Enduring Empowerment : Women Who didn’t Give a Damn! …in Silent & Classic film!

THE SILENT YEARS: When we started not giving a damn on screen!

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THE GODLESS GIRL (1929) CHAIR SMASH courtesy of our favorite genius gif generator- Fritzi of Movies Silently

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In celebration of our upcoming Anti Damsel Blogathon on August 15 & 16, I had this idea to provide a list of bold, brilliant and beautiful women!

There was to be no indecent exposure of the ankles and no SCHWOOSHING!  Not in this Blogathon baby!

From the heyday of Silent film and the advent of talking pictures, to the late ‘20s to 1934 Pre-Code Hollywood, films were rife with provocative and suggestive images, where women were kicking up a storm on screen… The end of the code during the early 60s dared to offer social commentary about race, class, gender and sexuality! That’s our party!

In particular, these bold women and the screen roles they adopted have become legendary. They sparked catchy dialogue, inspired fashion trends, or just plain inspired us… All together there are 111 of SOME of the most determined, empowered and uniquely fortified femmes of classic film…!

First of course I consulted the maven of all things splendid, shimmery and SILENT for her take on silent film actresses and the parts that made them come alive on the immortal screen…. Fritzi at Movies Silently has summoned up these fabulous femmes….

Rischka Wildcat
1) Rischka (Pola Negri) in The Wildcat (1921) Ernst Lubitsch’s hyperactive Dr. Seussian comedy is worth seeing for the sets alone but the best part is Pola Negri’s Rischka, a young bandit queen who is terrorizing the mountains. She meets the local Lothario during a robbery and by the end of the scene she has stolen his heart. And his pants.
Countess A Woman of the World
2) The Countess (Pola Negri) in A Woman of the World (1925) Anyone who thought going to Hollywood would tame Pola Negri’s wild side had another thing coming. In this film, she plays a countess whose skull tattoo causes an uproar in Anytown, USA. The film also features a romance between Negri and the stuffy local prosecutor, who soon finds himself on the receiving end of her bullwhip. Not a metaphor.
Miss Lulu Bett
3) Lulu (Lois Wilson) in Miss Lulu Bett (1921) Independent women weren’t always given to violence and thievery. In the case of Lulu, she is a single woman trapped in two Victorian social conventions: spinster and poor relation. During the course of the film, she rejects both titles, learns her own self-worth and empowers herself to enter into a healthy relationship with the local schoolmaster. Tasty feminism!
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4) Zaida (Bebe Daniels) in She’s a Sheik (1927) Silent movie audiences enjoyed reversals of gender tropes. The Rudolph Valentino vehicle The Sheik (1921) had been a smash hit and had spawned many rip-offs and parodies. (kidnapping = love = box office!) In this case, a warrior princess falls for a French officer and decides the most sensible course of action is to abduct him for the purpose of marriage. Sadly, this comedy seems to be one of many silent films that is missing and presumed lost.
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5) Eve (Leatrice Joy) in Eve’s Leaves (1926) Another gender reversal comedy, Eve’s Leaves features twenties fashion icon Leatrice Joy as a tomboy sailor who finds the perfect man while ashore on business. She ends up saving the day– and her favorite dude in distress– through quick thinking, a knowledge of knots and a mean right hook.
Ossi The Doll
6) Ossi (Ossi Oswalda) in The Doll (1919) Ernst Lubitsch featured another feisty heroine in this surreal comedy. Our hero wishes to dodge marriage but cannot gain his inheritance without a bride. A plan! He will buy a lifelike doll from a famous toymaker and marry that. What he doesn’t know is that the doll was broken, the toymaker’s daughter has taken its place and she means to teach the reluctant bridegroom a lesson. Oswalda’s mischievous antics are a delight.
Molly Sparrows
7) Molly (Mary Pickford) in Sparrows (1926) Mary Pickford was America’s Sweetheart during the silent era and audiences adored her fearless heroines. Molly is one of her boldest. She’s an orphan raised in a Southern swamp who must rescue a kidnapped infant. The epic final race across the swamps– complete with alligators– is still harrowing to behold.
Helen Lass of the Lumberlands
8) Helen (Helen Holmes) in A Lass of the Lumberlands (1916) Helen Holmes was an action star who specialized in train-related stunts and adventure. In this 1916 serial, she saves the day on numerous occasions and even saves her love interest from peril on the train tracks. (It should be mentioned that the Victorian “woman tied to the train tracks” cliche was incredibly rare and usually treated with ridicule in silent films.) This is another movie that is missing and presumed lost.
Musidora Judex
9) Diana Monti (Musidora) in Judex (1916) Not all the empowered women in classic film were heroines. In the case of Musidora, her most famous roles were as criminals. She was the deadly thief/hit-woman Irma Vep in Les Vampires and then took on the titular caped crusader in Judex. Smart, stealthy and likely to slip a stiletto between the ribs… in short, a woman not to be trifled with.
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10) Helen (Miriam Nesbitt) in The Ambassador’s Daughter (1913) This short film from Thomas Edison’s motion picture studio features espionage and a quick-thinking heroine. She tracks down spies at the embassy, follows her suspect and manages to steal back the documents that he purloined from her father. Not at all bad for a film made seven years before the Nineteenth Amendment was ratified.
Cornelia The Bat
11) Cornelia Van Gorder (Emily Fitzroy) in The Bat (1926) It’s a dark and stormy night and a murderous costumed villain means to recover stolen loot in an isolated mansion. What is an elderly woman to do? Take up her trusty pistol and investigate, of course! She also wields a dry wit and keeps cool under pressure. The Bat doesn’t stand a chance
Catherine The Eagle
12) Catherine the Great (Louise Dresser) in The Eagle (1925) As mentioned above, Rudolph Valentino specialized in aggressive wooing but he finds the shoe on the other foot in this Russian romance. Louise Dresser is a kick as the assertive czarina who knows what she likes and goes for it.

Now to unleash the gust of gals from my tornadic mind filled with favorite actresses and the characters that have retained an undying sacred vow to heroine worship… In their private lives, their public persona and the mythological stardom that has & still captivates generations of  fans, the roles they brought to life and the lasting influence that refuses to go away…!

Because they have their own unique rhythm to the way they moved through the world… a certain kind of mesmerizing allure, and/or they just didn’t give a hoot, a damn… nor a flying fig!

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“The most courageous act is still to think for yourself. Aloud”-Coco Chanel

Stars like Bette Davis, Barbara Stanwyck and Joan Crawford managed to keep re-inventing themselves. They became spirited women with an inner reserve of strength and a passion for following their desires!

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Barbara Stanwyck posing with boxing gloves!

The following actresses and their immortal characters are in no particular order…!

