“Out Loud” Part 1– A Biography of the Legendary Lee Grant…

“The dichotomy of my genius status at home and my slightly below par status in the outside world gave me a sense of instability and unreality throughout all of my life about exactly who I was and what I was capable of. Could that be why I grabbed so ferociously at acting? Grounding myself in a structure that worked for me, the observant child?”
— And excerpt from I Said Yes to Everything -Lee Grant talking about Sandy Meisner and The Neighborhood Playhouse.

How do you start out a biography about someone who is a virtual legend?

Lee Grant 1977 © 1978 Ulvis Alberts

When I attended the Chiller Theatre Expo I had the exciting opportunity to meet one of my favorite actors, Academy Award winner Lee Grant. This meeting turned out to be one of the great highlights of my life. While I’ve followed her work my entire life, after connecting with her, I began my exploration into Lee Grant’s life by immersing myself first in her incredibly honest and potent autobiography. “I Said Yes to Everything”  is an expository journey written long-hand by Lee herself in classic black and white note books. It’s a well-written intimate portrait of a courageous and brilliant actor.

“Lee Grant’s I Said Yes to Everything is heart-stopping. More than just a show-business memoir or chronicle of the Hollywood blacklist era, it is a terrifying account of a gifted artist’s tumultuous journey—both personal and professional. You will feel every jolt of terror that Grant endured, wondering if you would have been as brave. Her triumph becomes our own. Readers of this gripping book will surely reach the final page shouting a victorious “Yes! To everything that is Lee Grant.” -Marlo Thomas

With every role Lee Grant undertakes —from stage to early dramatic teleplays, to television series and onto the big screen— she transports an inner truth and an understanding of the world’s pleasures, and too, it’s miseries. Never afraid to take risks, she turned a career that was at one time silenced, into a great triumph by reclaiming her place in Hollywood. She then forged her own road into directing, where her voice and compassionate vision helped marginalized people have their say as well.

This is the spirit of Lee Grant, a woman who kicked down the door, prevailed the madness of the blacklist and without settling. She become a formidable actress, director, a legend, and friend.

Reading about her incredible life story, I Said Yes to Everything, brought me closer to the actress whom I already admired and loved for so many years. It’s a reflexive reminiscence, at times brutal and at other times it evokes laughter. Lee Grant has a primal and candid sense of humor that is so invigorating to experience. And hearing it from Lee herself is life-altering and beyond meaningful.

Portrait of American actress Lee Grant, New York, New York, July 1970. (Photo by Jack Robinson/Hulton Archive/Getty Images)

I also reexamined a lot of her great work so I could surround myself with the essence of her talent. It not only fortified what I had already felt about her capacity to engage each role, I met several characters that I hadn’t seen before. And was completely knocked over by Lee Grant’s awe-inspiring performances. To have the opportunity to talk to someone you’ve known as an acting legend can make you quite star struck as you try to find your own voice without sounding like a fool. But Lee Grant is a real and raw person. She’s one of those people you meet by chance in life, striking up a wonderful connection as if you’ve known them for years. This is just another layer of greatness to an already great actor.

Lee Grant is one of the most expository of actors. She uses her distinctive voice, that moves along the walls of your mind like an elegant cat, with an expressiveness that brings to bear even the most subtle of gestures. She has an attentiveness to detail, and her extraordinary sensuality is deep-rooted with a swift and clever sense of humor.

Lee Grant1965 © 1978 Gene Trindl

As an actor, she brings and intimacy to her roles, complex, passionate sensual dynamic versatile, and authentic. A talent caught up in the net of the HUAC insanity that ruined lives, and literally took her act of belonging away in Hollywood and from an industry where time is essential in order to obtain recognition and primacy.

I suspected that Lee always put a little of her real self in each role. It turns out I was right as you’ll learn from our conversation about her performances. There is no one quite like Lee. Absolutely no other actor like her.

Lee with one of her original oil paintings.

Like David fighting Goliath, she kept her resilience during those dark years of the blacklist. She’s an actor who is truthful enough to bare her vulnerabilities, machinations, fears, fancies, the quirks and chinks in the armor— it’s all out there, and wonderfully bold and ballsy an individualist and unfailingly frank. She is fragile and fierce, honest, courageous and unwilling to be shut off or out.

