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

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

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

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

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

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

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

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

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

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

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

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

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

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Barbara Stanwyck posing with boxing gloves!

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

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

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31. Ma Kate Barker (Shelley Winters) in Bloody Mama 1970: You know that Roger Corman was going to get the BEST woman who didn’t give a damn to play Ma Barker, the machine gun wielding matriarch of a notorious gang of bank robbers. She’ll do anything for her boys… Four boys only a mother could love. She’d kill for them! Ma Barker was irreverent and as mean as a bear backed into a beehive. A bold and brazen nature that delves into a whole other level of ‘no fucks given.’  Holding up a bank with her machine gun in hand “Alright everybody now reach for the nightgown of the lord, REACH!” 
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32. Pepe (Grayson Hall) in Satan in High Heels (1962). Pepe is the owner of a posh burlesque house in mod-yet-gritty 60s New York City. Pepe is an incessant smoker and savvy, domineering woman who brings the story about a new ‘singer’ Stacey Kane (Meg Myles) who joins the club, to a boil— even as she stays as cool as the center seed of a cucumber. Pepe tilts her head sizing up all the various patrons who inhabit her club with just the right mix of aloof and self-possession as she puffs on her cigarette. She’s always ready with the quick lash of her tongue like a world-weary drag queen.  “Bear up, darling, I love your eyelashes.” — “You’ll EAT and DRINK what I SAY until you lose five pounds IN THE PLACES WHERE!”
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33. Lucy Warriner (Irene Dunne), The Awful Truth (1937) Before the ink on the divorce papers is dry Jerry (Cary Grant) and Lucy Warriner (Irene Dunne) torture each other and sabotage any chances of either of them getting re-married. Both Lucy and Jerry carry on monologues to themselves throwing out quick witted repartee, so that we can see both sides of the story. One evening, when Jerry is flirting with the idea of marrying into a high society family, Lucy impersonates his sister, playing at it like a cheap bimbo. At one point she does a fabulous drunken Hoochie dance, wiggling around with a provocative sway falling into her ex-husbands arms in a way that should definitely put a dent in Jerry’s plans. Lucy is hell bent on driving Jerry crazy, yet becomes flustered herself when the tables are turned on her as she tries to carry on with her new fiancé (Ralph Bellamy). Jerry Warriner: “In a half an hour, we’ll no longer be Mr. and Mrs. Funny, isn’t it.”  Lucy Warriner: “Yes, it’s funny that everything’s the way it is on account of the way you feel.”  Jerry Warriner: “Huh?”  Lucy Warriner: “Well, I mean, if you didn’t feel that way you do, things wouldn’t be the way they are, would they? I mean, things could be the same if things were different.”  Jerry Warriner: “But things are the way you made them.”  Lucy Warriner: “Oh, no. No, things are the way you think I made them. I didn’t make them that way at all. Things are just the same as they always were, only, you’re the same as you were, too, so I guess things will never be the same again.”
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34. Catherine ‘Cay’ Higgins (Ruth Roman) in Tomorrow is Another Day (1951). Catherine is a tough dance hall girl who isn’t afraid to get herself dirty. She goes on the lam for the sake of self preservation when her new love interest Bill Clark (Steve Cochran) is wrongfully accused of killing her abusive pimp… and geez he’s just gotten out of prison after a long stretch. Cay is ballsy, extremely earthy, and exudes an inner strength that is so authentic it’s hard not to believe she could take one on the chin and still keep going. She embodies an indestructible sort of sex appeal, powerfully passionate and self-assertive woman you’d want to be with you if you’re ever on the lam… Catherine ‘Cay’ Higgins: “You worked a whole day just to dance a minute at Dream Land?  Bill Clark: It was worth it.”
Lizabeth Scott and Raymond Burr in Pitfall 1948
