Directed by Bob Clark (Porky’s 1981, A Christmas Story 1983) Screenplay by Roy Moore (She Cried Murder 1973 tv movie) Cinematographer Reginald H. Morris (When Michael Calls 1972 tv movie, The Food of the Gods 1976, Murder by Decree 1979, Phobia 1980, A Christmas Story 1983).
Reg Morris’ cinematography brings the shadowy moodiness that was the atmospheric style of When Michael Calls a suspenseful made for tv movie in the early 1970s. Cinematographer Albert J. Dunk created Billy’s POV shots by rigging up a camera harness that would mount the camera on his shoulder as he walked about the house and climbed the trellis and attic ladder himself.
Ironically, Clark who has created a deeply dark and disturbing tale set during Christmas, is responsible for one of the most authentically nostalgic, witty, and whimsical tributes to Christmas, the most beloved A Christmas Story. For a director to create the most splendid narrative that reminisces about a more innocent time, it remains a huge cult indulgence every Holiday Season, as we all collectively love to watch Ralph maneuver through the obstacles in his way of getting a Red Rider BB gun. Darren McGavin is brilliant as his old man whose expletives are still floating over Lake Michigan and the soft glow of electric sex in the window from that fabulously kitschy leg lamp. We’ve got one giving off that soft glow as I write this.
Black Christmasstars Olivia Husseyas Jess Bradford, Keir Dulleaas Peter Smythe, and Margot Kidder as Barbara. Marian Waldman (When Michael Calls 1972 tv movie, Deranged 1974, Phobia 1980) as Mrs. MacHenry, Andrea Martin as Phyl, James Edmond as Mr. Harrison, Douglas McGrath as Sergeant Nash, Art Hindle as Chris, Lynn Griffin as Clare Harrison, Michael Rapport as Patrick, and John Saxonas Lt. Fuller. As an interesting note-Nick Mancuso plays the caller/intruder/psycho.
It’s that marvelous time again, when one of the most enjoyable Blogathons has come around, it’s the 7th Annual What A Character Blogathon. And the reason I adore it so much –it’s purpose is essential in paying tribute to the memorable character actors who have often added the sparkle to the cinematic sky of movie stars– they touch our lives so profoundly because of their unique contribution as the characters they bring to life!
I want to thank Aurora of Once Upon a Screen, Paula Guthat of Paula’s Cinema Club, and Kellee Pratt of Outspoken & Freckled. for giving me the opportunity to once again show my sincerest love for the actors & actresses who are so discernible within the art of film, television and theatre. It is their unforgettable performances that make it a much richer, more compelling experience — as they are as much the stars who inhabit the dream of art because of their singular personalities.
I’ve been participating now for 7 years, and it’s always a great expedition to delve deeper into the careers of the people who I’ve found the most enigmatic, extraordinary, and uniquely engaging. This year I’ve been excited to pay special attention to two remarkable women, Eileen Heckart, and Louise Latham.
For years I have always thought of these two women together, as one of those odd associations–yet inexplicable– that makes you put certain faces or impressions together in your head. Another example of two actors that often seem to merge in that vast noggin of mine — I’m always thinking of E.G. Marshall and Eli Wallach together. Heck, maybe, next year I’ll do the same double feature for them. As I adore them both!
It struck me that I should pair Eileen and Louise as a kind of sisterhood, for both of their uniquely extraordinary styles stand out and somehow stand together for me. And an interesting confluence happened as I went on my more intensive journey of discovering of these two fine actresses. I found out that Eileen Heckart and Louise Latham appeared together in a rare episode of The Doctors and The Nurses an hour-long television medical drama that ran from 1962-1965. In a macabre tale reminiscent of a Robert Bloch story — the episode is called Night of the Witch, about a woman (Eileen Heckart) who is tortured by the loss of her 6-year-old daughter, and seeks her own brand of retribution from the medical staff she believes is responsible. The hospital receptionist who is cold and unfeeling is portrayed by none other than Louise Latham. The fascination I’ve had to see this performance led me to hunt down a rare copy and now I own it and have put together a sample of it here for you. It’s a rather long clip of the episode in honor of their appearing together. It showcases both their talents. I hope you enjoy the excerpt And I am praying that the television series itself will someday find a full release as it is worthy of being re-visited for its groundbreaking content, incredible cast, and performances.
