A Trailer a Day Keeps the Boogeyman Away! Halloween A-Z

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I Married a Witch 1942

I Married a Witch is a 1942 romantic comedy fantasy directed by René Clair. The movie combines elements of witchcraft and romance in a lighthearted and whimsical tale.

The story revolves around a 17th-century witch named Jennifer, played by Veronica Lake, and her father Daniel (Cecil Kellaway), who are burned at the stake by the Puritans. Before their execution, they curse the descendants of the man responsible for their demise, the Wooley family.

In a quest for vengeance, Jennifer cast a malevolent curse upon all future generations of the Wooley family, ensuring that each of their sons would be destined to marry the wrong woman, leading to a lifetime of unhappiness.

Their spirits have been trapped in a tree for centuries.

Fast forward to the 20th century, and lightning strikes the tree, releasing the spirits of Jennifer and Daniel. Jennifer, still a mischievous and enchanting witch, is determined to seek revenge on the Wooley family. However, when she meets Wallace Wooley, played by Fredric March, a descendant of her accuser, she finds herself falling in love with him.

Jennifer decides to abandon her vengeful plans and use her magical powers to win Wallace’s heart. She brews love potions, casts spells, and creates humorous chaos in the process. As their love story unfolds, Jennifer’s magical antics lead to a series of comical and unexpected situations.

I Bury the Living 1958

I Bury the Living will be a film I cover in-depth for Sunday Nite Surreal. So stayed tuned

I Bury the Living is a 1958 horror-thriller film directed by Albert Band. The strange and offbeat story uses a graveyard as its primary stage, to follow Robert Kraft (played by Richard Boone), a cemetery manager who discovers that the placement of black and white pins on a map (a map that is a matrix of a sardonic, animated face) of the cemetery seems to affect the fate of the individuals they represent. When he mistakenly places a black pin in a plot reserved for a living person, mysterious and tragic events begin to unfold the first time the uncanny deaths occur is when Kraft sticks the wrong pins in the plot owned by newlyweds, and winds up dead. The question of the film is, was it a mere coincidence, or can Kraft control who lives or dies?

As the body count rises, Kraft becomes increasingly obsessed with unraveling the deadly secret behind the map, leading to a suspenseful and chilling exploration of fate, superstition, and the boundaries of reality. Theodore Bikel plays Andy McKee. Frederick Gately’s (Wicked, Wicked 1975, mostly working in television) cinematography almost gives the film the effect of being a stage play.

The Incredibly Strange Creatures 1964

An oddity, Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!!? is a cult film released in 1964, directed by Ray Dennis Steckler, who also appears in the film as the character Jerry (Ray Dennis Steckler aka "˜Cash Flag'). The movie is often considered one of the worst films ever made and has achieved a certain notoriety in the realm of cult and exploitation cinema. The low production values, amateurish acting, and incoherent plot have contributed to its reputation as a “so bad it’s good” movie.

The film’s plot is quite bizarre and disjointed, featuring a mix of elements like romance, hypnotism, murder, and musical numbers, and yet nothing is ever fully explained such as the reason for the acid-disfigured victims kept in a cage. It follows bad boy Jerry and his friends as they attend a beach carnival, where Jerry becomes hypnotized by Madam Estrella and is compelled to commit murder. The film then follows his efforts to resist the urge to kill and uncover the secrets of the sinister Madam Estrella though the motives of Madam Estrella and her aide, Ortega, are also unclear.

Unemployed jerk Jerry (Ray Dennis Steckler credited in this oddity as "˜Cash Flag') is pals with sidekick Harold (Atlas King), but he’s a lousy boyfriend to Angela (Sharon Walsh). When he takes her on a date to the beach carnival, they go to see a mysterious fortune-teller named Madam Estrella (Brett O'Hara). Jerry is attracted to one of the dancers at the carnival named Carmelita (Erina Enyo) which pisses off Angela. Jerry is invited to come backstage and is put under a hypnotic spell by Madam Estrella and soon begins to go on a murder spree killing dancers, beginning with headliner Marge Neilson (Carolyn Brandt). Jerry is haunted by strange hallucinations and soon learns the news of the carnival killings. When he seeks out Angela, he gets a wave of murderous lust again and nearly kills her too. Jerry is determined to learn Madam Estrella's hidden secrets.