35. Mona Stevens (Lizabeth Scott) Pitfall (1948) Mona is a sultry dewy blonde fashion model with a low simmering voice in the greatest tradition of the noir femme fatale. Forbes falls for her, and they begin to see each other, though she unwittingly starts the affair without knowing he’s married. It’s a recipe for disaster because ex-cop turned private dick J B MacDonald (Raymond Burr) is psychotically obsessed with Mona and will set things up so Forbes goes down. Mona is a tough cookie, who unfortunately keeps attracting the wrong men. But she can take on any challenge because she’s got that noir frame of mind. She’s a doll who can make up her own mind and can hold a gun in her hand as easily as if it were a cigarette. Mona “You’re a little man with a briefcase. You go to work every morning and you do as you’re told.”
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36. Lady Torrence (Anna Magnani ) in The Fugitive Kind (1960) Lady is an earthy woman who’s passions run like a raging river & her emotions and truths flow freely on the surface clear and forceful. She is a shop owner in Louisiana who is stoically existing in a brutal marriage to her cruel and vindictive husband Jabe (Victor Jory) who’s bed-ridden and dying of cancer. Lady dreams of building a confectionary in the back of the store. Along comes Marlon Brando as Valentine “Snakeskin’ Xavier, a guitar playing roamer who takes a job in the shop. Lady’s jaded loneliness and Valentine’s raw animal magnetism combust and the two begin a love affair. And Lady suddenly sees possibility again and her re-awakened passion empowers her to live her dreams. Lady-“Let’s get this straight, you don’t interest me no more than the air you stand in.”
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37.  Egle (Anna Magnani) … And the Wild Wild Women (1959) Egle is the toughest inmate at this Italian prison for women. When Lina (Giulietta Masina) is convicted on a wrong felony charge, Egle takes her under her hardened wing and tutors her in the ways of crime. Egle is an instigator, she’s volatile and inflammatory and stirs up quite a riot at times. She’s got no fear. She is a tougher-than-nails, armpit-washing dame who just could care less about anyone else’s comfort or freedom. She’s a woman who has built up a tough exterior long enough that she truly is made of steel. The only thing that may betray that strength is at times the past sorrow or suffering that swims in her deep dark eyes.
The Rose Tattoo
38. Serafina Delle Rose (Anna Magnani) in The Rose Tattoo (1955) As the tagline states ‘Seething with realism and frankness!” You can’t get any other kind of performance from Magnani, her passionate soul is right up front, on her face and in her movements like a wild animal she moves so freely. Serafina is perpetual grieving widow filled with fire, playing against another actor (Burt Lancaster) whose bigger-than-life presence comes her way to bring about a lighthearted romance… Serafina is a seamstress in a small New Orleans town. She lives with the memory of her dead husband as if he were a saint. She mourns and wears black to show she is still committed to her man, even after he’s been killed by police while smuggling drugs for the mafia hidden in the bananas in his truck. With the presence of the local Strega or witch (Serafina gives deference to these things illustrating that she is of an older world of ancient feminine magic and empowerment), and her wandering goat, the town of fish wives & gossips who point, stare, judge, wail and cackle with their unkind insults put Serafina it forces her to fight for every last bit of dignity. Serafina gives deference to these things illustrating that she is of an older world of ancient feminine magic and empowerment. Once she learns her dead husband Rosario Delle Rose (who had a rose tattoo on his chest) was having an affair, the spell that leaves her imprisoned by mourning, breaks and awakens her will to celebrate life once again. She is stubborn, & passionate, and she has a strength that commands the birds out of the trees.  Serafina “We are Sicilians. We don’t leave girls with the boys they’re not engaged to!” Jack “Mrs Delle Rose this is the United States.” Serafina “But we are Sicilians, and we are not cold-blooded!”
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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.” 
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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.”
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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.”
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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
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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!”
