eminent films to be released in 1947, though at the time it was considered rather disastrous for a few different reasons. For one thing the vehicle was to showcase the indelible talents of Humphrey Bogart, who was enthroned as the best actor of the period and to highlight the sexual tension between him and Lauren Bacall. Instead it was largely panned by critics, who were not impressed with the finished production and Bogart’s performance that seemed to be overshadowed by the subjective use of the camera which functioned as his eyes while he told the story from his point of view until forty minutes into the film when Humphrey Bogart finally emerged onscreen as Vincent Parry with a new face after undergoing plastic surgery.

The subjective camera technique was the latest concept that year. Prior to “Dark Passage”, Orson Welles had planned to use it for his proposed adaptation of “Heart Of Darkness” before abandoning the idea. That device however piqued an interest in Robert Montgomery, who shot his entire adaptation of “Lady In The Lake” using the subjective camera, but on it’s release the results of this new technique were unsuccessful. By the time Delmer Daves experimented with the procedure things were a little bit more propitious, as he was able to execute the task and blend it into the story so it has a virtue, though the method wasn’t well received by audiences, who found it to gimmicky and distracting. That being said, “Dark Passage” wasn’t entirely a failure. It had the potential to be a masterpiece, and in my opinion it is. The main reason why the film was disregarded is the fact that it was amassed together with the three other Bogart and Bacall collaborations which were highly acknowledged on their initial release, and have since became monumental cinematic treasures.

Ever since her movie debut  in “To Have And Have Not” in 1944, at the age of nineteen, and winning the heart of Humphrey Bogart, Lauren Bacall has been captivating audiences for many years with her husky voice, sultry beauty and her blossoming romance with Humphrey Bogart, that would make for the screen’s most celebrated on-screen couple.

After the triumphant success of their two previous films, “To Have And Have Not” and “The Big Sleep”, the sizzling romance between Bogart and Bacall were one of the most talked about subjects regarding cinema. Witnessing the two leads falling in love on-screen melted the hearts of millions worldwide. That is what everyone wanted to see, and that is why Humphrey Bogart and Lauren Bacall were among the top drawing stars of the decade.

On May 21st, 1945, Humphrey Bogart married Lauren Bacall, and a year later they heard word that they were going to star in a third picture together, a perennial Film Noir titled “Dark Passage”, which was to be directed by Delmer Daves, and produced by Jerry Wald. The story was based on the 1946 novel of the same name by David Goodis, a notable author of crime fiction, who was known for his prolific amount of stories and novels that really symbolized Film Noir, but it wasn’t until 1946, when his novel “Dark Passage” was serialized in the ‘Saturday Evening Post’ that he would make his big break. Before then, most of his novels had been rejected by publishers and most of David’s work hit the cutting room floor, though with the consummation that he attained with this novel, he was offered a six year contract with Warner Brothers, where he would write stories and scripts for several Film Noir’s of the forties and fifties.

In the Winter of 1946, Humphrey Bogart and Lauren Bacall traveled to San Francisco for a month of location shooting for “Dark Passage”. On their arrival, they were welcomed by more than fifteen hundred fans, who gathered at the Golden Gate Bridge hoping to a catch a glimpse of the two stars as they arrived. After greeting the assembled crowd, they were transported to the Mark Hopkins Hotel, where they would reside for the duration of filming. For Lauren Bacall, this was a new experience. It was her first visit to the city and it all seemed spectacular. The atmosphere was congenial and the views from their balcony to the Golden Gate Bridge were breathtaking. However things took a slight turn when Lauren became alarmed by Bogart’s nerves, which seemed to exacerbate as time progressed. This problem was first noticed when Bogart refused to answer the telephone, but when he would awake each morning to discover clumps of hair on the pillow, it turned serious, so much that he would have to resort to wearing a wig for the last scene of the movie. As soon as the production came to a cessation, he consulted the doctor, where he was diagnosed with the disease known as Alopecia Areata, which was the result of vitamin deficiencies.

