Vintage Everyday! Shares some Halloween treats for the eyes! 🎃

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35 Amazing Vintage Photos of American Actresses with Their Halloween Costumes!

 Halloween with vintage American actresses.

American actress and singer Virginia Bruce, 1932

Ann Rutherford serves up made to order Halloween pumpkins, ca. 1940s

Anne Gwynne, 1941

Anne Nagel, ca. 1940s

Audrey Young as a black cat for Halloween, 1946

Ava Gardner dressed as a witch, 1944

Barbara Bates and Penny Edwards, 1950

Barbara Bates, 1945

Barbara Britton, Ella Neal, Eva Gabor, and Katherine Booth, 1941

Bessie Love, ca. 1920s

Clara Bow, 1929

Classic Hollywood actress Colleen Moore, ca. 1920s

Classic Hollywood actress Myrna Loy, ca. 1930s

Debbie Reynolds Halloween pinup, 1950

Dorothy Dare in 1928 Halloween

Dorothy Dix in Halloween costumes, ca. 1930s

Dusty Anderson as a black cat, 1945

Helen Bennett in spider dress, 1939

Ida Lupino in the 1930s Halloween

Joan Blondell in a cat costume, ca. 1930s

Joan Crawford as a funny clown, ca. 1920s

June Preisser carving pumpkins for Halloween, ca. 1940s

Lillian Wells, ca. 1940s

Linda Darnell, ca. 1940s.

Lynn Barri, ca. 1940s

Maila Nurmi as a vampire, 1954

Margaret Hamilton as the Wizard of Oz in the 1930s Halloween

Marjorie Reynolds, Frances Brix and Mitzi Uehlein, 1940

Myrna Dell, ca. 1940s

Olga San Juan, ca. 1940s

Paulette Goddard, 1939

Phyllis Kirk, ca. 1950s

Shirley Temple in Halloween, 1935

Silent film start Mary Pickford, ca. 1910s

Vera-Ellen, 1956
Thank You Vintage Everyday for sharing these gorgeous gals getting into the ‘spirit’ of Halloween!
Your EverLovin’ Joey

It’s Saturday and the Anti-Damsel Blogathon 2015 is (HER)E!!!

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It’s Saturday, day One of the Anti-Damsel Blogathon 2015! And Fritzi  of Movies Silently who will be taking over on Sunday… and I are SO knocked over by the amazing turn out! We’re glad to see you so raring to go just like those women who kicked down doors, crossed boundaries and forged a wholly unique path for themselves and other women who are empowered and inspiring and unrestrained to be gloriously-themselves.

So I’ll not wasted any further time with ‘cheap sentiment’ as Bette so effectively impresses upon us… and just get on with the show!

Saturday’s –Anti-Damsels

Movies Silently | Life, Liberty and the Pursuit of Milton Sills: How Miss Lulu Bett Struck a Blow for the New Woman

Our host Fritzi chooses a ‘new’ kind of women Miss Lulu Bett who as she explains the wonderful Lulu and her story as “throwing off the gloomy shackles of Victorianism and making her own way in the modern world! And Lulu’s not so easy to bully!

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The Last Drive In    Hedy Lamarr : from Ecstasy to Frequency- A Beautiful Life

A true legend, not just because she was considered the most beautiful woman in the world, but because of her enduring spirit to express her genius and the profound contributions she made to science!

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The Motion Pictures | Ida Lupino: An Anti-Damsel On Screen and Off

Lindsey at The Motion Pictures pays tribute to one of the most versatile mavericks Ida Lupino. Actress, writer, director, producer. An Emmy-nominated actress and as Lindsey points out, the second woman ever to be admitted to Hollywood’s Director’s Guild. To look at her long impressive career & body of work is to behold a legend that took the reigns and made her life in the shape of Ida Lupino!

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Mind of Levine | Profane Angel, Boss Bitch: The Madcap Badassery of Tragic Carole Lombard

Mind of Levine comes up with a title that makes me feel all warm inside, because she conjures up a bold title that I can grab onto. As of late, I’ve been devouring every film I can on the incredible Carole Lombard, who tragically died in a plane crash. What would she have accomplished in a life time if she had survived.

She has a pantheon place here at The Last Drive In. Irreverent, hilarious, gorgeous, sublime and one step ahead of her male leads. A comedic timing and genius that shook up a studio system that couldn’t handle her verve. Well just read this amazing contribution to the event in Stacy LeVine’s own words… Carole Lombard forever a legend, and an Anti Damsel if there ever was one!

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Nitrate Glow Hilda of Horus: Prince of the Sun (1968)

Nitrate Glow offers us a beautiful gem from 1968… directed by Isao Takahata. Hilda is the little songstress who was way before her time in terms of animation heroines. Nitrate Glow offers an incredibly eloquent and insightful look at a unique film!

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Speakeasy | Cobra Woman (1944) Maria Montez as Tollea/Naja

Kristina’s offbeat & clever insight =Cobra Woman and it’s a hell of a choice. It’s got the good twin/bad twin paradigm and Maria Montez, a warrior woman in charge! Here’s just a tidbit of Kristina at Speakeasy’s perspicacity!

It is said that “no drug-soaked brain could dream up the horrors of Cobra Island,” ‘but this movie dreamed it up and brought it to vivid life. This is fantastic entertainment and pulpy comic book spectacle bursting at the seams with fantastic things:’

Fantastic things like Maria Montez an Anti Damsel for sure…I know what I’m watching later!

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The Joy & Agony of Movies | Sue Ann (Tuesday Weld) in Pretty Poison (1968)

When you think of a woman who is less imperiled you think Jessica Walter as Evelyn Draper or as The Joy & Agony of Movies did, Tuesday Weld is spine chilling as Sue Ann Stepanek, a pretty sociopath who let’s nothing get in her way! She is the epitome of the ‘pretty bad girl’ It’s a great addition to the Anti Damsel Blogathon!

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Tales of the Easily Distracted | Charade (1963) The tale of four men and the woman who loves him

Leave it to Dorian of Tales of the Easily Distracted to offer us a witty and apropos tribute to the Anti Damsel Audrey Hepburn as Regina Lampert in Charade (1963) Just because Hepburn exudes a delicate finery and elegance, she has always manifested a power that strikes out like a lioness! Charade is a wonderful romantic comedy that showcases why the versatile Audrey Hepburn is a legend!