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49. Alexandra Del Lago (Geraldine Page) in Sweet Bird of Youth (1962) Alexandra Del Lago is a decadent, soaked in boozed, and fading film star who is picked up by drifter by Chance Wayne (Paul Newman) for a tumble in the sheets. He’s been trying to break into the film biz for years, and hoping that Alexandra can help him get a screen test. He also wants to be reunited with his old flame Heavenly Finley (Shirley Knight). Chance Wayne: “I had my picture on the cover of Life magazine!… And at the same time I was… employing my other talent, lovemaking.”  Alexandra Del Lago: “That may be the only talent you were ever truly meant for.” The roles that Geraldine Page would often take were filled with an intellect that transcends the strong female archetype. As Alexandra, she has a unique sort of cynical romanticism that exudes, a bit of alienation, a touch of longing and a penetrating intensity. She might be a washed up film star but she’s also a philosopher with a grasp of vocalizing the ironies and tragedies of life. She wants to drown her sorrows in liquor so she can escape from the pain of her life, and the uncertainty the future holds. But within that internal tumult is the soul of a great lady. Narcissistic, world-weary and a spirit stoked by those heart-aches.
Anna Lucasta (1958) | Pers: Eartha Kitt, Sammy Davis Jr | Dir: Arnold Laven | Ref: ANN040AE | Photo Credit: [ United Artists / The Kobal Collection ] | Editorial use only related to cinema, television and personalities. Not for cover use, advertising or fictional works without specific prior agreement
50. Anna Lucasta (Eartha Kitt) (1958) Young Anna is rejected by her sanctimonious father Joe played to the hilt by Rex Ingram. While the rest of the family wants Anna to come home, her self-righteous father can’t resist demonizing his daughter, with an underlying incestuous desire that he is battling.  Anna takes the cliched road of the fallen woman and becomes a good time gal who meets Danny (Sammy Davis Jr.) a cab driving sailor who is as smooth as silk and as fiery as molten lead. Though there is an underlying sadness because of the estrangement with her father, Anna possesses a strong sense of self, and exudes a fiery passion that cannot be denied… She isn’t a bad girl, she had to find her own way and again, it often leads to taking control of who you love and how you love. She and Sammy have a smoking hot chemistry on screen, and Kitt is just powerful as a woman who made that road her own…  Danny- “Tell her who Papa is” (speaking about the little carved wooden Haitian idol he’s given her) Lester – “That’s the model of Agwé the Haitian god of the sea. Seems he’s good to sailors” Anna- “Looks like Papa and me’s got something in common…”
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51. Carol Richman (Ella Raines) in Phantom Lady 1944 Carol Richman risks her life to try to find the elusive woman who can prove her boss (Alan Curtis) didn’t murder his wife. The unhappy guy spends a fateful evening with a woman he has picked up in a bar. He doesn’t know her name but she wears an unusual hat, which might be a clue for Carol to try and track down. Carol’s got so much guts, she puts herself in harms way so many times but she’s fearless just the same. Even when she meets the super creepy jazz drummer Cliff Milburn, who obviously is manic and might just be a sadist in bed, (if his drumming is any indication.) Plus there’s always the deranged sculptor Jack Marlow (Franchot Tone) who seems to be a menacing force.  Cliff Milburn (Elisha Cook Jr) “You Like Jive?” Carol ‘Kansas’ Richman “You bet, I’m a hep kitten” 
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52. Pam Grier is Coffy 1973  Okay okay tho I’m sneaking in past the 1970 cut off… I’m a woman who doesn’t give a damn and nodding to one of the greatest 70’s icon… Pam Grier set the pace for strong female heroines that laid the groundwork for all the others to follow… so she gets a nod from me! She plays a nurse who becomes a vigilante in order to get justice against the inner-city drug dealers who are responsible for her sister’s overdose… Coffy sets the bar high for strong female characters who wouldn’t back down, and who possessed a strength that is meteoric and a force to be reckoned with. Beautiful, resourceful, intelligent -a strikingly irrepressible image that will remain in the cultural consciousness for an eternity. Arturo Vitroni: “Crawl, n*gger!” Coffy: [pulls out gun] “You want me to crawl, white mother fucker?” Arturo Vitroni: “What’re you doing? Put that down.” Coffy: “You want to spit on me and make me crawl? I’m gonna piss on your grave tomorrow.”