Humphrey Bogart and Lauren Bacall illuminate the screen in this powerful Film Noir directed by Delmer Daves. The film tells the story of Vincent Parry ( Humphrey Bogart ), a prison escapee who is accused of murdering his wife. While on the run from San Quentin he meets Irene Jansen ( Lauren Bacall ) his lone ally, who offers him shelter in her commodious San Francisco apartment.

Vincent at first doesn’t understand Irene, and why she is going out of her way to help him, so he plans to leave that night, where he is recognized by a cab driver named Sam, who appears to be affable and believes that Vincent is inculpable. At Sam’s suggestion Vincent has his face changed and emerges from plastic surgery with a new face only to discover that his best friend has been murdered. Vincent then realizes that Irene is now the only person for him to turn to, so he stumbles his way back to Irene’s apartment with his face covered in bandages. After he recuperates Vincent begins the peregrination of trying to unveil the murderer. Along the way he finds himself amid many conflicts, including one with Madge ( Agnes Moorehead ) a rather predatory person who finds pleasure in the dysphoria of others.

Along with Bogart and Bacall, “Dark Passage” also spotlights a stellar supporting cast including Agnes Moorehead and Bruce Bennett, who both deliver commendable performances. The film is superbly crafted with great cinematography as San Francisco serves as the location with backdrops of the Golden Gate Bridge, and with the musical score “Too Marvelous For Words” that really augments that romantic aura. The film is also unique in the way of the camera work. For the first forty minutes you don’t see Bogart. The gimmick is that the movie is seen from his perspective until he undergoes plastic surgery, then the new Parry emerges as Humphrey Bogart.

I have always been avid fans of both Lauren Bacall and Humphrey Bogart. As much as I love all the movies they made together “Dark Passage” is my favorite of the whole four. The chemistry between Bogie and Bacall is undeniable, and there are certain scenes in this film that really epitomize the way they felt about one another. From the moment Bacall looked in his eyes there was fire. They truly loved each other and that is clearly evident in all the films they made together.

Almost sixty eight years since it’s release, “Dark Passage” is a film that stands the test of time, and will continue to enthrall audiences for many years to come.

Trivia:

The actual Art Deco apartment building used in the film (located at 1360 Montgomery St in San Francisco) is still standing as of December, 2008. The actual apartment is marked by a cardboard cut-out of Humphrey Bogart, which can be seen from the street. The site is visited frequently by fans of vintage film noir.

Between the film’s unorthodox “first person perspective” and Humphrey Bogart‘s negative press from his support of the Committee for the First Amendment established in the face of the hearings being done by the House Un-American Activities Committee led to the film having a poor performance at the box office.

Viveca Lindfors was considered for the role of Irene Jansen.

Quotes from film:

Vincent: ( looking in a mirror after the bandages are taken off. ) “Same eyes. Same nose. Same hair. Everything else seems to be in a different place. I sure look older. That’s all right, I’m not. If it’s all right with me, it ought to be all right with you.”

Irene: “Can you shave?”

Vincent: “The Doc said that I could.”

Irene: “Why don’t you get dressed. I’ll wait downstairs and sort of get a fresh impression.”

Irene: ( Upon seeing Vincent after he shaves ) “It’s unbelievable. but it’s good. I think I even like you better.”

Vincent: “Well, don’t let it give you any ideas.”

Irene: “What kind?”

Vincent: “Don’t change yours. I like it just as it is.”

Cast:

Humphrey Bogart: Born Humphrey DeForest Bogart on December 25th, 1899 in New York City. Died: January 14th, 1957, in Los Angeles, California. Aged 57.

Lauren Bacall: Born Betty Joan Perske on September 16th, 1924, in The Bronx, New York. Died: August 12th, 2014, in New York. Aged 89.

