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Vintage Image of the Day: Deanna Durbin



The above photo symbolizes the way I always picture actress Deanna Durbin: a young girl standing very straight and singing her little heart out. This photo is from the 1937 film One Hundred Men and a Girl, in which Durbin persuades conductor Leopold Stokowski to lead a large symphony orchestra performance that will somehow save her musician father's career. I haven't seen the film -- few of the Durbin movies are available on DVD in this country -- but it also stars Adolphe Menjou as her dad, and the supporting cast includes some of the best character actors of the Thirties: Alice Brady, Eugene Pallette, Mischa Auer (hey, weren't they all in My Man Godfrey?).

Deanna Durbin was born on this day in 1921, and the Canadian actress and singer is still alive today, although she has granted very few interviews in the past half-century. She and Judy Garland appeared together in a 1936 short film for MGM, Every Sunday, and then their respective careers took off. MGM let go of Durbin, who went to Universal ... and the success of her first feature, Three Smart Girls (which is available on DVD), is often credited with saving the studio from serious financial difficulties. Durbin starred in a long string of musicals where she was the young woman who fixed everyone's problems, romantic or financial or whatnot, by the end of the film. While Garland was singing "Somewhere Over the Rainbow" for MGM, Durbin was singing an aria from La Traviata (in One Hundred Men and a Girl). Durbin was extremely popular in her day, and albums of her vocal performances sold like hotcakes, as well as Deanna dolls for little girls. Eventually her stock character was allowed to grow up and date boys, and even starred in some minor film noir, such as Robert Siodmak's Christmas Holiday in 1944 (with Gene Kelly, oddly enough).

Durbin's last film was For the Love of Mary, in 1948. She was still a film star, but disliked the public life of a celebrity. After marrying her third husband and moving to Paris, she retired entirely from acting and distanced herself from Hollywood and filmmaking as much as possible. Now how often does that happen?

Vintage Image of the Day: Madeline Kahn and Kevin Kline



Actress Madeline Kahn died on this day in 1999, from ovarian cancer. I intended to post a still from one of her best-known movie roles, looking particularly for something from Blazing Saddles or Young Frankenstein. I wouldn't have minded finding a good photo of her as Trixie Delight in Paper Moon, either. However, I stumbled upon a lovely tribute site, Madeline-Kahn.com, found this wonderful photo, and could not resist, considering who else is in it.

The above photo was taken as publicity for a Broadway musical, On the Twentieth Century, which was based on the wonderful 1934 screwball comedy Twentieth Century. The musical opened on Broadway in early 1978. That's a rather young Kevin Kline, pre-movie career, standing to the left of Kahn. Kahn played temperamental actress Lily Garland in the musical, and Kline played her current boy-toy, whom she favors over megolamaniacal producer Oscar Jaffe (played by John Cullum). Cy Coleman, who wrote the music, is standing in the middle. And that's Adolph Green and Betty Comden, who wrote the book and lyrics, on the right side of the photo. Since Comden died recently, do you see why I had to share this photo with you? The only problem with this photo is that it makes me wish very hard that I could have seen this production, although I would have been 9 years old at the time and probably would have fallen asleep in the middle.

I could go on and on about Madeline Kahn, but instead I recommend you visit the above-mentioned tribute site to enjoy dozens of great photos from the actress's films, TV appearances, and plays, as well as other information about her.

Not-Quite-Vintage Image of the Day: My Risky Business Crush



You can figure out the cousre of my romantic history by my high-school secret movie crushes: I preferred Gene Hackman over Christopher Reeve in the Superman movies, Harold Ramis over Bill Murray in Ghostbusters, and disdained the all-American, fresh-faced Tom Cruise in Risky Business in favor of the actor playing his sidekick, Curtis Armstrong. Armstrong, who turns 53 today, has had a long and varied career as a character actor in film and TV -- and yet many people still remember him for his early role as "Booger" in the Revenge of the Nerds movies. I can barely remember Revenge of the Nerds myself, although I know I saw it (I didn't realize there was more than one film, either) and apparently the movie is memorable enough to warrant work on a remake that was never realized. I recall watching Armstrong in Moonlighting episodes and in Better Off Dead, but I most associate him with that 1983 breakout movie for Tom Cruise, as the guy who tells his uptight friend that sometimes, you've just got to say, "What the f---?"

