Happy Christmas: "Silver Bells" from "The Lemon Drop Kid" (1951)

#FridayShort Happy Yule: Artic Antics from Silly Symphonies (1930) [Disney]

#TCM Movie: Going My Way (1944)

By 1943, Leo McCarey was at the climax of his career. He had won for Best Director in 1937 for "The Awful Truth" and each film up until the early '40s had been nominated. The riding high director came to Paramount with an idea with the working title "The Padre" that would ended up becoming "Going My Way." "The story he told the studio heads [...] bore no resemblance whatever to the story he finally shot. But he made the tale so absorbing that they had to go for it." (Laurel and Hardy: A Bio-bibliography. Gehring, Wes D.. 1990) Even Bing Crosby accounted that McCarey made up "probably 75 per cent of each day's shooting" the day of. "He would immediately go to the piano [when he came on set in the morning] and play some ragtime for an hour or two, while he thought up a few scenes." (Leo McCarey * Great Director profile * Senses of Cinema)

Filming started August 16, 1943 and ran until October 22 shooting in multiple locations outside of Paramount Studios. St. Monica's Catholic Church posed as Father Fitzgibbon's St. Dominic's Church and Crosby's usual haunt of the Lakeside Golf Club was also featured as an exterior. The Hollywood Reporter reported that footage of the St. Louis's Planter's hotel and Duffy's restaurant were retained for possible use and that McCarey shot eighty-four-year old Apache Joe Mangum as "Geronimo" for a scene at the St. Louis World Fair with plans to feature Father O'Malley's hometown. It was also reported that composers Johnny Burke and Jimmy Van Heusen worked on a two-act operetta and a scene between "street gamin and priest" in a New York hospital introducing penicillin was planned on. All of these three scenes were not included in the finished film. Paramount was also unable to get European copyright clearance for Georges Bizet's opera Carmen so they shot an additional sequence from Smetana's "The Bartered Bride" to replace what was already in the script or on McCarey's daily to-do list. 

"Going My Way" premiered on May 3rd, 1944 at the Palace. Paramount arranged for an April 27, 1944 premiere, according to a Hollywood Reporter article, "for the simultaneous world-wide showing to the troops in combat areas made by the Army Pictorial Service from Alaska to Italy and from England to the jungles of Burma..." A total of 65 prints were distributed but Paramount didn't just stop there with their philanthropy. The Hollywood premiere on August 16, 1944 helped donate $10,500 proceeds for the House of Nazareth orphanage. By September, the film earned over $7,000,000 in gross revenue with a total of $10,000,000 in foreign and became Paramount's largest grossing film to date. 

Bosley Crowther at The New York Times called "Going My Way" "rich, warm and human to the core. [...] It is the story of new versus old customs, a traditional age versus youth. And it is a story of human relations in a simple, sentimental, honest vein." Variety did have one criticism that "the overlong 126 minutes contain many episodes which could be deleted for more compactness," but the "picture is a warm human drama studded liberally with bright episodes and excellent characterizations accentuated by fine direction of Leo Carey. Intimate scenes between Crosby and Fitzgerald dominate throughout, with both providing slick characterizations." 

Going My Way will air on TCM on Sunday, December 22 at 7:00 CST/8:00 EST

#ManCrushMonday Fred MacMurray as Jack Sargent in "Remember the Night" (1940)

New York City's Assistant District Attorney Jack Sargent is pressed to prosecute a woman (Barbara Stanwyck) who steals a bracelet around Christmas time, but he has the smarts to postpone the case to make sure the jury isn't swayed by holiday good cheer. So now Lee Leander, a fellow Hoosier from Indiana, has nowhere to go but jail, but Jack can fix this as well. But with her bond paid, Lee still has nowhere to go unless back home and before Sargent realizes it, he's taking her into his own family home where she is treated with all of the warm holiday cheer. Somewhere along the way, Jack starts developing feelings for the woman he's supposed to be prosecuting.

TCM Movie: Lady on a Train (1945)

Deanna Durbin was the classical vocalist in the 1936 MGM short "Every Sunday" to Judy Garland's jazzier stylings. Whether it was Louis B. Mayer or Laemmle, who saw the short and compelled to hire Garland, MGM got the triple force actress and Universal took Durbin under their wing. Immediately, the classically trained singer was given the lead in "Three Smart Girls" (1936) which made her an immediate star. 

By the early '40s, Deanna was in her '20s and clearly growing out the bouncy teenager trope that made her so popular with pre-WW2 audiences. Paramount writer Leslie Charteris started a writing a screenplay after his honeymoon with actress Audrey Long that would end up diversifying Durbin's image. Producer Felix Jackson made this "Lady on a Train" a part of a two-film deal along with "Christmas Holiday" (1944). Donald Cook, Robert Paige, and Franchot Tone were considered to be the leading man, but David Bruce, who had already played supporting roles in Durbin's last two films, was chosen instead. While there was some exterior shots done on the New York subway in November 1944, filming was pushed back until January 17, 1945.