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53. Charlie (Teresa Wright), in Shadow of a Doubt (1943) Charlie is tired of small-town life with her parents and annoying younger sister. She’s a girl starved for new adventures, longing for something exciting to happen, to stir up her life. Careful what you wish for… She’s overwhelmed with joy when her beloved Uncle Charlie (Joseph Cotton) decides to pay the family a visit. But something isn’t quite right with her idol, he begins to exhibit a strange sort of underlying hostility and troubling secret nature… Her mother’s (Patricia Collinge) younger brother is actually a sadistic serial killer who preys on rich widows by marrying them, then strangling them! He’s so charming and charismatic that women can’t help being drawn to him. But young Charlie begins to see through his facade. Why would he cut out the news headline in the paper about a murderer who kills rich women? It all begins to take shape, and unfortunately Uncle Charlie can’t afford to have his favorite niece spill the beans.  What’s remarkable about young Charlie is that for a girl who fantasizes and indulges herself in things of a more romantic nature, she’s pretty darn brave in the self preservation department since no one else in the family believes her suspicions that he’s The Merry Widow killer. And she might just have to go rogue and wind up killing him in self-defense… Young Charlie: “Go away, I’m warning you. Go away or I’ll kill you myself. See… that’s the way I feel about you.”
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Constance Towers & Virginia Gray
Constance Towers The Naked Kiss
54. Kelly (Constance Towers) in The Naked Kiss (1964) The opening of the film is one of the most audacious entrances in early exploitation cinema,as Kelly confronts her pimp who has shaved off her hair and stolen her money. Kelly brutally pummels the rat with her handbag. Stripped of her hair she looks like a mannequin signifying her as the ‘object’ She is introduced to us from the opening of the narrative as a fighter. Kelly manages to fit in to the quaint new town of Granville she’s made her home until the perverse true nature of Granville’s benefactor is exposed. Grant (Michael Dante) possesses a dark secret that Kelly stumbles onto and ultimately explodes in scandal. The story is a mine field of social criticisms and hypocrisy that allow Kelly to rise above her persecution by the local cop Griff (Anthony Eisley) who isn’t adverse to taking Kelly to bed himself or frequenting Madame Candy’s (Virginia Gray) high class “cat house’ yet he’s above reproach. Griff tells Kelly it’s a clean town and he doesn’t want her operating there. But Kelly wants out of the business. She’s great with disabled children at the hospital and just wants a fresh start. Until she exposes the truly deviant secret about Grant and winds up accused of his murder. Kelly initially walks the fine line of being the ‘whore’ of the story, the one who needs redemption only to have the narrative flip it around and more importantly it’s the town that must be redeemed because of it is jaundiced complacency from the long kept secrets of the wealthy Patriarchal family that own and run it. Kelly is a powerful protagonist, because she kicks down the door of hypocrisy and judgement. Kelly also shatters the limitations that are placed on women. There’s exists a displaced female rage that started to become articulated later on with ‘f’eminist parable’ films during the late 60s and 70s. In the end she no longer is labeled or objectified or persecuted. She is embraced as a savior. Kelly’s got a reserve of strength and a great sense of self. To me she ends up being a heroine who rather than redeems herself becomes the catalyst for cleansing the ‘white middle-class’ town of it’s hypocrisy… Kelly (talking to Capt. Griff Anthony Eisley)“I washed my face clean the morning I woke up in your bedroom!”
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55. Velma (Agnes Moorehead) in Hush Hush Sweet Charlotte (1964) Velma is Charlotte’s trusted companion. She shows a lot of gumption when Cousin Miriam (Olivia de Havilland) shows up trying to gaslight poor Charlotte who’s suffered enough at the grotesque and tawdry way she lost her fiancee, and how she lived under the oppressive thumb of her father (Victor Buono). Velma wasn’t nary shy a bit to face off with Cousin Miriam, that intimidating gold-digging she-devil in Park Avenue clothes. (From de Havilland’s own wardrobe) Velma always says it like it is, and tries to be a trusted friend to Charlotte even when the whole town shuns her as a crazy axe murderess. We all need friends who would either help you hide the body, or at least defend you against an accusing mob… either way. I’m pretty sure Velma could have taken Miriam if she didn’t have Joseph Cotton’s help on her side… And we can’t forget Mary Astor’s firebrand performance as Jewel Mayhew… Jewel Mayhew: “Well, right here on the public street, in the light of day, let me tell you, Miriam Deering, that murder starts in the heart, and its first weapon is a vicious tongue.”– Velma Cruther talking to Cousin Miriam: “O you’re finally showin’ the right side of your face. Well, I seen it all along. That’s some kinda drug you been givin’ her. Isn’t it? It’s what’s been making her act like she’s been. Well, Ah’m goin’ into town and Ah’m tellin them what you been up to.”