Also, the film features various dance costumes and scenes from the carnival midway, which are noted for their historical interest as they capture the atmosphere of the Long Beach Pike in the early 1960s.

Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!!? has garnered a cult following among fans of low-budget and exploitation cinema. It is often appreciated for its unintentional humor and its unique blend of genres and elements. Interesting note:

The three cameramen who started their careers under Ray Steckler’s guidance would go on to leave indelible marks in the film industry. Joseph V. Mascelli, for instance, authored a widely acclaimed cinematography manual, plied his trade as a cinematographer for Arch Hall Sr., and even took a shot at directing his own Z-horror film, “Monstrosity.”

In parallel, the camera operator Vilmos Zsigmond and his assistant, László Kovács, who had fled Hungary in the tumultuous year of 1956, embarked on their ascent with the Hollywood camera profession. Their involvement in “Incredibly Strange Creatures” marked one of the early steps in their dedicated climb, how ironic – they began their remarkable careers with one of the worst films ever made.

Island of Terror 1966

Island of Terror is a 1966 British horror film directed by Terence Fisher. The story unfolds on a remote island off the coast of Ireland, where a group of scientists led by Dr. Brian Stanley (played by Peter Cushing) and Edward Judd as Dr. Davis West becomes embroiled in a terrifying ordeal.

A series of gruesome deaths occur on the island, with victims reduced to skeletal remains, and the local population is gripped by fear. Dr. Stanley and his team soon discover the cause of these horrors: the island has become infested with deadly, gelatinous creatures resembling turtle-like amoebas with tentacles, which suck the bones out of their victims, leaving them as lifeless husks. The monocellular creatures are reminiscent of those in Caltiki, the Immortal Monster 1959 which also features a scene in which one of the characters loses a hand.

In the pursuit of a potential cancer cure on a remote island nestled off the Irish coast, the project’s esteemed scientist unwittingly creates a monstrous new organism that thrives by devouring all other living creatures.

As the scientists and the island’s inhabitants attempt to combat the horrific creatures, they realize that traditional weapons are ineffective against them. The film explores themes of scientific curiosity, survival, and the desperate struggle to find a way to defeat the relentless, bone-devouring monsters. The film also stars Niall MacGinnis as Mr. Roger Campbell. Offering support to David West is his beloved socialite girlfriend, Toni Merrill (Carole Gray).

Island of Terror features two well-known actors in British cinema, Sam Kydd plays the constable, John Harris who discovers a missing farmer dead in a cave. The frightening discovery reveals the body is a mass of jelly. Eddie Byrne (Hammer’s The Mummy, The Vengeance of Fu Manchu) is the island doctor, who mocks mere simplicity used to describe the gruesome condition of the corpse: “There was no face, just a horrible mush, with the eyes sittin’ in it.” 

Fisher knows how to create an eerie landscape and in this horror/sci-fi hybrid, the mood is suffocating due to the isolation and the inescapable reality that they are all marooned on this remote island. The village is encircled by these insatiable parasites, as they try desperately to survive while scrambling to find a way to exterminate these organisms before catastrophe strikes. Of course, there’s a twist ending… the scenario repeats itself in Japan.

The Incredible Two-Headed Transplant 1971

The Incredible 2-Headed Transplant is a 1971 science fiction horror film directed by Anthony M. Lanza. The story revolves around an ambitious scientist, Dr. Roger Girard (Bruce Dern), who conducts a groundbreaking and ethically questionable experiment.

Dr. Girard successfully performs a head transplant, attaching the head of a convicted murderer, Max (played by Albert Cole), to the body of a mentally disabled man, Danny (played by John Bloom). The result is a grotesque and unnerving two-headed lumbering mess. Max and Danny’s conflicting personalities and desires create chaos and tension within their shared body.