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Critica Retro | Tess Harding (Katharine Hepburn) in Woman of the Year

Crítica Retrô talks about one of the great Anti Damsel legends Katherine Hepburn as Tess Harding the epitome of the strong & independent gal in Woman of the Year (1942)

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The Hitless Wonder | Lady Jane Ainsley (Frieda Inescort) in The Return of the Vampire (1943)

Frieda Inescort plays Lady Jane Ainsely in The Return of the Vampire 1943. Now it’s no small task to play it empowered along side Bela Lugosi! Lady Jane Ainsley: “Your eyes look like burning coals. Don’t come any nearer. Don’t touch me.”

Serendipitous Anachronisms | Zira (Kim Hunter) in Planet of the Apes 1968

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Serendipitous Anachronisms pays tribute to the great Kim Hunter and her memorable character as Dr. Zira in Planet of the Apes 1968. It’s a passionate piece about brave and brilliant women who command an entire civilization of men, oops I mean apes with her strong leadership style and wisdom… Couldn’t have an Anti Damsel Blogathon without her!

shadowsandsatin | Blondie Johnson (1933) Joan Blondell

The prolific Karen has to say about our lovable Joan “downtrodden Depression-era woman who transforms her existence from bleak oppression to indisputable triumph. Using her wits, her nerve, and her determination” We couldn’t have an Anti Damsel party without inviting one of the most effervescent gals Joan Blondell!

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Once Upon a Screen | Attack of the 50 Foot Woman  Allison Hayes

Who better than to pay tribute to an immensely empowered, and I do mean immense! 50 feet worth of empowered woman, than Aurora from Once Upon a Screen. Nancy Fowler Archer will remain indelibly in our secret voyeuristic yearnings to grow tall enough to kick the crap out of the finks who dare betray us!

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Old Hollywood Films | Rachel Cooper (Lillian Gish) in Night of the Hunter

Old Hollywood Films does this Anti Damsel Blogathon proud to showcase one of the greatest legends, Lillian Gish brings to life one of the strongest, pure hearted gun totin’ characters Rachel Cooper in Charles Laughton’s Masterpiece Night of the Hunter (1955) And say… this is a gif that just keeps giffing !!! Thanks Old Hollywood Films for sharing this fabulist heroine!

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Moon in Gemini | Vance Jeffords (Barbara Stanwyck) in The Furies

Moon in Gemini has also honored this grand bash with yet another legendary figure of empowered women-ness! We can’t neglect Barbara Stanwyck and this post will make all you Stanny fans happy with…

The Furies: The Anti-Damsel with a Daddy Fixation! I would have liked to taken one of those Dr. Taylor classes. And as Debbie so aptly puts it- “Is there any character that Barbara Stanwyck played that COULDN’T be classified as an anti-damsel?”

I’d say no! it wasn’t possible for her to be non-empowered or in peril. She didn’t have those strong shoulders and that gritty voice for nothing. Even if Bogie was poisoning her milk, or she was bed ridden or stalked by a dream lover or even a witness to murder, she never quite seemed like a weak woman. Just a strong one in the wrong place at the right time. So dive in now to Moon in Gemini’s brilliant perspective on quite an interesting Stanwyck film!

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bnoirdetour | Edie Johnson (Linda Darnell) in No Way Out 1950

BNoirDetour showcases the talent of Linda Darnell in this highly charged film of social criticism that explodes on the screen in No Way Out (1950)! As Edie Johnson caught in the crossfire of racism, she’s got a lot of guts to rise above the chaos and come out kicking!

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CineMaven’s Essays from the Couch | Carol Richman (Ella Raines) in Phantom Lady

When CineMaven’s Essays from the Couch writes that her heart skips a beat because of our Anti Damsel themed Blogathon, I want to return the compliment and say how grateful both Fritzi and I are for the overwhelming response to this tribute to empowered women! And CineMaven, you couldn’t have picked someone better to cause pangs in my heart than the underrated Ella Raines in what I think is one of THE most incredibly intricate psychological film noirs Phantom Lady, with gutsy Carol (Ella) as our heroine!

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Goregirl’s Dungeon | Anna Karina in the films of Jean-Luc Godard

You’ll never get anything but unique and mind expanding insight from Goregirl’s Dungeon. I was sooo thrilled to have her join in and offer her take on an Anti Damsel. Read her fascinating overview of Anna Karina in the films of Jean -Luc Godard…

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Sacred Celluloid | The Vampire Lovers (1970)

Nick Cardillo of Sacred Celluloid gives us a glimpse into Hammer’s heyday and the birth of the Gothic Anti Damsel female vampire archetype, as he covers Ingrid Pitt in The Vampire Lovers (1970)

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Defiant Success | Deborah Kerr in From Here to Eternity 1953

Defiant Success has made this Anti Damsel Blogathon that much better for having covered Deborah Kerr as Karen Holmes a woman who speaks her mind in From Here To Eternity (1953) Kerr is the consummate anti damsel and she always wields that classy composure!

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The Wonderful World of Cinema | Lola Delaney (Shirley Booth) in Come Back Little Sheba 1952

As Virginie from The Wonderful World of Cinema says- “Movie heroines are not always princesses waiting for a prince to rescue them, they are not always victims or damsels in distress. Female movie characters can be strong, they can have guts, determination and many other wonderful qualities” Shirley Booth had a powerful stamina and warmth that couldn’t be extinguished. We’re so happy to have her as a part of our Anti Damsel Blogathon!

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Carole & Co. | Carole Lombard as producer and feminist

Carole & Co. devotes a journal to the groundbreaking versatility, beauty and comedic genius of Carole Lombard. We’re so glad to have her join us for the Anti Damsel Blogathon! Taken away from us too soon, journey through this insightful post and read about Lombard as producer!

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Karavansara | Emma Peel in The Avengers

Karavansara has done the honor of taking up my wish list and paying tribute to one of THE most iconic sexy and strong female role models of the 60s. I am with them. Diana Rigg & Emma Peel both left a huge impression on me growing up. And yes I couldn’t resist having a one of my first crushes either… Read this well written tribute to one of the finest examples of empowerment…! 

“Emma Peel, as portrayed by Dame Diana Rigg, is one of the icons of the 1960s, a sex symbol, and one of the earliest strong, empowered female leads in television entertainment.”