The photo above isn't the best shot of Armstrong, but it illustrates my point perfectly. Tom Cruise, in the middle of the photo, looked and acted like a typical clean-cut high school guy. Borrrring. But Armstrong, smoking a cigar there on the left, was a daring and charming bad boy, the kind who led his friends (and perhaps innocent young women) into trouble. That's the kind of dope I was in high school: I liked the long-haired, shady-looking guy who said "What the f---?" (I just realized that Armstrong must have been nearly 30 when he played a high-schooler in that film.) When I first saw the movie, I was young enough to get a slight shock out of the casual and repeated use of that four-letter word. Looking at pictures of the young Armstrong now, I realize I've outgrown that particular preference ... although I'm not any fonder of his Risky Business co-star, either. All I feel is nostalgia. (And by the way, the other guy in that photo is in fact Bronson Pinchot, in case you were wondering.)

Vintage Image of the Day: Little Women, 1933



How many filmed adaptations of Little Women are there, anyway? At least a dozen, if you count made-for-TV movies and TV series based on the Louisa May Alcott novel. The best known are the 1933 adaptation, directed by George Cukor and starring Katharine Hepburn as Jo; the 1949 Technicolor version with a showy all-star cast, including June Allyson as Jo; and the 1994 version starring Winona Ryder as Jo, which I also consider the only version with an attractive Professor Bhaer (Gabriel Byrne). Some of the TV movies and series have such unbelievable casting that I wish I had the chance to see them; I am thinking particularly of the 1978 TV movie starring Susan Dey as Jo, Eve Plumb as Beth, Meredith Baxter Birney as Meg, and -- wait for it -- William Shatner as Prof. Bhaer. I'm sorry, I can't read that last sentence without bursting into giggles, every single time.

My favorite Little Women is the 1933 film (although I like the 1994 one too, and will have to dig up a suitable photo to post so I can tell you why). Hepburn is truly the best Jo of them all, and the most believably tomboyish. True, Laurie (Douglass Montgomery) is a bit too wimpy for my taste, and Paul Lukas isn't the most handsome Prof. Bhaer (but then he's not supposed to be, in the book), but Joan Bennett is an appropriately pert and lively Amy, and Edna May Oliver is a top-notch Aunt March.

I was reminded of the 1933 film because today is actress Frances Dee's birthday; she played the virtuous and sweet oldest sister Meg. Dee took supporting roles in a number of successful 1930s dramas, such as Of Human Bondage and Becky Sharp. She also had the Jane Eyre-ish lead role in the 1943 film I Walked with a Zombie. Dee was married to Joel McCrea and retired from acting in the 1950s to raise their children. She died in 2004. Dee is at the far right in the above photo; the other actresses portraying the March sisters in that photo are Joan Bennett, Jean Parker, and Katharine Hepburn.

Vintage Image of the Day: Singin' in the Rain

Singin' in the Rain

Normally I might post an image from Singin' in the Rain as we get closer to Christmas; for some inexplicable reason, it's one of my favorite holiday-season movies. However, I was instead moved to post something by news of the death on Thursday of Betty Comden, one of the film's co-writers. Comden and Adolph Green teamed up to write a number of stage musicals and films, such as On the Town, The Band Wagon and Bells are Ringing. Comden and Green also adapted the play Auntie Mame into the 1958 film -- another holiday favorite of mine. For Singin' in the Rain, Comden and Green were engaged to write a movie musical around a catalog of existing songs from the 1920s and 1930s by Arthur Freed and Nacio Herb Brown. A few original songs were later added as well to the 1952 movie, such as Donald O'Connor's "Make 'Em Laugh" number.