The insanity of the McCarthy Era and fanatics like Vincent Hartnett tried to steal 12 years from Lee Grant. But she refused to be silenced. To this day she speaks truth to the powers that be. She has earned the right to be seen and heard. She’s a woman who has become a firebrand with her socially conscious lens as a filmmaker, documentarian, director, activist, writer and a mother to yet another gifted soul, Dinah Manoff. Talent and fierceness—it runs in the blood.

Lee Grant to me, is someone I’ll always regard with a sense of awe and respect. I’m incredibly honored that she allowed me a glimpse into her life and shared that sense of humor and her determination to be heard. And what a story she has to tell!

Actress Lee Grant poses for a portrait in circa 1971. (Photo by Michael Ochs Archives/Getty Images)

Continue reading ““Out Loud” Part 1– A Biography of the Legendary Lee Grant…”

There’s got to be a morning after… Goodbye Carol Lynley Sept. 3, 2019

American actress Carol Lynley, who stars in the film The Cardinal, pictured wearing a winter coat and leather gloves in a London park on 17th December 1963. (Photo by Blackman/Daily Express/Hulton Archive/Getty Images)

We’ve lost Carol Lynley, actress of 60s & 70s film and television. Carol was born Carol Anne Jones on Feb. 13, 1942 in New York City. Lynley worked as a model and in television from her teen years and performed on numerous early live dramatic television shows.

She suffered a heart attack on September 3rd at the age of 77. Perhaps she is best known for her role in the disaster epic The Poseidon Adventure (1972) playing Nonnie, the bright-eyed nymph on the doomed ocean liner turned upside down after a giant tidal wave hits the ship on New Year’s Eve. The Poseidon Adventure launched her into the public consciousness after Lynley lip synced over Maureen McGovern’s singing onscreen, as the ill-fated ship’s lead singer of the band, her brother flaunting his bad 70s hair and mutton chops at the piano. The song  “The Morning After,” went on to win the 1973 Oscar for Best Song.

I’ve always been taken with Carol Lynley for many other roles along her diverse career. A child model who made it to the cover of Life magazine at age 15. After appearing in the 1958 Broadway play, she delivered a moving performance in the controversial screen version of Blue Denim in 1959, co-starring cutie Brandon De Wilde. She was nominated for a Golden Globe Award for Most Promising Newcomer! She then co-starred with Clifton Webb and Jane Wyman in Holiday For Lovers (1959).

Afterward she appeared in a variety of popular films, Return to Peyton Place (1961), and Under the Yum Yum Tree (1963) with Jack Lemmon. Carol Lynley appeared in the Otto Preminger film The Cardinal (1963). She was also in The Stripper (1963), and Shock Treatment (1964) where she plays a very disturbed young girl with hyper-sexual tendencies. In the same year she played Maggie Williams in The Pleasure Seekers. Lynley also took the role of Jean Harlow in the biopic Harlow (1965).

Carol Lynley in The Stripper (1963)

Carol Lynley and Gene Tierney in The Pleasure Seekers (1964)

Carol Lynley as Harlow

And her role as Ann Lake is superb. She plays a mother who claims her little girl vanishes after a day at her school. Otto Preminger’s Bunny Lake is Missing (1965), is one of my favorite psychological thrillers. She also appeared in the very dark and twisted The Shuttered Room (1965) co-starring Oliver Reed and Gig Young based on a story by horror writer August Derleth.

She was in Once You Kiss a Stranger… (1969) and I adored her as Gail Foster the girlfriend of Darren McGavin’s stalwart reporter of the uncanny and supernatural Carl Kolchak, in the fabulous television cult chiller directed by John Llewellyn Moxey, The Night Stalker (1972), the pilot that launched the groundbreaking series of the show that inspired The X Files!

Carol Lynley appeared in various television shows, Alfred Hitchcock Presents, The Alfred Hitchcock Hour, It Takes a Thief, Night Gallery, The Invaders, Kojak, The Man from U.N.C.L.E, Journey to the Unknown, The Sixth Sense, The Magician, The Evil Touch, Quincy M.E. and Police Woman, just to mention my favorites.

Vince Edwards and Carol Lynley in Alfred Hitchcock Presents (1955) episode The Young One

Christopher Walken and Carol Lynley in Kojak 1973

Carol Lynley possessed a certain kind of rare beauty and inner light, a subtle essence of fairy in her smile and soft glimmer in her eyes.