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Mondo Heather | Marni Castle as Big Shim in She Mob 1968

Heather Drain of Mondo Heather explores the Uber mod & deviant world of the Cult & Exploitation 60s paying tribute to a pretty formidable Anti Damsel Big Shim (Marni Castle) sporting a steel bra that could be registered as a lethal weapon. The film includes other divinely demented Anti Damsels’ as Heather writes- “Sweety East (Monique Duval), who is a Texan-fried, butt-crack rocking version of Honey West, things go from nutzoid to putting out fire with gasoline”

PS: You gotta love a reference to Honey West (Anne Francis) that sexy private eye with her groovy house ocelot Bruce!

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wolffian classic movies digest | Joan Crawford as Mildred Pierce 1945

Naturally we couldn’t do this empowering bash without spotlighting the great Joan Crawford. And Wolffian Classic Movies Digest does a wonderful job of reminding us why Crawford the legend and Mildred Pierce the Anti Damsel are so timeless… Here’s a quote from their fabulous piece –“Joan Crawford starting out as the happy housewife breaks free of that mold becoming her own woman as She carries the movie on her Broad shoulders”

Yeah, Joan Crawford just spewed Anti Damsel!

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Smitten Kitten Vintage | Bette Davis as Margo in All About Eve 1950

Smitten Kitten Vintage did one hell of a bang up job covering not only the incomparable Bette Davis but her iconic portrayal of Margo Channing in All About Eve 1950. The film that put her back on track in Hollywood! Read this insightful piece here. Because no Anti Damsel Blogathon would be complete without the legendary Bette ‘hold onto your seatbelts it’s gonna be a bumpy night’ Davis

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Superfluous Film Commentary | Gene Tierney in The Ghost and Mrs. Muir

Superfluous Film Commentary shares the sublimely bold Gene Tierney as Lucy Muir, a steadfast widow who is fiercely independent and isn’t afraid of ghosts either! A beautiful film and a wonderful contribution to our Anti Damsel bash! as they so eloquently put it Tierney is “positively radiant Gene Tierney, likewise fits the definition of empowered.”

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I’ll think I’ll go get a banana split until we’re back with Fritzi on Sunday for more Empowered Lady Love!- Your everlovin’ MonsterGirl

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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.
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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.
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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.
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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.
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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.”
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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!”
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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
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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)

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Tura Satana, Haji, and Lori Williams in Russ Meyer’s Faster, Pussycat! Kill! Kill! 1965
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Françoise Dorléac and Donald Pleasence in Roman Polanski’s Cul-de-sac 1966
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Constance Towers kicks the crap out of her pimp for shaving off her hair in Sam Fuller’s provocative The Naked Kiss 1964
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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.”

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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!”

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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.”

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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.
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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
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Victor Buono is a deranged mama’s boy in Burt Topper’s fabulous The Strangler 1964
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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”

The Unknown (1927) Lon Chaney- “Men! The beasts! God would show wisdom if he took the hands from all of them!”

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“Ancient traditions, when tested by the severe processes if modern investigation, commonly enough fade away into mere dream; but it is singular how often the dream turns out to have been a half-waking one, presaging a reality.”
-T.H.Huxley; The Book of Beast

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“Men! The beasts! God would show wisdom if he took the hands from all of them!” Nanon Zanzi

or… Mad Love Among the Limbless!

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Lon Chaney Sr as Alonso the Armless

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Directed by Tod Browning

Screenplay by Waldemar Young, (Island of Lost Souls 1932). Story by Tod Browning, based on a novel by Mary Roberts Rindhart. (The Bat 1959). Cinematography byMerritt B. Gerstad  (Watch on the Rhine 1943). Edited by Harry Reynolds, & Errol Taggart. Art Direction by Cedric Gibbons & Richard Day (On the Waterfront, A Streetcar Named Desire) and Lucia Coulter, wardrobe.

Cast: Lon Chaney immortalizes the role of Alonzo the Armless, Joan Crawford plays Nanon Zanzi Norman Kerry plays the strongman Malabar, John George is Alonzo’s side-kick Cojo, Frank Lanning as Costra. Nick De Ruiz as circus owner and Nanon’s ruthless father, Zanzi.

The Unknown is a beautifully disturbing film that gains a savage momentum the more you peer into the face of it’s ugly story. As writer/historian David J. Skal states of the stage contraption at the film’s climax “the Unknown itself is a perfectly constructed torture machine and arguably Browning’s most accomplished film.”

I’d like to use the term “gothic embodiment” from Lena Wånggren‘s May 22, 2013 article Gothic Embodiment: Lon Chaney and Affective amputation because of her astute insight of the overreaching theme of The Unknown which taps into the fear of castration and the horrific aspect to this bizarrely sensational L’amour Fou, that which is both grim and grotesque.

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Chaney and Crawford
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Alonzo and Cojo enter the operating room. The sterile environment envelopes the two men.

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Alonzo blackmails the surgeon for the mob into amputating both his arms. Showing him his signature double thumbs.

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For me it was an unnerving, disquieting piece of the puzzle when I first watched Alonzo enter the stark surgical room to blackmail the surgeon into amputating both his arms, and thereby cutting off his ability to embrace Nanon, his arms an extension of his entire male body. The castration anxiety fulfilled.

Wånggren asks what is a Gothic body? Here she cites a few examples-

“Various scholars have theorized Gothic embodiment and physical difference in Gothic works, such as Judith Halberstam’s Skin Shows: Gothic Horror and the Technology of Monsters (1995) Recently, the collection Demons of the Body and Mind: Essays on Disability in Gothic Literature (2010), edited by Ruth Bienstock Anolik, fruitfully employs the framework of disability studies to study monstrosity in the Gothic. The collected essays focus on the ways in which Gothic texts respond to ‘human beings who are figured as inhuman because they do not align with the physical or mental standards of their society’.

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The beautiful Joan Crawford all of eighteen and Lon Chaney Sr in Tod Browning’s striking disturbing The Unknown 1927

Lon Chaney has inhabited so many memorable roles with the use of theatrically exaggerated Gothic embodiment or characters who are ‘other’ on screen. What quickly comes to mind of course is Erik in Phantom of the Opera or Quasimodo in 1925 as The Hunchback of Notre Dame and of course the cruel yet redemptive Phrozo in The Penalty.

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Lon Chaney as Quasimodo in The Hunchback of Notre Dame

Chaney possessed the ability to express his inner most desires not only through an intuitively emotional expressiveness, along side his elaborate make-up, he also possessed the commanding physicality his roles put on his body.