I think one reason why I like Singin' in the Rain so much is that it is well written, with clever dialogue and lots of amusing moments. The musical numbers are impressive, and of course everyone remembers Gene Kelly performing the title song. But I love all the details about the transition from the silent era to talkies. I'm particularly fond of Jean Hagen as Lina Lamont, the gorgeous silent-film star with the horrible speaking voice. The scene in which Hagen and Kelly are shooting a silent love scene and murmuring sweet nothings like "Why, you rattlesnake!" and "I'd like to break every bone in your body" is one of my favorites. I also like the opening sequence, shown above -- I recall reading that Comden and Green wrote three different opening scenes for Singin' in the Rain, and ended up incorporating elements from all of them in the final script.

A few years ago, I finally saw The Band Wagon, which Comden and Green adapted from their stage musical a year after Singin' in the Rain, and hoped for the same delightful combination of humor and music. It felt terribly flat and dull in comparison (and I know I'm in the minority on this opinion, so feel free to defend the film). I'm not fond of most 1950s musicals, but Singin' in the Rain is a glorious exception. I actually found two great photos from the film last night; perhaps I'll post the other one around Christmastime.

Vintage Image of the Day: The Duchess and the Dirtwater Fox



I've discovered a whole new personal genre of films, which needs a shorter title than "Movies I loved watching with my dad when I was younger, but which haven't held up well over the years and since I developed actual taste in moviegoing." I can still derive a certain amount of enjoyment by watching some of these movies with my dad, because he gets such a kick out of them, but they're not all that great on their own. The list would include Harry and Walter Go to New York, one of my biggest guilty pleasures, but also Support Your Local Gunfighter, Fatso, The Apple Dumpling Gang, The Cannonball Run, and definitely The Duchess and the Dirtwater Fox. I noticed that today was Goldie Hawn's birthday, and that was the film that popped into my mind, despite the fact that I've enjoyed watching her much more in other films (Foul Play was a pleasant surprise).

My dad used to be a big George Segal fan, and he also loves a good Western/comedy combination complete with double-entendres. The Duchess and the Dirtwater Fox co-stars Segal and Hawn as a Wild West gambler/con artist and a prostitute. He steals a suitcase full of money, which she steals from him, and what is supposed to be hilarity ensues. I'm terribly vague on the details because I honestly don't remember much about the movie. I can remember one thing, illustrated in the above photo: Hawn, dressed in a fruit-bedecked corset, singing a faux-bawdy song called "Please Don't Touch My Plums." In a reversal of Gypsy, a few scenes later Hawn poses as a duchess and sings the same song to a nursery of children as though it were a lullaby. This is the kind of humor my dad truly loves, and for years after we saw this movie, singing "Please Don't Touch My Plums" was a family joke. (I hope my mom doesn't read this; I'm not sure she likes me telling these stories, as it makes the family sound weird.)

I haven't seen The Duchess and the Dirtwater Fox in years; I recorded the film off cable for my dad sometime in the early 1990s, but I don't think I was able to sit through the entire movie. I do not think I want to give it another chance, after reading a few reviews of the film on the web. (This guy absolutely loathed it, and I tend to value his opinion.) It's probably better for me to remember enjoying the movie with my dad, back in the days when I thought Don Knotts and Tim Conway were the ultimate comedy duo.

Vintage Image of the Day: Evelyn Keyes in Gone with the Wind



Today is actress Evelyn Keyes' birthday; her year of birth seems to be disputed (1916 or 1919), but so far as I can tell, she's still with us. Keyes was born in Port Arthur, Texas, which some of you might recognize as also being the birthplace of Janis Joplin. Keyes arrived in Hollywood in the 1930s and acted in films and on TV until well into the late 1980s. She was sometimes a leading lady in 1940s films like Here Comes Mr. Jordan, The Jolson Story, and Mrs. Mike, and later played Tom Ewell's wife in The Seven Year Itch. She's been married four times, most notably to director John Huston and bandleader Artie Shaw. However, Keyes is most remembered for her small role as Suellen O'Hara, Scarlett's pill of a sister in Gone with the Wind. In fact, Keyes' autobiography, written in the 1970s, is titled Scarlett O'Hara's Younger Sister.