Bosley Crowther of The New York Times was not impressed. "The sooner Deanna Durbin and her producers realize that she is not a dramatic actre nor even a fair farceuse, the sooner we'll all be spared the bother of such embarrassments as "Lady on a Train." And embarrassment is just the word for it, for this picture [...] exhibits the little lady falling flat on her histrionic face. True, the yarn which Universal concocted for this display would not render even Ginger Rogers sufficient theatrical support, so we can't altogether blame Miss Durbin for the unholy show that she makes. It's an empty and careless little fable, intended to be a mystery farce, about the wholly incredible mix-up of a debutante in a murder plot."

"Lady on a Train" will be on TCM on Sunday, December 15th 11:00 am CST/12:00 pm EST  

Deathmatch: #HolidayEdition "Holiday Affair" (1949) vs. "Miracle on 34th Street" (1947)

History

Screenwriter and director Valentine Davies was wondering when Christmas had become so commercialized while standing in line at a yet unnamed department store. Inspiration immediately followed, but it was only an idea. Instead of writing it himself, he took it to fellow writer/director George Seaton who titled this idea involving a cynical little girl, a single mother, and an old man who believes himself to be Santa Claus "The Big Heart." Fox studio head Darryl F. Zanuck then sent producer William Perlberg and Seaton a memo on November 6, 1946 wanting to "definitely use John Payne for Fred. Mark Stevens does not fit the part at all and in any event it is essential that we have a box-office name with [Maureen] O'Hara, as the only conceivable excuse we have for making the picture from a box-office standpoint is the combination of O'Hara and Payne, who have already established themselves." But the studio chief did have a few problems with the script feeling like "Doris is overdrawn. I feel that she is so cold, cut and dried, that an audience will have a difficult time forgiving her. Perhaps if there were a way to bring out quicker the hurt in her background and past life we might be able to understand her. ... Furthermore, I do not believe the characterization is either plausible or true to life." 

But the bigger worries were reserved over using Macy's and Gimbels's names. Fox even went as far as to convince both department stores' representatives that they would not be allowed to see anything until it was finished. The setting between American Thanksgiving to Christmas was also kept secret from the press. Fox even went as far as to put together a non-Christmas themed trailer attempting to throw off the scent of any possible Yuletide cheer. A fictional producer not sure how to describe what was now entitled "Miracle on 34th Street" runs into multiple stars from Rex Harrison to Peggy Ann Garner on the Fox backlot where even they try to describe the movie. Zanuck even shot for the freshly re-titled picture to be released in May in favor of the bigger numbers of summer moviegoers.  

Maureen O'Hara immediately was cast as the single working mother, although having just got back to her native Ireland to visit family she hadn't seen in seven years. World War 2 had prevented her from visiting her country. It was only a few days into her trip when Fox told her to report back to the states and quickly. "I was heartbroken, furious and reduced to tears. I almost refused to go back, but knew I had no choice. I was madder than a wet hen the whole flight back. ... I later learned that the reason why I was so urgently brought back to New York was so we could film the Thanksgiving Day parade sequences while the parade was actually happening. They weren't going to run the parade more than once on our account. These sequences, like the one with Edmund riding in the sleigh and waving to the cheering crowd, were real-life moments in the 1946 Macy's parade. It was a mad scramble to get all the shots we needed, and we got to each scene only once. " (Tis Herself: An Autobiography. O'Hara, Nicoletti. 2005) There was one interior done while in New York City in the Supreme Court building. Even Macy's original Santa Claus, Charles W. Howard, acted as technical advisor. 

"New York remained bitterly cold that winter -- so cold, in fact, that the cameras froze on one occasion and would not turn over. We were shooting the sequence at the end of the film in which Natalie [Wood] sees the house that she asked Kris Kringle for [on 24 Derby Road in Port Washington] [...] Luckily, a very kind woman, Vaughn Mele, lived across the street from where we were filming and offered us her home to thaw out the cameras. We gratefully accepted, and I was happy for the chance to thaw out myself as well. The cameras got the preferred treatment, in front of the fire, and we were all seated in the back, away from its heat. [...] I was so grateful for her hospitality that I took her and her husband to dinner at the "21" Club that night. She was so thrilled she couldn't eat a bite and only drank a glass of milk!"

Now entitled "Miracle on 34th Street," the film was finally and separately screened for both Macy's and Gimbels executives who still held its fate. It was a go. The film officially premiered May 2, 1947 but didn't premiere in New York City until June 4th. Bosley Crowther of "The New York Times" "heartily recommend [ed] the Roxy's new picture [...] As a matter of fact, let's go further: let's catch its spirit and heartily proclaim that it is the freshest little picture in a long time, and maybe even the best comedy of the year. If that sounds like wild enthusiasm for a picture devoid of mighty stars and presented without the usual red-velvet-carpet ballyhoo, let us happily note that it is largely because this job isn't loaded to the hubs with all the commercial gimmicks that it is such a delightful surprise. Indeed, it is in its open kidding of "commercialism" and money-grubbing plugs that lies its originality and particularly winning charm." 

Janet Leigh was happily dating Arthur Loew, Jr. which didn't make RKO head Howard Hughes very happy. She made sure when Hughes did manipulate her into a date to invite her parents to go with them to the Sportman's Lodge. "The three of them had a wonderful time and I was bored to tears. I mean, it was fun because I saw Mom and Dad were having a good time." (Janet Leigh: A Biography. Capua. 2013) Some time after the disastrous date, Bennie Thau, vice president of MGM, asked Leigh into his office. ""Janet, I have wonderful news, RKO is going to borrow you for three pictures. You'll be working with Robert Mitchum and John Wayne. It's a tremendous opportunity for you."" Janet tried to explain what she was dealing with with Hughes.