Mandatory Credit: Photo by Barry Peake/Shutterstock (605004b)
Carol Lynley-Mar 1967

This is your EverLovin Joey saying goodbye Carol Lynley, gone but not forgotten. There will always be a morning after and my eternal love for you, beautiful girl.

Quote of the Day! The Accused (1949)

Loretta Young plays Wilma Tuttle, a charming yet slightly repressed psychology professor, who after allowing one of her aggressively sleazy students Bill Perry (Douglas Dick) to drive her home, kills him in self-defense after he attempts to rape her. Wilma in a panic tries to cover up her sympathetic crime. Director William Dieterle creates a taut little psychological coil that unwinds as homicide detective Lt. Ted Dorgan (Wendell Corey) tries to solve the murder while tossing out the sharp edged lines. The investigation causes great angst for Wilma with Young’s inner monologues regaling us of her guilty conscience, amidst her budding romance with Warren Ford (Robert Cummins). The film co-stars Sam Jaffe as Dr. Romley.

Wendell Corey as Lt. Ted Dorgan-“You know sometimes I wish there were two of me. We generally do work in pairs. The idea being that one could be mean, the other one nice.

In my next life I’m gonna be a minister. Never have to pick on anybody but the devil.”

This is your EverLovin’ Joey saying sometimes I wish there were two of me, so I could get more done!

 

Quote of the Day! Pickup on South Street (1953) Shifty as smoke!

One of my favorite film noirs with outstanding performances and dialogue from the entire cast. In particular Ritter shines in this one as Moe Williams the tie-selling wheeler-dealer informant who’s got her heart set on a proper grave stone out on Long Island. Ritter is brilliant with her quicksilver one liners and her poignant lovable puss.

Ritter was nominated for Best Supporting Actress Oscar for her role in this film!

Directed by Samuel Fuller who reigns in his gritty vision a bit and plays off a more the more interrelationships between the small time crooks, added with a bit of anti-communist sentiment thrown in.

Starring Richard Widmark, Jean Peters who is adorable as Candy in this role, Thelma Ritter, and Willis Bouchey as detective Zara, Richard Kiley, Murvyn Vye. Shelley Winters was the first choice for the role of Candy, but she  dropped out. Then the role was offered to Betty Grable. That did not pan out. Jean Peters did a wonderful job as Candy. With a dynamic music score by Leigh Harline with cinematography by veteran Joe MacDonald.

On a crowded subway, Skip McCoy prince of the cannons, pickpockets Candy’s purse. He nabs her wallet, inadvertently stealing a roll of microfilm containing top secret military and scientific plans that her boyfriend Joey (Richard Kiley– who tells her it’s just a patent for a formula) is really going to pass along to Communist agents.

Candy learns where Skip lives and that he has lifted the wallet from Moe Williams (Thelma Ritter), a police informer. Joey begs Candy to track Skip down at his shack on the water and she attempts and seduce Skip McCoy to recover the film. She fails to get the film back but does however fall in love with him.

Moe Williams – (about Skip) “He’s as shifty as smoke, but I love him.”

Capt. Dan Tiger – “You sold him out for a few bucks.”

Moe Williams – “Oh, look. Some people peddle apples, lamb chops, lumber. I peddle information. Skip ain’t sore, he understands.

Moe Williams: You got any Happy Money?

Candy: Happy Money?

Moe Williams: Yeah, money that’s gonna make me happy.

Moe Williams: I’ve got almost enough to buy both the stone and the plot.

Capt. Dan Tiger: If you lost that kitty, it’s Potter’s Field.

Moe Williams: This I do not think is a very funny joke, Captain Tiger!

Capt. Dan Tiger: I just meant you ought to be careful how you carry your bankroll.

Moe Williams: Look, Tiger, if I was to be buried in Potter’s Field, it would just about kill me.

Skip McCoy: Pack up the pitch with the charge or drive me back to my shack.

Capt. Dan Tiger: I’ll drive you back in a hearse if you don’t get the kink out of your mouth!

This is your EverLovin’ Joey sayin’ I haven’t forgotten my Coded Gay Characters article,

Moe Williams: You got any Happy Money?

Candy: Happy Money?

Moe Williams: Yeah, money that’s gonna make me happy.

Moe Williams: I’ve got almost enough to buy both the stone and the plot.

my concussion really set me back in my writing but I’m trying to catch up and I’ve got a few surprises in my bag if some smooth-operating cannon don’t come by and pick pocket me while I’m on on the train headed to the South Side next week!