I'm not the fan of Gone with the Wind that I was in high school. Over the years, the racial stereotyping has started to bother me more, and I'm less convinced by Clark Gable's performance as Rhett Butler. Also, it is difficult to love a four-hour film. However, I still love reading about the making of Gone with the Wind -- the huge and lavish production, David O. Selznick's baby, has generated many fascinating stories. Looking at my bookshelf, I realize I own at least four books related to the making of the movie (including the above-mentioned Keyes bio). I also love the costumes by Walter Plunkett, especially Scarlett's dresses. The Harry Ransom Center in Austin has Selznick's archives and a lot of other material from the movie, including faithful reproductions of Scarlett's most gorgeous dresses. Take a look at the HRC online exhibition of Gone with the Wind, especially the Costumes and Makeup section. You can see pictures of all the dresses, the "makeup stills" taken of most of the cast members, including Keyes. Every photo or description is accompanied by memos from Selznick about what he wanted (or didn't like) -- he was a notorious memo writer. Many of the memos are collected in a book called Memo from David O. Selznick ... yes, I own that one too.

Vintage Image of the Weekend: Grace Kelly



Normally when I write about a Vintage Image of the Day, I have a tendency to pick actors and films that I particularly enjoy, or want to know more about myself, and go on at length about their good points. Not today. I suppose I should gush sweetly about Grace Kelly, who was born on this day in 1929, cut off her acting career in its prime to become a real-life princess (of Monaco), and then died suddenly in 1982.

But you know what? I've never liked Grace Kelly in a movie. She's lovely to look at, but she tends to annoy me. She was far too in-your-face virtuous in High Noon, had little discernable personality in Rear Window, and was so glacial it hurt in High Society, from which the above still was taken. I still like to watch High Noon and Rear Window occasionally, but I can't stand High Society one bit (except for some of the Cole Porter songs). High Society was a musical remake of Philip Barry's play The Philadelphia Story, which was first made into a movie with Katharine Hepburn in 1940. The witty one-liners of the original are severely toned down in the remake, and the pastel-perfect Technicolor probably doesn't help either. Hepburn plays Tracy Lord as being strong-willed and a little too insensitive, but never the first-class bitch and ice queen that we see when Kelly assumed the role in 1956. I could understand why Tracy might divorce her first husband in the 1940 film, but in High Society, Dex is played by Bing Crosby in such a way that all the blame seems to fall on Tracy herself. (Do not even get me started on the inferiority of Celeste Holm in the role played so perfectly by Ruth Hussey.)

Feel free to disagree with me. Is there some quintessential Grace Kelly role that I've missed? Or perhaps the problem is that I'm not partial to most 1950s American films, and the actresses that dominated that decade.

Vintage Image of the Day: Gene Tierney



Actress Gene Tierney died 15 years ago on this day. You might remember her in Laura, as the woman that Dana Andrews' detective falls in love with, even though he's investigating her death. He sees that big portrait of her on the wall, and hears about her from witnesses, and that does it. And yet I find that Tierney herself is almost anticlimactic in Laura -- I prefer the barbed dialogue of Waldo Lydecker (Clifton Webb) and that lovely score, including the title tune by Johnny Mercer. Laura was released in 1944, the same year as that other film noir classic, Double Indemnity, although they were both beaten at the Oscars by the treacly Going My Way (and you thought Crash was a rotten Oscar choice).

Tierney had other chances to shine, however, starring in a number of 1940s films from notable directors: Heaven Can Wait, directed by Ernst Lubitsch; The Ghost and Mrs. Muir, directed by Joseph L. Mankiewicz; and again with Otto Preminger, the director of Laura, in Where the Sidewalk Ends. Her last acting role was in the TV miniseries Scruples in 1980. Austin Film Society has devoted a retrospective series to Tierney this month; I'm hoping to see the melodrama Leave Her to Heaven tomorrow night, the movie for which she was nominated for an Oscar. The AFS series was programmed by Austin Chronicle writer Raoul Hernandez, who summarized Tierney's life and filmography in a recent essay. I recommend the essay if you want to learn more about Tierney and why her successful career in acting was suddenly cut short in the 1950s.

Vintage Image of the Day: The Dion Brothers



For me, one of the unexpected high points during this year's Best of QT Fest in Austin was the 1974 movie The Dion Brothers, also known as The Gravy Train. The movie was directed by the late Jack Starrett, whose birthday is today (along with my own). Starrett's other films include Hollywood Man, which also screened at Best of QT Fest, and Cleopatra Jones. You might have spotted him as a supporting character in a Sixties or Seventies film: Gabby Johnson in Blazing Saddles is probably his most recognizable role.