As Dr. Girard struggles to control his increasingly unhinged creation, Max’s criminal tendencies resurface, leading to a series of violent and deadly actions. The trashy pick also stars Pat Priest (The Munsters) Berry Kroeger, and Casey Kasem.

The Incredible 2-Headed Transplant is known for its cheesy, campy, and exploitative nature, more ridiculous than bizarre, or macabre. It has become a cult classic for all the obvious reasons.

This is your EverLovin’ Joey saying ‘I’ will see you around the snack bar while I pick up an icy cup of the letter J!

Revisiting Robert Aldrich’s Hag Cinema: Part II ” I wouldn’t piss on Joan Crawford if she were on fire!”

As part of the Dynamic Duos of Classic Film Blogathon hosted by Once upon a screen… and Classic Movie Hub

Joan and Bette

Of all the notorious rivalries identified with Hollywood celebrities, the most enduring in the public consciousness is that of legendary Bette Davis and Joan Crawford. As the documentary ‘Bette and Joan: Blind Ambition‘ (2005) insightfully decries ‘Betty Davis was the screens great Sadist and Crawford was the screen’s great Masochist.’

“If equally matched adversaries are bound to create sparks and flames of conflict, then Bette Davis and the late Joan Crawford should offer a good battle.” - Publisher’s Weekly

Bette Davis on Joan Crawford: “Her eyebrows are like ‘African caterpillars’ and her best performance was "Crawford being Crawford."

Joan Crawford on Bette Davis: "She's phony, but I guess the public really likes that."

bette and Joan for babyjane

I want to preface this piece by qualifying something. With all that’s been written about the infamous feud, there are also those who try to dispel it as a myth, stating that rather than loathing each other Bette and Joan were actually cordial to each other-even chatting on the phone occasionally from the 30s until the making of Baby Jane? And that contrary to what’s been asserted, Davis wasn’t threatened by Joan’s coming to Warner Bros because she felt they were suited to playing different types of roles so there was no conflict there.

Bette Davis, photographed by Maurice Goldberg in 1935 for Vanity Fair
Bette Davis, photographed by Maurice Goldberg in 1935 for Vanity Fair.
Joan Crawford fabulous
the gorgeous Joan Crawford.

When Joan Crawford started to gain momentum with her best melodramas at the studio where Bette Davis’ was queen, Davis was already planning an exodus anyway. Finally in regards to Hush…Hush, Sweet Charlotte when Joan Crawford saw that Bette Davis was acting more like the director taking control and adding more of her own presence in the script while cutting Crawford’s dialogue to shreds, she decided to bow out of the picture claiming illness so she could be let out of the contract.

Bette and Joan on the set of Baby Jane

Some people assert that while they never became close friends, the two stars only wound up being not so friendly to each other in the end. But, for the sake of my theme of the feuding divas, I felt like putting the more sordid version of the saga out there.

The notable feud, fueled by rumor, gossip, falsehoods, and dished-up dirt, drew so much juicy attention to these fierce Divas whose careers and lives often traversed each other in ironic and titillating ways giving us a peek into the tumultuous allure of Hollywood. 

Bette gorgeous color

Joan Crawford color

Both were incredibly talented, super ambitious, independently driven, and possessing strong personalities. They were each on divergent paths to stardom, Crawford gaining her power remote from the proverbial casting couch "She [Joan Crawford] has slept with every male star at MGM except Lassie." –Bette Davis. Most of Crawford’s leading men found her sexual magnetism hard to resist.

But she proved she could command the screen with an invincible vigor and facility to emote and Davis who had a determined streak of flair manifested itself into an unyielding spirit and incomparable depth. Both are ironically similar indomitable, independent, and possessing great fortitude. Both married four times, and both were at the receiving end of hostile and vengeful children ultimately ending up as reclusive alcoholics.