As in past What A Character Blogathons, Burgess Meredith, Ruth Gordon, Agnes Moorehead, Martin Balsam, and Jeanette Nolan–each of these actors– had a way of elevating every single project they were involved in, making it just that much more fascinating, delightful, heart-wrenching and unquestionably memorable because of their performance–no matter how small their presence, they changed the landscape and impacted the narrative.
It is my absolute honor this year to feature two of the most remarkable women whose legacy still lives on.
Dr. T.S. Clitterhouse-“The greatest crime of all!”‘Rocks’ Valentine-“What’s that?”Dr. T.S.Clitterhouse–“Why, Homicide naturally.”
Directed by Anatole Litvak (The Sisters 1938, Confessions of a Nazi Spy 1939, Out of the Fog 1941, Blues in the Night 1941, Snake Pit 1948, Sorry, Wrong Number 1948, The Night of the Generals 1967) with a screenplay co-written by John Huston and John Huxley. Based on the play by Barré Lyndon, music by Max Steiner lends a dark and dramatic flourish to the sinister & mordant essence of the narrative.
Cinematography by Tony Gaudio (The Mask of Fu Manchu 1932, Lady Killer 1933, The Man With Two Faces 1934, Bordertown 1935, The Story of Louis Pasteur 1936, The Life of Emile Zola 1937, The Sisters 1938, Brother Orchid 1940, The Letter 1940, High Sierra 1941, The Man Who Came to Dinner 1942, Larceny, Inc. 1942, Experiment Perilous 1944, Love From a Stranger 1947)
The Amazing Dr. Clitterhouse converges into several genres: black comedy with deadly dark overtones, crime drama, gangster movie, suspense, and psychological noir with classical horror elements, evidenced by the duality of the schizophrenic hero.
Though absurd, it’s enjoyable. Litvak’s direction, Huston’s screenplay, and Gaudio’s arousing photography make it a film worth watching.
While watching Litvak’s film again, it suddenly hit me (smack between my green eyes) that there was one significant trope that stood out so obviously, so clearly to me. It’s strange that I hadn’t realized it during my first viewing.
Dr. Clitterhouse is an archetypal Jekyll & Hyde figure. He uses his immersion into criminal activity rather than a smoky elixir to drink down his uneasy gullet, which would normally transform his outer appearance into a fiend. Clitterhouse still becomes transfigured as a criminal and a murderer by and because of his endeavors.
Edward G. Robinson as Pete Morgan in The Red House (1947) directed by Delmer Daves.
The story raises the question of the duality inherent in the protagonist J.T. Clitterhouse, where it is possible to tap into the dark side, the doctor diverges into a classical medical/science horror, with personality traits being tainted by the evil/immoral tendencies that people are capable of. When exploring immoral activities that can ‘change a man’s personality,’ there is always a fatalistic inevitability. The disambiguation of the situation- there are no horror props, no mysterious mad scientifically developed drug inducement- the single act, desire, and curiosity of a scientist seeking answers concerning the criminal mind literally subsumes the nature of the personality examining the questions. i.e., Dr. Clitterhouse becomes not a monster, but a criminal and ultimately a murderer.
Clitterhouse is seduced by the excitement he experiences and embraces the darker side of himself without the use of a scientific ‘horror’ concoction. While presented as a gangster film, its conceptualization of medical/science experimentation on vicious human nature, aberrations in psychology, and the criminal mind elucidates the clear philosophical themes of classical medical-science horror.
Night Has a Thousand Eyes (1948) written by Barré Lyndon stars Edward G. Robinson as a phony mentalist haunted by greed and a sense of impending doom. Co-stars Gail Russell and John Lund.
Film genres’ lines were often blurred in the 1930s & 1940s, in particular a few of Edward G. Robinson and Humphrey Bogart’s films which intersected with crime, noir, and horror narratives. In particular director Delmer Daves’s frightening The Red House (1947) and director Julien Duvivier’s Flesh and Fantasy (1943) and Night Has a Thousand Eyes 1948 starring Edward G. Robinson.
Harry Lime (Orson Welles) to Holly Martins (Joseph Cotten)Â “Don’t be so gloomy. After all, it’s not that awful. Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love – they had 500 years of democracy and peace, and what did that produce? The cuckoo clock. So long Holly.”
You’re EverLovin’ Joey sayin’ I gotta go set my Cuckoo Clock, see ya soon!
Helen-(Claire Trevor)“If you go to the police, you’ll see Laury sooner than you think.”
Mrs. Kraft-(Esther Howard)“Are you trying to scare me?”