"Thau just said, "Now honey, we're sure there's nothing to worry about. This is a business situation, nothing more. There's no funny business. We're talking about a lot of money at stake here. So you go and do as we say." And I must have still looked nervous because he added, "Look, I'm a phone call away if I'm wrong." And that was all they wanted to hear about that." Weeks later, MGM announced through the New York Times that "Janet Leigh Gets 2 RKO Film Leads" when in reality it was three but for how much was undisclosed. One of those films was the then titled "Christmas Gift" opposite Wendell Corey and Robert Mitchum, who was doing a little better than Leigh was.

Mitchum had been arrested for marijuana possession August 31, 1948 along with actress Lila Leeds, dancer Vickie Evans and Robin Ford, a real estate man at the two womens' home in Laurel Canyon. The "raiding party viewed proceedings for two and a half hours through a rear bedroom window after "bribing [Leeds's] dogs with food." (St. Petersburg Times - Google News Archive Search) Mitchum was released on a $1,000 bail, but was taken to trial in February 1949. He was found guilty of criminal conspiracy to possess marijuana and was sentenced to 60 days, which was reduced to 50 for good behavior. Mitchum "did his time in an L.A. county jail and the Wayside Honor farm in Castaic, Calif., where, as a brickmaker, he was voted "Mr. Cement Block of 1949 by his fellow inmates. Released in March, he called his stay at the farm an "experience every tax payer should go through." (Robert Mitchum arrested for possession | EW.com)

RKO stood by him and, according to the Hollywood Reporter late July 1949 just weeks after "Christmas Gift" started shooting on the 11th, planned on rushing "Christmas Gift" to capitalize on Robert Mitchum's popularity. The studio was intent on cleaning up his image when his films were being considered to be banned in some states. It also worked in RKO's favor having just acquired and becoming the sole owner of Mitchum's contract through paying David O'Selznick $400,000 for his share. "Christmas Gift" or "The Man Who Played Santa Claus" which eventually came to be called "Holiday Affair" would put Mitchum in an uncharacteristic romantic comedy lead. The set was a relaxed one, despite what Leigh had to have been feeling through the paranoia and Mitchum being fresh out of jail. 

"It was a very happy set and we did good work. Although I wasn't thrilled about having to do it, Holiday Affair turned out to be another I loved. ... [It] proved a delightful film. It's become a Christmas  staple on TV. And I enjoyed working with Bob Mitchum and Wendell Corey I think. Bob was such a free soul. Much of the time, I didn't know what to make of him. He was so funny and so relaxed he sometimes seemed in danger of falling over. But, he was always professional. Both he and Wendell Corey would try to shock me; they knew a patsy when they saw one. During the big Christmas dinner scene, Bob and Wendell each put a hand on my leg. Oh, they never followed through on any of this, they just liked to tease their victim."

Leigh also had learning experiences with the 8-year-old actor who played her son. "In one scene [Gordon Gebert) started playing with his breakfast cereal. Janet stopped delivering her lines, since this activity was not in the script. [Producer/Director Don] Hartman told her it was a mistake because Gerbert was behaving naturally and she should have improvised, staying in character. After that she never stopped a take again." When Mitchum's Steve Mason gives her Connie Ennis a "Merry Christmas kiss" in the kitchen, Leigh later recounts that "the expression that is on my face of being overwhelmed was for real." Even Mitchum stood by its randomness. "I wanted to make the kiss memorable, as though the characters were never going to see each other again. The perks of being an actor are at times not bad."

But Howard Hughes managed to squirm his way into production despite giving his producer and director Don Hartman complete freedom. Hughes had the final say on Leigh's wardrobe, makeup, and hair. He also amped up the marketing, supervising the ad campaign into something like a sex comedy.  "Baby, you're just what I want for Christmas" was one of the tag lines in a speech bubble next to Mitchum's face as he looks over to Leigh. Another tag line read "when Mitchum kisses 'em, they hear bells ... wedding bells!"

The now titled "Holiday Affair" wrapped on September 2nd, 1949 and premiered at Loew's State in New York City on November 23rd. It would lose $300,000 at the box office despite having opened nationally on December 24, 1949. Bosley Crowther of the New York Times called the film "lightweight in story and treatment, it is one of those tinsel-trimmed affairs which will likely depend  for popularity upon the glamour potential of its stars. [...] No doubt, a great many people will find this sugar to their taste. This corner finds it much too saccharine for either credibility or delight." Variety was a little more positive, describing "Holiday Affair" as "a warm Christmas offering that concerns itself charmingly with the antics of humans during the Yuletide, developing a lot of rich comedy-drama in doing so." The Modern Screen called it "unusually charming," noting that the film's "characters are nice, it's dialogue is extra good, its acting warm and real." Showmen's Trade Review found it an "amusing romantic comedy that is certain to delightfully and thoroughly entertain everyone" but ended cautiously with "name draw, though strong, isn't sufficient to bring in justifiable returns, but the general excellence of the picture will create word-of-mouth that should push it into the money-making class."

"I believe... I believe... It's silly, but I believe... anything can change a life that's ready to be changed."