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Aldrich’s iconic offbeat Gothic thriller What Ever Happened to Baby Jane? (1962) brought these two legends together culminating in the classic pairing of two bitter adversaries not only on screen but behind the scenes as well. Baby Jane? would forever consign their iconic images engaged in dramatic conflict and defining their rancorous relationship for an eternity.

The film cannily exploited the genuine animosity between both stars who had been competing for good roles in the 40s. Michael Musto of the Village Voice says this – “They just didn’t get along. Bette thought of herself as a real actress she thought of Joan as just kind of a flashy movie star without any depth.”

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Crawford and Tone
Crawford and Tone

Was their long drawn-out public war due to Crawford’s marrying co-star Franchot Tone allegedly stealing him away from Bette? Or was it the competitiveness for good roles in the 40s that drew a wedge between them? These two women were the most illustrious female stars of their day, successful at playing ordinary working-class gals with at times questionable reputations. But good roles were something they both had to fight to get. So was it a case of unrequited love or fierce competition? Either way, for both stars it was a genuinely personal and delicate affair.

On Davis’ last trip to London two years before her death, she revealed that the love of her life was Franchot Tone, but she could never marry him because he was Crawford’s second husband. “She took him from me,” Davis said bitterly in 1987. “She did it coldly, deliberately, and with complete ruthlessness. I have never forgiven her for that and never will.” Crawford already dead for ten years, was still the recipient of an eternal hatred on the part of Davis now 80 years old and desiccated from her stroke.

davis and tone dangerous
Bette Davis and Franchot Tone in Dangerous ’35.

Bette Davis was filming Dangerous 1935 a role that would win her first Best Actress Oscar. Warner Bros. cast her to play opposite the handsome Franchot Tone. In this fabulous melodrama, Davis portrays Joyce Heath an egomaniacal actress considered to be box office poison living in obscurity in the throws of alcohol addiction. Tone plays Don Bellows a playwright who tries to rehabilitate her. The story is loosely based on Broadway star Jeanne Eagels who died of a drug overdose at the age of 35

Davis wound up falling in love with her leading man, unaware that he was already involved with Joan Crawford who was recently divorced from the dashing Douglas Fairbanks Jr. This began the legacy of love jealousy, and possession. At the time Davis was married to musician Ham Nelson. Everyone on set could see that Davis was attracted to co-star Franchot Tone.

Years later she recalled “I fell in love with Franchot, professionally and privately. Everything about him reflected his elegance, from his name to his manners.”-Bette Davis

Crawford first entertained Franchot Tone at her Hollywood home. When he arrived he found her tanned and completely naked in the solarium. According to friends and neighbors, he did not emerge from the seductive sojourn until nightfall.

Tone and Crawford
Franchot Tone and Joan Crawford.

“He was madly in love with her,” Davis confessed, “They met each day for lunch… he would return to the set, his face covered with lipstick. He made sure we all knew it was Crawford’s lipstick.”-Bette Davis

“He was honored that this great star was in love with him. I was jealous, of course.”-Bette Davis

Tone and Crawford
Franchot Tone and Joan Crawford-a dynamic couple.

But instead of Crawford retaliating she reached out to Davis hoping to be friends, but it was too late by then her heart was broken, and she was furious. Crawford announced her engagement to Tone during the filming of Dangerous and they married soon after the film wrapped.

Both actresses were present at the Oscar ceremonies. Davis was nominated for Best Actress. The hostility showed its ugly face when Bette wearing a modest navy blue dress stood up when they announced she’d won the award. Franchot Tone enthusiastically embraced Davis calling her darling” which caused his wife to take notice. Crawford wearing a spectacular gown herself, looked Davis over and coldly said “Dear Bette! What a lovely frock.”

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"Joan Crawford and I have never been warm friends. We are not simpatico. I admire her, and yet I feel uncomfortable with her. To me, she is the personification of the Movie Star. I have always felt her greatest performance is Crawford being Crawford."