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13. Phyllis Dietrichson (Barbara Stanwyck) Double Indemnity (1944) set fire to the screen as one of the most seductive femme fatales— a dame who made sunglasses and ankle bracelets a provocative weapon. She had murder on her mind and was just brazen enough to concoct an insurance scam that will pay off on her husbands murder in Double Indemnity (1944). Walter Neff (Fred MacMurray) is the insurance guy who comes around and winds up falling under her dangerous spell… Walter Neff: ”You’ll be here too?” Phyllis: “ I guess so, I usually am.” Neff: “Same chair, same perfume, same ankle?” Phyllis:  “I wonder if I know what you mean?” Neff: “I wonder if you wonder?”
Bacall Slim To Have and Have not
14. Marie “Slim” Browning in To Have and Have Not (1944) Lauren Bacall walked into our cinematic consciousness at age 19 when Howard Hawks cast her as Marie “Slim” Browning in To Have and Have Not (1944). A night club singer, (who does a smoking rendition of Hogie Carmichael’s ‘How little We Know”) She’s got a smooth talking deep voiced sultry beauty, possesses a razor sharp wit to crack wise with, telling it like it is and the sexiest brand of confidence and cool. Slim has the allure of a femme fatale, the depth of a soul mate and the reliability of a confidant and a fearless sense of adventure. Playing across Bogart as the jaded Captain Harry Morgan who with alcoholic shipmate Eddie (Walter Brennan ) run a boating operation on the island of Martinique. Broke they take a job transporting a fugitive running from the Nazis. Though Morgan doesn’t want to get involved, Slim is a sympathizer for the resistance, and he falls in love with her, while she makes no bones about wanting him too with all the sexual innuendo to heat things up! Slim: “You know you don’t have to act with me, Steve. You don’t have to say anything, and you don’t have to do anything. Not a thing. Oh, maybe just whistle. You know how to whistle, don’t you, Steve? You just put your lips together and… blow.”
Bette as Margo Channing in All About Eve
15. Margo Channing (Bette Davis) All About Eve (1950) In all Bette Davis’ films like (Jezebel (1938) Dark Victory (1939) The Letter (1940) Now, Voyager (1942)), she shattered the stereotypes of the helpless female woman in peril. Davis had an unwavering strength, fearlessly taking on the Hollywood system and embracing fully the moody roles that weren’t always ‘attractive.’  Davis made her comeback in 1950, perhaps melding a bit of her own story as an aging star in All About Eve. Margo must fend off a predatory aspiring actress (Anne Baxter as Eve Harrington) who insinuates herself into Margo’s territory. Davis’ manifests the persona of ambition and betrayal which have become epic… “Fasten your seat belts, it’s going to be a bumpy night.” 
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16. Margaret DeLorca / Edith Phillips (Bette Davis) plays the good twin/bad twin paradigm in Dead Ringer (1964). Edith, is struggling working class gal who owns a nightclub, and Margaret is her vein and opportunistic twin who stole her beau Frank away and married into a wealthy lifestyle. On the night of his funeral, Edith shoots Margaret in a fit of vengeful pique, then assumes her identity with ironic results. Davis again proves even though she commits murder, she can manifest a pathos like no one else… Margaret DeLorca: You really hate me, don’t you? You’ve never forgiven me in all these years.”  Edith Phillips: “Why should I? Tell me why I should.”  Margaret DeLorca: “Well, we’re sisters!”  Edith Phillips: “So we are… and to hell with you!”
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17. Jane Hudson (Bette Davis) in What Ever Happened to Baby Jane? (1962) is a forgotten alcoholic former child star living in a faded Hollywood mansion with her invalid sister Blanche (Joan Crawford), herself an aging Hollywood star. They punish each other with vicious mind games, temper tantrums and repressed feelings of revenge and jealousy.  Jane is a tragic tortured soul who’s life becomes ‘ugly’ because she’s been shunned and imprisoned by a fatal secret in which sister Blanche holds the key. What makes Jane such an empowered figure are the very things that have driven her mad. Jane’s itching for a comeback and is ready to dance and sing her way back into everyone’s heart! Jane has a child-like innocence that gives her that ambition and pure drive to see herself back on the stage. She believes it. While other people might laugh at her behind her back, Jane’s repressed rage also leaves room for joy. She’s an empowered aging actress who refuses to give up the spot light… Good for you Jane, now put down that hammer and feed Blanche something edible… Davis delivering yet another legendary line… Blanche: “You wouldn’t be able to do these awful things to me if I weren’t still in this chair.” Jane: But you *are*, Blanche! You *are* in that chair!”
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18. Alma Brown (Patricia Neal), in Hud (1963): Playing against the unashamed bad boy Hud Bannon (Paul Newman), Alma is a world-weary housekeeper who drips with a quiet stoic sensuality and a slow wandering voice that speaks of her rugged womanly charm. The philandering Hud is drawn to Alma, but she’s too much woman for him in the end… Hud Bannon: “I’ll do anything to make you trade him.” Alma Brown: “No thanks. I’ve done my time with one cold-blooded bastard, I’m not looking for another.”
Ball of Fire (1941) Directed by Howard Hawks Shown: Henry Travers, Oscar Homolka, Gary Cooper, Leonid Kinskey, Aubrey Mather, S.Z. Sakall, Richard Haydn, Tully Marshall, Barbara Stanwyck
19. Sugarpuss O’Shea (Stanny) in Ball of Fire (1941) she is just that, a sexy ball of fire and a wise-cracking night club singer who has to hide out from the mob because her testimony could put her mobster boyfriend Joe Lilac (Dana Andrews) away for murder! Some nerdy professors (including Gary Cooper) want to exploit her to study slang and learn what it’s like to speak like real folk and does she turn their world upside down. Sugarpuss O’Shea: [needing help with a stubborn zipper] “You know, I had this happen one night in the middle of my act. I couldn’t get a thing off. Was I embarrassed!“
Killer Jo Walk on the Wild Side
20. Jo Courtney (Barbara Stanwyck) in Walk on The Wild Side (1962). Jo runs the New Orleans bordello called The Doll House with an iron hand— when anyone steps out of line she knows how to handle them. Stanwyck had the guts to play a lesbian in 1962, madly in love with Hallie Gerard (Capucine). Stanwyck’s Jo Courtney is elegant, self-restrained and as imposing as Hera in tailored suits. Having to be strong in a man’s world, her strong instinct for survival and the audacious will to hold onto Hallie brings her world to a violent conclusion…  “Oh you know me better than that Hallie. Sometimes I’ve waited years for what I wanted.”    
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21. Marie Garson (Ida Lupino) in High Sierra (1941) Roy “Mad Dog” Earle has been pardoned from a long prison term. Marie, a rough around the edges taxi dancer, finds herself resisting her attraction to this brutal gangster, forming a very complicated dynamic with a second mobster who wants to pull off a high stakes robbery. Marie is a force of nature that bristles from every nerve she purely musters in this tale of doom-fated bad boys, but more importantly here… A woman can raise a rifle with the best of them! Marie Garson “Yeah, I get it. Ya always sort hope ya can get out, it keeps ya going.”
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22. Lilli Marlowe (Ida Lupino) in Private Hell 36 (1954) This rare noir gem is written by the versatile powerhouse Ida Lupino who also plays Lilli Marlowe. Lilli has expensive tastes. After getting caught up in an investigation of a bank heist, she falls in love with the blue collar cop Cal Bruner (Steve Cochran). Cal has secretly stashed away the missing money from that bank heist, and then begins to suffer from a guilty conscience.  Lilli’s slick repartee is marvelous as Cal and his reluctant partner Jack Farnham (then husband Howard Duff) focus on her, hoping she’ll help them in their investigation. Lilli’s tough, she’s made it on her own and isn’t about to compromise now… Cal may be falling apart but Lilli knows what she wants and she always seems to keep it together! Lilli Marlowe: “Ever since I was a little girl, I dreamed I’d meet a drunken slob in a bar who’d give me fifty bucks and we’d live happily ever after.”
Tallulah Lifeboat
23. Constance Porter (Tallulah Bankhead) in Lifeboat 1944. It’s WWII and Connie is a smart-talking international journalist who’s stranded in the middle of the Atlantic ocean with an ensemble of paranoid and desperate survivors. Eventually her fur coat comes off, her diamond bracelet and expensive camera gets tossed in the sea. But she doesn’t give a damn, she can take the punishment and still attract the hunky and shirtless (yum) John Kodiak… survival’s just a state of mind… and she does it with vigor and class and a cool calm! Connie Porter: “Dying together’s even more personal than living together.” 
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24. Berenice Sadie Brown (Ethel Waters) The Member of the Wedding 1952. Berenice doesn’t take any crap. She’s in charge of the brooding, temperamental tomboy Franky Addams (Julie Harris) who feels like an outsider. Berenice’s kitchen is a place of wisdom as she tries to bestow some life lessons, to a child who is a wild and longing little soul… Berenice is the only steady source of nurturing and a strong pair of shoulders to lean on… Thank god Franky/Harris didn’t start having her droning inner monologues until The Haunting (1963). Frances ‘Frankie’ Addams: [throws the knife into the kitchen door] “I’m the world’s greatest knife thrower.”  Berenice Sadie Brown: [when Frankie threatens her with a knife] “Lay it down, Satan!” 
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25. The Bride (Elsa Lanchester) Bride of Frankenstein (1935) The Bride might be one of the first screen woman to rabidly defy an arranged/deranged marriage. She’s iconic,  memorable and filled with glorious hiss!.. because The Bride may have come into this world in an unorthodox way, but she’ll be damned if any man is going to tell her who to love! James Whale isn’t the only one who brought about life in this campy horror masterpiece… Elsa Lanchester manifested The Bride with a keen sense of fearsome independence. No matter whether the Monster demands a Mate, The Bride isn’t ready and willing. Lanchester always took daring roles that were larger than life because she had a way of dancing around the edges of Hollywood convention. Charming, hilarious and downright adorable even with the wicked lightning struck hair and stitches and deathly pale skin! the bride-“Hiss…Scream….”
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26. Hildy Johnson (Rosalind Russell) in His Gal Friday (1940) Hildy is a hard-bitten reporter for New York City’s The Morning Post. She’s just gotten back from Reno to a get a divorce from her louse of a husband who happens to also be her boss Walter Burns (Cary Grant). Hildy’s anxious to break ties with her manipulative ex-husband who just isn’t ready to let her leave the job or their marriage so she can marry straight-laced Bruce (Ralph Bellamy)… and he’ll do so by any means. But she’s nobody’s fool… and if she stays it’s because she’s made up her mind to embrace Walter’s crazy antics… Hildy Johnson: [to Walter on the phone] “Now, get this, you double-crossing chimpanzee: There ain’t going to be any interview and there ain’t going to be any story. And that certified check of yours is leaving with me in twenty minutes. I wouldn’t cover the burning of Rome for you if they were just lighting it up. If I ever lay my two eyes on you again, I’m gonna walk right up to you and hammer on that monkeyed skull of yours ’til it rings like a Chinese gong!” 
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27. Norma Desmond (Gloria Swanson) in Sunset Boulevard (1950) There’s just no one quite like Norma Desmond. It’s 1950’s decadent Hollywood, the heyday of the Silent Era long gone… and a true screen icon, a sympathetic soul, fights her way to a comeback. brought to life by Gloria Swanson. Swanson, who knew very well what it was like to be a screen goddess railing against fading away, creates an atmosphere of fevered madness. She’s a woman whose desires are punished by an industry and the men who hold the reigns. But Norma doesn’t give a damn she’ll always be ready for that eternal close-up… Yet another memorable phrase is turned and a legend both on and off screen is reborn. Joe Gillis: “You’re Norma Desmond. You used to be in silent pictures. You used to be big.”  Norma Desmond: “I *am* big. It’s the *pictures* that got small.” 
Vivien Leigh in The Roman Spring of Mrs Stone
28. Karen Stone -(Vivien Leigh) in The Roman Spring of Mrs Stone (1961) Karen Stone has the misfortune of being a 50 year old actress. There’s no place in theatre for an old woman of 50. On the way to Italy with her husband who is much older than she, he dies of a heart attack on the plane. Karen decides to settle in Rome and live a quiet life of solitude in her magnificent villa. Contessa Magda Terribili-Gonzales (Lotte Lenya) is an opportunistic Madame who employs charming young gigolos to wine, dine, and bleed dry wealthy older women. She introduces Paolo di Leo (Warren Beatty) to Karen in hopes that it will bring about a showering of riches from this great American lady. Karen has no use for her old theatre friends, the status, and the game of staying on top. She enjoys the serenity of her life at the villa. Yet she is shadowed by a young Italian street hustler’s mysterious gaze. At first Karen is reserved and cautious but soon she allows Paolo to court her, and the two eventually begin an affair. Karen is aware Paolo is using her for her money, but her passion has been released. She is using him as well. But when his mood begins to sour and he turns away, Karen finds him with a younger wealthy upcoming starlet that he is already sizing up as his next meal ticket… The fling ends but Karen has taken back the power of attraction and sexual desire, and turns the usual stigmatizing dichotomy on it’s head, for while it was okay when she was a younger woman married to a much older man,  she takes a younger male lover Karen Stone: “You see… I don’t leave my diamonds in the soap dish… and when the time comes when nobody desires me… for myself… I’d rather not be… desired… at all.” 
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29. Maxine Faulk (Ava Gardner) in Night of the Iguana (1964). Maxine is a the personification of the loner. She is sexually, morally and socially independent from opinion. When Ava was cast as the “earthy widow” the director said her “feline sexuality” was perfect for one of Tennessee Williams’ “hot-blooded ladies.” Maxine runs a quiet out-of-the-way tourist oasis in Mexico. When a bus load of provincial middle aged ladies break down, Maxine has to host Judith Fellowes (Grayson Hall) a repressed lesbian, her gaggle of ladies who lunch, and Sue Lyon, a Lolita who is chasing Rev. T. Lawrence Shannon (Richard Burton) a defrocked alcoholic priest, that Maxine would like to become better acquainted with. Once Hannah Jelkes (Deborah Kerr) and her elderly grandfather arrive, the atmosphere seems to shift and Shannon is confronted with questions of life and love. Everyone at the hotel has demons and the rich and languid air seems to effect everyone… Maxine waits patiently for Lawrence to realize that they could have a passionate life together if he’d stop torturing himself… Gardner’s scene dancing in the ocean with the two young men is daring and provocative and purely Ava Garnder- Judith Fellowes: [Yelling at Shannon] “You thought you outwitted me, didn’t you, having your paramour here cancel my call.”  Maxine Faulk: “Miss Fellowes, honey, if paramour means what I think it does you’re gambling with your front teeth.”
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 Ava Gardner | Maxine Faulk in Night of the Iguana 1964
HAROLD AND MAUDE, Bud Cort, Ruth Gordon, 1971
30. Maude (Ruth Gordon) in Harold and Maude (1971) There is no one quite like Ruth Gordon. She’s a sage, a pixie filled with a dreamy light that shines so bright from within. You can’t help but believe that she was as effervescent off screen as she was on screen.  Maude has a transcendent world view and a personal dogma to live life to the fullest and not waste time with extraneous matters. She believes everyone should be themselves and never mind what other people think… What else can you say about a character that vocalizes as much wisdom as any of the great and insightful spiritual leaders? Maude and Ruth both have a tenacity, vivacity and perspicacity…  Maude: “Harold, *everyone* has the right to make an ass out of themselves. You just can’t let the world judge you too much.”  — Maude: “I should like to change into a sunflower most of all. They’re so tall and simple. What flower would you like to be?”  Harold: “I don’t know. One of these, maybe.”  Maude: “Why do you say that?”  Harold: “Because they’re all alike.”  Maude: “Oooh, but they’re *not*. Look. See, some are smaller, some are fatter, some grow to the left, some to the right, some even have lost some petals. All *kinds* of observable differences. You see, Harold, I feel that much of the world’s sorrow comes from people who are *this*”