My favorite part of The Dion Brothers is the first scene, pictured above, in which Calvin Dion (Stacey Keach) decides he's had enough of his factory job and rants in a manner that rivals Howard Beale in Network. Beale never bellowed "I'm f---in' Kirk Douglas!" in that memorable way, either. However, the rest of The Dion Brothers is also lively and hilarious. Calvin recruits his little brother Rut (Frederic Forrest) to join him in organizing a number of profitable crime sprees, which will raise money for them to open the fanciest seafood restaurant ever (with a list of incredibly awful-sounding menu items). Their first attempt at robbery doesn't go quite the way they intended, and they end up entangled with one of those flaky females that are sadly popular in Seventies films, played by Margot Kidder. The climactic sequence, in a building that's being demolished, is truly intense. And did I mention that the script was co-written by Terrence Malick? I wonder if he's responsible for the movie's quantity of quotable one-liners.

Sadly, The Dion Brothers isn't available on DVD at this time, although I've heard that you can find some clips from the film on YouTube. Otherwise, you'll just have to hope that Quentin Tarantino shows up in your town with his print of the film.

[Special thanks to Blake of Rare Movie Images, who found this photo for me at my special request.]

Vintage Image of the Day: Shock Treatment

Shock Treatment

Last week, it was Susan Sarandon's birthday so I posted an image of her as Janet Weiss in The Rocky Horror Picture Show. And today, it's Jessica Harper's birthday, so it only seems right that I post a photo of the actress as Janet Weiss Majors in the 1981 sequel, Shock Treatment. Harper's early film career is marked by a number of cult favorites: she was one of the schoolgirls in the classic horror film Suspiria and starred in the midnight favorite Phantom of the Paradise. She also appeared in Woody Allen's Russian spoof Love and Death, Allen's Stardust Memories, and Steve Martin's first failed venture into drama, Pennies from Heaven. In recent years she's moved to occasional guest roles on TV shows.

Shock Treatment is a mighty strange little film, set almost entirely in a TV studio with a plot that revolves around television shows and stars. Although Brad and Janet are back, they're played by different actors (Cliff DeYoung and Harper). Actors from Rocky Horror are in the sequel, but they have different roles. In the above photo, you can see Nell Campbell (who played Columbia), Patricia Quinn (who played Magenta), and Richard O'Brien (who played Riff-Raff) all playing alleged medical professionals. The medical aide in the right-hand corner of the photo is Rik Mayall, whom I always remember from The Young Ones although he's had better roles since then. I could go on and on, but the DVD was finally released last month, so you might want to see Shock Treatment for yourself.

[Photo via Shock Treatment Daily, a LiveJournal community that regularly posts screenshots from the film.]

Vintage Image of the Day: John Lennon in A Hard Day's Night



When I compile lists of films that were never made and that I wish I could see, I always think of Up Against It, the script that British playwright Joe Orton rewrote for a Beatles movie, which allegedly was too racy for the band's then-wholesome image. According to Prick Up Your Ears, the Orton biography by John Lahr, Up Against It would have had The Beatles' characters "caught in flagrante, become involved in dubious political activity, dressed as women, committed murder, been put in prison and committed adultery." Can you imagine the possibilities? Instead, we have to satisfy ourselves with the zany Richard Lester movies featuring The Beatles in clean-cut situations, A Hard Day's Night and Help! (There's also Magical Mystery Tour, but I've never been able to sit through the whole mess of a film.)

The above image is from the credits of A Hard Day's Night -- of course, that's John Lennon, who was born on this day in 1940. A Hard Day's Night is still considered by many to be a comic masterpiece, but I fear it hasn't dated well over the years. In high school, I loved watching, reading about, and listening to John Lennon, but I'm not as blind to the film or the musician's flaws these days. The last time I saw the 1964 film, I felt restless and bored in spots. The non-Beatles actors aren't particularly interesting, and the "frenetic pace" is old hat for contemporary viewers. But the music is great and the guys are fun to watch as they race around mischievously parodying themselves, or titillate audiences of packed girls with their energetic musicmaking. It's the best chance we have these days to visualize The Beatles at their peak, when they were practically idolized by their followers.