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Alonzo the Armless showing his arms

Chaney was heavily inspired by clowns as a young man, being fascinated by the duality of their personae. Alonzo is a particularly complex character as Chaney offers us with most of his performances, a man who can be simultaneously loathed and yet often wears a strata of sympathetic layers as we see into his intricate psyche, a sympathetic yet hateful man. Alonzo is a violent misanthrope yet he finds a tenderness in his love for Nanon ironically a woman who repels any love from men. The duality of the character exists in this… Chaney deftly balances his ill spirited belligerence toward the world and his internal emotionalism for the object of his love, the elusive and troubled Nanon.

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Side-Kick Cojo is the only one privy to Alonzo’s secret identity hiding out in the gypsy circus and the fact that he does in fact have two good arms

Chaney is drawn to these roles like moths to the flame of men who suffer their difference at the hands of societal norms, exacting a sort of rule of vengeance, while completely cruel he still manages to convey a deep and abiding pathos.

In one of my other favorite performances of his, he brings to life the complex Blizzard in The Penalty 1920. Both legs having been amputated as a child by a inept surgeon. This sets his character’s trajectory off into a cruel space, one of abuse and a life of crime due to the hardship he endured by being an amputee.

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a scene from the hat factory Chaney as the cruel Blizzard in The Penalty

He is referred to by his foes as ‘the cripple from hell’. Blizzard’s pursuit is to exact revenge on the man who left him a cripple, and the absolute objectification of evil. Blizzard’s body has been left imperfect, filling him with a taste for vengeance for those ‘mangled years’ of his childhood. Years of being forced to live with his ‘physical difference.’

It is this desire for retribution that drives the narrative so strongly. In this narrative of Gothic difference through the embodiment of amputation, Blizzard conceives of a grotesque way of punishing this doctor by having the doctor amputate the legs of the daughter’s fiance, then attaching them to his own body.

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Ethel Grey Terry and Lon Chaney in The Penalty 1920-Chaney wearing fitted leather stumps that were painful in order to hide his legs

While Chaney’s performance as Blizzard the criminal mastermind does create a compelling set of nuances with his character as the criminally insane boy grown out of years of resentment and lust for revenge, it is his performance as Alonzo that truly hits the mark for me.

The Unknown, creates a bizarre romantic notion that Alonzo the Armless can choose to have his arms removed for the object of his desire Nanon which elevates this Gothic Embodiment into the realm of what our contemporary critics and film makers like David Cronenberg would call ‘body horror.’

Alonzo is also maliciously encouraged by his minion Cojo who acts like a devil imp, egging Alonzo down a more dangerous path of self destruction. As many classical horror films make use of the expressly contemptuous ‘little’ evil side-kick as nefarious as the monster themselves.

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Cojo is the personification of the characteristic little evil side kick
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Cojo reminds Alonzo that he doesn’t have to use his feet in private to do all the things he can do with his two good hands

The idea that Nanon (Joan Crawford) suffers from a carnal phobia of having anyone touch her is a vastly more complex and grotesquely misshapen love story than that of The Penalty. The circus performer named Alonzo the Armless, goes to the extremes of amputation so that Joan Crawford’s character Nanon won’t feel threatened by his touch.

Ironically he is rejected in the end of this queasy and quite grim story of unrequited love that turns in on itself.

The Unknown can be considered an allegory of sexual repression and traumatized masculinity. Going all Freudian on the film one could relate the act of Alonzo’s amputation to be that which is symbolic of Freud’s castration anxiety.

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Professor & Author Rick Worland refers to the The Unknown and the idea of Alonzo’s amputation both faked and eventually actualized as fantastic work of psycho-sexual grotesquerie’ it’s amputation plot presenting a ‘fever dream of phallic symbolism, castration anxiety and sexual terror.”

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Alonzo has rendered himself virtually impotent in a sexual way in order to satisfy Nanon’s need to be untouched.

Essentially the idea of Gothic Embodiment and the fetishistic use of amputation in a psycho-sexual context can not over look the idea of the act of simple ‘touch.’ The idea of Gothic Embodiment or ‘difference’ is inextricably linked to the act of touching and therefor an indirect link to frustrated intimacy. The human hands best embody this dual nature of touching and the sense of ‘feeling’ Both explore that which we touch and act as the tool in which to explore or express one’s emotions in kind with another human. What I’d like to call,body dialogue.’

The Unknown released by MGM in 1927 and directed by Tod Browning in the horror genre’s popularly known for (Dracula 1931, & Freaks 1932) takes place at Antonio Zanzi’s ‘gypsy circus’ in old Madrid. The story involves a bizarre love triangle between circus folk Alonzo the Armless (Lon Chaney) Nanon Zanzi (Joan Crawford) and Strongman Malabar the Mighty (Norman Kerry) Alonzo uses his feet to fire guns and throw knives at Nanon.

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The circus act itself a destructive spectacle of masochism as Nanon Zanzi assists Alonzo in his death defying act. Nanon is daughter to the circus owner Antonio Zanzi. Alonzo secretly desires Nanon. As part of their dangerously erotic act that resembles contact, furthermore penetration, but only in it’s flare for tease and excitement, the moving target Nanon is strapped to a board that spins. With each shot of the gun, the bullets remove one more article of Nanon’s clothes. Next with his feet Alonzo throws the penetrating knives that outline Nanon’s bikini clad body perfectly.

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Alonzo the Armless – the devil to his left side

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Alonzo the Armless can use shotguns to fire bullets that disrobe the beautiful Nanon

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Alonzo is described by the circus owner as ‘the sensation of sensations!’,and as the ‘wonder of wonders!’

Chaney collaborated with real life armless double Paul Dismute whose dexterity in the remarkable scenes where he uses his feet to handle objects such as strumming guitars, pouring wine, throwing knives or lighting cigarettes. Within the shot frame Tod Browning and cinematographer Merritt Gerstad (who also worked on Freaks) would use Chaney’s upper body and face. It was a brilliant use of body choreography and timing to give the illusion that Chaney was manipulating these objects by himself, while Dismute remained off camera handling the objects.