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31. Ma Kate Barker (Shelley Winters) in Bloody Mama 1970: You know that Roger Corman was going to get the BEST woman who didn’t give a damn to play Ma Barker, the machine gun wielding matriarch of a notorious gang of bank robbers. She’ll do anything for her boys… Four boys only a mother could love. She’d kill for them! Ma Barker was irreverent and as mean as a bear backed into a beehive. A bold and brazen nature that delves into a whole other level of ‘no fucks given.’  Holding up a bank with her machine gun in hand “Alright everybody now reach for the nightgown of the lord, REACH!” 
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32. Pepe (Grayson Hall) in Satan in High Heels (1962). Pepe is the owner of a posh burlesque house in mod-yet-gritty 60s New York City. Pepe is an incessant smoker and savvy, domineering woman who brings the story about a new ‘singer’ Stacey Kane (Meg Myles) who joins the club, to a boil— even as she stays as cool as the center seed of a cucumber. Pepe tilts her head sizing up all the various patrons who inhabit her club with just the right mix of aloof and self-possession as she puffs on her cigarette. She’s always ready with the quick lash of her tongue like a world-weary drag queen.  “Bear up, darling, I love your eyelashes.” — “You’ll EAT and DRINK what I SAY until you lose five pounds IN THE PLACES WHERE!”
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33. Lucy Warriner (Irene Dunne), The Awful Truth (1937) Before the ink on the divorce papers is dry Jerry (Cary Grant) and Lucy Warriner (Irene Dunne) torture each other and sabotage any chances of either of them getting re-married. Both Lucy and Jerry carry on monologues to themselves throwing out quick witted repartee, so that we can see both sides of the story. One evening, when Jerry is flirting with the idea of marrying into a high society family, Lucy impersonates his sister, playing at it like a cheap bimbo. At one point she does a fabulous drunken Hoochie dance, wiggling around with a provocative sway falling into her ex-husbands arms in a way that should definitely put a dent in Jerry’s plans. Lucy is hell bent on driving Jerry crazy, yet becomes flustered herself when the tables are turned on her as she tries to carry on with her new fiancé (Ralph Bellamy). Jerry Warriner: “In a half an hour, we’ll no longer be Mr. and Mrs. Funny, isn’t it.”  Lucy Warriner: “Yes, it’s funny that everything’s the way it is on account of the way you feel.”  Jerry Warriner: “Huh?”  Lucy Warriner: “Well, I mean, if you didn’t feel that way you do, things wouldn’t be the way they are, would they? I mean, things could be the same if things were different.”  Jerry Warriner: “But things are the way you made them.”  Lucy Warriner: “Oh, no. No, things are the way you think I made them. I didn’t make them that way at all. Things are just the same as they always were, only, you’re the same as you were, too, so I guess things will never be the same again.”
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34. Catherine ‘Cay’ Higgins (Ruth Roman) in Tomorrow is Another Day (1951). Catherine is a tough dance hall girl who isn’t afraid to get herself dirty. She goes on the lam for the sake of self preservation when her new love interest Bill Clark (Steve Cochran) is wrongfully accused of killing her abusive pimp… and geez he’s just gotten out of prison after a long stretch. Cay is ballsy, extremely earthy, and exudes an inner strength that is so authentic it’s hard not to believe she could take one on the chin and still keep going. She embodies an indestructible sort of sex appeal, powerfully passionate and self-assertive woman you’d want to be with you if you’re ever on the lam… Catherine ‘Cay’ Higgins: “You worked a whole day just to dance a minute at Dream Land?  Bill Clark: It was worth it.”
Lizabeth Scott and Raymond Burr in Pitfall 1948
35. Mona Stevens (Lizabeth Scott) Pitfall (1948) Mona is a sultry dewy blonde fashion model with a low simmering voice in the greatest tradition of the noir femme fatale. Forbes falls for her, and they begin to see each other, though she unwittingly starts the affair without knowing he’s married. It’s a recipe for disaster because ex-cop turned private dick J B MacDonald (Raymond Burr) is psychotically obsessed with Mona and will set things up so Forbes goes down. Mona is a tough cookie, who unfortunately keeps attracting the wrong men. But she can take on any challenge because she’s got that noir frame of mind. She’s a doll who can make up her own mind and can hold a gun in her hand as easily as if it were a cigarette. Mona “You’re a little man with a briefcase. You go to work every morning and you do as you’re told.”
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36. Lady Torrence (Anna Magnani ) in The Fugitive Kind (1960) Lady is an earthy woman who’s passions run like a raging river & her emotions and truths flow freely on the surface clear and forceful. She is a shop owner in Louisiana who is stoically existing in a brutal marriage to her cruel and vindictive husband Jabe (Victor Jory) who’s bed-ridden and dying of cancer. Lady dreams of building a confectionary in the back of the store. Along comes Marlon Brando as Valentine “Snakeskin’ Xavier, a guitar playing roamer who takes a job in the shop. Lady’s jaded loneliness and Valentine’s raw animal magnetism combust and the two begin a love affair. And Lady suddenly sees possibility again and her re-awakened passion empowers her to live her dreams. Lady-“Let’s get this straight, you don’t interest me no more than the air you stand in.”
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37.  Egle (Anna Magnani) … And the Wild Wild Women (1959) Egle is the toughest inmate at this Italian prison for women. When Lina (Giulietta Masina) is convicted on a wrong felony charge, Egle takes her under her hardened wing and tutors her in the ways of crime. Egle is an instigator, she’s volatile and inflammatory and stirs up quite a riot at times. She’s got no fear. She is a tougher-than-nails, armpit-washing dame who just could care less about anyone else’s comfort or freedom. She’s a woman who has built up a tough exterior long enough that she truly is made of steel. The only thing that may betray that strength is at times the past sorrow or suffering that swims in her deep dark eyes.
The Rose Tattoo
38. Serafina Delle Rose (Anna Magnani) in The Rose Tattoo (1955) As the tagline states ‘Seething with realism and frankness!” You can’t get any other kind of performance from Magnani, her passionate soul is right up front, on her face and in her movements like a wild animal she moves so freely. Serafina is perpetual grieving widow filled with fire, playing against another actor (Burt Lancaster) whose bigger-than-life presence comes her way to bring about a lighthearted romance… Serafina is a seamstress in a small New Orleans town. She lives with the memory of her dead husband as if he were a saint. She mourns and wears black to show she is still committed to her man, even after he’s been killed by police while smuggling drugs for the mafia hidden in the bananas in his truck. With the presence of the local Strega or witch (Serafina gives deference to these things illustrating that she is of an older world of ancient feminine magic and empowerment), and her wandering goat, the town of fish wives & gossips who point, stare, judge, wail and cackle with their unkind insults put Serafina it forces her to fight for every last bit of dignity. Serafina gives deference to these things illustrating that she is of an older world of ancient feminine magic and empowerment. Once she learns her dead husband Rosario Delle Rose (who had a rose tattoo on his chest) was having an affair, the spell that leaves her imprisoned by mourning, breaks and awakens her will to celebrate life once again. She is stubborn, & passionate, and she has a strength that commands the birds out of the trees.  Serafina “We are Sicilians. We don’t leave girls with the boys they’re not engaged to!” Jack “Mrs Delle Rose this is the United States.” Serafina “But we are Sicilians, and we are not cold-blooded!”
Virginia Woolf Liz
39. Martha (Elizabeth Taylor) in Who’s Afraid of Virginia Woolf? (1966) Martha who is the archetypal Xanthippe and George (Richard Burton) are a middle-aged couple marinated in alcohol, using verbal assaults, brutal tirades, and orgies of humiliation as a form of connecting to one and other. All the characters spew biting blasphemous satire and are each neurotic in their own ways. But Martha is a woman who spits out exactly what she wants to say and doesn’t hold back. It’s an experiment in at home couple’s therapy served with cocktails, as they invite Nick and Honey (George Segal and Sandy Dennis) to join the  humiliating emotional release. In the opening of the film Martha arrives home and does a nod to Bette Davis while also condemning her own personal space and the state of her marriage, as she says “What a dump.” “I swear to GOD George, if you even existed I’d divorce you.”– Martha: “You’re all flops. I’m the Earth Mother, and you are all flops.”
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40. Gloria Wandrous  (Elizabeth Taylor) in Butterfield 8 (1960) Gloria is a fashionable Manhattan beauty who’s part model, part call-girl–and all man-trap. She grew up during the Depression and couldn’t escape the sexual advances of her uncle. New York City was for her a great escape. Gloria becomes an independent, sexually free woman who wants to get paid for her time. She hits the bottle a lot, because she has those dark troubling memories from her past that make her want to drown her thoughts. She winds up meeting a wealthy business executive who’s married, Weston Liggett, (Laurence Harvey) instantly he becomes entranced by her. She’s thrown off course and headed toward a fateful end, because she sees a kindred soul in the disillusioned Liggett who isn’t happy in his marriage. Their passion breathes new life into both lonely people. Though we can admire her sexual liberation, in cinema, women in the 60s ultimately had to be punished for their willful freedom, though it’s a double standard of course. Liz Taylor is another screen goddess who never shied away from bold & provocative roles. Gloria Wandrous: “Command performances leave me quite cold. I’ve had more fun in the back seat of a ’39 Ford than I could ever have in the vault of the Chase Manhattan Bank.”
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41. Severine Sevigny (Catherine Deneuve) in Belle du Jour (1967) A whole new world opens up to Severine, a repressed housewife married to a doctor, when she decides to spend her midweek afternoons as a prostitute. While she can not seem to find any pleasure or intimacy with her husband, she blossoms in the brothel run by Madame Anais (Geneviève Page) and adopts a persona that can experiment with her secret desires of being dominated, her sexual appetites flourish during the day, when often she runs into more rough clients. But, sexual freedom has a price and ultimately, a relationship with a volatile and possessive john (Pierre Clémenti) could prove to be dangerous. Severine breaks free of the confines of convention, like marriage, and explores a provocative even deviant kind of sexual behavior. She allows herself to go further and explore the most secret desires by indulging them, it is quite adventurous and risky and Deneuve masters it with a transcendent elegance. Madame Anais: “I have an idea. Would you like to be called “Belle de Jour?”  Séverine Serizy: “Belle de Jour?”  Madame Anais: “Since you only come in the afternoons.”  Séverine Serizy: “If you wish.” 
Moreau Bride Wore Black
42. Julie Kohler (Jeanne Moreau) in The Bride Wore Black (1968) Julie Kohler is on a mission of revenge for the men who accidentally shot her husband on their wedding day outside the church. It was a short marriage… Julie finds a maniacal almost macabre sort of presentation to her theater of revenge, she moves through the film with the ease of a scorpion. But there’s dark humor and irony  (in François Truffaut’s homage to Hitchcock) running through the narrative. Like a good mystery thriller it utilizes very classic iconographic motifs. Julie is a captivating figure of sadness and passion put out at the height of it’s flame. Once passion for her late husband, and now passion for revenge. It’s playful and sexy and Moreau is utterly brilliant as the resourceful Julie Kolher who creates a satirically dire & elaborate, slightly Grande Guignol adventure of a vengeful woman on a crusade to exact poetic justice where the system has failed. Coral: “Permit me to make an impossible wish?” Julie Kohler: “Why impossible?” Coral: “Because I’m a rather pessimist.” Julie Kohler: “I’ve heard it said: “There are no optimists or pessimists. There are only happy idiots or unhappy ones”. .Julie-“It’s not a mission. It’s work. It’s something I must do” Priest–“Give it up”
 Julie–“That’s impossible, I must continue til it’s over”
Priest–“Have you have no remorse in your heart?… don’t you fear for your soul?”
Julie-“NO… no remorse, nor fear.”
Priest-“you know you’ll be caught in the end”
Julie-“The justice of men is powerless to punish, I’m already dead. I stopped living the moment David died. I’ll join David after I’ve had my revenge.”
Brigitte Helm Alraune
43. Alraune ten Brink -Brigitte Helm as Alraune 1928. A daughter of destiny! Created by Professor Jakob ten Brinken (Paul Wegener) Alraune is a variation on the Shelley story about man and his womb envy- which impels him to create a human-oid figure from unorthodox methods. A creation who does not possess a soul. He dared to violate nature when he experiments with the seed (sperm) of a hanged man and the egg of a prostitute. Much like James Whale’s Frankenstein who sought the secrets of life, Alraune is essentially a dangerous female who’s origin is seeded from this socially constructed ‘deviance’ of the hanged criminal and the whore (the film proposes that a whore is evil- I do not) Mixing the essence of sin with the magical mandrake root by alchemist ten Brinken he is seeking the answer to the question of an individual’s humanity and whether it be a product of nature or nurture. Alraune stumbles onto the truth about her origin when she reads the scientist’s diary… What could be more powerful than a woman who isn’t born with the sense of socially ordered morality imposed or innate. Is she not the perfect femme fatale without a conscience, yet… A woman who knows she is doomed to a life without a soul, she runs away with her creators love-sick nephew, leaving Professor ten Brinken, father figure and keeper- alone.
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44. Rachel Cooper (Lillian Gish) in Night of the Hunter (1955) “I’ve never been in style, so I can never go out of style.” Lillian Gish. There are certain images that will remain with you long after seeing masterpieces like Night of the Hunter. Aside from Harry Powell and Mitchum’s frightening portrayal of an opportunistic sociopath, beyond the horror of what he is, the film is like a childhood fairy tale. It’s a cautionary tale about the boogeyman but it’s also a story about the resilient spirit and far reaching imagination of children. And those who are the guardian angels of the world. One of the most calming and fortifying images- is that of Rachel Cooper (Lillian Gish) protecting the children from harm, holding the rifle and keeping watch like a wonderful fairy god mother elected by fate to guard those little ones with her powerful brand of love… There’s just something about Gish’s graceful light that emanates from within and the character she manifests in the righteous Rachel Cooper…. Rachel Cooper: “It’s a hard world for little things.”