Connie Ennis (Janet Leigh) has been a widow for some years now since losing her husband to WW2. Now she has finally settled her sights on lawyer Carl Davis (Wendell Corey), whom she has been dating for many years. The problem is is that she cannot fully committ. Connie has an eight-year-old son, Timmy, who has been marked the man of the house. Maybe, just maybe, she finds herself sweeping his hair to the side to look more like his father and probably calls him "Mr. Ennis" one too many times without ever realizing what she is really doing. 

But Connie is a single woman living in New York City and has a successful job as a comparison shopper until an army vet department store clerk in the form of Steve Mason (Robert Mitchum) refunds her money for a toy train when he should have reported her. The kind gesture only helps him lose his job, but his consolation prize involves spending the whole day with Connie helping with her shopping work. It only becomes a matter of hours when Steve finds himself fully immersed in her life and meeting the boyfriend and the son who he immediately sparks a friendship with and a Christmas promise. 

Doris Walker is also a semi-hardened single mother working in proximity to a department store. As the event director of the Macy's Thanksgiving Day Parade, she begs a man that goes by the name of Kris Kringle (Edmund Gwenn) to play Santa at the last minute when the both of them discover the already hired Santa actor is drunk. The curiously strange Kringle does so well, he ends up hired to play Santa for the season at Macy's. The problem is that he does not adhere to the rules in pinpointing the "customers" to the different departments in only the famous store. 

Doris is lucky in her predicament and it comes in the form of a neighbor, an attractive attorney Fred Gailey (Fred Payne), who babysits her 9-year-old daughter Susan (Natalie Wood) and may have his sights on her. He lets Susan watch the parade from his apartment and even takes her to see Santa. But Susan was raised to not believe in myths or fairy tales and is just not impressed with Kringle. But when the "Santa impersonator" starts speaking Dutch to a little girl from The Netherlands who doesn't know how to speak English, Susan is, as the kids say in our current day, shook. 

But Doris attempts to convince the older man to tell her daughter that he is not Santa although he says that he actually is. She ends up firing Kris Kringle although receives a bonus from Macy himself for bringing such a convincing Santa Claus into the store. It all spirals way out of control involving the famous rivalry between Gimbels and Macy's, a psychological evaluation, and a nursing home where someone who may just be Santa Claus is institutionalized in and considered insane. 

Deathmatch Round

If you can believe it, I actually saw "Holiday Affair" first and immediately found it charming and fun. While "Miracle on 34th Street" is obviously and extremely well-loved and Oscar-winning material, it is just as charming and fun, but I still saw "Holiday Affair" first.

The Don Hartman film has a few more perks than just the magical realism if Santa Claus exists or not. It is about real people. It is about the holidays not being as easy as people think. It is also remarkably lady-power fueled for a 1940s film and I think this fact often flies over the average moviegoers perception of "Holiday Affair." In a time when women struggled for agency, Janet Leigh's Connie Ennis has enough of it to make her way in the world and with an 8-year-old son! She herself holds the reigns of whom she wants to be with, the free-spirited Steve or the steady and reliable and almost more of a friend Carl. The problem is that she channels those reigns through her son which she practically suffocates herself with with the need to be with the more reliable man. 

Steve Mason finally buckles down realizing the situation. "Carl isn't the real threat to me. Maybe I'm not to him. This isn't two fellows and a girl, you know. This is two fellows, a girl and her husband. I can't fight a shadow - I tried - competition's too tough. You were even going to play it safe and settle for someone you didn't love so you wouldn't be unfaithful to your husband. ... All anybody wants is for you to live in the present and not be afraid of the future. You know, maybe it could happen again if you quit pretending that something that's dead is still alive." 

While I can understand that a lot of current feminists would call this piece of Lennart's dialogue an immediate mansplanation on the surface, it's not that Steve is actually explaining Connie to herself, but trying to get through to a place that she has deadened herself to. If another woman character was brought onto the film to have this same conversation with Connie, she could be doubly perceived as one of those women who just don't support women. Regardless, the root of all of this is about Connie's true agency that she has kept locked up. "Holiday Affair" is a brevy of psychological effects of the widows of WW2 and it's truly remarkable. Let me reiterate the fact that Carl and Steve are never pitted against one another or do they look at one another as threats! They come across more amused over one another's existence. Carl even semi-heartedly helps Steve get out of an arrest when he's suspected of stealing supposedly gifted salt and pepper shakers he was given on Christmas Day!

It may also be telling that this film was written by a woman and not a man like "Miracle on 34th Street" had been with its themes of consumerism and male power over corporation culture. By 1949, Isobel Lennart had been successful with light musical fare from "Anchors Aweigh" (1945) to "It Happened in Brooklyn" (1947). But her best work and strongest female characters had fully manifested later in her career with "Love Me or Leave Me" in 1955 and adapting her own stage play of "Funny Girl" in 1968 for which she won the Writers Guild of America Award for Best Written American Musical. "Holiday Affair" is a fantastic little fable that all women, whether widowed or not, deserve to chase after the guy that makes your knee caps melt.

