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Thursday, March 31, 2011

Georgy Girl (1966)

Posted on 5:00 AM by john cena
Before I begin I would like to say !!!!!!!HAPPY BIRTHDAY!!!!!!!!! to Monty over at All Good Things. If you haven't checked out his glorious blog, do so, it's totally worth it!


Homely but vibrant Georgina (Lynn Redgrave) has thus far been content with her inventive imagination, teaching children music, and living vicariously through her flatmate’s swinging conquests.  Though very smart and talented, Georgy considers herself plain and does little to try and improve that opinion which has propelled her into a life of solitary despite the people around her.  However, life is about to become very interesting.


First there is the proposition from successful businessman James Leamington (James Mason) for Georgy to become his mistress. It seems of little consequence that he has known Georgy since she was a child having employed her parents as his live-in servants. At the age of forty-nine,  Leamington has been living in a loveless and childless marriage with wife Ellen (Rachel Kempson- Redgrave's real-life mother) and confesses that though he used to love Georgy as his own child, his feelings have now changed. Creepy.

Then there is Georgy's flatmate the beautiful Meredith (Charlotte Rampling) a shallow woman who lives for her own pleasures. When Meredith discovers that she is pregnant by her boyfriend Jos Jones (Alan Bates)…for the third time, she decides they should get married. Jos, who has an odd relationship with Georgy, (he once took her out and they did some heavy petting before he broke away from her, claiming that to get involved with her would mean too many dramatics) moves to their flat. He promptly becomes disillusioned with Meredith and becomes attracted to Georgy who is more excited about Meredith’s baby than Meredith. After another argument in which Meredith once again begins to berate Georgy for being an ugly cow,  Jos defends Georgy, kisses her in front of Meredith and chases after Georgy proclaiming his love when she flees from the scene. They begin an affair and when Meredith gives birth to a daughter, whom Georgy names Sara, she and Jos take the baby. Meredith, who has no interest in the baby and plans to divorce Jos runs off with another boyfriend.






Then there is Georgy’s obsession over Sara. It drives a wedge between her and Jos who realizes that though he loves Georgy, he also loves to go out and have fun. Something Georgy refuses to do since there is a baby to care for. The relationship ends when Jos realises he is no longer the most important person to Georgy. Now threatened by Social Services who want to take Sara away, Georgy consideres Leamington’s proposal- somethings he has managed to avoid answering for the last six months. Leamington’s wife is now dead and he’s been readying his home for another woman- much to the curiosity of her live in servants, Georgy’s parents. They are convinced he will be bringing a ‘fancy woman” home soon. However, instead of becoming his mistress, Leamington proposes marriage thus allowing Georgy to keep Sara. Georgy accepts and when she calls for the baby immediately after their wedding, you can see how their relatinship is going to turn out by the look on Leamington’s face. Poor man.







I cannot believe it took me this long to see this fantastic film! Lynn Redgrave is such a treasure that I had to look up her other early films and I am currently watching Smashing Time (1967) -also featuring my new discovery Rita Tushingham- it's on YouTube for anyone who's interested. This film has a lot of great moments and dialogue. Capturing the essence of life in London in the sixties with it's sexual revolution, the consequences of that revolution, and the breaking away of old ideals concerning gender, Georgy Girl is a wonderfully poignant and entertaining film. Kudos to Redgrave and Alan Bates (another absolute delight), who manage to carry off some pretty animated (and complicated) characters without being corny or campy. It was also nice to see a young and gorgeous Charlotte Rampling in a moderately normal role.

Tonight on TCM!

Splendor in the Grass (1961) Sexual repression drives a small-town Kansas girl mad during the roaring twenties. Cast: Natalie Wood, Warren Beatty, Pat Hingle. Dir: Elia Kazan.
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Posted in Bates, Georgy Girl, Kempson, Mason, Rampling, Redgrave | No comments

Wednesday, March 30, 2011

Fanny (1961)

Posted on 5:00 AM by john cena
Marius (Horst Buckholz) is in a rut. Longing to go to sea and experience life outside of Marseille, he finds he must sneak away from his father who plans for him to take over the café he owns. There is also the problem of Fanny (Leslie Caron), the girl he loves. The night before he is to leave Fanny reveals that she is in love with him. Now he must choose between an exciting life at sea or the life his father has planned for him with the woman he loves by his side. Fanny too must choose between keeping the man she loves or letting him live the life he wants.








Despite the beautiful, bright colors of the scenery, tastefully done by Technicolor (a nice surprise!) and the colorful characters living among it, Fanny is full of some very tender and sentimental moments as well as some great performance from Caron, Boyer, and Chevalier. This was my first Leslie Caron movie and she didn’t disappoint. Her ability to so seamlessly play such a multi-layered ingénue (at age 30 to boot!) with those blue soulful eyes is praise-worthy. It was bittersweet to see Chevalier in this film because I am used to seeing him in the more light-hearted roles of the thirties and forties and as always, it’s difficult to watch an actor in his autumn years discussing his autumn years.  