Lucille Ball in The Dark Corner
45. Kathleen Stewart- (Lucille Ball) in The Dark Corner (1956) Kathleen Stewart is the always faithful and trustworthy secretary of private investigator Bradford Galt (Mark Stevens) She’s the right amount of snarky and just a sexy bundle of smarts… Bradford Galt: “You know, I think I’ll fire you and get me a Tahitian secretary.”  Kathleen Stewart: “You won’t like them; those grass skirts are a fire hazard.”  Kathleen just won’t quit her boss. She knows he’s in trouble and wants to help him face it head on. She keeps pushing Galt to open up that steel safe “heart”, of his and let her help. Once she’s in on the intrigue, she’s right there with him, putting her secretarial skills aside and getting into the fray with her love interest/boss. She shows no fear or hesitation, doesn’t look down on Galt’s past, and is quite a versatile sidekick who really helps him out of a dangerous set up! She’s that other sort of  film noir heroine Not quite the ‘good girl’ nor a femme fatale. A strong sassy woman who doesn’t shy away from danger and when she’s in… She’s in it ‘for keeps.’ And say… isn’t that empowering!. Kathleen tells it like it is, sure she dotes on the down and out guy and is the strong shoulder to lean on, whenever things get frenzied or rough. Doesn’t make her a sap, it makes her a good friend and companion! Kathleen: “I haven’t worked for you very long, Mr. Galt, but I know when you’re pitching a curve at me, and I always carry a catcher’s mitt.”  Bradford Galt: “No offense. A guy’s got to score, doesn’t he?”  Kathleen: “Not in my league. I don’t play for score, I play for keeps “
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46. Lady Lu (Mae West) in She Done Him Wrong (1933) In the Gay Nineties, Lady Lu is a voluptuous nightclub owner/singer (she sings-A Guy What Takes His Time) who has men falling all over themselves. One is her ex lover who just escaped from prison, and a few waiting in the wings. Lu is interested in the handsome Captain Cummings (Cary Grant) who runs the temperance league across the way. Lady Lu loves to be bathed in and dazzled by diamonds, lots of diamonds. But Lu is also determined to seduce missionary Cary Grant… who is more interested in her soul than in her body-Marvelous Mae tells him- “Maybe I ain’t got no soul.” Mae had a hand in creating the woman who didn’t give a damn! She gave us the immortal line… “Come up’n see me sometime. I’m home every evenin’–“Lady Lou: “Listen, when women go wrong, men go right after them.”  Captain Cummings: “Well, surely you don’t mind my holding your hand?”  Lady Lou: “It ain’t heavy – I can hold it myself.” 
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47.  Nicole Horner (Simone Signoret) in Diabolique (1955) Simone Signoret is a torrent of sensuality (Room at the Top 1959, Ship of Fools 1965) Christina Delassalle (Véra Clouzot) plays the wife of a sadistic husband Michel Delassalle (Paul Meurisse) the controlling headmaster at their boarding school for boys. Nicole is the mistress of the cruel Michel, who has formed a special bond with Christina. Nicole incites the timid and weakly woman to kill the bastard by drowning him in a bathtub and then dumping his body in the school’s unused and mucky swimming pool. Nicole is determined and forceful in her mission to rid Christine of this abusive beast and the two women go through with the plan.  Nicole Horner: [to Christina] “I won’t have any regrets.”  In short, the pool is drained, the body isn’t there. And then there are numerous eerie sightings of the dead man which eventually drives the murderesses into a panic…  Is Nicole in on an even more nefarious scheme to drive Christina crazy? For now, the main focus is how Nicole summons a thuggish type of power that is riveting.  What’s remarkable about the film, aside from Clouzot’s incredible construction of a perfectly unwinding suspense tale, Signoret’s performance exudes grit and an unrelenting audaciousness. Nicole.  Christina Delassalle: “Don’t you believe in Hell?”  Nicole Horner: “Not since I was seven.” 
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48 Mia Farrow is Rosemary Woodhouse in Rosemary’s Baby 1968
Ruth and Mia
48. Rosemary Woodhouse (Mia Farrow) in Rosemary’s Baby 1968. Rosemary has a fearless defiance in an ordinary world that becomes an unsafe space and a deep well of paranoia. Beyond guarding her body and motherhood against all intruders, Rosemary has an open mind, a delicate brand of kindness although troubled by a catholic upbringing that haunts her, she is still ‘too good’ and too independent to taint. And she winds up taking life and the life of her baby on her own terms. No one could have manifested the spirit of Rosemary Woodhouse like Mia Farrow. It’s an indomitable image of striking resiliency. A heroine who braves an entire secretive cult of devil worshipers entrenched in the high society of NYC. That takes a lot of guts people!… Ruth Gordon as well personifies a meddling old New York busybody who just happens to be a modern day witch. Minnie Castavet also does what she wants -as she is empowered with her quirky style and her beliefs, as wicked as they may be…And her wardrobe is bold, kitschy and fabulous! Rosemary Woodhouse: “Pain, begone, I will have no more of thee!”
Geraldine Page
49. Alexandra Del Lago (Geraldine Page) in Sweet Bird of Youth (1962) Alexandra Del Lago is a decadent, soaked in boozed, and fading film star who is picked up by drifter by Chance Wayne (Paul Newman) for a tumble in the sheets. He’s been trying to break into the film biz for years, and hoping that Alexandra can help him get a screen test. He also wants to be reunited with his old flame Heavenly Finley (Shirley Knight). Chance Wayne: “I had my picture on the cover of Life magazine!… And at the same time I was… employing my other talent, lovemaking.”  Alexandra Del Lago: “That may be the only talent you were ever truly meant for.” The roles that Geraldine Page would often take were filled with an intellect that transcends the strong female archetype. As Alexandra, she has a unique sort of cynical romanticism that exudes, a bit of alienation, a touch of longing and a penetrating intensity. She might be a washed up film star but she’s also a philosopher with a grasp of vocalizing the ironies and tragedies of life. She wants to drown her sorrows in liquor so she can escape from the pain of her life, and the uncertainty the future holds. But within that internal tumult is the soul of a great lady. Narcissistic, world-weary and a spirit stoked by those heart-aches.
Anna Lucasta (1958) | Pers: Eartha Kitt, Sammy Davis Jr | Dir: Arnold Laven | Ref: ANN040AE | Photo Credit: [ United Artists / The Kobal Collection ] | Editorial use only related to cinema, television and personalities. Not for cover use, advertising or fictional works without specific prior agreement
50. Anna Lucasta (Eartha Kitt) (1958) Young Anna is rejected by her sanctimonious father Joe played to the hilt by Rex Ingram. While the rest of the family wants Anna to come home, her self-righteous father can’t resist demonizing his daughter, with an underlying incestuous desire that he is battling.  Anna takes the cliched road of the fallen woman and becomes a good time gal who meets Danny (Sammy Davis Jr.) a cab driving sailor who is as smooth as silk and as fiery as molten lead. Though there is an underlying sadness because of the estrangement with her father, Anna possesses a strong sense of self, and exudes a fiery passion that cannot be denied… She isn’t a bad girl, she had to find her own way and again, it often leads to taking control of who you love and how you love. She and Sammy have a smoking hot chemistry on screen, and Kitt is just powerful as a woman who made that road her own…  Danny- “Tell her who Papa is” (speaking about the little carved wooden Haitian idol he’s given her) Lester – “That’s the model of Agwé the Haitian god of the sea. Seems he’s good to sailors” Anna- “Looks like Papa and me’s got something in common…”
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51. Carol Richman (Ella Raines) in Phantom Lady 1944 Carol Richman risks her life to try to find the elusive woman who can prove her boss (Alan Curtis) didn’t murder his wife. The unhappy guy spends a fateful evening with a woman he has picked up in a bar. He doesn’t know her name but she wears an unusual hat, which might be a clue for Carol to try and track down. Carol’s got so much guts, she puts herself in harms way so many times but she’s fearless just the same. Even when she meets the super creepy jazz drummer Cliff Milburn, who obviously is manic and might just be a sadist in bed, (if his drumming is any indication.) Plus there’s always the deranged sculptor Jack Marlow (Franchot Tone) who seems to be a menacing force.  Cliff Milburn (Elisha Cook Jr) “You Like Jive?” Carol ‘Kansas’ Richman “You bet, I’m a hep kitten” 
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52. Pam Grier is Coffy 1973  Okay okay tho I’m sneaking in past the 1970 cut off… I’m a woman who doesn’t give a damn and nodding to one of the greatest 70’s icon… Pam Grier set the pace for strong female heroines that laid the groundwork for all the others to follow… so she gets a nod from me! She plays a nurse who becomes a vigilante in order to get justice against the inner-city drug dealers who are responsible for her sister’s overdose… Coffy sets the bar high for strong female characters who wouldn’t back down, and who possessed a strength that is meteoric and a force to be reckoned with. Beautiful, resourceful, intelligent -a strikingly irrepressible image that will remain in the cultural consciousness for an eternity. Arturo Vitroni: “Crawl, n*gger!” Coffy: [pulls out gun] “You want me to crawl, white mother fucker?” Arturo Vitroni: “What’re you doing? Put that down.” Coffy: “You want to spit on me and make me crawl? I’m gonna piss on your grave tomorrow.”
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53. Charlie (Teresa Wright), in Shadow of a Doubt (1943) Charlie is tired of small-town life with her parents and annoying younger sister. She’s a girl starved for new adventures, longing for something exciting to happen, to stir up her life. Careful what you wish for… She’s overwhelmed with joy when her beloved Uncle Charlie (Joseph Cotton) decides to pay the family a visit. But something isn’t quite right with her idol, he begins to exhibit a strange sort of underlying hostility and troubling secret nature… Her mother’s (Patricia Collinge) younger brother is actually a sadistic serial killer who preys on rich widows by marrying them, then strangling them! He’s so charming and charismatic that women can’t help being drawn to him. But young Charlie begins to see through his facade. Why would he cut out the news headline in the paper about a murderer who kills rich women? It all begins to take shape, and unfortunately Uncle Charlie can’t afford to have his favorite niece spill the beans.  What’s remarkable about young Charlie is that for a girl who fantasizes and indulges herself in things of a more romantic nature, she’s pretty darn brave in the self preservation department since no one else in the family believes her suspicions that he’s The Merry Widow killer. And she might just have to go rogue and wind up killing him in self-defense… Young Charlie: “Go away, I’m warning you. Go away or I’ll kill you myself. See… that’s the way I feel about you.”
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Constance Towers & Virginia Gray
Constance Towers The Naked Kiss
54. Kelly (Constance Towers) in The Naked Kiss (1964) The opening of the film is one of the most audacious entrances in early exploitation cinema,as Kelly confronts her pimp who has shaved off her hair and stolen her money. Kelly brutally pummels the rat with her handbag. Stripped of her hair she looks like a mannequin signifying her as the ‘object’ She is introduced to us from the opening of the narrative as a fighter. Kelly manages to fit in to the quaint new town of Granville she’s made her home until the perverse true nature of Granville’s benefactor is exposed. Grant (Michael Dante) possesses a dark secret that Kelly stumbles onto and ultimately explodes in scandal. The story is a mine field of social criticisms and hypocrisy that allow Kelly to rise above her persecution by the local cop Griff (Anthony Eisley) who isn’t adverse to taking Kelly to bed himself or frequenting Madame Candy’s (Virginia Gray) high class “cat house’ yet he’s above reproach. Griff tells Kelly it’s a clean town and he doesn’t want her operating there. But Kelly wants out of the business. She’s great with disabled children at the hospital and just wants a fresh start. Until she exposes the truly deviant secret about Grant and winds up accused of his murder. Kelly initially walks the fine line of being the ‘whore’ of the story, the one who needs redemption only to have the narrative flip it around and more importantly it’s the town that must be redeemed because of it is jaundiced complacency from the long kept secrets of the wealthy Patriarchal family that own and run it. Kelly is a powerful protagonist, because she kicks down the door of hypocrisy and judgement. Kelly also shatters the limitations that are placed on women. There’s exists a displaced female rage that started to become articulated later on with ‘f’eminist parable’ films during the late 60s and 70s. In the end she no longer is labeled or objectified or persecuted. She is embraced as a savior. Kelly’s got a reserve of strength and a great sense of self. To me she ends up being a heroine who rather than redeems herself becomes the catalyst for cleansing the ‘white middle-class’ town of it’s hypocrisy… Kelly (talking to Capt. Griff Anthony Eisley)“I washed my face clean the morning I woke up in your bedroom!”
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55. Velma (Agnes Moorehead) in Hush Hush Sweet Charlotte (1964) Velma is Charlotte’s trusted companion. She shows a lot of gumption when Cousin Miriam (Olivia de Havilland) shows up trying to gaslight poor Charlotte who’s suffered enough at the grotesque and tawdry way she lost her fiancee, and how she lived under the oppressive thumb of her father (Victor Buono). Velma wasn’t nary shy a bit to face off with Cousin Miriam, that intimidating gold-digging she-devil in Park Avenue clothes. (From de Havilland’s own wardrobe) Velma always says it like it is, and tries to be a trusted friend to Charlotte even when the whole town shuns her as a crazy axe murderess. We all need friends who would either help you hide the body, or at least defend you against an accusing mob… either way. I’m pretty sure Velma could have taken Miriam if she didn’t have Joseph Cotton’s help on her side… And we can’t forget Mary Astor’s firebrand performance as Jewel Mayhew… Jewel Mayhew: “Well, right here on the public street, in the light of day, let me tell you, Miriam Deering, that murder starts in the heart, and its first weapon is a vicious tongue.”– Velma Cruther talking to Cousin Miriam: “O you’re finally showin’ the right side of your face. Well, I seen it all along. That’s some kinda drug you been givin’ her. Isn’t it? It’s what’s been making her act like she’s been. Well, Ah’m goin’ into town and Ah’m tellin them what you been up to.”