GOODBYE OMAR SHARIF: 1932 – 2015

Today we farewell the Egyptian born actor, Omar Sharif, who was known for his striking  looks, and his meritorious performances in such films as, “Lawrence Of Arabia” and “Doctor Zhivago”, in which he received two Golden Globe Awards and an Oscar nomination.

Omar Sharif was born, Michel Demitri Chalhoub on April 10th, 1932, in Alexandria, Egypt to a Melkite Greek family of Syrian-Lebanese Levant descent. His father, Joseph Chalhoub, was a successful merchant of exotic woods, who located to Egypt shortly before Omar’s birth, and his mother, Claire Saada, reigned as one of the countries most notable society hostesses, whose charm and appeal attracted the attention of Egypt’s King Farouk, who would be present at every gathering until he was deposed in 1952.

During his years of schooling at Victoria College, Sharif began to flourish in languages, and for a while he thought about a career as an interpreter, but when he attended Cairo University, he shined in mathematics and physics, which would earn him a degree in those subjects, though they never piqued enough interest in him to pursue a career in that field. Instead he attained a job working for his father at his wood business.

It was around this time that Sharif developed a passion for acting, and after a long period of working for his father’s business, he travelled to London, where he secured a placement at the Royal Academy Of Dramatic Arts. Omar enjoyed his time studying drama at the academy, and once he acquired enough knowledge, he retreated to Egypt to gain work in the film industry.

His film debut came in 1954, when he starred in “Devil Of The Sahara”, an Egyptian film, which is now obsolete. Following the success of his first picture, he was accepted by Fatem Hamama to serve as her co-star in “Struggle In The Valley”. While filming, the two endured a memorable kissing scene, which happened to be their first. This would result in the couple falling in love, and shortly after, Omar Sharif converted to Islam, and married Fatem Hamama. The marriage proved to be a peaceful vicissitude, and they encountered many years of pure bliss, which would come to a conclusion in 1966, when they separated. Although they were living apart, they were still legally married until the divorce was all settled in 1974.

In 1957, their son, Tarek El-Sharif was born in Egypt. While young Tarek was growing up, Omar and Fatem appeared in an array of movies together. By now his populace had disseminated, and in 1962, he scored the role in David Lean’s historical masterpiece, “Lawrence Of Arabia”, a triumphant film that not only brought him critical acclaim, but garnered him a Golden Globe Award and an Oscar nomination.

After “Lawrence Of Arabia”, Sharif”s reputation had spread worldwide, and he now had legions of followers from every continent, who were just as elated with his growing popularity as he was. Before preparation for the production went ahead, it was complex and risky casting Omar in the role of Sharif Ali, as he was still virtually unknown outside of Egypt, but years later, it has been enthroned as one of the most demanding supporting roles in Hollywood history, and Omar Sharif delivered a memorable performance, so much that it is now recognized to be among the most powerful performances to ever be displayed on screen by a supporting actor.

The myriad of accolades that he attained for his work in “Lawrence Of Arabia”, led to him being cast in several more eminent productions during the next couple of years. At David Lean’s suggestion, Fred Zinnemann chose Sharif for the part of Francisco, the priest in the 1964, Gregory Peck vehicle “Behold A Pale Horse”. On it’s release the film opened to mix reviews and the reception was only lukewarm. However Sharif’s performance garnered positive encomium with statements reading that it’s hard to believe that the priest and the sheik are played by the same man.

Around this time, Omar Sharif started to enhance his career by using his ambiguous ethnicity in films and speaking in an array of different languages including, French, Greek and Italian, among others. This method paid off, and he was cast as the Yugoslav wartime patriot in “The Yellow Rolls-Royce” and as the Mongolian conqueror in “Genghis Khan”, as well as a profusion of other films that received critical acclaim.