Interestingly if you consider the inherent veracity of unrequited love that was systemic to their discord we may also consider the allegations that Crawford was herself a promiscuous bisexual in love with Davis, supposedly making several sexual advances toward Davis which were rebuffed with expressed amusement. Davis was an avowed heterosexual. “Gay Liberation? I ain’t against it, it’s just that there’s nothing in it for me.”  “I’ve always liked men better than women.”Bette Davis

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Davis also proposed that Crawford used her body and sex to get ahead in Hollywood, “She slept with every star at MGM” she alleged later “of both sexes.”

Some of the women that allegedly were Crawford’s lovers included Greta Garbo, Marlene Dietrich, her friend Barbara Stanwyck & Marilyn Monroe.

The years of hostility and jealousy were only galvanized later by the battle that ensued on the set of Baby Jane? where Davis upended Crawford by endearing herself to director Aldrich. Davis got the Oscar nomination for Best Actress, but Crawford did not. only to have Crawford undermine Davis at the award ceremony sabotaging Davis by accepting the award for Ann Bancroft who won for The Miracle Worker.

Joan accepts oscar for Anne Bancroft

crawford at the oscars

Allegedly Joan shoved Bette aside to grab the coveted statue at the podium. Shaun Considine’s book ‘Bette & Joan The Divine Feud’ relates how when Ann Bancroft’s name was announced Davis felt an icy hand on her shoulder as Crawford said, “Excuse me, I have an Oscar to accept.”

Davis recalls “I will never forget the look she gave me.”It was triumphant. It clearly said ‘You didn’t win, and I am elated!”

Joan accepts the oscar for Bancroft

Making matters worse the newspapers paraded the image of Crawford holding the golden idol that Davis failed to win. According to Bette Davis, Joan was bitter and conspired to keep her from winning the Oscar.

Crawford managed to insinuate herself into accepting the Oscar for Ann Bancroft in case Ann won. The night of the awards Bette Davis shows up fairly confident she could take home the Oscar. She was waiting in the wings with her purse ready to walk on stage when they announced the winner. But Joan Crawford was also hovering in the wings waiting to take her revenge.

From an interview in ’87 -“I was furious. She went to all the New York nominees and said if you can’t get out there, I’ll accept your award. And please do not vote for her. She was so jealous.” Crawford’s scheme worked, it was a terrible slap in the face for Bette Davis.

Jane drags Blanche

“The best time I ever had with Joan Crawford was when I pushed her down the stairs in Whatever Happened to Baby Jane?”

“There may be a heaven, but if Joan Crawford is there, I’m not going.” Bette Davis

Jane sad Jane

Blanche looks out window

And how much does the media fuel this rivalry? Is it partly the paradigm of a film industry that engenders a climate of sexism and ageism that feeds tabloid culture devaluing women’s self-worth and antagonizing the rift that already existed between the two actresses? Consider the symbiosis that occurs between the press and female celebrities, their exploitative and predatory hunger to devour them whole, and the co-dependent dysfunction pervasive in the film industry. You have to wonder how much of the nasty fodder that kept the feud burning was fact and how much of it was a myth the media created.

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It isn’t hard to see how both these aging stars were forced to fight for screen supremacy. An irreconcilable difference that put Aldrich in the sad and awkward position of having to fire Joan Crawford from her role as Cousin Miriam in his second feature with the dynamic duo in his Gothic thriller  Hush… Hush, Sweet Charlotte.

Davis and Crawford on the set of Baby Jane in directors chairs
Davis & Crawford on the set of Baby Jane.
Aldrich Davis & Joan Hush Hush set
Davis & Crawford on the set of Hush… Hush, Sweet Charlotte with Aldrich.

Despite their feud the box office success of Baby Jane? encouraged Aldrich to change the story and characters but reunite the same controversial and quarrelsome stars. Originally called “What Ever Happened to Cousin Charlotte?” written once again by Henry Farrell. Crawford agreed to get back on the screen with her familiar enemy. But when Aldrich asked Bette to star in a second picture with Joan she loathed the idea of ever acting with Crawford again.