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Here are some selected critiques of the film cited in Dark Carnival the secret world of Tod Browning David J. Skal & Elias Savada Chapter- “Murderous Midgets, crippled thieves…”

“Reflecting the growing public alarm over the moral tone of films in the late twenties The Unknown was the first film to be frankly and aggressively attacked in the press for it’s melodramatic  morbidity.” The New York Sun assured readers that “the suspicion that the picture might have been written by Nero, directed by Lucretia Borgia, constructed by the shade of Edgar Allan Poe and lighted by a well-known vivisectionist was absolutely groundless…. The Sun admitted that The Unknown “may be just what the public wants. If it is- well, the good old days of the Roman Empire are upon us” The New York Daily Mirror suggested that “if you like to tear butterflies apart and see sausage made you may like the climax to The Unknown. … typical Chaney fare spiced with cannibalism and flavored with the Spanish Inquisition.”

The New York Evening Post observed that “Mr Chaney has been twisting joints and lacing himself into strait-jackets for a long time- so long, in fact that there is almost nothing left for him now but the Headless Horseman. The Evening Post called The Unknown ‘a remarkably unpleasant picture.{…} a visit to the dissecting room in a hospital would be quite as pleasant and at the same time more instructive.”

Flesh and Blood Lon Chaney
Flesh and Blood- Lon Chaney

Richard Watts Jr of The New York Herald Tribune said of the film, “The case of Mr. Tod Browning is rapidly approaching the pathological. After a series of minor horrors that featured such comparatively respectable creations as murderous midgets, crippled thieves and poisonous reptiles, all sinister and deadly in a murky atmosphere of blackness and unholy doom… the director presents us now with a melodrama that might have been made from a scenario dashed off by the Messrs. Leopold and Loeb in a quiet moment”

Watts conceded that given cinema otherwise so completely devoted to red blooded values and ‘general aggressive cleanliness’ films of the sort Browning championed might provide a ‘valuable counteracting influence” Obviously he felt repulsed by The Unknown.

The conservative Harrison’s Reports wrote “One can imagine a moral pervert of the present day, or professional torturers of the times of the Spanish Inquisition that gloated over the miseries of their victims on the rack and over their roasting on hot iron bars enjoying screen details of the kind set forth in The Unknown. but it is difficult to fancy average men and women of a modern audience in this enlightened age being entertained by such a thoroughly fiendish mingling of bloodlust, cruelty and horrors. … Of Mr. Chaney’s acting it is enough to say it is excellent of it’s kind. Similar praise might well be given the work of a skilled surgeon in ripping open the abdomen of a patient. But who wants to see him do it?”

There does seem to be a Sadomasochistic tone pervading Browning/Chaney collaborations that begs the question about their private machinations that collaboratively generated such cruel public spectacles.

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Joan Crawford eighteen at the time recalled Chaney’s ordeal with wearing the leather harness as agonizing a self punishing behavior. Mr Browning would say to him “Lon, don’t you want me to untie your arms?” ‘No, the pain I am in enduring now will help with the scene. Let’s go!” That’s how he was able to “convey such realism” and emotional agony that made it shocking and fascinating.“Chaney projected the image of physical suffering as both the definition and price of his stardom; exactly why he chose to is not so clear and since he left no revealing journals or correspondence on the matter, may forever remain obscure” Crawford said about Chaney,When he acted, it was if God were working, he had such profound concentration. It was then I became aware for the first time of the difference between standing in front of a camera, and acting.”

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on the set of The Unknown

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‘Armless Wonders’ were among the most spectacular and well-paid performers in turn-of-the-century American freak shows who would perform tasks and feats (no pun intended) to entertain the onlookers.

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Violetta the limbless beauty
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Frances Belle O’Conner featured in Freaks

While Freud had his pseudoscience fix for every mental ailment boasted, but discontents but Tod Browning favored themes of a visceral sexually charged plot surrounding resentment and revenge. He screened overt manipulation of disturbing sexual symbolism in order to shock his audience into consciousness. The threat of castration is a particularly violent notion and repressed emotional impulse. Freud’s Uncanny (which I seem to love films that echo this work), the idea of disembodied limbs, severed heads, hands cut off at the wrists all have something particularly uncanny about them. Especially when they are show as capable of independent movement. It all springs from the castration complex. Browning’s fascination with sexually motivated mutilation, like that of Cleopatra being turned into a chicken or ‘duck’ lady in Freaks annihilating her beauty, that quality which she used to lure Hans.

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Olga Baclanova as Cleopatra the trapeze beauty turned into the Chicken Lady by the avenging Freaks

In Freaks was Francis the armless woman, and actually there were two armless girls- Martha Morris and Francis O’Conner. Richard Watts Jr film critic for the New York Herald Tribune said of Browning- “Browning is the combination of Edgar Allan Poe and Sax Rohmer of the cinema. Where every director save Stroheim, breathes wholesomeness. out-of-door freshness and the healthiness of the clean limbed, Tod revels in murkiness… His cinematic mind is a creeping torture chamber, a place of darkness, deviousness and death”

After Freaks, “In Browning’s next project, Freudian theory would be bizarrely literalized into a weird and spectacular circus attraction Based on an original story by Browning. Alonzo the Armless was a vehicle for Lon Chaney that would prove to be one of the darkest carnivals of the entire Browning canon.”

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Boxing Helena is a 1993 modern day grotesquely romantic melodrama that debuted director Jennifer Chambers Lynch, (daughter of David Lynch) Utilizing the mechanism of amputation as what I’ll call ‘seductive symbology’. The film stars Julian Sands and Sherilyn Fenn as the object of his desire a surgeon who will keep his love closest to him by any means.

David Lynch’s daughter did an incredible job of blindsiding my expectations of horror while utilizing an outre grotesque bit of violent eroticism with Surveillance (2008) coming along ways off from Boxing Helena which initially I thought was a woman’s pugilist film, much to my surprise and stomach turning angst. The scene in Surveillance where the little girl in pajamas is wandering the desert I believe is more than a coincidental great nod to the scene in THEM (1954). Lynch’s work has some truly dynamic horror moments… I can’t say more about the film without giving away some of the ingenious plot twists and mechanisms. Another modern classic that is reminiscent in it’s use of the eroticism conflated with amputation is Alejandro Jodorwosky’s masterpiece Santa Sangre 1989. The Gothic Embodiment again take place in a traveling circus showcases the sexualization of Concha’s violent amputation of both her arms by her volatile sword throwing philandering neanderthal husband played by Guy Stockwell. Where the crossover imagining of mythos and psycho-sexual stimulation of violence and armless saints blend into a nightmarish wander-land for the son Fenix.