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

Boris Karloff’s anthology tv series: It’s a THRILLER!

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SILVER SCENES IS HOSTING THE UNIVERSAL BLOGATHON! SO I THOUGHT I’D BRING OUT THE UNIVERSAL TELEVISION PRODUCTION OF BORIS KARLOFF’S ANTHOLOGY… LET ME ASSURE YOU, IT’S A THRILLER!!! VISIT SILVER SCENES AND CHECK OUT ALL THE WONDERFUL CONTRIBUTIONS TO THIS HALLOWEEN CELEBRATION!

Classic TV Blog Association is hosting the MeTV Summer of Classic TV Blogathon

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“I think the title leaves the stories wide open to be based on melodrama not violence or shock. They’ll be stories about people in ordinary surroundings and something happened to them. The whole thing boils down to taste. Anybody can show you a bucket of blood and say-‘This is a bucket of blood’, but not everyone can produce a skilful story”Boris Karloff (1960)

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At the bottom of this feature you will find links to my older Thriller posts. Some of my favorite episodes- as well as 4 newly covered episodes in brief for the MeTV Summer of Classic TV Blogathon!-Masquerade,Parasite Mansion, Mr.George and The Purple Room!

From the show’s opening iconic musical score, you know something deliciously sinister is about to occur. The word THRILLER appears against a fractured white web like graphic title design quite a bit in the style of Saul Bass. The discordant piano and horn stabs of modern jazz already bring you into the inner sanctum of menacing story telling. As Boris would often say as a precursory welcome,”Let me assure you ladies and gentlemen, as sure as my name is Boris Karloff, this is a thriller.”

Boris Karloff’s Thriller was an anthology series that ran from 1960-1962. It included 60 minute B&W episodes, 67 in all, that were expected to compete with The Twilight Zone ’59-’64 and Alfred Hitchcock Presents ’55-’62.

Thriller was filmed at the same network and sound stage as Alfred Hitchcock Presents. Producer Writer & Director Douglas Benton claims though not hearing it directly that Hitchcock resented Thriller, as he considered Hubbell Robinson encroaching on his territory.

Alfred Hitchcock Presents 1955

Benton states, “Actually we weren’t doing the same thing he was, he was doing some very sophisticated ‘twist’ material. Hitchcock was doing the sort of thing that they started out to do on Thriller… We {Frye, Benton et al} came along and improved the ratings considerably and got a tremendous amount of press and Hitchcock didn’t like the competition. I don’t think he ever came out and said ‘get rid of ’em’ but he did allow them to enlarge his show from -a half hour to an hour, and that made it more difficult for us to stay on.” {source: Boris Karloff-More Than A Monster The Authorized Biography by Stephen Jacobs}

The series was developed by Executive Producer Hubbell Robinson program director and then executive vice president at CBS who was responsible for dramatic shows like Studio One & Playhouse 90 and produced Arsenic and Old Lace (tv movie ’69) with Lillian Gish & Helen Hayes. Boy oh boy would I like to get my hands on a copy of that!