Links to Check Out

the_los_angeles_times_tue_jan_11_ (668x800)

#FridayShort The Shanty Where Santy Claus Lives (1933) [Merrie Melodies]

TCM Movie: O. Henry's Full House (1952)

In 1945, Twentieth Century Fox considered many productions involving the late 19th century short story writer O. Henry. A biography of the man himself was suggested in 1943 and in 1945, a full-length "The Gift of the Magi" was optioned to 20th Century Fox. "[Otto] Preminger [was] scheduled to produce and direct... for release in 1946 [...] [and] will be produced on a lavish scale, with an important cast - and in technicolor." (Full Text of "New Dynamo" (April 1945)) Coming off of "Laura" (1944), Preminger had become, what Louella Parsons described as "the white haired boy at 20th, so nobody's saying a word" about his ambitions. (The World and Its Double: The Life and Work of Otto Preminger. Fujiwara, Chris. 2009) The Hungarian director was also in negotiations with Leonard Bernstein and Ogden Nash with Jo Swerling as screenwriter. June Haver was set to play the female lead. The project was mysteriously shelved and recent Oscar winning director and actor Henry King ("The Song of Bernadette"(1943)) ended up directing the short story in a rare anthology series known at the time as "O. Henry's Bagdad on the Subway." 

It had many working titles between "The Full House" and just simply "Bagdad on the Subway" before settling on "O. Henry's Full House." With the four miniature short story vignettes, there was plenty of casting news in addition to Henry's most famous "The Gift of the Magi." Screenwriter Nunnally Johnson had Clifton Webb in his mind to play Sam "Slick" Brown for his adaptation of "The Ransom of Red Chief." Unfortunately Webb was already in the middle of "Stars and Stripes Forever" (1952)  and Fred Allen took the role instead. Johnson also had William Demarest in mind, but after the official casting of Oscar Levant, he asked that his credit be removed because he was disappointed in the results.  "Ransom" ended up cut after release. It also didn't help that Howard Hawks brought on Ben Hecht and Charles Lederer to re-write Johnson's script. Philip Dunne was not given his credit as co-author of "The Gift of the Magi" along with Walter Bullock. Joyce McKenzie is also listed in the credits, but her role in "The Cop and the Anthem" was cut before the film's release. Heinie Conklin was also cast in "The Gift of the Magi," but his appearance has not been confirmed. 

"O. Henry's Full House" opened October 16, 1952 at the Trans-Lux Fifty-second Street. "True the style of the author," Bosley Crowther of The New York Times wrote, "it is a compact and varied entertainment--brisk, direct and trickled with the element of surprise. Naturally some of the surprises that characteristically top off each tale are so familiar to so many people that the impact of them may be lost." He continues on the choice of the narrator John Steinbeck as "unfortunate" and "not as suave as Mr. Maugham. These stories need no introduction. They thoroughly stand on their own."

O. Henry's Full House will air on Turner Classic Movies December 8th, 2019 at 2:45 CST/3:45 ET

#ManCrushMonday #ChristmasEdition John Payne as Fred Gailey in "Miracle on 34th Street" (1947)

Fred Gailey has been just a seriously nice guy. He is neighbors with a beautiful woman, but chooses to take an interest in her heavily sheltered and cynical daughter to take her out of herself. He takes in an older man who calls himself Kris Kingle and essentially Santa Claus when no one would take him. Gailey, also a lawyer, even takes Kringle's case when the old bearded fellow is being wrongly threatened with insanity for defending a fellow Macy's employee! And he is awfully pretty too...

Happy Thanksgiving: Looney Tunes - "Holiday For Drumsticks" (1949)

5 More of the Best Dressed Dresses

Hilary Brooke in Edith Head
in "Ministry of Fear" (1944)

Lena Horne in Helen Rose
in "Stormy Weather" (1943)

Linda Darnell in Kay Nelson
in "A Letter to Three Wives" (1949)

Jane Greer in Edward Stevenson
in "Out of the Past" (1947)

Lena Horne in Irene
in "Cabin in the Sky" (1943)

#FridayShorts Tony Curtis Janet Leigh Universal Newsreel Compilation Parts 1 & 2

#WomanCrushWednesday 5 Times When Ruth Hussey's Hat Game was On Point

"Another Thin Man" (1939)

"Married Bachelor" (1941)

"The Philadelphia Story" (1940)

"Married Bachelor" (1941)

"The Philadelphia Story" (1940)

#ManCrushMonday Richard Conte in "Call Northside 777" (1948)

Frank Wiecek was arrested a little too quickly following the murder of a policeman in a Chicago speakeasy in 1932. He is immediately sentenced to 99 years in prison along with another man who insists he had no part in the murder either. But 11 years later, his mother puts an ad in the newspaper for information on who really killed the police officer with a reward of $5,000 without Wiecek ever knowing. Tillie, his wife, has found someone new and his own son doesn't even know who he is. Soon a reporter from the Chicago Times (Jimmy Stewart) comes around asking questions and convinces Wiecek to take a lie detector test administered by the Polygraph's inventor Leonarde Keeler himself.