Fun fact:
Ironically, Warner decided not to have Fanny be a musical onscreen. Convinced that musicals were on the wane, he must have felt foolish when Fanny lost out to West Side Story. However, he made up for it with My Fair Lady three years later.

Tonight on TCM! It's got Ray Milland therefore it must be watched!
Ministry Of Fear (1944) When hidden microfilm comes into his possession, an innocent man is drawn into espionage. Cast: Ray Milland, Marjorie Reynolds, Dan Duryea. Dir: Fritz Lang.
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Posted in Boyer, Buckholz, Caron, Chevalier, Fanny | No comments

Tuesday, March 29, 2011

Tuesdays with The Screen Guild Magazine

Posted on 7:26 AM by john cena
THE HAM INSTICT
By James Cagney
[Reprinted from The Screen Player, 1934]

Among my close friends I may count a number of people whom I call “Dicussos,” the reason being that they will discuss anything, under any condition, and love it. It doesn’t matter where they are or who is present. They will wade into a gab-fest without regard for any consideration but the subject at hand. Talk, talk, talk, talk, talk—gab, gab, gab, gab, gab. Frank McHugh, Pat O’Brien and Ivan Simpson are all terrific. They will “kick it around” with anybody, and make history in the kicking.


Recently we beat each other’s ears back in a verbal set-to on, of all subjects, acting! It has always been an opinion of mine that whether acting be good, bad, or indifferent, is all a matter of individual tastes; because the Discussos, in a body, accused me of side-stepping an issue and avoiding giving a positive statement of viewpoint. You see, all they were looking for was an argument—always the mark of an incurable Discusso.

Then we got on actors; and “on” is what I mean. Why are actors? What makes them? Where does the endless supply of bodies come from each year? And again why? We pushed that around gleefully; and then the answer seemed to present itself—that is, the universality of the ham instinct. They all agreed that most humans have some tendencies toward exhibitionism and when those tendencies are developed in the individual to such an extent that he can think of nothing but strutting his stuff before an audience, you have the true Westphalian, Swift, Armour, or any other name you may care to apply to us.

However, we were not greatly concerned with our own particular group. We all knew what we were about—well, to some extent anyway. We didn’t go into that, because we didn’t want to get too close to ourselves. We tried to avoid unpleasantness as much as possible.

The ones who held our interest unfailingly, we found, were those who entertain the conviction that they can act like Hell and yet never seem to do anything about it. And believe me, their numbers are legion. In this group may be found all kinds of actors, some professional, some amateur, and some who never attempt to put a foot on the stage. The latter are the parlor entertainers and street-corner comics. You may have met a few. The pro contingent may be said to embrace the hey-hey boys or good-time Charlies who go into the acting business because it promises glory and approbation of a kind, looks easy, and there is fun to be had. Some of these have genuine ability and achieve great success; but all through their careers they make their jobs incidental to their pleasures and have a perfectly grand time. They never make any attempt to improve their gifts, but still do very nicely with whatever native equipment they have. However, they are another story, and an interesting one.

It’s the others, the boys and girls who work only now and then, or have a part-time job in some other field, or no job at all, who interest us most. It appears that at some time or another, each said to himself: “I am an actor,” heaved a sigh of satisfaction, and then proceeded to await fame’s embraces. All of us, at the beginning, started in almost the same way, but there was a difference. We would tackle anything. Nothing daunted us. Hamlet? A pushover. What can you do? Anything. And we would do just that—anything!

As for me, I tremble when I think of it; because I know I left a stench in many a fair theatre, and I have an idea that some of them may still be there—they were that bad. But at least we tried. The youngsters we had in mind seemed to be lacking in initiative; and that is one thing a person must have to succeed in any measure in this acting racket—a strong, driving ego that permits of no let-down. An actor without it, whatever his talents may be, is generally doomed to mediocrity. I say “generally” because of the exceptions typified by the good-time Charlies mentioned above. But they are sports and must be considered as such. I use “sports” in a biological sense.

It may be that today there is a different breed of youngster coming into the business, and I think there is some basis for such an assumption. The colleges are turning out thousands of young men and women annually, with no place to go in a business way, and to the uninitiated the theatre and pictures present a pretty fair opportunity for anybody who fancies that he resembles in no small way a certain glamorous figure in the entertainment world. A slight resemblance to Garbo, Hepburn, or Barthelmess has put more than a few young hopefuls on the train bound for Hollywood. Incidentally, I have heard that those who are supposed to resemble me, all hitch-hiked. It seems to be a matter of type. Mind you, they all are all sure they can turn the trick without any trouble.

George Kelly, the playwright, found the type so amusing that he once wrote a sketch called “The Flattering Word” and played it successfully for years. In it he “threw the swell” into a cleric, by insisting that he (the cleric) looked and deported himself as did Edwin Booth in his best moments. And then he sat back and waited for the ham to come to the fore—and it did, decidedly.