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Lillian Gish, Helen Hayes with Bob Crane rehearsing for Arsenic and Old Lace ’69

In 1959 he left CBS to start his own production company, Hubbell Robinson Productions. Robinson had said “Our only formula is to have no formula at all,” endeavoring that each week’s episode would not be like the week before, bringing viewers one hour feature pictures that were “consciously and deliberately striving for excellence. {…}Each plot will be unique, unusual.” Robinson {source:Boris Karloff-More Than A Monster The Authorized Biography by Stephen Jacobs}

Also on board were producers William Frye, Fletcher Markle & Maxwell Shane (The Mummy’s Hand ’40, Fear in the Night ’47) who added their vision of a superior mystery & horror anthology for MCA’s Revue Studios which would conform to the trend of anthology series’ featuring a host to introduce each week’s story.

The format had somewhat ambivalent themes, leaving the show’s narrative straddling both genres of crime melodrama and tales of the macabre. But… either of these atmospheres created by some of the best writers, directors and players delivered a highly intoxicating blend of both, remaining a powerful anthology with unique dramatic flare.

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Karloff loved the title for the show, “It’s an arresting title. And it does not tie you to one type of show. You can have suspense and excitement, without getting into violence {…} There will be none of the horror cliches on this programme {…} we will deal with normal people involved in unusual situations.”

Boris Karloff was very critical of horror for the sake of horror, during Thriller’s run,“We’re in an era of insensate violence. Today it’s shock, so-called horror and revulsion. I think the idea is to excite and terrify rather than entertain. The story is muck for the sake of muck. The over emphasis of violence on screen and tv has reached the point of being utterly absurd… That’s one thing you won’t find on Thriller-violence for the sake of violence, shock for the sake of shock.”{source:Boris Karloff-More Than A Monster The Authorized Biography by Stephen Jacobs}

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Boris’ prelude to Dark Legacy
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Boris Karloff presents The Hungry Glass
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Boris Karloff introduces Hay-fork and Bill-Hook

Not only was there unmistakable atmosphere to each of Thriller’s episodes, the stories themselves were lensed in a unique way that was very ahead of it’s time. The actors brought a serious attitude to their characters and the plot development, and didn’t treat them as merely short pulp stories as fodder for the tv masses. This was an intelligent show, and the presence of Boris Karloff added a charming and cerebral primacy to the show’s narration. It was like being tucked in by your remarkable grandfather who loved to tell a good spooky tale to you right before bedtime. I’ve said this plenty, I wish Boris Karloff had been my grandfather. Everyone who has ever worked with Karloff had nothing but glowing praise for the great and gentle man. He exuded a quiet grace and was the consummate professional taking every part seriously and extremely generous with his time even as he suffered from his physical limitations. Karloff had been getting on in years and his grand stature was riddled with arthritis causing his legs to bow.

Actress Audrey Dalton said this, “Just the perfect gentleman. A terribly British, wonderful wonderful man.” Actor Ed Nelson who was dying to work with Karloff said, “He was a very gentle man” Douglas Benton had said, “Boris Karloff-God, what a lovely man.”

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Karloff as Clayton Mace the phony mentalist in The Prediction

While filming The Prediction the scene at the end when he must lie down in the pool of rainy water and die, Karloff asked director John Brahm “Is this the best way for the camera?” who said, “Yes, it is but good lord you don’t have to lie there and have gutter water coursing up your britches like that!”  Karloff replied, “Oh yes I do! This is my work. I insist.” {source: Boris Karloff-More Than A Monster The Authorized Biography by Stephen Jacobs}

Every installment of the show offered us a chance to see Karloff as he enters the Thriller stage like a sage Fabulist delivering us the evening’s program with a refined articulation of philosophy and captivating story telling encapsulated in a compelling little prologue, often infused with it’s own brand of dark humor.

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Continue reading “Boris Karloff’s anthology tv series: It’s a THRILLER!”

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.

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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.

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

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

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

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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!””