4 More of the Coolest Hollywood Friendships

Joan Crawford and Cesar Romero

Linda Darnell and Lana Turner (with Turner's husband, Steven Crane)

Clark Gable and Joan Crawford

Ginger Rogers and Lucille Ball

TCM Christmas 2019 Schedule

Little Women (1949)

Sunday, December 1st

11:00 am Lady in the Lake (1947) [TRAILER]
1:00 pm Little Women (1949) [TRAILER]
3:15 Holiday Affair (1949)
5:00 The Shop Around the Corner (1940)

The Bishop's Wife (1947)

Christmas Double Feature
7:00 pm A Christmas Carol (1951) [TRAILER]
9:00 The Bishop's Wife (1947) [TRAILER]

3 Godfathers (1949)

Sunday, December 8th

11:00 am A Christmas Carol (1938) [TRAILER]
12:30 pm The Man Who Came to Dinner (1942)
2:45 O. Henry's Full House (1952) [FULL MOVIE]
5:00 3 Godfathers (1949)

The Holly and the Ivy (1952)

Christmas Double Feature
7:00 pm It Happened on Fifth Avenue (1947) [TRAILER]
9:15 The Holly and the Ivy (1952) [TRAILER]

Bell Book and Candle (1958)

Sunday, December 15th

11:00 am Lady on a Train (1945) [TRAILER]
12:45 pm It Happened on Fifth Avenue (1947)
3:00 Bell Book and Candle (1958) [TRAILER]
5:00 In the Good Old Summertime (1949)

Holiday Affair (1949)

Christmas Double Feature
7:00 pm Holiday Affair (1949) [TRAILER]
9:00 Remember the Night (1940) [TRAILER]

King of Kings (1961)

Sunday, December 22nd

11:00 am A Night at the Movies: Merry Christmas! (2011) [ROBERT OSBORNE'S INTRO AND OUTRO]
12:15 pm King of the Kings (1961) [TRAILER]
3:15 The Greatest Story Ever Told (1965) [TRAILER]

Going My Way (1944)

Christmas Double Feature
7:00 pm Going My Way (1944) [TRAILER]
9:15 The Bells of St. Mary's (1945) [TRAILER]
11:30 Ben-Hur: A Tale of the Christ (1925)
2:00 am Merry Christmas. Mr. Lawrence (1983) [TRAILER]

Monday, December 23rd

Bundle of Joy (1956)

Remakes
7:00 pm The Shop Around the Corner (1940) [TRAILER]
9:00 In the Good Old Summertime (1949) [TRAILER]
11:00 Bachelor Mother (1939) [TRAILER]
12:30 am Bundle of Joy (1956) [TRAILER]
2:30 Three Godfathers (1936) [TRAILER]
4:00 3 Godfathers (1948) [TRAILER]

It Happened on Fifth Avenue (1947)

Tuesday, December 24th

6:00 am Beyond Tomorrow (1940) [TRAILER]
7:30 Fitzwilly (1967) [TRAILER]
9:15 Period of Adjustment (1962) [TRAILER]
11:15 In the Good Old Summertime (1949)
1:00 pm The Man Who Came to Dinner (1942) [TRAILER]
3:00 It Happened on 5th Avenue (1947)
5:15 Holiday Affair (1949)

All Mine to Give (1957)

Christmas Eve
7:00 pm The Bishop's Wife (1947)
9:00 Meet Me in St. Louis (1944) [TRAILER]
11:00 A Christmas Carol (1938)
12:30 am Meet John Doe (1941) [TRAILER]
2:45 All Mine to Give (1957) [ROBERT OSBORNE'S INTRO]
4:30 The Great Rupert (1950) [FULL MOVIE]

Little Women (1933)

Wednesday, December 25th

6:00 am Babes in Toyland (1934) [TRAILER]
7:30 Tenth Avenue Angel (1948) [TRAILER]
9:00 Little Women (1933) [TRAILER]
11:00 O. Henry's Full House (1952)
1:15 pm Love Finds Andy Hardy (1938) [TRAILER]
3:00 The Shop Around the Corner (1940)
5:00 Susan Slept Here (1954) [TRAILER]

#FridayShorts SCREEN SNAPSHOTS Hollywood Make-Up Artists

#WomanEmpowermentWednesday #SilentEdition Lenore Coffee

Lenore Coffee got a job right out of graduating Dominican College in working as "the only girl assistant director in the business" for Louis B. Mayer. She started with selling stories to perspective actors then moved to continuity and story editing and then to writing screen titles. Coffee was offered a job to edit and title by Irving Thalberg over at Universal, but chose to work with writers than producers. 

When Garson Studios put out an advertisement in the Motion Pictures Exchange Herald for a script for their actress Clara Kimball Young, Coffee immediately answered it. The studio sent her $100 for her story, but instead of cashing the check, she sent a telegram to the studio insuring that "I am given screen recognition." When she met Henry Garson himself, she admitted she couldn't afford to move to Hollywood from San Francisco since she was supporting her mother. Garson responded immediately, "I think you're going a long way in this business. I'll pay your fare and your mother's fare. ... I'll give you fifty dollars a week on a year's contract." (Coffee, Lenore (c. 1897-1984) | Encyclopedia.com)The script she wrote for the ad manifested itself as "The Better Wife" in 1919. At Garson, Coffee considered herself a "fixer-upper" and received $1,000 a week to ten days of labor per project. 

Coffee would continue her writing at home in Mandeville Canyon and only came into the studios she worked at when necessary. "I wrote the first 20 pages and turned them in. Then I let time pass. They said, 'Where's the rest?' I said, 'I can't work away from home so let's call it off.' They liked the first pages I sent so much they told me I could work at home."