In 1965, he teamed with David Lean for the second time in “Doctor Zhivago”, a triumphant masterpiece that would make Omar Sherif’s status escalate to great heights. This proved to be a happy reunion, and it also marked the introductory into motion pictures for eight year old, Tarek El-Sharif, who played the role of Yuri at the age of eight in the movie. However Terek never inherited his father’s passion for acting, and this was the last time he ever appeared in a movie. “Doctor Zhivago” boasted multitudinous praise from the start, and Omar Sherif was the proud recipient of the Golden Globe Award for Best Actor.

Omar Sherif’s prodigious journey would continue on in 1968, when he appeared opposite Barbra Streisand in “Funny Girl”, another film that would garner him a plethora of accolades. In 1975, he reprised the role in the films sequel “Funny Lady”. During the filming of “Funny Lady”, Sharif became infatuated in Barbra Streisand, although at first he admitted that he didn’t find her attractive at all, but as time progressed, he found himself enamored by her charm and appeal. A week later, Sherif and Streisand were romantically involved, and would remain close friends right up to the end.

As the years progressed, Omar Sharif starred in several productions, playing diverse roles in an array of different genres. Some of these films included, “The Juggernaut” and “The Tamarind Seed”, in which he co-starred alongside Julie Andrews. In 2003, Sherif still enthralled audiences with his portrayal of the  Muslim Turkish merchant in “Monsieur Ibrahim Et Les Fleurs Du Coran”, a picture that would earn him a Cesar Award for Best Actor. Omar Sherif’s career came to a cessation in 2013, after the filming of “Rock The Casbah” wrapped up.

Apart from his success in motion pictures, Omar Sharif was a prolific Bridge player and ranked among the world’s top fifty contract Bridge players. His prowess in Bridge playing was showcased when he played in an exhibition match before the Shah of Iran. During the annals of his career, he wrote several books on Bridge and licensed his name to a Bridge video game.

Omar Sharif remained active in the later years of his life, and spent most of the time in Cairo with his family. In early 2015, his health slightly deteriorated, though it wasn’t until May that he was diagnosed with Alzheimer’s Disease, which left a major impact on his life and family. As his condition exacerbated he would mix up the names of his best known pictures, often forgetting where they were filmed.

In June, Shariff was admitted into a hospital in Cairo, where he would spend the remaining weeks of his life. Sadly Omar Sharif passed away on July 10th, 2015, at the age of 83. He is survived by his son and two grandsons.

With a career spanning sixty years, Omar Sharif will be remembered as the Egyptian actor, known for his lush appeal and gallic charm, who took Hollywood by storm.

Rest In Peace Omar Sharif: April 10th, 1932 – July 10th, 2015.

Written by Crystal Kalyana.

THE BEATLES FILM BLOGATHON: HOW I WON THE WAR ( 1967 )

This is my contribution to the Beatles Film Blogathon, which is hosted by Steve at ‘Movie Movie Blog Blog’. Click here to read the other entries that are being exhibited during this event. Growing up with a family that have always marveled at the likes of the Beatles, I came to appreciate their music from a young age, though I have never called myself an avid fan. To me when the Beatles are discussed, I associate them more with John Lennon, who was the co-founder of the band, and would go on to have success in his illustrious career as a solo singer, until his life came to a tragic end in December 1980.

Besides from the triumph he attained with his musical career, John Lennon endured a brief tenor as an actor, though these movies never brought him the recognition that he garnered as a musical artist, and after a few films, where his roles were diminutive in quantity, he returned to his ingenuity as a singer.

During this short period, he starred alongside Michael Crawford in the wartime farce, “How I Won The War”, a 1967 vehicle that was directed and produced by Richard Lester , and based on a novel by Patrick Ryan, with John Lennon portraying a naïve pessimist, who is enlisted under the inept command of Lieutenant Earnest Goodbody. Today the film is largely forgotten by audiences, and is mainly primarily remembered by John Lennon fans, who at the time of the release were elated to see their idol appear in a non musical role, but after their first viewing they were disappointed to discover that Lennon only had a minor part, and was overshadowed by Michael Crawford, who gained top billing.  Critics weren’t too conciliatory either, and were rather calumnious of the finished production, that sadly John Lennon’s attempt at motion pictures were disregarded.