Continue reading “Enduring Empowerment : Women Who didn’t Give a Damn! …in Silent & Classic film!”

Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground

“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
Sigmund Freud

“Ladies and gentlemen- welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains sex.” — Narrator from Faster, Pussycat! Kill! Kill! (1965)

Faster Pussycat
Tura Satana, Haji, and Lori Williams in Russ Meyer’s Faster, Pussycat! Kill! Kill! 1965
Cul-de-Sac
Françoise Dorléac and Donald Pleasence in Roman Polanski’s Cul-de-sac 1966
the Naked kiss
Constance Towers kicks the crap out of her pimp for shaving off her hair in Sam Fuller’s provocative The Naked Kiss 1964
Shock Corridor
Peter Breck plays a journalist hungry for a story and gets more than a jolt of reality when he goes undercover in a Mental Institution in Sam Fuller’s Shock Corridor 1963
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Bobby Darin is a psychotic racist in Hubert Cornfield and Stanley Kramer’s explosive Pressure Point 1962 starring Sidney Poitier and Peter Falk.

THE DARK PAGES NEWSLETTER  a condensed article was featured in The Dark Pages: You can click on the link for all back issues or to sign up for upcoming issues to this wonderful newsletter for all your noir needs!

Constance Towers as Kelly from The Naked Kiss (1964): “I saw a broken down piece of machinery. Nothing but the buck, the bed and the bottle for the rest of my life. That’s what I saw.”

Griff (Anthony Eisley) The Naked Kiss (1964): “Your body is your only passport!”

Catherine Deneuve as Carole Ledoux in Repulsion (1965): “I must get this crack mended.”

Monty Clift Dr. Cukrowicz Suddenly, Last Summer (1959) : “Nature is not made in the image of man’s compassion.”

Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”

Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962“When People are Kind to each other why do they have to find a dirty word for it.”

The Naked Venus 1959“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”

Darren McGavin as Louie–The Man With the Golden Arm (1955): “The monkey is never dead, Dealer. The monkey never dies. When you kick him off, he just hides in a corner, waiting his turn.”

Baby Boy Franky Buono-Blast of Silence (1961) “The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”

Lorna (1964)- “Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones”

Peter Fonda as Stephen Evshevsky in Lilith (1964): “How wonderful I feel when I’m happy. Do you think that insanity could be so simple a thing as unhappiness?”

Glen or Glenda (1953)“Give this man satin undies, a dress, a sweater and a skirt, or even a lounging outfit and he’s the happiest individual in the world.”

Glen or Glenda
Ed Wood’s Glen or Glenda 1953

Johnny Cash as Johnny Cabot in Five Minutes to Live (1961):“I like a messy bed.”

Dr. Moreau (Charles Laughton) Island of Lost Souls: “Do you know what it means to feel like God?”

The Curious Dr. Humpp (1969): “Sex dominates the world! And now, I dominate sex!”

The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham “I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”

Delphine Seyrig as Countess Bathory in Daughters of Darkness (1971)“Aren’t those crimes horrifying. And yet -so fascinating!”

Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)“I was so young. I already knew that to love the world you have to get away from it.”

The Killing of Sister George (1968) -Suzanna York as Alice ‘CHILDIE’: “Not all women are raving bloody lesbians, you know” Beryl Reid as George: “That is a misfortune I am perfectly well aware of!”

The Killing of Sister George
Susannah York (right) with Beryl Reid in The Killing of Sister George Susannah York and Beryl Reid in Robert Aldrich’s The Killing of Sister George 1960

The Lickerish Quartet (1970)“You can’t get blood out of an illusion.”

THE SWEET SOUND OF DEATH (1965)Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”

Peter O’Toole as Sir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”

Maximillian Schell as Stanislaus Pilgrin in Return From The Ashes 1965: “If there is no God, no devil, no heaven, no hell, and no immortality, then anything is permissible.”

Euripides 425 B.C.“Whom God wishes to destroy… he first makes mad.”

Davis & Crawford What Ever Happened to Baby Jane?
Bette Davis and Joan Crawford bring to life two of the most outrageously memorable characters in Robert Aldrich’s What Ever Happened to Baby Jane? 1962

WHAT DOES PSYCHOTRONIC MEAN?

psychotronic |ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia

In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!

FILM NOIR HAD AN INEVITABLE TRAJECTORY…

THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!

I just got myself this collection of goodies from Something Weird!

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There’s even this dvd that points to the connection between the two genres – Here it’s labeled WEIRD. I like transgressive… They all sort of have a whiff of noir.
Grayson Hall Satan in High Heels
Grayson Hall -Satan in High Heels 1962
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Gerd Oswald adapts Fredrick Brown’s titillating novel — bringing to the screen the gorgeous Anita Ekberg, Phillip Carey and Gypsy Rose Lee and Harry Townes in the sensational, obscure and psycho-sexual thriller Screaming Mimi 1958
The Strangler 1964 Victor Buono
Victor Buono is a deranged mama’s boy in Burt Topper’s fabulous The Strangler 1964
Repulsion
Catherine Deneuve is extraordinary as the unhinged nymph in Roman Polanski’s psycho-sexual tale of growing madness in Repulsion 1965

Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs, brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. While Film Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.

Continue reading “Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground”

Hyper-Masculinity/Hidden Frailty: The Robert Ryan Aesthetic in Film Noir

In honor of the 40th anniversary of Robert Ryan’s death July 11, 1973 with a special nod to Karen & The Dark Pages for their spectacular tribute to this incredibly real man!

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“Ryan was unfailingly powerful, investing his tormented characters with a brooding intensity that suggests coiled depth. Cut off from the world by the strength of their ‘feelings’ his characters seem to be in the grip of torrential inner forces. They are true loners. Ryan’s work has none of the masked, stylized aura of much noir acting. He performs with emotional fullness that creates substantial, complex characters rather than icons.”Foster Hirsch-FILM NOIR: The Darker Side of the Screen

Clearly Robert Ryan’s infinite presence in film and his numerous complex characters manifest an embracing universal ‘internal conflict’ of masculinity. I tribute certain roles the actor inhabited during his striking career. Though he was cast more often in the part as the imposing heavy, the depth and breadth of Ryan’s skill with his rough-hewn good looks should have landed him more roles as a lead male capable of such penetrating levels of emotion. He had a depth that suggests a scarcely hidden intensity smoldering at the surface.

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Robert Ryan as Montgomery in Edward Dmytryk’s Crossfire 1947
Act of Violence Ryan
Robert Ryan in Act of Violence ’48

A critic for the New York Times reviewing Act of Violence (1948) wrote about Robert Ryan’s persona as the madly driven veteran bent on revenge, Joe Parkson calling him “infernally taut.”

Frank Krutnik discusses ‘Masculinity and it’s discontents’ in his book In A Lonely Street, “In order to make the representation of masculinity in the noir thriller, there follows a schematic run-through of Freudian work on the determination of masculine identity.” Claiming Freud’s work can be co-opted into film with an emphasis of it’s relevance to analysis of the cultural machinery of patriarchy.” He discusses patriarchal culture which relies heavily on the maintenance of a gender-structured ‘disequilibrium’ with it’s roots in the myth of the Oedipal Complex. Involving not only the power-based hierarchy of male service to masculine power but the established normative gender values which inform both the male and female figure.

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Act of Violence Robert Ryan as Joe Parkson co-starring Janet Leigh

Many of the characters in Ryan’s noir world are informed by a cultural ‘determinacy of the phallus’ that authorizes toughness and strips the limits of desire as an obligation to masculine identity. Patriarchal power structure predetermines a fixed and limited role that creates a destiny of submission and impotence in Ryan’s characters. But within the framework of these extreme male figures lies an intricate conflict of varying degrees of vulnerability and fragility.

Ryan manifests this duality within hyper-masculine characters. Outwardly physical, confrontational, and hostile, Ryan is a master at playing men who suffer from alienation and inferiority surrounding their own ‘maleness’ and self-worth. He was never just a dark noir brute or anti-hero but a complex man actualized through layers of powerful dramatic interpretation. His performances suggest a friction of subjugated masculinity bubbling within.

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Ryan as Earl Pfeiffer and Barbara Stanwyck in Fritz Lang’s Clash By Night

The trajectory of the male through the Oedipus Complex encompasses the male subjectivity which is a principle issue in the noir ‘tough-thriller.’ The ‘existential thematic’ link to the Oedipus myth concerns questions of male desire and identity as they relate to the overarching law of existing patriarchal culture substituted for the original fearsome ‘divinity.’ This element is one of the driving psychological themes underlying in any good classic film noir.