Thanks for being patient. And say… Can anyone suggest a logo for my helmet?

Quote of the Day! Noir Nosh

The General Died at Dawn 1936

Amid the anarchy of China, an American mercenary tangles with a ruthless warlord. Directed by Lewis Milestone with a screenplay by Clifford Odets. Stars Gary Cooper, Madeleine Carroll, Akim Tamiroff

O’Hara: (Gary Cooper) I like people too much to shoot. But it’s a dark year and a hard night.

Judy Perrie: (Madeleine Carroll) Maybe some day there’ll be a law to abolish the blues. Something big, like an amendment to the Constitution. For all of us.

High Sierra 1941

Directed by Raoul Walsh and written by John Huston. Stars Ida Lupino as Marie and Humphrey Bogart as Roy ‘Mad Dog’ Earle. Co-stars Arthur Kennedy, Joan Leslie, Henry Hull, Alan Curtis, Henry Travers and Jerome Cowan

After being released from prison, notorious thief Roy Earle is hired by his old boss to help a group of inexperienced criminals plan and carry out the robbery of a California resort.

Roy Earle: (Humphrey Bogart) I wouldn’t give you two cents for a dame without a temper.

Marie Garson: (Ida Lupino) Yeah, I get it, ‘ya always sorta hope ‘ya can get out, it keeps ‘ya going.

 

Key Largo 1948

Directed by John Huston screenplay by Richard Brooks & John Huston. Stars Humphrey Bogart, Edward G. Robinson, Lauren Bacall, Lionel Barrymore, Claire Trevor, Thomas Gomez, Harry Lewis and Marc Lawrence.

Frank McCloud (Humphrey Bogart) visits his war buddy’s family hotel run by Lionel Barrymore and his daughter Lauren Bacall and finds a gangster (Edward G. Robinson) running things. As a hurricane approaches, the two end up confronting each other. Claire Trevor turns in a brilliant performance as washed up torch singer Gaye Dawn.

Frank McCloud: (Humphrey Bogart) You don’t like it, do you Rocco, the storm? Show it your gun, why don’t you? If it doesn’t stop, shoot it.

Gaye Dawn: (Claire Trevor) No, Mr. Temple, it wasn’t you. It wasn’t the law or anybody. It was only Johnny Rocco. Nobody in the whole world is safe as long as he’s alive.

Sirocco 1951

A cynical American expatriate gets involved in smuggling and gun-running for the rebels during the 1925 Syrian insurgency against French occupation. Directed by Curtis Bernhardt. Stars Humphrey Bogart, Lee J. Cobb, Everett Sloane and Märta Torén

Harry Smith: (Humphrey Bogart) For you – chartreuse!

Violette: (Märta Torén)  I want to tell you why I came.

Harry Smith: (Humphrey Bogart) Whatever it is, it will look better through the bottom of this glass.

Violette: (Märta Torén) What a man! You’re so ugly! Yes, you are! How can a man so ugly be so handsome?

Split Second 1953

Two escaped killers take hostages and hide in a Nevada mining ghost town knowing that an atom bomb is scheduled to be tested there the next morning. Directed by Dick Powell. Stars Stephen McNally, Alexis Smith Keith Andes and Jan Sterling.

Sam Hurley: (Stephen McNally) You ever been locked up?

Kay Garven: (Alexis Smith) Not the way you mean.

Sam Hurley: (Stephen McNally) I don’t care what way it is. Some people can stand it and some people can’t. The ones who can’t would kill themselves and anybody else just to get out for five minutes.

 

Larry Fleming: (Keith Andes) [referring to Dottie’s mother] Six husbands, and you’re still working on your first.

Dorothy ‘Dottie’ Vail: (Jan Sterling) Mother used up all the men we knew.

 

Hell Drivers 1957

Ex-con trucker tries to expose his boss’ rackets. Directed by Cy Endfield. Stars Stanley Baker as Tom Yately, Herbert Lom, Peggy Cummins, Patrick McGoohan as ‘Red’ William Hartnell, Alfie Bass, Jill Ireland, Sidney James, Wilfrid Lawson, David McCallum and Sean Connery.

C. ‘Red’ Redman, Foreman: (Patrick McGoohan)  I don’t like yer’ attitude. You’ve got a chip on your shoulder.

Tom Yately: (Stanley Baker)You think so?