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“I wouldn’t piss on Joan Crawford if she was on fire.”

crawford older glamor girl

Davis used to say that she and Crawford had nothing in common. She considered Crawford “a glamour puss” who depended on her fabulous looks alone, though Crawford did wind up working with some of my favorite auteurs like Michael Curtiz, George Cukor, Robert Aldrich, Nicholas Ray, Otto Preminger, and Jean Negulesco.

Both were very strong women who had to scratch and claw their way through a mire of misogyny to achieve their stardom. Crawford was always playing the formulaic vulnerable ‘girl from the wrong side of the tracks. Born in poverty she reaches for a dream and strives through hard work to make good. Stories reflecting the struggles of the Depression Era and World War II appealed to audiences of the 30s & 40s.

Based on Bette’s early stage performances critics said she was made of lightning filled with fantastic energy. It was George Arliss who decided Bette would be perfect for his next film The Man Who Played God 1932. He became a bit of a mentor, Bette said he played god to her. In September 1931, she felt finished with her career in Hollywood and was packing her things with her mother ready to return to New York when George Arliss came along and saved her.

Bette and George
Bette Davis and George Arliss’s The Man Who Played God.

Joan Crawford had been married to Douglas Fairbanks Jr. at the time and learned everything about Hollywood royalty and how to become pretentious. When Crawford first arrived in Hollywood she was a dancer, an it-girl flapper for MGM throughout the late silent & early sound eras working alongside Clark Gable.

She didn’t have those signature eyebrows yet. At some point in the 30s, she started changing her look which embraced the heavily arched eyebrows, the wider mouth, and the notorious shoulder pads which became her iconic trademark. She left MGM and joined Warner Bros in 1943.

joan-crawford no eyebrows yet
Crawford before her legendary eyebrows took over her face.
bette fabulous bette
Bette and those big beautiful blues.

Continue reading “Revisiting Robert Aldrich’s Hag Cinema: Part II ” I wouldn’t piss on Joan Crawford if she were on fire!””

Postcards from Shadowland No. 8

Ace in The Hole 1951
Billy Wilder’s Ace in The Hole (1951) Starring Kirk Douglas and Jan Sterling
Brute Force
Jules Dassin’s prison noir masterpiece-Brute Force 1947 starring Burt Lancaster, Hume Cronyn, and Charles Bickford
citizen kane-
Orson Welles- Citizen Kane (1941) also starring Joseph Cotten
devil and daniel webster
William Dieterle’s The Devil and Daniel Webster 1941
hangover square
Directed by John Brahm-Hangover Square 1945 starring Laird Cregar , Linda Darnell and George Sanders
House by The River
Fritz Lang’s House By The River 1950 starring Louis Hayward, Lee Bowman and Jane Wyatt.
i cover waterfront-1933
I Cover the Waterfront 1933- Claudette Colbert, Ben Lyon and Ernest Torrence
Jewel Mayhew and Wills Hush Hush Sweet Charlotte
Robert Aldrich’s Hush Hush Sweet Charlotte 1964 starring Bette Davis, Olivia de Havilland, Joseph Cotton, Mary Astor, Agnes Moorehead and Cecil Kellaway
Key Largo
John Huston’s Key Largo 1948 Starring Edward G Robinson, Humphrey Bogart and Lauren Bacall
Killers Kiss
Stanley Kubrick’s Killers Kiss 1955 Starring Frank Silvera and Irene Kane.
Lady from Shanghai(1947)
Orson Welles penned the screenplay and stars in iconic film noir The Lady from Shanghai 1947 featuring the sensual Rita Hayworth, also starring Everett Sloane
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Lady in a Cage 1964 directed by Walter Grauman and starring Olivia de Havilland, James Caan, and Jennifer Billingsley.
long dark hall
The Long Dark Hall 1951 Starring Rex Harrison and Lilli Palmer
lorre M
Fritz Lang’s chilling M (1931) Starring Peter Lorre
Mark Robson The Seventh Victim
Mark Robson directs, Val Lewton’s occult shadow piece The Seventh Victim 1943 Starring Kim Hunter, Tim Conway and Jean Brooks
Meeting leo-Ace in the hole with leo 1951
Kirk Douglas in Ace In The Hole 1951 written and directed by Billy Wilder
mifune-and-yamamoto in Drunkin Angel 48
Akira Kurosawa’s film noir crime thriller Drunken Angel (1948) starring Takashi Shimura and Toshiro Mifune
Panic in the Streets
Elia Kazan’s socio-noir Panic in The Streets 1950 starring Jack Palance, Richard Widmark, Paul Douglas, Barbara Bel Geddes and Zero Mostel
persona
Ingmar Bergman’s Persona 1966 starring Liv Ullmann and Bibi Andersson
Queen of Spades
The Queen of Spades 1949 directed by Thorold Dickinson and starring Anton Walbrook, Edith Evans and Yvonne Mitchell
Saint Joan of the Angels 1
Director Jerzy Kawalerowicz’s beautifully filmed Mother Joan of The Angels 1961 starring Lucyna Winnicka.
shanghai express
Josef von Sternberg’s Shanghai Express 1932 Starring Marlene Dietrich, Clive Brook and Anna May Wong
The Devil and Daniel Webster
The Devil and Daniel Webster 1941
The Haunting
Robert Wise’s The Haunting 1963. Screenplay by Nelson Gidding based on the novel by Shirley Jackson. Starring Julie Harris, Claire Bloom, Richard Johnson, and Russ Tamblyn
the Unsuspected_1947
Michael Curtiz’s The Unsuspected 1947 starring Claude Rains, Joan Caulfield and Audrey Totter
Viridiana
Luis Bunuel’s Viridiana 1961 Starring Silvia Pinal, Fernando Rey and Fransisco Rabal
What Ever Happened To Baby Jane?
Robert Aldrich’s cult grande dame classic starring Bette Davis and Joan Crawford-What Ever Happened To Baby Jane? 1962