In this post I put my focus primarily on Ryan’s characters within the framework of each film and while I discuss the relationship between him and the central players I do not go as in depth as I usually do discussing his co-stars or plot design.

I apply this thematic representation to much of the roles engendered in the films of Robert Ryans‘ that I’ve chosen to discuss here. A patriarchal power structure establishes the tragedy of man’s destiny, a fixed and limited role in the character’s own destiny as there is a predominant power that threatens them into submission and sheds light on their own impotence. So many of the noir characters in a Robert Ryan noir world are shaped by a cultural authority structured through ‘determinacy of the phallus’ that authorizes toughness in the male identity that strips away the limits of desire, as an obligation to ‘masculine identity.’

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Ryan’s stoic boxer Stoker in Robert Wise’s The Set Up

I’m focusing on particular Ryan’s roles within a noir context that depict archetypal hyper-masculine tropes and the problematic strife within those characters. Whether Ryan is playing the deeply flawed hero or the tormented noir misfit, his characters are afflicted with an inherent duality of virility and vulnerability, an inner turmoil, alienation, persecution and masochism. It’s a territorial burden that Robert Ryan so effortlessly explores.

These films show Ryan’s trajectory through forces of menacing restraint and poignant self-expression. Within a noir landscape, the schism of stark virility and tenuous masculinity exposes the complexity of alienation, masochism and frailty. Robert Ryan’s performances are a uniquely fierce and formidable power.

I’m discussing: The Woman On the Beach (1947) haunted & emasculated coastguardsman Lt. Scott Burnett, Caught (1949) neurotic millionaire Smith Ohlrig, The Set- Up (1949) noble over- the-hill boxer Bill ‘Stoker’ Thompson, Born To Be Bad (1950) misanthropic & masochistic novelist Nick Bradley, Clash by Night (1952) cynical misogynist projectionist Earl Pfeiffer, Beware, My Lovely (1952) morose psychotic vagrant handyman Howard Wilton,On Dangerous Ground (1952) unstable, alienated violent cop Jim Wilson, Odds Against Tomorrow (1959) racist persecuted ex-con Earle Slater.

Within the framework of these ‘extreme’ male figures lies an intricate conflict with varying degrees of vulnerability & fragility within the male psyche. The narratives don’t necessarily flesh out this conflict plainly, but Ryan’s performances certainly suggest and inform us about the friction of this subjugated theme bubbling to the surface as he manifests the duality within his hyper-masculine characters. Robert Ryan was a master at playing men who suffer from alienation and inferiority surrounding their own ‘maleness’ and self-worth.

Robert Ryan

Ryan is never just a dark noir ‘brute’ or anti-hero but moreover a complex male who is actualized through layers of powerful dramatic interpretation. A complexity of stark virility and ‘tenuous maleness’ as the narrative witnesses Ryan’s trajectory transforming him through various dynamic forces of menacing restraint and poignant self-expression. Outwardly physical, confrontational, hostile and ultimately masculine, and the schism that is inwardly emotional, alienated, self deprecating, masochistic and fragile within the film noir landscape. Robert Ryan’s performances still maintain a uniquely fierce and formidable aesthetic of the ‘suffering-marginalized man.’

Continue reading “Hyper-Masculinity/Hidden Frailty: The Robert Ryan Aesthetic in Film Noir”

Postcards from Shadowland No.11

Beast from 20,000 Fathoms
Beast from 20,000 Fathoms 1953
Bela in Chandu the Magician
Bela Lugosi and Irene Ware in Chandu the Magician 1932
Black Caesar
Fred Williamson in Black Caesar 1973
Cat People 1942 Alice at the pool
Cat People 1942 Alice at the pool
Chaney Sr., Lon (He Who Gets Slapped)_
Lon Chaney -He Who Gets Slapped 1924
claudette-colbert-cleopatra-1
Claudette Colbert and Henry Wilcoxon in Cleopatra 1934
Try and Get Me
The Sound of Fury aka Try and Get Me 1950
CrimeWave
Crime Wave 1954
Dante's Inferno
Dante’s Inferno (1911)
FallenAngel
Fallen Angel (1945) Dana Andrews, Alice Faye and Linda Darnell
Gun Crazy
Gun Crazy (1950) Peggy Cummins and John Dall
InALonelyPlace
In a Lonely Place (1950) Gloria Grahame
kitten with a whip
Ann -Margret in Kitten With a Whip 1964
Laura
Gene Tierney and Dana Andrews Laura (1944)
Innocents 1961
The Innocents 1961 with Deborah Kerr
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Mary Astor The Maltese Falcon (1941)
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James Garner and Angela Lansbury -Mister Buddwing (1966)
out of-the-past
Out of the Past (1947) Robert Mitchum and Virginia Huston
plunder road
Plunder Road (1957) Elisha Cook Jr.
Seance on a Wet Afternoon
Kim Stanley and Richard Attenborough Seance on a Wet Afternoon 1964
svengali Barrymore and Marsh
Svengali (1931) John Barrymore and Marian Marsh
The blue dahlia alan ladd and veronica lake
The Blue Dahlia (1946) Alan Ladd and Veronica Lake
z-Aelita
Aelita: Queen of Mars (1924)

The Todd Killings (1971) -The Oedipal Minstrel Killer of Tuscon and the Cult of Anti-Hero Worship

“Another Kill. Another Thrill”

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The Todd Killings (1971)

Directed by Barry Shear, (Wild in the Streets 1968,Across 110th Street 1972) written by Joel Oliansky, Dennis Murphy and Mann Rubin. It stars Robert F. Lyons  as the infamous true life serial killer (Charles Schmid) Skipper Todd. The film hosts an incredible cast of actors, Richard Thomas, Belinda Montgomery, Sherry Miles, Joyce Ames, Holly Near, James Broderick, Gloria Grahame, Fay Spain, Edward Asner, Barbara Bel Geddes, Michael Conrad and Meg Foster.

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It’s a bit of rare 70s THRILLER genre vérité, which is brutally stripped bare of self consciousness or moral ambiguity. Director Barry Shear shows no pretense with this film, it’s bleak and graphic and stars the fresh scrubbed American youthfulness of Robert F Lyons who is chilling as he inhabits the persona of Steven ‘Skipper’ Todd with the acuity of an anti social archetypal socio-path, a foreshadowing doppelgänger of serial killers to come.

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Based on the real life character of 60s thrill killer, Charles Schmid also dubbed the Pied Piper of Tucson who was found guilty of murder in 1966 and sentenced to death, but wound up getting 50 years to life, when the state of Arizona temporarily abolished the death penalty in 1971. Eventually Schmid himself was murdered in prison.

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Lyons worldly ruthlessly inhospitable persona channels a charismatic young philosophical misanthrope who embodies the 60s attitude of the anti establishment credo, taking it to a violent level of psychotic abandon. Todd becomes an anti- hero to the local youth who worship him, in particular the very young women he easily beds, who treat him like a deity. He exhibits the qualities of a Svengali as he manipulates both male and female devotees. Todd is cool and urbane, charming his way into the lives of several high school teenagers in a small California town. There is a jaundiced atmosphere to this community, as the complacency and rumbling undercurrent of disturbed restlessness paint a very uneasy portrait of American life off kilter.

When the film opens, Todd has killed a 16 year old girl named Sue Ellen Mack, having recruited two other teenagers to help cover up the crime by burying the body in the vast and ceaseless desert, the perfect place to lose a body. One teen is an overweight girl Norma (Holly Near) who hangs on Skipper like a minion, clinging to him like a swooning groupie and the other a scraggy termite called Andy.

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Shear directs each scene with a heartless realism. The three while leaving the desert just having buried Sue Ellen, pick up Billy Roy ( Richard Thomas) who is hitchhiking, just having been released from reform school. There is the sensibility to the film that exposes a mob mentality. This heightened sense of a younger fringe craving to dwell aimlessly outside of society, the phrase used often to signify an opposition to society or being a ‘citizen’ is prevalent in sub genre films, such as the biker genre. In this environment it is feasible that an awakening adolescence would be mesmerized by an outlier, a bad boy, and therefore aide in concealing the crime. It’s conceivable that a flock of youths could be present at the scene of a murder, not only do nothing to stop it, and in fact, help in it’s surreptitious design to cover it up, and allude the police. The unrepentant complicity to the crimes bares a similarity to the working dynamic of the 1986 film The River’s Edge

Robert F Lyons as Skipper Todd
Robert Thom wrote Angel Angel Down We Go. He envisions the anti hero as a guitar strumming Svengali-Here Robert F.Lyons is the songwriting/psychopath Skipper Todd
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Jordan Christopher portrays the similarly brutal misanthropic sociopath Bogart Peter Stuyvesant in Robert Thom’s Angel Angel Down We Go 1969. Both peddlers of sex and death, wielding guitars as their weapon of seduction.

Skipper Todd manipulates Richard Thomas‘ character Billy like a master puppeteer, dangling the potential for romance with his former classmate Amata. Billy has been obsessed with Amata since High School. Unfortunately Amata only has eyes for Skipper, and poor naive Billy is so easily influenced and blinded by his attraction to this girl that he doesn’t see how Todd is using him as yet another pawn in his coterie.

Belinda Montgomery plays Roberta a pretty 16 year old girl from an affluent family, who is less pliant and impressionable at first. It is her rebellious attitude and her blatant defiance toward Skipper’s malevolent magnetism, which charge his advances which become more potent, as he becomes drawn to her the more she resists.

She’s the one female who appears immune at first to Skipper’s charms. Although she restrains from falling into the same infatuated vapidness like the other girls, ultimately after Skipper breaks into her house one night, beats and rapes her, she finally breaks down and succumbs to his control and decries that she loves him. The manifest use of violence against women as sexual stimulation, and the tenet of annihilating women’s power through control, not love is another inherent trope of the story. Skipper mother as a role model only teaches him to take, to make money, and skews the boundaries of love for him by bestowing upon him an odd, underlying sexualized affection.

We are clued into Skipper Todd’s evolution as a misogynist, as an Oedipal nightmare, who fancies himself an elitist an Übermensch, Friedrich Nietzsche’s superman who poses as anti-hero, bemoaning the state of society and it’s lemmings who conform, yet ironically depending on the very thing he condemns in order to suck the life force out of it. This he needs for his egoist dogma to be able to thrive, feeding off the susceptible, and violating the vulnerable, just as Mrs. Todd picks the bones clean of the elderly men she is charged to take care of.

Lyons and Bel Geddes lobby card

Though living as an outsider, he needs followers to facilitate his crimes. To help him bury the bodies. He espouses that people have ‘stale dreams’ and that society is riddled with lying and selfishness. In this he is a true Sociopath, as he is the most selfish phony of them all. As self deluded as was Charles Manson who consider himself to be a songwriter and profit, Todd also writes songs on his guitar, recording himself singing glorifying lyrics about his strangulations of the girls he kills. A minstrel madman, strumming and fucking his way through Tucson.

As I’ve said earlier, Todd’s followers include a young Richard Thomas as Billy Roy a guileless yet loyal young man, who unwittingly enables Todd to continue his blood lust and ravaging of young girls. Billy remains naive until the end, when he finally sees the true evil nature of his friend Skipper Todd, and ultimately turns on him.

Shear’s The Todd Killings conveys the feeling of hopelessness and hollow confinement which pervade much of the film and the collective scenes of impulsive brutality. Whether or not the story is historically accurate to the events that led up to Scmid’s capture is unclear, regardless the narrative is a somber, chilling mood piece about society and the attractive monsters it sometimes breeds.

The film creates an eerie, often brutally unsettling tone that unleashes a sense that there is no way out of conformity. You either live an existence of an ugly sterile complacency or wind up being sacrificed on the altar of individual freedom.

The use of the desert as a playground/killing field for Todd and his followers creates an alienating environment. Todd’s compulsion sets the tone for a fraying wire of isolation, in which a barren land of free love and reckless idolatry ultimately lead Todd and his followers to devolve by the film’s tragic end.