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Guy Stockwell in Alejandro Jodorwosky’s Santa Sangre
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the illusory masterpiece that is Santa Sangre

The Unknown, is a profoundly bizarre love triangle with the sense and symbolism of touch tethering the players together in an immortal context of specific reliance the importance of contact. Using Nanon’s abject horror of being touched and her repulsion of the male physique. Hands and arms are the active normative use of the physical expression of intimacy at odds with the difference of Gothic embodiment. To the extent that Alonzo is willing to ‘castrate’ himself in order to possess Nanon fully.


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This is how the opening title goes. We are placed down into an altered world of reality and the fantastical lifestyle of circus life.circus

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The circus features an armless entertainer named Alonzo. He is a knife thrower who could split the hairs on two flies dancing in unison. His claim to fame is that he handles both bullets and blades with his bare feet. At the film’s opening scene Alonzo performs showing the confidence of his perfect aim by flinging phallic knives at his beautiful assistant Nanon who is at the receiving end of his knife throwing while seated on a rotating platform. With each delivery he picks off one more article of Nanon’s clothing that dangle there boasting of his sexual competence. Through this performance Alonzo can sublimate his own feverish sexual urges for Nanon.

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The secret lies in the fact that Alonzo actually does have two strong capable arms, a fact that only his dwarf assistant Cojo (John George) is privy to. Each day Cojo laces Alonzo into a punishing leather corset. Alonzo dons this apparatus to create the appearance of amputation. A disguise he perpetuates because he is on the run from the law, and it also brings him closer to the object of his fixation the beautiful but sexually constrained Nanon. Nanon is consumed with a phobia surrounding the male anatomy, in particular their hands. She is repulsed by men’s upper extremities, “Men! The beasts! God would show wisdom if he took the hands from all of them!”

Although Alonzo possess arms, he does exhibit a freakish anomaly as he possesses a double thumb on one hand. In the original story Browning and screenwriter Waldemar Young had envisioned a claw as his deformity. But the phallic charge of the double thumb is more in keeping with the influence Freud’s The Uncanny had made on cinema.  According to writer/historians Skal & Savada ‘doubling’ is viewed by Freud as an imaginative defense against the feared loss of the self, or a part of the self.

Alonzo suffers in silence over his immortal love for Nanon, keeping their relationship strictly platonic, he still attracts negative attention from Nanon’s father the circus owner. On a dark and rainy night, Alonzo strangles the man, as Nanon peers outside her window yet does not see the killer’s face. The one thing that she does notice is the unmistakable double thumbs as it grips her father’s throat.

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While Alonzo quietly broods over his unrequited love, the strong man Malabar (Norman Kerry) pursues her with all the traditional male prowess of a proud peacock. Of course this sends Alonzo into fits of irrational jealousy. He blackmails a surgeon into actually removing his arms, so that Nanon would assuredly run to him being the safe male.

Malabar’s sexual advances only push Nanon closer toward Alonzo’s friendship. But Alonzo’s side kick Cojo ( John George whom Browning used several times throughout his career) warns his friend that he shouldn’t let Nanon get so close as to be able to feel that he truly does have arms that are strapped down.

But when he returns to the circus after the surgery he discovers that Nanon has miraculously overcome her fear of manly chests, bulging muscles and arms with which to hold her in ecstatic embrace. And the two are also engaged.

There is a sad ironic scene when Nanon asks Alonzo if he is thinner, before she tells him of her love for Malabar. The moment is filled with a typical Tod Browning sense of timely perversity misdirection and emotional pain.

She declares to her old friend that she even LOVES Malabar’s hands: ‘Remember how I used to be afraid of his hands? … I am not any more. I love them now.’

I’ll leave the climax to those who haven’t seen this violently intoxicating film yet.

The film is filled with cruelty, irony and obsession. While the story is more like a wickedly grotesque fairytale it observes the journey of a it’s own nightmarish reasoning but intricate as it is repulsive.

What is Nanon’s strange and horrible fixation on men’s hands. She is terrified by the thought of their hands on her!

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‘Alonzo, all my life men have tried to put their beastly hands on me… to paw over me.’

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Malabar approaches Nanon

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She has ‘grown so that [she] shrink[s] with fear when any man touches [her]‘ with their ‘beastly hands’. Nanon’s fear becomes apparent when she is courted by the circus weight-lifter or strongman Malabar.

When Malabar boasts to Nanon of incredible strength, flexing his arm muscles and grabbing at her hands and her wrists, while telling her of how his ‘hands that long to caress you’, Nanon struggles to get away experiencing shear terror.

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What frightens her more is the ‘ideal’ of Malabar’s physique. To Nanon, the object of Gothic horror seems to be  the normative body, and strangely enough not the body emphasized as different. Malabar’s body encompasses an extreme forceful ideal of the masculine body.

Nanon is traumatized by Malabar’s aggressive touch and grasping hands. She finds him abhorrent ‘Hands! Men’s hands! How I hate them!’, and indeed wishes that ‘God would … [take] the hands from all of them’.

She finds comfort in Alonzo who poses no threat to her as he has no arms or hands that can either challenge her desire or harm her.

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the surgeon has no choice but to do Alonzo’s gruesome bidding

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Nanon tells Alonzo that he feels thinner

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Norman Kerry and Joan Crawford in Tod Browning’s The Unknown Nanon finally embraces Malabar’s hands

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The Unknown (1927)-The Armless Wonder.

By MORDAUNT HALL.
Published: June 13, 1927

“Although it has strength and undoubtedly sustains the interest, “The Unknown,” the latest screen contribution from Tod Browning and Lon Chaney, is anything but a pleasant story. It is gruesome and at times shocking, and the principal character deteriorates from a more or less sympathetic individual to an arch-fiend. The narrative is a sort of mixture of Balzac and Guy de Maupassant with a faint suggestion of O. Henry plus Mr. Browning’s colorful side-show background.{…}

“The rôle of Alonzo, who poses as the Armless Wonder with a Spanish circus, is one that ought to have satisfied Mr. Chaney’s penchant for freakish characterizations, for here he not only has to go about for hours with his arms strapped to his body…{…}

“This tale is prefaced as if it were a circus legend, and soon one realizes that Alonzo is not only expert in the use of his feet when serving himself, but he is also supposed to be a crack shot and an unerring knife thrower. The girl who risks her life daily before Alonzo’s bullets and knives is Estrellita, impersonated by Joan Crawford. She becomes interested in Alonzo because most men in the circus without provocation invariably want to caress her.”