In 1938, she moved to working in the script department at Warner Brothers as the only woman in the department. During this time she also wrote a play and a novel titled Another Time, Another Place which the Los Angeles Times described as "show [ing] that a woman would be a career woman with lots of brains and have no sense." 

Coffee moved to England in 1959 with her director husband William Joyce Cowen but moved back to California, where she lived in retirement in the Motion Picture Home in Woodland Hills. She passed away on July 2, 1984. 

Links to Check Out

Lenore Coffee - Women Film Pioneers Project

#ManCrushMonday Kirk Douglas in "A Letter to Three Wives" (1949)

George Phipps is married to Rita and feels a little emasculated considering his wife makes more money than he does in being a story writer for radio soap operas. But he loves his job as a schoolteacher and thinks it is important despite the low pay. It also doesn't help that Rita will bend over backwards for her boss, going as far as forgetting her husband's birthday was the same night as a dinner party she gave for Mrs. Manleigh. Rita had forgotten about the whole night except for the part her enigmatic friend, Addie Ross, gives George a rare Brahms recording on vinyl. But he is witty and clearly intelligent and a good friend to Brad and his new wife Deborah, although in clear competition for Addie Ross. Sometime passes and all three women in their circle sends each of them a little that she is running off with one of their husbands.

Happy Halloween: Hell's Bells from Silly Symphonies (1929)

TCM Movie: "Mark of the Vampire" (1935)

"Mark of the Vampire" (1935) was the first Tod Browning remake that involved the man himself. Five years earlier, MGM producer Irving Thalberg called for a remake of "The Unholy Three" (1925) which had been the second film out of the ten Browning made with star Lon Chaney. Chaney reprised his role as Professor Echo but was directed by Jack Conway before passing away of a throat hemorrhage seven weeks after its release. But Thalberg wanted to capitalize on MGM's contribution to horror in the style of Universal's "Dracula," so he handed the project over to writers Guy Endore and Bernard Schubert. This time, Browning would return from Universal to redirect his own film, but without the man who he worked so well with. Makeup artist Bill Tuttle remembered "if the crew didn't do something right, Browning would grumble: 'Mr Chaney would have done it better." (Bojarski. The Films of Bela Lugosi. 1980)

But the ensemble, including Chaney's previous star in "Dracula" Bela Lugosi and Lugosi's onstage protege Carroll Borland, were completely in the dark when it came to the ending of the film they were shooting. Browning withheld the ending for as long as he could. "When [Borland] and Bela found out on "The last day" that they were only playing actors, they were disappointed. Both found it "absurd"[...] The last pages inserted into the final shooting script, dated January 18, seem to prove that the cop-out conclusion was not revealed until the end of the production." (Lennig. The Immortal Count: The Life and Films of Bela Lugosi. 2010) Browning even rejected an alternate ending with an additional Endore and/or Schubert even offered where Lionel Barrymore's Professor Zelin receives a telegram from the vaudeville actors apologizing for not making their train on time for the castle assignment.

"Mark of the Vampire" finished shooting mid February 1935 but wasn't released until late April. 15 or 20 minutes were mysteriously cut. Even a few deleted scenes involved "large South American bats" which a contemporary New York Times news item pointed out that the government ordered the deportation or killing of after the film was finished. The "old crone" (Jessie Ralph) is scared off by a bat in the cemetery before returning to her "tumbledown, weather-beaten shack" where she abuses her "thin... albino daughter" for letting her cauldron of herbs burn too long. In another scene, Barrymore's Professor Zelin examines a sleeping bat that might be a vampire. "He straightens up and brings his head on a level with the bat -- stands there, studying it... Slowly the little beady eyes of the bat open -- and stare at the Professor ... he stares back at the bat ... its eyes blazing ... The pupils of his eyes dilate -- then grow filmy. Slowly his head moves forward -- nearer the bat ... The Professor's face draws slowly closer and closer -- as if drawn by some hypnotic power ... Professor: 'I wish I knew! Could it be!'"

Browning's newest vampire film was released April 26, 1935, earning a profit of $54,000. Frank S. Nugent of The New York Times moralized "let it be enough merely to add that, for all its inconsistencies, "Mark of the Vampire" should catch the beholder's attention and hold it, through chills and thrills, right up to the moment when the mystery of the vampires of Visoka is solved. Like most ghost stories, it's a lot of fun, even though you don't believe a word of it." The Motion Picture Herald lauded "This is a picture which should give the 'horror' fans all they want. It's full of shrieks and screams, gasps and shudders. The stuff commonly supposed to change red blood to ice water starts right at the beginning; a little slowly, perhaps, as the explanatory groundwork is being laid.

Nearly a month later, Dr. William J. Robinson wrote into the New York Times with "a dozen of the worst obscene pictures cannot equal the damage that is done by such films as The Mark of the Vampire. I do not refer to the senselessness of the picture. I do not even refer to the effect in spreading and fostering the most obnoxious superstitions. I refer to the terrible effect that it has on the mental and nervous systems of not only unstable, but even normal men, women and children. I am not speaking in the abstract; I am basing myself on facts. Several people have come to my notice who, after seeing that horrible picture, suffered nervous shock, were attacked with insomnia, and those who did fall asleep were tortured by the most horrible nightmares. In my opinion, it is a crime to produce and to present such films. We must guard not only our people's morals -- we must be as careful with their physical and mental health."