C. ‘Red’ Redman, Foreman: (Patrick McGoohan) An’ if I was to knock it off, your head might go with it.

Tom Yately: (Stanley Baker) Well, I’m the last man to want to walk around without a head.

This is your EverLovin’ Joey Sayin’ it’s one of those keep your down head low when that lead starts flyin’ kind of Fridays!

 

 

 

The Great Villain Blogathon 2019 Dame Judith Anderson as Mrs. Danvers “Do you think the dead come back and watch the living?”

Thanks to Ruth of Silver Screenings. Kristine from Speakeasy and Karen of Shadows and Satin!

REBECCA (1940)

Men are simpler than you imagine my sweet child. But what goes on in the twisted, tortuous minds of women would baffle anyone. –Daphne du Maurier, Rebecca

First off, while I cover a good deal of the film, I take it only as far as I can before giving anything away about the great Rebecca. My focus is on the mystery surrounding the first mistress of Manderley’s devoted servant Mrs. Danvers. So I will not be referencing any departures from du Maurier’s novel, nor Rebecca herself or Olivier and Fontaine’s marital outcome. I believe there are still fans of Hitchcock who have not seen the picture, and I want to leave them something to enjoy!

One of the most enduring classic thrillers, psychological thriller, suspenseful and intriguing in the realm of romantic Gothic mysteries. Considered a ‘woman’s picture.’ Brooding atmosphere, perfect pacing, acting composition from the score to the set design to the cinematography. Manderley is a ‘castle of the mind.’ It is too shadowy too remote too unreal because it IS in the mind. It exists now only in the heroine’s mind. “Last night I dreamt I went to Manderley again” As these words are visualized on the screen, we don’t see a real Manderley, but a Manderley of the mind, a nightmare, a ghost. So imperceptible and subtle, Manderley is one of the vital characters of the story. Joan Fontaine plays the timid woman in peril archetype. Olivier is moody and brooding. All actors are overshadowed by Anderson’s on fire performance.

As scholar Mary Ann Doane points out that Rebecca is “initiating the ‘paranoia’ strand of the woman’s picture, a sub-genre in which gullible women discover that the men they married possess strange and sinister intents. The cycle continued through the 1940s-Suspicion (1941) Gaslight (George Cukor 1944) and Secret Beyond the Door… (Fritz Lang, 1948).”

Rebecca was adapted from author Daphne du Maurier and brought to the Gothic paroxysm on screen not only by master Alfred Hitchcock but by the exquisitely low burning maniacal machinations of Dame Judith Anderson (Lady Scarface 1941, All Through the Night 1942, Kings Row 1942, Laura 1944, And Then There Were None 1945, The Strange Love of Martha Ivers 1946, The Red House 1947, The Furies 1950, Cat on a Hot Tin Roof 1958, Inn of the Damned 1975) as Miss Danvers — the epitome of the word villainess.

Mrs. Danvers– That austere cold stare, the measured calculating rhythm of each syllable spoken like serpent toothed silk cutting like finely sharpened knives to cut the jugular — a harridan — no, a harpy — no, a carefully slithering serpent of a woman in the vein of Angela Lansbury’s sinister housekeeper Nancy who helped the poor bedevil Ingrid Bergman feel gaslighted in Gaslight 1944 or the menacing Gale Sandaagard as Mrs. Hammond that same year in The Letter (1940), but Anderson has the benefit of du Maurier’s dialogue and Hitchcock’s direction at her command.

Interesting enough, in reading the tensions that had developed over the autonomy in making du Maurier’s story on screen between two head strong film makers, I imagined what the film might have been like in the hands of Val Lewton. Here is an excerpt from Leonard Leff’s book- “For Selznick who read a synopsis of the manuscript in late spring 1938, the story of the novel’s awkward and shy heroine seemed ideal. Selznick most impressive discoveries tended to be young women, including Ingrid Bergman, Vivien Leigh, and Joan Fontaine; furthermore, had had long been associated with the industry’s premier “women’s director” George Cukor. In certain respects a “woman’s producer,” attuned to the sensibilities and psychology of the American female (at least as purveyed by the era’s mass-circulation magazines), Selznick agreed with story editor Val Lewton that the second Mrs. de Winter “probably exemplifies the feeling that most young women have about themselves.”

From Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick-by Leonard J. Leff- Among the hundred of manuscripts, galley proofs, ad publish novels that poured into the East Coast offices of Selznick International every month, Kay Brown read only a few that she could enthusiastically recommend. Daphne du Maurier’s Rebecca became one of them. Rebecca is “the most fascinating story I have read in ages,” Born wired Hollywood, a certain best-seller. In the novel, a plain and innocent young women (the first-person narrator, whose name du Maurier never reveals) serves as paid companion to a crass American dowager visiting the Riviera. Gossip has it that the aristocratic Maxim de Winter has fled England to Monte Carlo in order to elude painful memories of his recently deceased, much-beloved wife, the fabulously beautiful Rebecca; yet almost inexplicably he proposes marriage to the unglamourous paid companion. Following a honeymoon in Venice, the newlyweds return to Manderley, de Winter’s mansion. Here, the young bride confronts not only the memory of Rebecca-which seems to permeate the estate and to preoccupy and torment its owner-but also her morose husband and the forbidding Mrs. Danvers, Rebecca’s devoted housekeeper.”

Directed by Alfred Hitchcock with a screenplay by Robert Sherwood and Joan Harrison (who produced Alfred Hitchcock’s anthology suspense crime television show.) Adapted by Philip MacDonald and Michael Hogan from the 1938 novel by Daphne du Maurier. Music composed by Franz Waxman (Suspicion 1941, Sunset Boulevard 1950, A Place in the Sun 1951.) whose score at times sounds like a classic B horror film by RKO with its eerie organ tremolos.

Cinematography by George Barnes. (That Uncertain Feeling 1941, Ladies in Retirement 1941, Jane Eyre 1943, Spellbound 1945, Mourning Becomes Electra 1947, Force of Evil 1948, The File on Thelma Jordon 1950, War of the Worlds 1953). Art Department/Interior Design -Howard Bristol, Joseph B. Platt and Eric Stacey. Art director Lyle Wheeler. Film editor James Newcom. Supervising film editor Hal C. Kern. Interiors designed by Joseph B Platt. Fashions by Irene.

The lighting for Rebecca creates a forbidden sense of place. The shadows distinguish where the secrets lurk, with the Gothic architecture and repressed desire.

“She” is in the innocence of white and Mrs. Danvers is always advancing in black…

Rebecca (1940) is auteur Hitchcock’s Gothic style thriller that often delves into the realm of classical horror, ‘old dark house’  or haunting ghost story triggered by the remnants of a beautiful dead woman’s hold on an ancestral manor house and the new marriage brought home to thrive in it’s shadow. As scholar Tania Modleski writes Rebecca is a ‘presence’ which is never actually present. The character of Rebecca is symbolic of a subversive female desire, and Maxim de Winter who represents the patriarchal rule who is terrorized and bound by her presence though she cannot be seen, her power remains intact within the walls of Manderley.

There was tension and discord between director Hitchcock who wanted control over the project and producer David O. Selznick. Though Hitchcock is one of the directors who manages to shake off any solid labels on his work, Rebecca is considered his first film noir. It was Hitchcock’s first American/Hollywood film, although it exudes that distinctly British style from his earlier mysteries. The melancholy tone of Robert E. Sherwood and Hitchcock regular Joan Harrison’s screenplay captures Daphne du Maurier’s 1938 disquieting Gothic novel perfectly.

Behind the scenes of Rebecca 1940 Alfred Hitchcock and Judith Anderson photo by Fred Parrish

Rebecca stars Laurence Olivier as Maxim de Winter, Joan Fontaine as Mrs. de Winter, George Sanders as Jack Favell, Judith Anderson as the sinister chatelaine Mrs. Danvers Nigel Bruce as Major Giles Lacy, C. Aubrey Smith as Colonel Julyan Reginald Deny as Frank Crawley, Gladys Cooper as Beatrice Lacy, Philip Winter as Robert, Edward Fielding as Frith, Florence Bates (The Moon and Sixpence 1942, Whistle Stop 1946, Portrait of Jennie 1948, A Letter to Three Wives 1949, Les Miserables 1952) as Mrs Van Hopper, Leo G. Carroll as Dr. Baker