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

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

Joan and Bette

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

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

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

Joan Crawford on Bette Davis: “She’s phony, but I guess the public really likes that.”

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

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

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

Bette and Joan on the set of Baby Jane

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

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

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Joan Crawford color

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

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

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

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

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Crawford and Tone
Crawford and Tone

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

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

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Bette Davis and Franchot Tone in Dangerous ’35

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

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

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

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

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Franchot Tone and Joan Crawford

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

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

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Franchot Tone and Joan Crawford-a dynamic couple

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

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

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

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

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

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

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

Joan accepts oscar for Anne Bancroft

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

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

Joan accepts the oscar for Bancroft

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

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

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

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

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

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

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

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Davis & Crawford on the set of Baby Jane
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Davis & Crawford on the set of Hush… Hush, Sweet Charlotte with Aldrich

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

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

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

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

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

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Bette Davis and George Arliss The Man Who Played God

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

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

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Crawford before her legendary eyebrows took over her face
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Bette and those big beautiful blues

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

Revisiting Robert Aldrich’s Grande Dame Hag Cinema: Part I ‘Get back in that chair Blanche!’

This post is for The Dynamic Duos in Classic Film Blogathon Hosted by Classic Movie Hub and Once upon a screen…

Dynamic Duos of Classic Film blogathon

Davis and Crawford on the set of Baby Jane
Bette Davis and Joan Crawford on the set of What Ever Happened to Baby Jane?

Robert Aldrich is one of my favorite directors with numerous memorable films that transcend a restrictive genre tag. He always brings us a cynical and gritty story with very flawed characters who are at the core ambiguous as either the protagonist or the antagonist. Aldrich took economics in college, then dropped out and landed a very low paying job at first as a clerk with RKO Radio Pictures Studio in 1941.

He studied with great directors like Jean Renoir. It was his training in the trenches that made him the auteur he is, delving inside the human psyche and questioning what is morality.

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Aldrich has a flare for the dramatic. He likes to break molds and cross over boundaries. He also has a streak of anti-authoritarianism running through the veins of his films. There aren’t just traces of his ambivalence toward the Hollywood machine in his film philosophy, he also conflates the ugly truths beneath the so called American Dream and the “real” people who inhabit that world.

He died in 1983, and while he remained inside the Hollywood circle, he maintained an outsider persona. He memorialized the misfits and outcasts by making them the anti-heroes in his work, all of which ultimately were destined to fall because they refused to play the conformity game.

Aldrich partnered with Joseph E Levin to purchase the rights to the British writer John Farell’s Hollywood horror book in 1961 but at first no one seemed interested. Aldrich got Seven Arts Pictures curious about the film and so Warner Bros agreed to distribute the film but didn’t allow it to be made on the Warner lot.

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Bette Davis, Jack Warner, Joan Crawford and Robert Aldrich
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Robert Aldrich with Bette Davis and Joan Crawford

Aldrich relates in an interview that “Eliot Hyman at Seven Arts read the script , studied the budget and told him candidly: “I think it will make a fabulous movie, but I’m going to make very tough terms because it’s a high risk venture.”

Baby Jane? was not an easy sell, even with the double billing, both the actresses box office draw had diminished by then. Later on Aldrich said that the problem with Jane was that “the topic was perceived as controversial and not a built in moneymaker which would alienate portions of the public”

Jack Warner was quoted as saying he “Wouldn’t give a plug nickle for either one of those old broads” Warner was an asshole!

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Warner Studio head Jack Warner with 2 two star ‘broads’ Bette Davis & Joan Crawford

It’s has been noted in interviews with Aldrich that his working relationship was already very good with Crawford having worked with her on Autumn Leaves (1959). However with Bette Davis he had to do a little more convincing. Eventually she was on board with the project.

By the time Aldrich bought out Levine the story price had gone from $10,000 to $85,000 and no one seemed interested. But Aldrich relates in an interview that “Eliot Hyman at Seven Arts read the script , studied the budget and told him candidly: “I think it will make a fabulous movie, but I’m going to make very tough terms because it’s a high risk venture.”

It was Aldrich’s persistence and his faith in the project that made Davis enthusiastic about the film. Crawford had already expressed a desire to work with Bette Davis in a film. For Bette to take on such an unattractive role was pretty gutsy for her.

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I choose to focus on Baby Jane? and Sweet Charlotte, as they are not only my favorites of his, but also they are 2 incredible pieces of film art with the allure of the dynamic pairing of two of THE most legendary actresses from the silver screen.

What’s most fabulous about the film is that it has both Bette and Joan, which gives it such a dynamic double billing. The film really was a seminal work because nothing quite like it had been done earlier. Films like Sunset Boulevard (1950) and Autumn Leaves (1959) set some ground work for older actresses to wax crazy dramatic in film. But ultimately the pot boiled over with Baby Jane? and Hush… Hush, Sweet Charlotte.

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Joan Crawford has the more glamorous role of an aging movie starlet, while Bette Davis must inhabit the role of the decrepitude has-been child of vaudeville.

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And while Aldrich has a notable filmography to his credit, like his Cold War scare noir masterpiece Kiss Me Deadly, his film that exposes the flawed Total Institution of the penal system, The Longest Yard with Burt Reynolds, and his iconic war ensemble, The Dirty Dozen ’67. There’s his other psychological thriller with Joan Crawford playing wife to the psychotic Cliff Robertson in Autumn Leaves ’56 and the two Hollywood ventures exposing the darker side, The Big Knife ’55 with Jack Palance and of course Kim Novak in The Legend of Lylah Clare ’68.

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Joan Crawford and Cliff Robertson in Aldrich’s Autumn Leaves ’56

What Ever Happened to Baby Jane? Directed by Robert Aldrich is based on the novel by Henry Farrell with a screen play by Lukas Heller. Cinematography by Ernest Haller (Gone With the Wind ’39, Mildred Pierce ’45, Rebel Without a Cause ’55) Art Direction by the fabulous William Glasgow Norma Kotch won an Oscar for her costume design on Baby Jane? and Hush… Hush, Sweet Charlotte as well as Aldrich’s The Flight Of The Phoenix (1965)

Co-starring: The main players–Victor Buono as Edwin Flagg, Marjorie Bennett as Dehlia Flagg, Anna Lee as Mrs.Bates, Maidie Norman as Elvira Stitt and Barbara Merrill (Bette’s daughter) as Liza Bates.