 

"Mark of the Vampire" will be shown on TCM at 1:15 AM CST/2:15 AM EST

#FridayShort #HalloweenEdition Cobweb Hotel (1936)

#WomanEmpowermentWednesday #HalloweenEdition Ardel Wray

Ardel Wray was born on October 28th, 1907 in Spokane, Washington to two stock theater actors who separated when she was young. She spent most of her childhood living with her maternal grandparents while mother, actress Virginia Brissac (best known playing James Dean's grandmother in "Rebel Without a Cause"), worked. Ardel came to live with Brissac and her new husband, director John Griffith Wray, once settling in Los Angeles in 1915. After a few odd jobs after high school, including being a model for costume designer Howard Greer and trying then dropping out of the University of California, Wray worked as a staff writer for Carl Laemmle Jr at Universal. From Universal, Wray moved to the story department at Warner Bros then Fox in 1936 then ended up settling at RKO in 1938. 

Wray would help with RKO's Young Writers' Project, which was designed to identify and cultivate talent at the studio. It's possible that producer Val Lewton found Wray through the project or through editor and eventual director Mark Robson. Her first assignment was to deliver a "workable script" about zombies. Wray was inspired by a story written by Ohio journalist Inez Wallace which would end up becoming "I Walked With a Zombie." It would be her most famous contribution. Outside of writing many of Lewton's films including "Bedlam" and "The Isle of the Dead," Wray also wrote the seventh installment of the Falcon detective series and an unfortunately shelved but original Blackbeard A-movie. 

When she signed a contract with Paramount in the beginnings of the McCarthy era, she was asked into an office and asked to point to names on a list of communist sympathizers, Wray declined and her credit on "Bride of Vengeance" (1949) was removed and she was released from her contract. According to her estate records and family history, she "described the person she met with as nervous and "obviously embarrassed" [...] at one point offering whispered advice that "They've already been named, dear - you won't be hurting anyone." She wouldn't be pointing a finger to a name she didn't know and her relationship with Dalton Trumbo was over a decade old and possibly generated by gossip. She was put on the "graylist," ruined her relationship with her mother, and lost her career in movies for 12 years until starting to write for television. To support her daughter, Wray fact-checked and novelized films for newspapers and was a reader in various studio story departments. Wray was forced to retire after her eyesight started to fail and after cataract surgery and recovery, she officially retired in 1972. She would pass away of breast cancer on October 14, 1983 and Wray's ashes were scattered at sea. 

#ManCrushMonday #MemorableSupportingActor #HalloweenEdition Dwight Frye

Dwight Frye was best known as a comic actor on stage and the silent screen before being nicknamed as "The Man with the Thousand-Watt Stare" and "The Man of a Thousand Deaths" with his portrayals as madmen in horror movies. He is best known as the insane Renfield in Tod Browning's "Dracula" (1931).

Frye was born in 1899 in Salina, Kansas to farmers, but with their surname spelled without an "e," and moved to Denver Colorado at a young age. At age 9, Frye had ambitions to be a concert pianist, having started playing at a young age until having been bit by the bug when he performed in his high school theater production of "The Honeymoon." To soothe his highly religious parents' nerves of his acting ambitions after having graduated, Frye worked at a business firm while being trained by Douglas Fairbanks's acting teacher Margaret Fealy. Fealy gave him a leg into the business by contacting Denver's Denim Stock Company's manager and he was immediately hired. His first role was in "The Man from Mexico" in June 16, 1918 and toured until he found himself in New York doing Vaudeville. Frye joined the Colonial Theater Troupe in 1922 which gained him a Broadway contract and eventually on the list of the 10 Best Stars of Broadway. In 1925's "Puppet," Frye performed his first villainous role and was considered to be one of the first to unconsciously use Method acting.

Hollywood didn't come calling, but Frye moved to Los Angeles after the stock market crashed and started in the theater instead. The decision paid off and he received his first screen credit in 1930's "The Doorway to Hell." He would be cast as the realtor-turned-madman "Renfield" in "Dracula" (1931) which he immediately sank his Method teeth into. The success of the film led to even more character roles in "The Maltese Falcon" (1931) and "Frankenstein," where he played a hunchbacked assistant to the doctor. He continued to do theater in New York and touring the East Coast while coming back to Hollywood for his already typecasted character actor career which wore on him considerably. His character Karl in "Bride of Frankenstein" had less screen time due to edits for the running time and the budding production code. With "Son of Frankenstein," Frye's small part was completely cut, having to resort to a night job as a tool designer at the Douglas aircraft company to make ends meet. His last horror film was "Frankenstein Meets the Wolfman" (1943). In 1943, Frye was able to pick up a role as Woodrow Wilson's secretary of war in Fox's color biopic "Wilson," but had a heart attack in a bus aisle after taking his family to a double-bill show of "A Lady Takes a Chance" and "Sherlock Holmes Faces Death" at the Pantages Theater on November 7, 1943. Frye passed away just before getting to the hospital at the age of 44. On his death certificate, his occupation was listed as a tool designer.


Links to Check Out
Dwight Frye | Stuff You Missed in History Class