Before the commencement of the production, John Lennon was maintaining a hectic lifestyle, and was constantly on the road touring for four years straight, so when Richard Lester proposed the question to him about playing  Musketeer Gripweed in “How I Won The War”, he eagerly accepted, and started to prepare for the role, in which he underwent many changes, such as having his hair trimmed down and wearing granny-like” glasses that would soon become his sartorial trademark.

For a movie that looks like it was made on the cheap, it actually had a rather costly budget due to being filmed at various locations that included, Bergen-Hohne Training Area in Verden An Der Aller, the Almeria Province in Spain and Twickenham Film Studios in London. With the shooting taking place at Almeria, John Lennon rented a villa called Santa Isobel, a lavish residence with grand commodious rooms and wrought iron gates, surrounded by lush vegetation that bore a resemblance to Strawberry Field, a salvation army garden situated near Lennon’s childhood home in Liverpool. This observation piqued an interest in Lennon to write the song “Strawberry Fields Forever” while filming.

The plot revolves around the story of Lieutenant Goodbody ( Michael Crawford ) an incompetent World War II commissioner, who leads his troupes through a series of cataclysms, while trying to rid themselves of their complete liability of a commander.

“How I Won The War” is a modern day take on screwball comedy, but this satirical method didn’t quite gel with this production, and the result was literally a disaster. That being said, the film is not entirely awful, though it could have been a lot better if they left the screwball antics and the whimsical characters out of the movie and focused on more dramatic aspects of the war.

Apart from the satirical plot and farcical characters there is a very serious element. Lester integrates morbid battle-scenes into the plot, spliced in amongst the comedic genius of the cast, whilst simultaneously claiming the soldiers as no more than actorsPLAYING a game, commenting on the way the war is often represented in cinema – with glory and heroism. This is the main point of the film. As Richard Lester himself said, “It does reflect a desperately sincere attitude towards the glorification of war by show business… One of the gross obscenities about the war is the war film itself … like a big adventure with extras being killed in the way of a Western.”

Trivia:

John Lennon found the Spanish location quite boring, so Ringo Starr flew out to keep him company.

The intended concept of the film was that archival black and white footage of each battle was to be tinted specific colors. The soldiers who died in that battleCONTINUE to accompany the unit silently with their uniforms now the color of the battle they died in. However, when the final answer print was sent from the principal lab in England to the labs in Los Angeles subcontracted out to make the release prints, the LA labs assumed that the tinted footage was a mistake, and graded it back to black and white without notifying anyone until the whole batch was struck.

The version of the film shown on “Retroplex” from Starz has the battle scenes tinted different colors and the soldiers who die in a battle become that color. John Lennon recorded all post-synchronization work for his character in the film from December 28-29, 1966, at Twickenham Film Studios in London, England.

Quotes:

Clapper: “You married?”

Gripweed: “No, I play the harmonica.”

Gripweed: “And I’m not a thief, really. I’ve never found anything worth keeping.”

Goodbody: [talking aloud to himself] “I can’t, I fear, I can’t march properly on my own, as an officer, in the public eye.”

Juniper: [sitting in back of a truck, smoking, holding a broom] “Isn’t that sickening when that happens to a chap? Couldn’t your drill instructor do something about it? Like a quick jab up the crotch with a broom bass?” [holds up broom]

Cast:

John Lennon: Born, John Winston Lennon on October 9th, 1940 in Liverpool, England. Died: December 8th, 1980 in New York. Cause of death: Murdered by Mark David Chapman outside the Dakota Building, while he was returning home with Yoko Ono, at about 10:50 pm. Aged: 40.

Michael Crawford: Born, Michael Patrick Smith on January 19th, 1942 in Salisbury, Wiltshire, England.