G. K. maintains that one might throw a handful of rice on any crowded street corner, and every kernel would hit at least one who needed only a whiff of grease paint and a push to bring out the Hormel.

I seem to be wandering a bit. There are so many phases to the situation that I am rather hard put [to it] to stay with the main idea. However, my aim in the beginning was just to point out the fact that experienced actors find great interest in the doings of the novices. So much so that I expect any day to hear that blood has been shed in the defense of a youngster’s rights to take up time and money and the energy of other actors, after he has represented himself falsely as an experienced player of parts. I mention this last just to start another argument. Some one of the Dicussos will be bound to read all or part of this, and it will start all over again. If that happens, I will not have desecrated these pages in vain.

 
James Cagney started out in the business as a "hoofer" and worked himself right off the stage onto the screen with notable gangster roles in such movies as The Public Enemy, Angel with Dirty Faces, and White Heat. Though he had a very particular delivery of speech and mannerism that limited his range as an actor, he didn't let that limit him from fighting for various types of roles, succeeding at most (check him out in A Midsummer's Night Dream). Possessed of a wonderful sense of comedic timing, a passion for dance that made his moves seem effortless, and a sure-fire cockiness with a brain to back it up, Cagney was a very distinct individual indeed.
 
 
Tonight on TCM!
Last Tuesday to spend with Jean Harlow. Personally, I'm very excited about:
 
The Beast of the City (1932) A police captain leads the fight against a vicious gangland chief.
Cast: Walter Huston, Jean Harlow, Wallace Ford. Dir: Charles Brabin.
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Posted in Tuesdays with The Screen Guild Magazine | No comments

Monday, March 28, 2011

Stars! They're Just Like Us!

Posted on 5:00 AM by john cena
They get the works!

They fight for their right...to party! (Sorry, Beastie Boys fan)

They don't take any BS from anybody!

They feed chickens!

They flambé their own Banana Fosters! Yum!

They deal with some supremely embarrassing situations with dignity...and friends.

They sweat it out!


Tonight on TCM!
In Which We Serve (1942) Survivors of a bombed British destroyer think back on the paths that led them to war. Cast: Noel Coward, John Mills, Celia Johnson. Dir: Noel Coward, David Lean.
Read More
Posted in Astor, Backus, Benchley, Cagney, Dressler, Eldridge, Sheridan, Stars. They're just like us, Webb | No comments

Sunday, March 27, 2011

More Than a Secretary (1936)

Posted on 6:30 AM by john cena

Carol Baldwin (Jean Arthur) and Helen Davis (Ruth Donnelly) are the owners of the Supreme Secretarial School. Both are women who have put a career before a man. When they chastise Maizie West (Dorthea Kent), one of their worst students, she states she does not need perfect skills for the office. Her aim is to win over the boss with her looks. She warns Carol that she’ll soon be like the older Helen if she doesn’t try for a man soon.


Carol meets her dream man soon after. Magazine editor, Fred Gilbert (George Brent) runs Body and Brain and is in need of a competent secretary. Carol decides to take the job but finds it hard to adhere to Fred’s strict exercise and diet regime led by his trainer Ernest (Lionel Stander). Taking the opportunity to liven up the magazine and improve circulation, Carol switches out Fred’s boring pictures for more exciting ones and the plan works. Circulation is up but Fred is furious, only relenting when he realizes Carol had the right idea. Thinking that she and Fred are on the path to romance, Carol is disappointed to learn that Fred's old friend, Bill Houston (Reginald Denny), has begged him to take Maizie, his secretary, off his hands because his wife is returning from Europe. Fred is immediately smitten by Maizie and promotes Carol to associate editor in order to have her as his new secretary. However, when he begins to neglect his work, Carol gets fed up and goes back to her old job.  Will Fred soon realize his mistake?
Though another formulaic thirties film, Arthur and Brent are a good onscreen pair with Stander and Donnelly an added comedic element. I’m currently reading Jean Arthur: The Actress Nobody Knew by John Oller. It’s a very interesting book. I never knew that Arthur was more reclusive than even Garbo or that she had so many insecurities about her acting. I find her to be quite a talent but according to Oller’s book, talent was something she always strived for but couldn’t handle once she had.

Today on TCM! Love me some Geraldine Page!
Dear Heart (1964) A middle-aged postmistress falls for an engaged man during a convention in New York.
Cast: Glenn Ford, Geraldine Page, Angela Lansbury. Dir: Delbert Mann.
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Posted in More Than a Secretary | No comments

Saturday, March 26, 2011

Let's Go Ride A Bike!

Posted on 5:00 AM by john cena
Agnes Moorehead
Audrey Hepburn
Humphrey Bogart
Ginger Rogers
Charles Coburn
Gary Cooper
Marlene Dietrich
Lizbeth Scott


Tonight on TCM!
Break out the Pepsi and wire hangers, it's time to spend an evening with Joan Crawford!
Read More
Posted in Bikes, Bogart, Coburn, Cooper, Dietrich, Hepburn, Moorehead, Rogers, Scott | No comments
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