At the root of Todd’s twisted nature lies that hint of Oedipal fixation, as his relationship with his mother portrayed by Barbara Bel Geddes bares the reflections of an incestuous partnership. Todd’s conflation of sex and violence, his natural adeptness at manipulation and psycho-sexual violation ultimately make him a serial killer who thrives on destroying that which he is fixated on. The film provides us with an insight into his hatred of women, American motherhood, and the society that engenders both to be simple offerings for the slaughter.

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Bel Geddes as Mother Todd –“I could use a little of your help around here you know”
Skipper-“robbing the cadavers?”
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Mrs. Todd’s unbounded greed in one single minute-“now that juice comes to forty cents a quart young man so drink up “
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Mrs Todd-“the lord put me on this earth, just to support you”….
Skipper “If I do not get my allowance in four seconds flat I’ll (he whispers in her ear, then she smiles )
Mrs Todd- “uh hum, I think you’re capable of that.”
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Mother giving her little angel his milk money for the week

Mrs. Todd’s, Skipper’s money hungry mother owns a nursing home for elderly men running it like a military complex, all of who’s family members never visit. She manages this ‘institution’ like a waiting room for decaying livestock, providing minimal comforts, she’s more militant in her administrations than compassionate as a care giver. For her this is nothing but a business arrangement that supports her simple lifestyle. She shows no emotional connection to the elderly men in her care, nor for her son, who visits periodically, skulking around for hand outs. No emotional maternal outpouring, yet a queer romantic sort of banter.

Skipper tells her that he would  ‘rather die than make my living that way.’ She tells him that he is in fact ‘living off them…We all make our lives that way, that’s what life is all about.”

Skipper treats her more like one of the many girlfriends he uses in order to cop some ready spending money. Mrs Todd spouts off about life like an unemotional puritanical hen, urging him to find employment or at least help her out there at the home, which he violently rejects.

The entire atmosphere of the old age home and the town, is disparaging of the human condition and gives us a little insight into Skipper Todd’s lack of empathy, largely pronounced by the contrasting verve of the youth culture shown asphyxiating by the small -town’s conservatism.

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Todd’s mother is a clinically acidic detached, and cold-blooded ‘mother figure’ and a reminder that though Skipper seems repulsed by the way the old men have been abandoned by their families, it is still their money that he virtually parasites off of when he comes calling for a hand out from his confederate mother.

Without giving away the climax of the film, I will say that there is a particular scene towards the end that is so savage, framed with such a starkly simple realism, that it is utterly jarring.

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The Todd Killings creates a story telling that fuses together our very real fears of the social boogeyman who lurk amidst all us ‘normal’ seeming folk, and although filmed in the 70s, it makes a timeless leap into a contemporary arena without loosing any of its thrust. It tells the story of a monster like Charles Schmid, without feeling outdated or hazy around the edges due to lack of a more graphic or gore drenched narrative.

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The film also doesn’t rely on police procedural to fill us in on the details, it is told partly from the perspective of Todd’s own dystopian psyche and partly from the victims themselves. In particular Montgomery’s portrayal of Roberta which is nuanced, strikingly dramatic and ultimately heart wrenching.

The film also stars one of my favorite unsung actresses Gloria Grahame as Billy Roy’s mother. It also co-stars the wonderful Edward Asner, Fay Spain, James Broderick, Michael Conrad as Detective Shaw, and good old Holly Near as Norma ( just can’t forget her in Angel, Angel Down We Go 1969) as one of Skippers nubile sycophants.

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Holly Near as Norma

from LIFE magazine-

“Teenage girls looking for the body of Alleen Rowe, in connection with murderer Charles Schmid.” Photo from LIFE magazine., via Sweetheart of the Rodeo’s blog post: Hell among the yearlings

On March 10, 1975, Schmid was stabbed 47 times by two fellow prisoners, he died almost a month later.

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Notorious Pied Piper of Tucson killer of teenage girls-Charles Schmid

CLICK BELOW FOR:

Fantastic photos and blog entry by Sweetheart of the Rodeo: Hell among the yearlings

QUOTES:

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Police Officer: Do you have relations with men?

Skipper Todd: I try not to. But sometimes there’s a guy who’s really sweet… it’s so easy. We’re both men… we both know where it’s at. Personally, you’re not giving anything away.

Police Officer: What’s your feeling’s towards girls?

Skipper Todd: I can sleep with them once because it degrades them. It makes them dirty. The worst thing about it is… you meet a chick who isn’t… bad. You can’t screw her because you don’t want to make her “dirty.”

Belinda J Montgomery
Belinda J Montgomery 70s staple television actress and film star. Giving a brilliantly nuanced performance as Roberta, the object of Skippers affection/annihilation desire.

Roberta: You actually came to see me without any of your baby-pimps? Wow. How do I rate that honor?

Skipper Todd: I just loved your performance at the pool.

Roberta: So, you’re the one who rides the dune buggy and “services” the little girls huh?

Skipper Todd: Oh yes… and speaking of little girls, how old are you?

Roberta: 16. Just about your speed too, isn’t it?

Skipper Todd: Ha-ha! It’s a good age. It’s a little over the hill these days, but it will do.

Roberta: How old are you?

Skipper Todd: 23

Roberta: Why don’t you do something besides hang around the pool.

Skipper Todd: I’m a songwriter. I’m gonna immortalized all of us here.

Roberta: Wanna drink?

Skipper Todd: Uh… sure.

Roberta: It’s interesting what turns on the little girls. What do you think it is? Is it because you’re a creep? Or is it because you’re dangerous?

Skipper Todd: It’s some of each.

“Skipper Todd digs girls. It’s his idea of killing time…”

I dig you all- genre fans, so stay with me while killing some time -Eternally yours -MonsterGirl

Postcards From Shadowland No.7

La Belle et la Bete (1946)
Caged (1950)
Criss Cross (1949)
Devil Girl From Mars (1954)
Les Diaboliques (1955)
Experiment in Terror (1962)
Les yeux sans Visage (1960)
Les yeux sans visage (1960)
Gloria Grahame The Cobweb (1955)
I Bury The Living (1958)
Island of Lost Souls (1932)
Kiss The Blood Off My Hands (1948)
Lady in a Cage (1964)
Mother Joan of The Angels (1961)
Belle et la Bete (1946)
Strait-Jacket (1964)
Sunrise (1927)
The Haunting (1963)
The Queen of Spades (1949)
Vampyr (1932)
The World’s Greatest Sinner (1962)

MonsterGirl’s 13 Days of Halloween: Obscure Films Better Than Candy Corn!

13 Days of schlock, shock…horror and some truly authentic moments of terror…it’s my pre celebratory Halloween viewing schedule which could change at any time, given a whim or access to a long coveted obscure gem!

No doubt AMC and TCM will be running a slew of gems from the archives of Horror films to celebrate this coming Halloween! Films we LOVE and could watch over and over never tiring of them at all….

For my 13 days of Halloween, I thought I might watch a mix of obscure little gems, some vintage horror & Sci-Fi , film noir and mystery/thriller. Halloween is a day to celebrate masterpieces like The Haunting, The Tingler, House on Haunted Hill, Curse of The Demon, Pit and The Pendulum, Let’s Scare Jessica To Death, Psycho just to name a few favorites.

But the days leading up to this fine night of film consumption, should be tempered with rare and weird beauties filled with a great cast of actors and actresses. Film’s that repulse and mystify, part oddity and partly plain delicious fun. Somewhat like Candy Corn is…for me!

I’ll be adding my own stills in a bit!…so stay tuned and watch a few of these for yourselves!

The Witch Who Came From The Sea 1976

Millie Perkins bravely plays a very disturbed woman who goes on a gruesome killing spree, culminating from years of abuse from her drunken brute of a father. Very surreal and disturbing, Perkins is a perfect delusional waif who is bare breasted most of the time.

Ghost Story/Circle of Fear: Television Anthology series

5 episodes-

The Phantom of Herald Square starring David Soul as a man who remains ageless, sort of.

House of Evil, starring Melvin Douglas as a vindictive grandpa who uses the power of telepathy to communicate with his only granddaughter (Jodie Foster) Judy who is a deaf mute. Beware the creepy muffin people.

A Touch of Madness, stars Rip Torn and Geraldine Page and the lovely Lynn Loring. Nothing is as it seems in the old family mansion. Is it madness that runs in the family or unsettled ghosts?

Bad Connection starring Karen Black as a woman haunted by her dead husband’s ghost.

The Dead We Leave Behind starring Jason Robards and Stella Stevens. Do the dead rise up if you don’t bury them in time, and can they speak through a simple television set.

Night Warning 1983

Susan Tyrrell plays Aunt Cheryl to Jimmy McNichol’s Billy, a boy who lost his parents at age 3 in a bad car wreck leaving him to be raised by his nutty Aunt. Billy’s on the verge of turning 17 and planning on leaving the sickly clutches of doting Aunt Cheryl and she’ll kill anyone who gets in the way of keeping her beloved boy with her always….Tyrrell is soooo good at being sleazy, she could almost join the Baby Jane club of Grande Dame Hag Cinema, making Bette Davis’s Baby Jane seem wholesome in comparison.

Also known as Butcher Baker Nightmare Maker...

Murder By Natural Causes (1979 Made for TV movie)

Written by Richard Levinson and William Link the geniuses who gave us Columbo, this film is a masterpiece in cat and mouse. Wonderfully acted by veteran players, Hal Holbrook, Katherine Ross and Richard Anderson and Barry Bostwick. Holbrook plays a famous mentalist, and his cheating wife has plans to kill him off.

Tension 1949

from IMDb -A meek pharmacist creates an alternate identity under which he plans to murder the bullying liquor salesman who has become his wife’s lover. Starring Richard Basehart, Audrey Totter , Cyd Charisse and Barry Sullivan

Messiah of Evil aka Dead People 1973

A girl arrives on the California coast looking for her father, only to learn that he’s disappeared. The town is filled with eerie people, and a strange atmosphere of dread. She hooks up with a drifter and they both uncover the true nature of the weird locals and what they’re up to. They learn the horrific secret about the townspeople…This film is very atmospheric and quite an original moody piece. Starring Marianna Hill, Michael Greer, Joy Bang and Elisha Cook Jr.

Devil times Five aka Peopletoys 1974

This film is a very unsettling ride about a bus load of extremely psychopathic children who escape after their transport bus crashes. Finding their way to a lodge, they are taken in by the vacationing adults and are eventually terrorized by these really sick kids. Claustrophobic and disturbing. Stars Sorrell Booke, Gene Evans. Leif Garrett plays one of the violently homicidal kids.

The Night Digger 1971

Starring the great Patricia Neal, this is based on the Joy Cowley novel and penned with Cowley for the screen by the wonderfully dark Roald Dahl, Neal’s husband at the time.

From IMDb -Effective psychological love story with a macabre twist not found in the original Joy Cowley novel. The dreary existence of middle- aged spinster Maura Prince takes an unexpected turn with the arrival of young handyman Billy Jarvis, but there is more to Billy than meets the eye. This well-crafted film, full of sexual tension and Gothic flavor, was Patricia Neal’s second after her return to acting, her real-life stroke worked deftly into the story by then-husband Roald Dahl. Written by Shane Pitkin

They Call It Murder (1971 Made for TV movie)

A small-town district attorney has his hands filled with several major investigations, including a gambler’s murder and a possible insurance scam. Starring Jim Hutton, Lloyd Bochner, Leslie Nielsen, Ed Asner and Jo Anne Pflug

A Knife For The Ladies 1974

Starring Ruth Roman and Jack Elam, there is a jack the ripper like killer terrorizing this small Southwest town. Most all the victims are prostitutes. A power struggle ensues between the town’s Sheriff and Investigator Burns who tries to solve the murders.