The master Hitchcock and cinematographer George Barnes know how to create a moody, atmospheric landscape of suspense. In Rebecca, Joan Fontaine is given the role of an innocent and painfully shy young heroine who remains nameless throughout the film, as she is in du Maurier’s novel. I read that there were early drafts of the original script where the heroine’s name was Daphne as in the writer, but obviously the decision to keep her without a given name. She meets the brooding aristocratic widower Maxim de Winter played almost too effortlessly by Laurence Olivier who is the master of Manderley. They marry and Maxim brings his new bride back to his ancestral home. At first she is clumsy and awkward trying to find her way around as mistress of the house. The second Mrs. de Winter is bewildered and haunted by the unseen presence of the first Mrs. de Winter, the uncanny and beautiful Rebecca, who has died in a boating accident a year before. Mrs. de Winter is psychically tortured by the sinister Mrs. Danvers who was Rebecca’s faithful and adoring servant played by the always imposing Judith Anderson, who bombards Joan Fontaine with memories and tactile possessions of the dead woman, whom we never see. She is truly a phantom that haunts the film, the narrative and our heroine.

Considered for the leading role in Rebecca was Loretta Young, Margaret Sullivan, Anne Baxter and Vivien Leigh who was restricted by her role in Gone With the Wind 1939. Director Alfred Hitchcock won the Oscar for Best Picture his first and only Best Picture Oscar. George Barnes also won the Academy Award for his Cinematography. Judith Anderson was nominated for Best Supporting Actress as the menacing Mrs. Danvers, the only time in her career she was ever nominated.

Let’s not forget the other outstanding performance by Judith Anderson, that as Ann Treadwell in director Otto Preminger’s noir masterpiece Laura (1944) a ruthless woman who recognizes her weakness is wanting to possess through her wealth, the younger womanizer Shelby Carpenter played by urbane Vincent Price. Anderson turns out a poignant performance of a woman you love to hate yet she makes you understand the dynamic behind her loneliness.

Continue reading “The Great Villain Blogathon 2019 Dame Judith Anderson as Mrs. Danvers “Do you think the dead come back and watch the living?””

Happy Birthday to Bradford Dillman April 14

Bradford Dillman in a scene from the film ‘Circle Of Deception’, 1960. (Photo by 20th Century-Fox/Getty Images)

Untroubled good looks, faraway poise & self-control, with a sartyrial smile and brushed-aside sophistication  – that’s Bradford Dillman

Bradford Dillman is one of those ubiquitous & versatile actors who you find popping up just about everywhere, and whenever I either see him in the credits or think about some of his performances, I am immediately happified by his presence in my mind and on screen.  It’s this familiarity that signposts for me whatever upcoming diversion I’m in store for, will be something memorable indeed.

He’s been cast as a saint, a psychopath, elite ivy league intellectuals with an edge, unconventional scientists, military figures, droll and prickly individualists, clueless bureaucrats, or drunken malcontents and he’s got a sort of cool that is wholly appealing.

Bradford Dillman was omni-present starting out on the stage, and major motion pictures at the end of the 50s and by the 1960s he began his foray into popular episodic television series and appeared in a slew of unique made for television movies throughout the 1970s and 80s, with the addition of major motion picture releases through to the 90s. His work, intersecting many different genres from melodramas,historical dramas, thrillers, science fiction and horror.

There are a few actors of the 1960s & 70s decades that cause that same sense of blissed out flutters in my heart — that is of course if you’re as nostalgic about those days of classic cinema and television as I am. I get that feeling when I see actors like Stuart Whitman, Dean Stockwell, Roy Thinnes, Scott Marlow, Warren Oates, James Coburn, Lee Grant David Janssen, Michael Parks, Barbara Parkins, Joanna Pettet ,Joan Hackett , Sheree North,  Diana Sands, Piper Laurie, Susan Oliver and Diane Baker.  I have a fanciful worship for the actors who were busy working in those decades, who weren’t Hollywood starlets or male heart throbs yet they possessed a realness, likability, a certain individual knack and raw sex-appeal.

Bradford Dillman was born in San Francisco in 1930 to a prominent local family. During the war he was sent to The Hotchkiss School in Lakeville, Connecticut. At Hotchkiss, senior year he played Hamlet. At Yale he studied English Literature and performed in amateur theatrical productions and worked at the Playhouse in Connecticut. Dillman served in the US Marines in Korea (1951-1953) and made a pact that he’d give himself five years to succeed as an actor before he called it quits. Lucky for us, he didn’t wind up in finance the way he father wanted him to.