Twelve Neglected Characters from Classic Film.

nightmare-alley-edmund-goulding1947
1) The tragically poetic Pete Krumbein in Edmund Goulding’s Nightmare Alley 1947 played by Ian Keith.
Franzi
2) The flamboyant Franzi Kartos in Caught 1949 portrayed by Curt Bois ‘darling’
Fred Foss- The Dark Corner 949
3) Stauffer, alias Fred Foss in The Dark Corner 1946-played by the wonderful William Bendix in the white linen suit…
Jan Sterling in Women's Prison -Brenda
4) Good-hearted kite hanger, Brenda Martin in Women’s Prison 1955 – the eternal pixie Jan Sterling.
Brute Force Jeff Corey Freshman Stack
5) Jeff Corey, as the cringing, cowardly informer ‘Freshman’ Stack in Brute Force 1947.
Granny Tucker
6) Beulah Bondi as spiittin’ Granny Tucker in Jean Renoir’s The Southerner 1945 ‘Ah shuckity’
Ma Stone- Jane Darwell, The Devil & Daniel Webster
7) Ma Stone in William Dieterle’s The Devil and Daniel Webster 1941– the grand Jane Darwell.
Wills and Jewel talk at tea-Hush Hush Sweet Charlotte
8) Cecil Kellaway as Harry Wills and Mary Astor as Jewel Mayhew in Hush Hush Sweet Charlotte 1964.
Elisha Cook Jr. Jazz wild drummer Cliff-phantom ladyjpg
9) Cliff the jazz sexed drummer in Phantom Lady 1944– the ubiquitous Elisha Cook Jr.
(Ladies in Retirement)
10) Quirky sisters Louisa and Emily Creed in Ladies in Retirement 1941Edith Barrett & Elsa Lanchester.
11) The wonderful stoolie Mo whose saves for her headstone and plot out on Long Island played with that razor-sharp wit of Thelma Ritter in Pickup on South Street (1953).
12) Jack Oakie as Slob in Jules Dassin’s realism masterpiece Thieves’ Highway (1949).

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