The film premiered on October 26 1962. and released on Halloween of 1962. Davis was nominated for Best Actress and Victor Buono for Best supporting actor.

Whatever Happened to Baby Jane? is filled with grotesque melancholy, the wasteland of forgotten womanhood, and abject psychosis drenched within the portrayal of a repressed woman-child born of rage and delusion. It’s also a striking condemnation of sexism and agism rampant in Hollywood. Another reason I want to talk about Aldrich’s’ two seminal films is that both motion pictures set the tone for a whole cycle of films to follow. Aldrich’s two Grande Dame Guignol films started a cinematic trend. 

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Jane peers in from doorway


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For the 50s and 60s, melodrama’s consisting of plots about mental illness weren’t typically conventional and a film as extremely grotesque as Baby Jane? could be considered very disturbing. Even as groundbreaking as Hitchcock’s Psycho (1960) was, released the same year as Baby Jane? Psycho’s narrative veiled Norman Bates as a mild mannered young man with an Oedipus complex. In Baby Jane?, her flagrant derangement is glaring.

Perhaps films like Val Lewton’s Bedlam 1946, Anatole Litvak’s The Snake Pit 1948 and Sam Fuller’s Shock Corridor 1963 addressed the systemic institutional problems surrounding mental illness, but Aldrich’s films are very intimate ventures.

This lurid pulp melodrama of abject madness is superb particularly because of the uninhibited performances by Bette Davis and Joan Crawford. It was pretty courageous of both starlets to leave the glamor behind for such ghastly and unpleasant ceremony.

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Image of glamorous Davis & Crawford courtesy AMC’s Backstory

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First of all, I LOVE Bette Davis with a passion, the actress and the woman herself. Have you ever seen the fabulous Dick Cavett interview? if not you should track down a copy. Bette is an enduring icon and one of a kind. She has a distinct style, a unique “hitch to her git along”, as Andy Griffith would say, and is a true Hollywood legend, thoroughly intrepid, dynamic and just down right glorious!

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And I adore Joan Crawford as well. She was unbelievably beautiful when she first started out in motion pictures, before her signature crazed galvanized eye brows took over her face and those shoulder pads her wardrobe. It makes me sad to think that these woman might have truly despised each other. It’s truly a shame.

Aldrich directed this film with a crude veracity leaving us to dwell on some feelings of ambivalence toward these particular characters. I was with Jane even at her cruelest, although I pretend that the bird died of natural causes and the rat was found that way… I never warmed up to Blanche even though she was an invalid, I got the sense from her that she’s not what she appears to be.

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To reduce Davis’ performance to histrionic camp would diminish the moments when she is starkly in control of the serious meter of Jane’s growing madness. The oscillation between Jane’s childish tantrums and musings and the all out fury and retaliations are an artful feat delivered by Davis quite masterfully. She must have enjoyed the role immensely. It must have also been challenging. Jane’s dissipated drunken swagger, the way she literally slouches around the house and her irritable disposition might be the culmination of not only 30 years of taking care of Blanche, but also a sign that she is inappropriately uninhibited by her years of the undigested bile of animosity, hostility and ultimately her malicious outbursts of paranoia, that lead to her aggression and violence.

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Jane close up

In the end Jane’s macabre corpse’s white make up, painted like a mask with heart shaped beauty mark, Kewpie-doll lipstick and blond wig of massive ringlet gives Jane an extra bizarre persona. While Jane is supposedly a vain character, ironically she is under the impression that she is fashionable, she is a vaudeville clown with caked on face powder, slouchy dresses that are adult versions of the Baby Jane stage outfits she wore as a child. When Jane goes out in public wearing the fur and wilted corsage and antique jewelry, it represents her attachment to the past, although it is not flattering to her at all, when in fact she is perceived as pitiful. Apparently it was Davis herself who created the chalky pale freakish make-up that Jane puts on when she starts to plan her comeback. It’s almost a decrepit version of the artistic painted face of Geisha culture. In Peter Shelley’s book Grande Dame Guignol Cinema- A History of Hag Cinema from Baby Jane to Mother he compares the way Blanche looks at the end, with her pasty death mask and dark rings to the actress Irene Papas. It was definitely the dark imposing eyebrows.

What Ever Happened to Baby Jane

Continue reading “Revisiting Robert Aldrich’s Grande Dame Hag Cinema: Part I ‘Get back in that chair Blanche!’”

the clip joint: Happy Mother’s Day from The Last Drive In!!!!

MILDRED PIERCE (1945)

STELLA DALLAS (1937)

THE ANNIVERSARY (1968)

CARRIE (1976)

A very Happy Mother’s Day to all you ‘Mother’s’ out there!!!!- MonsterGirl

A Trailer a Day Keeps the Boogeyman Away! Strait-Jacket (1964)

“HER HUSBAND…HER ROOM… AND ANOTHER WOMAN”

STRAIT-JACKET 1964

Strait Jacket film poster

Joan Crawford

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One of William Castle’s tautly macabre psycho thrillers written by the prolific Robert Bloch (Psycho). Robert Bloch went on to write the surreal story The Night Walker (1964) starring Barbara Stanwyck. This frenetic yet subtle Grande Dame Guignol style flick in the spirit of Robert Aldrich’s Hush Hush Sweet Charlotte (1964), stars the inimitable Joan Crawford as Lucy Harbin, who after 20 years in an asylum for the double axe-murder of her cheating husband and his lover, returns home to stay with her daughter Carol (Diane Baker) where the tension starts to boils over. As Lucy’s daughter Carol prepares to get married, the bodies start piling up, or I should say the heads start to roll once more. Has Lucy become an axe-wielding murderess again?

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Carol Harbin: “I hate you! I hate you! I hate you! No I didn’t mean that, I love you. I hate you!”

Joan Strait Jacket

Also co-starring Lief Erickson, Howard St John and George Kennedy. 

Crawford replaced Joan Blondell in the role of Lucy Harbin after Blondell was injured and couldn’t finish the film. Also Ann Helm had originally been picked to play the role of Carol, but Crawford insisted on them using Diane Baker. There was a lot of product placement of Pepsi-cola as Joan Crawford was on the Board of Directors of the soft drink empire.

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the effervescent ever lovin’ Joan Blondell
Ann Helm and Elvis in Follow That Dream
Ann Helm and Elvis in Follow That Dream 1962

Keep your heads… MonsteGirl

Postcards from Shadowland No. 8

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