Actor Bradford Dillman (Photo by  John Springer Collection/CORBIS/Corbis via Getty Images)

Dillman enrolled and studied at the Actors Studio, he spent several seasons apprenticing with the Sharon Connecticut Playhouse before making his professional acting debut in an adaptation of Nathaniel Hawthorne’s “The Scarecrow” in 1953 with fellow Studio students Eli Wallach and James Dean. Dillman referred to Dean as ‘a wacky kid’ but ‘very gifted’.

He only appeared in two shows in October 1962 of The Fun Couple in 1957 with Dyan Cannon and Jane Fonda before the play closed in New York only after two days.

We lost Bradford Dillman last year in January 2018. I was so saddened to hear the news. And I missed the chance to tribute his work then, but now that his birthday is here, I feel like celebrating his life rather than mourning his death, so it’s just as well.

Bradford Dillman wrote an autobiography called Are You Anybody? An Actor’s Life, published in 1997 with a (foreword by Suzy Parker) in which he downplays the prolific contribution he made to film and television and acting in general. Though Dillman didn’t always hold a high opinion of some of the work he was involved in, appearing in such a vast assortment of projects, he always came across as upbeat and invested in the role.

“Bradford Dillman sounded like a distinguished, phony, theatrical name, so I kept it.”

[about his career] “I’m not bitter, though. I’ve had a wonderful life. I married the most beautiful woman in the world. Together we raised six children, each remarkable in his or her own way and every one a responsible citizen. I was fortunate to work in a profession where I looked forward to going to work every day. I was rewarded with modest success. The work sent me to places all over the world I’d never been able to afford visiting otherwise. I keep busy and I’m happy. And there are a few good films out there that I might be remembered for.”

Continue reading “Happy Birthday to Bradford Dillman April 14”

The Dark Pages special “GIANT” Issue!! November/December 2018 is here!!

THE DARK PAGES SPECIAL “GIANT” ISSUE IS HERE VOL.14 NUMBER 6 NOVEMBER/DECEMBER 2018

The Dark Corner (1946) Directed by Henry Hathaway: Lucille Ball (as Kathleen), Mark Stevens (as Bradford Galt)

It was an absolute honor to be able to contribute once again to The Dark Pages Newsletter that is suffuse with some of the best writers and critics of Film Noir. This year’s GIANT issue pledged a collection of articles featuring great couples of the genre. And boy what a terrific issue it is!

If you aren’t yet on the mailing list or want to subscribe to the Newsletter — below is a link so you can get your craving for Film Noir satisfied!

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Your EverLovin’ Joey sayin’ see ya in the shadows of a dark alley, and if you need a light, I’ll be there in a flash, all you have to do is whistle, you know how to whistle !

 

Quote of the Day! Too Late for Tears (1949)

Danny Fuller (Dan Duryea) to Jane Palmer (Lizabeth Scott)- “Don’t ever change, Tiger. I don’t think I’d like you with a heart.

The 1949 murder film Too Late For Tears, starring Lizabeth Scott and Dan Duryea, follows a woman desperate to protect a newfound fortune.

Your EverLovin’ Joey saying don’t shed those tears, I’ll be back again!

The Amazing Dr. Clitterhouse (1938) A magnificent specimen of pure viciousness & pure scientific research… by a magnificent Screwball

THE AMAZING DR. CLITTERHOUSE (1938)

Dr. T.S Clitterhouse-“Crime and research.”

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 who 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, the gangster movie, suspense & psychological noir with classical horror elements evidenced by the duality of the schizophrenic hero.

Though absurd it’s an enjoyable Litvak’s direction, Huston’s screenplay and Gaudio’s arousing photography make it an enjoyable film to watch.

While watching Litvak’s film again, it suddenly hit me (smack between my green eyes) there is one significant trope that stood out so obvious, so clearly to me. Strange that I hadn’t realized it during my first viewing.

Dr. Clitterhouse is an archetypal Jekyll & Hyde figure, using his immersion into criminal activity rather than a smoky elixir to drink down his uneasy gullet, that 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– it is the single act, desire and curiosity of a scientist seeking answers concerning the criminal mind that 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. Robsinson and Humphrey Bogart’s films which intersected with crime, noir and horror narratives. In particular director Delmer Daves 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.

Continue reading “The Amazing Dr. Clitterhouse (1938) A magnificent specimen of pure viciousness & pure scientific research… by a magnificent Screwball”