Helen-(Claire Trevor) “I’m just warning you. Perhaps you don’t realize, it’s painful being killed. A piece of metal sliding into your body, finding its way into your heart. Or a bullet tearing through your skin, crashing into a bone. It takes a while to die, too. Sometimes a long while.”
Directed by Gordon Douglas and screenplay by Harry Brown(A Place in the Sun 1951, Ocean’s 11 1960)– Kiss Tomorrow Goodbye is a violent, unrelenting bit of noir that stars James Cagney as Ralph Cotter, Barbara Payton as Holiday Carleton and co-stars Luther Adler, Ward Bond, Steve Brodie, and Helena Carter. The film draws you in by way of a flashback to Ralph Cotter who lacks a sense of right and wrong, a loathsome sociopath who with the help of Holiday Carleton makes a bold jailbreak. The ruthless Cotter manages to pull a series of robberies but when he manipulates a naive overindulged socialite Margaret Dobson (Helena Carter) a crooked lawyer and two corrupt cops on his in the picture, they become his downfall.
Holiday Carleton (Barbara Payton) to Ralph Cotter (James Cagney)“You only said one true thing in your life, and that’s when you said you were going away tonight. And you are. Many miles out of town and six feet under. All alone, with nobody to lie to. And you can kiss tomorrow goodbye.”
Your EverLovin’ Joey saying there’s no need for us to say goodbye, we’ll always have tomorrow!
Eventually, she settled in Queens, NY. King eventually found her way to Broadway at the age of 13 where she performed between 1935-36 in Fly Away Home with Montgomery Clift. At the age of 18, she went to Chicago and worked in the Lilian Gish company’s Life with Father for two years. It was in 1944, that Warner Bros. signed Andrea King to a contract, her first bit part was as a nurse in a scene with Bette Davis in Mr. Skeffington, then she appeared in The Very Thought of You whereas Molly Wheeler – she had to be bitchy to Eleanor Parker, which she joked she hated doing “Wait a couple of months baby and you’ll be making double dates with me just like we used to!”King was cast in small roles during the war. The Warner Bros. studio photographers voted Andrea the most photogenic actress on the lot for the year 1945, the year she starred in God is My Co-Pilot. Jack Warner who liked to name his new stars had wanted to change her name to Georgia King to Andrea’s horror she ran to friend director Delmer Daves and cried telling him it was awful, and sounded like a Mississippi burlesque queen!
Andrea King’s portrayal of the angelic and strong-minded Julie Holden in director Robert Florey’s Gothic horror The Beast with Five Fingers (1946) was perhaps my introduction to King’s beautiful persona. Co-starring with Robert Alda a year before they were to act together in The Man I Love (1947).
The Beast with Five Fingers (1946) starring Peter Lorre, Robert Alda, and Andrea King.
Sophie Rosenstein the acting coach had taken a strong liking to Andrea and when she left Warner Bros. and went to Universal, a lot of roles opened up for Andrea at Universal.
Andrea King’s first major role as Lisa Dorn whom Andrea in an interview with TCM said was a wonderful part, a real leading lady– “She was evil and she was kind. She was two people all in one” in Hotel Berlin (1945) afterward she played stylish often ‘mysterious’ leading ladies or supporting roles as the ‘bad girl.’
Finally, King got bigger, glamorous lead parts and appeared in a cross-section of genres throughout the late 1940s and 1950s. She is remembered for five significant film noir roles, Shadow of a Woman (1946), The Man I Love (1947) with the legendary Ida Lupino, Ride the Pink Horse (1947) starring and directed by Robert Montgomery, Dial 1119 (1950) with Marshall Thompson and the even lesser known Southside 1-1000(1950)with Don DeFore, that I decided not to cover at this time.
In 1965 she appeared in The House of the Black Death, Prescription Murder (1968) tv movie and Daddy’s Gone A -Hunting 1969. Andrea King made the transition to television, most notably she appeared in the original 1953 broadcast of “Witness for the Prosecution” for Lux Video Theatre (1950) co-starring Edward G. Robinson. She worked well into the 1970s, (appearing in genres- horror & exploitation- where so many beautiful starlets inevitably roam-a subject I plan on writing about extensively in my piece “From Glamour to Trauma: Deconstructing the Myth of Hag Cinema in the not-so-distant future here at The Last Drive-In) including appearing in the exploitation film Blackenstein 1973.Â