Vintage Image of the Day: Twentieth Century



Without a doubt, my favorite Carole Lombard film is Twentieth Century (although Nothing Sacred does run a close second). Today is the actress's birthday: she was born in 1908 and died in a plane crash in 1942. Her best years in film coincided with the beginning of the romantic comedy film in the Thirties, and she proved herself a versatile comedienne. She starred in movies directed by a surprising number of notable filmmakers, including Ernst Lubitsch (To Be or Not to Be), Alfred Hitchcock (Mr. and Mrs. Smith, his one stab at screwball comedy), Gregory La Cava (My Man Godfrey), and Howard Hawks (Twentieth Century).

Some might argue that Twentieth Century, released in 1934, is one of the first romantic comedies, but there's not enough romance between Lombard and John Barrymore. Their colossal egos are too busy competing with one another to make room for actual hearts and flowers. Broadway director Barrymore continually fires his long-suffering associates with the line "I close the iron door on you!" then rehires them five minutes later. His protege actress Lombard, who becomes a star, refuses to be controlled by him, although he tries every trick in the book ... and then some. Although the main characters are rarely sympathetic, the outrageous situations and witty dialogue, written by Ben Hecht and Charles MacArthur, contribute to a side-splitting comedy. My favorite scene is the one on the train where Lombard is seriously trying to kick Barrymore in the crotch (and you thought Thirties movies were prudish?), but it's one gem among many in the film.

Vintage Image of the Day: Oh, Rocky ...

Susan Sarandon as Janet Weiss

October 4 is a popular movie-star birthdate: I could have picked a photo from a film starring Buster Keaton or Charlton Heston, or perhaps Felicia Farr. But it's October, I've been thinking about Halloween, and costumes, and here it is Susan Sarandon's birthday. So why not find an embarrassing photo from the film Sarandon probably wishes most that we'd forget, The Rocky Horror Picture Show? Sarandon was in her late twenties when she played innocent heroine Janet Weiss in the movie, which eventually turned into a midnight-movie staple and a cult classic. Millions of people have seen Sarandon cavorting onscreen in her bra, yelling "Slut!" when she appears, and enhacing her dialogue with lines of their own.

Many people have at least one Rocky Horror story in their past; and if they don't, maybe they ought to. When I was in high school, it was an interesting thing to do after midnight if we couldn't get into any bars. (I lived in New Orleans, so we didn't see the movie that often.) In college, I fell in with a bunch of people who performed scenes from the movie live as it played on the screen at Sena Mall theater in Metairie. I tinted my hair red and performed as Columbia a few times one summer -- the challenges were to keep the tube top and later the bustier from slipping down (in the movie, Little Nell's bustier actually does fall at one point, but I didn't feel the need to be that faithful to the film), and to writhe on the floor with the guy playing Eddie ... movie-theater floors can be pretty nasty. Eventually the theaters where we performed the show all closed and we went back to watching movies on VHS.

Do you have a Rocky Horror Picture Show story you can share in public? If so, do tell all.

Vintage Image of the Day: A Night at the Opera



Today is Groucho Marx's birthday -- he was born in 1890. As someone who has a cat named Rufus T. Firefly (Groucho's character in Duck Soup), I felt I had to commemorate the occasion. And I thought, what better way to start a Monday than with a reminder of the famous stateroom scene in A Night at the Opera?

A Night at the Opera isn't one of my favorite Marx Brothers movies; I'm much fonder of their earlier films Duck Soup, Horse Feathers, and Monkey Business. I realize a lot of people will argue with me, but I feel like the opera bits tend to slow down the comedy. However, no one can argue that the stateroom scene, in which 15 people manage to cram themselves into a tiny room, is a wonderful gag. The contract-signing scene is also memorably funny. The cast includes Margaret Dumont, who was the Marx Brothers' best straight man, as well as a young Kitty Carlisle. More info, trivia, and photos can be found at the Night at the Opera fan site.

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