Born To Kill 1947

Directed by the amazing Robert Wise ( The Haunting, West Side Story, Day The Earth Stood Still )this exploration into brutal noir is perhaps one of the most darkly brooding films of the genre. Starring that notorious bad guy of cinema Lawrence Tierney who plays Sam Wild, of all things, a violent man who has already killed a girl he liked and her boyfriend. He hops a train to San Francisco where he meets Helen played by Claire Trevor who is immediately drawn to this dangerous man.

The Strangler 1964

Starring the inimitably imposing Victor Buono, who plays mama’s ( Ellen Corby/Grandma Walton) boy Leo Kroll, a psychopathic mysogynous serial killer, under the thumb of his emasculating mother. Kroll’s got a doll fetish and a fever for strangling young women with their own panty hose. The opening scene is chilling as we watch only Buono’s facial expressions as he masturbates while stripping one of the dolls nude by his last victim’s body. Part police procedural, this is a fascinating film, and Buono is riveting as Leo Kroll a psycho-sexual fetish killer who is really destroying his mother each time he murders another young woman. Really cool film by Allied Artist

Murder Once Removed (1971 made for tv movie)

A doctor and the wife of one of his wealthy patients hatch a plot to get rid of her husband so they can be together and get his money.Starring John Forsythe, Richard Kiley and Barbara Bain.

Scream Pretty Peggy (1973 made for tv movie)

This stars Bette Davis who plays Mrs. Elliot. Ted Bessell’s plays her son Jeffrey Elliot a sculptor who hires young women to take care of his elderly mother and his insane sister who both live in the family mansion with him. Also stars Sian Barbara Allen. What can I say. I love Bette Davis in anything, especially made for tv movies, where something isn’t quite right with the family dynamic. Lots of vintage fun directed by Gordon Hessler

The Man Who Cheated Himself 1950

A veteran homicide detective witnesses his socialite girlfriend kill her husband. Then what ensues is his inexperienced brother is assigned to the case.Starring Lee J.Cobb, Jane Wyatt and John Dall

The Flying Serpent 1946

Classic horror/sci fi flick that just doesn’t get the attention it deserves. Almost as fun as The Killer Shrews.  Starring veteran actor George Zucco

The Pyjama Girl Case 1977

This more obscure Giallo film directed by Flavio Mogherini and starring one of my favorite actors Ray Milland, Also starring Mel Ferrer and the beautiful model/actress Delilah Di Lazzaro. I’ve left my passion for Giallo films in the dust these days, but I decided to watch one that was a little off the beaten track.

From IMDb- Two seemingly separate stories in New South Wales: a burned, murdered body of a young woman is found on the beach, and a retired inspector makes inquiries; also, Linda, a waitress and ferry attendant, has several lovers and marries one, but continues seeing the others. The police have a suspect in the murder, but the retired inspector is convinced they’re wrong; he continues a methodical investigation. Linda and her husband separate, and there are complications. Will the stories cross or are they already twisted together? Written by <jhailey@hotmail.com>

Cul-de Sac 1966

Directed by Roman Polanski starring Donald Pleasance and  Françoise Dorléac as Teresa

A wounded criminal and his dying partner take refuge in a sea side castle inhabited by a cowardly Englishman and his strong willed French wife. A bizarre dynamic unfolds as this eccentric couple once captives of the criminals at first, their relationship, strangely begins to evolve into something else.

Dr Tarr’s Terror Dungeon aka Mansion of Madness 1973

This is a mysterious and nightmarish excursion into “the inmates have taken over the asylum” theme. Based upon Edgar Allan Poe’s The System of Dr Tarr and Professor Feather

Blue Sunshine 1978

Three women are murdered at a party. the wrong man is accused of the crimes. yet still more brutal killings continue throughout the town. What is the shocking truth behind these bizarre epidemic of …people are losing their hair and turning into violent psychopaths?

Homebodies 1974

Starring Peter Brocco, Francis Fuller, William Hanson, the adorable Ruth McDevitt, Ian Wolfe and Paula Trueman playing elderly tenants who first try to thwart by rigging accidents, a group of developers from tearing down their building. Old homes and old people…It turns into murder! This is a wonderfully campy 70s stylized black comedy/horror film. I love Ruth McDevitt as Miss Emily in Kolchak : The Night Stalker series.

The ensemble cast is brilliantly droll and subtly gruesome as they try to stave off the impending eviction and relocation to the institutional prison life of a cold nursing home facility.

A modern Gothic commentary on Urban Sprawl, the side effects of Capitalism on the elderly and their dust covered dreams, and the fine balance between reverence for the past, and the inevitability of modernity.

The jaunty music by Bernardo Segáll and lyrics by Jeremy Kronsberg for “Sassafras Sundays” is fabulous!

The Evictors 1979

Directed by Charles B. Pierce whose style has somewhat of a documentary feel ( The Town That Dreaded  Sundown 1976 Legend of Boggy Creek 1972) This film has a very stark and dreading tone. Starring one of my favorite unsung naturally beautiful actresses, Jessica Harper ( Suspiria, Love and Death, Stardust Memories, and the muse Pheonix in DePalma’s Faustian musical Phantom of The Paradise ) and another great actor Michael Parks. A young couple Ruth and Ben Watkins move into a beautiful old farmhouse in a small town in Louisiana. The house has a violent past, and things start happening that evoke fear and dread for the newlyweds. Are the townspeople trying to drive them out, or is there something more nefarious at work? Very atmospheric and quietly brutal at times. Also stars Vic Morrow

Jennifer 1953

Starring Ida Lupino and Howard Duff. Agnes Langsley gets a job as a caretaker of an old estate. The last occupant was the owner’s cousin Jennifer who has mysteriously disappeared. Agnes starts to believe that Jennifer might have been murdered. Is Jim Hollis the man whom she is now in love with… responsible?

Lured 1947

Directed by Douglas Sirk and starring Lucille Ball, George Sanders and my beloved Boris Karloff!

There is a serial killer in London, who lures his young female victims through the personal ads. He taunts the police by sending cryptic notes right before he is about to murder again. Great cast includes Cedric Hardwicke, George Zucco and Charles Coburn...

Love From A Stranger 1947

A newly married woman begins to suspect that her husband is a killer, and that she is soon to be his next victim.Starring John Hodiak and and Sylvia Sidney

Savage Weekend 1979

Several couples head upstate to the country and are stalked by a murderer behind a ghoulish mask.

The Beguiled 1971

Directed by the great Don Siegel ( Invasion of The Body Snatchers 1956, The Killers 1964 Dirty Harry 1971 This stars Clint Eastwood, Geraldine Page and Elizabeth Hartman. Eastwood plays John McBurney who is a Union soldier imprisoned in a Confederate girls boarding school.  A very slow yet tautly drawn web of psycho sexual unease forms as he works his charms on each of these lonely women’s psyche.

The Mad Doctor of Market Street 1942

An old forgotten classic horror, starring Lionel Atwill and Una Merkel. Atwill plays A mad scientist forced out of society when his experiments are discovered. He winds up on a tropical island, there by holding the locals hostage by controlling and terrorizing them.

The Man Who Changed His Mind original title (The Man Who Lived Again) 1936

Directed by Robert Stevenson. Starring my most favorite of all Boris Karloff, and Anna Lee of Bedlam

Karloff plays Dr. Laurence, a once-respected scientist who begins to delve into the origins of the mind and  soul connection.

Like any good classic mad scientist film, the science community rejects him, and so he risks losing everything for which he has worked, shunned by the scientific community he continues to experiment and further his research, but at what cost!…

The Monster Maker 1944

This stars J. Carrol Naish and Ralph Morgan. Naish plays Dr Igor Markoff who injects his enemies with the virus that causes Acromegaly, a deformity that enlarges the head and facial structures of his victims.

The Pyx 1973

I love Karen Black and not just because she let herself be chased by that evil Zuni doll in Trilogy of Terror or dressed up like Mrs Allardice in Burnt Offerings. She’s been in so many memorable films, in particular for me from the 70s. Here she plays Elizabeth Lucy a woman who might have fallen victim to a devil cult. Christopher Plummer plays detective  Sgt. Jim Henderson investigating the death of this heroin-addicted prostitute. The story is told using the device of flash back to tell Elizabeth’s story.

Five Minutes To Live 1961

Johnny Cash, the immortal man in black, plays the very unstable Johnny Cabot, who is part of a gang of thugs who terrorize a small town. This is a low budget thriller later released as Door to Door Maniac. I could listen to Cash tune his guitar while drinking warm beer and I’d be satisfied, the man just gives me chills. Swooning little me…….!

The Psychic 1977

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In this more obscure EuroShocker, a clairvoyant… the gorgeous Jennifer O’ Neill, suffers from visions, which inspire her to smash open a section of wall in her husband’s home where she discovers a skeleton behind it.

She sets out to find the truth about how the victim wound up there, and if there’s a connection between their death and her fate as well!

Too Scared To Scream 1985

Directed by actor Tony Lo Bianco A killer is brutally attacking several tenants that live in a high rise apartment building in New York City.Mike Connors stars as Detective Lt. Alex Dinardo who investigates the killings. Also stars another unsung actress, Anne Archer, Leon Isaac Kennedy and Ian McShane

Violent Midnight 1963

An axe murderer is running loose in a New England town! Also known as Psychomania not to be confused with the fabulous British film of devil worshiping bikers who come back to life starring Beryl Reid. This film features Dick Van Patten, Sylvia Miles, James Farentino and Sheppard Strudwick. It’s got it’s own creepy little pace going for it.

When Worlds Collide 1951

Another classic sci fi world is headed toward destruction film, that I remember from my childhood. Starring Barbara Rush and John Hoyt, two of my favorite character actors. It’s a lot of fun to watch and a well made film that’s off the beaten path from… Forbidden Planet and War of The Worlds.

All The Kind Strangers  (1974 made for tv film)

Starring Stacy Keach, Sammantha Eggar, John Savage and Robby Benson

A couple traveling through a backwoods area are held hostage by a a group of orphan children who want them to be their parents. When ever an adult refuses to participate in the delusion, they are killed. Great disturbing made for tv movie.

The Todd Killings 1971

Directed by Barry Shear and starring Robert F. Lyons as Skipper Todd, a very sociopathic young man who holds sway over his younger followers like a modern day Svengali. Also starring Richard Thomas, Belinda Montgomery and the great Barbara Bel Geddes as Skippers mother who takes care of the elderly.

From IMDb-“Based on the true story of ’60s thrill-killer Charles Schmidt (“The Pied Piper of Tucson”), Skipper Todd (Robert F. Lyons) is a charismatic 23-year old who charms his way into the lives of high school kids in a small California town. Girls find him attractive and are only too willing to accompany him to a nearby desert area to be his “girl for the night.” Not all of them return, however. Featuring Richard Thomas as his loyal hanger-on and a colorful assortment of familiar actors in vivid character roles including Barbara Bel Geddes, Gloria Grahame, Edward Asner, Fay Spain, James Broderick and Michael Conrad.” Written by alfiehitchie

This film has a slow burning brutality that creates a disturbing atmosphere of social and cultural imprisonment by complacency and the pressure to conform, even with the non conformists.

Todd almost gets away with several murders, as the people around him idolize him as a hero, an not the ruthless manipulating psychopathic killer that he is. Frighteningly stunning at times. One death scene in particular is absolutely chilling in his handling of realism balanced with a psychedelic lens. This film is truly disturbing for it’s realism and for a 1971 release.

To Kill A Clown 1972

Starring Alan Alda and Blythe Danner. Danner and Heath Lamberts play a young hippie couple who couple rent a secluded cabin so that they can try and reconnect and save their marriage.

Alan Alda plays Maj. Evelyn Ritchie the man who owns the property and who is also a military raised- sociopath who has two vicious dogs that he uses as an extension of his madness and anger.