The Mary Astor Blogathon: The Man With Two Faces (1934) A Caligarian Black Comedy with Astor as a Trilby like Sylph and the tell-tale Mustache in a Gideon’s Bible

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THE MAN WITH TWO FACES (1934)

or ‘Of Mice and Mustaches’

Man With Two Facs Lobby Card

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Mary Astor plays Jessica Welles a Trilby-Like Sylph who falls under the spell of her treacherous husband played by Louis CalhernRobinson’s role the tagline would suggest, “It’s the most unusual picture since “Dr. Jekyll and Mr. Hyde.”  is quite misleading as his character Damon is not a split personality, induced by mad science or a fractured id run amok. He is simply impersonating a fictitious mustache, spectacles and goatee wearing Frenchman in order to lure his vicious prey into his vengeful murderous trap. Louis Calhern is an archetypal Svengali/Caligarian figure and ultimately it’s Damon’s fake mustache accidentally left in a Gideon’s Bible that gives the crime away. Archie Mayo had actually directed Svengali in 1931.

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Astor and Calhern Archetypal Trilby and Svengali characters
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Barrymore and Marian Marsh in Svengali

The Man With Two Faces is a mystery thriller with comical overtones. Invoking Jekyll & Hyde is far off the mark as Edward G. Robinson only dons a disguise to rid his bewitched sister of her treacherous, conniving, abusive and murderous husband. The character of Damon is more like Zorro or The Lone Ranger exacting out a theatrical brand of vigilante justice. As an actor the milieu is perfect for him to wear a ‘mask’ posing as a producer to lure his tortured sister’s husband Vance (Yiddish for bedbug, pronounced ‘vants’ but it applies as Stanley Vance is quite the vermin) into his trap so he can kill him…

Mary Astor The Man with Two Faces
Mary Astor as the bewitched Jessica Welles in The Man with Two Faces
Mary Astor
photo of Mary Astor courtesy of Doctor Macro

Mary Astor has a classy, understated beauty. She’s sophisticated and smart, refined and polished and worldly-wise. Often poised and self-possessed with a simmering kind of sexiness. Yet here in The Man With Two Faces, her light is just a bit diminished by the role of Jessica Welles who is forced to shape-shift from lovely star of the stage into a doll imprisoned in a fugue state.

I was thrilled when Dorian from Tales of the Easily Distracted and Ruth of Silver Screenings let me participate in The Mary Astor Blogathon. I wanted to pick a film that I hadn’t seen in order to enhance the fun of bringing some of her films to the attention of readers and really be inclusive while paying tribute to this great woman. I adore Mary Astor. And as much as I like The Maltese Falcon 1941, and simply adore Bogie, it wasn’t that iconic bit of Film Noir flight of fancy that brought Miss Astor to my attention. I hadn’t truly started to notice her work until I did an extensive feature on Robert Aldrich’s Grande Dame Guignol masterpiece Hush… Hush Sweet Charlotte 1964 It was then that I became taken in with Mary Astor’s performance as the bitter and time worn Jewel Mayhew. Then of course being a huge fan of Boris Karloff’s Television series Thriller, I am one of the few people who actually think Rose’s Last Summer was one of the finest episodes of that series. Mary Astor bringing her classy swank and snark to the role of Rose French. I became a devout fan of hers from that time on, and have started trying to devour as much Mary Astor as I can…

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It’s funny how most people might connect her with her role as Brigid O’ Shaughnessy in The Maltese Falcon 1941, but I think of her other contributions like Sandra Kovac in The Great Lie 1941 Mme. DeLaage  The Hurricane 1937 Antoinette de Mauban The Prisoner of Zenda 1937  and of course in Dodsworth 1936 as Mrs. Edith Cortright.

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Mary Astor and Walter Huston in Dodsworth 1936

The Man With Two Faces is a Warner Bros. black comedy not so much of a mystery, with tinges of the 19th Century melodramatic tradition written for the stage by George S. Kaufman and Alexander Woollcott with a screenplay by Tom Reed and Niven Busch. The original play opened in New York City in 1933 and had 57 performances. Margaret Dale who plays Aunt Martha originated her movie role on the stage. The original cast included Porter Hall and Margaret Hamilton (The Wicked Witch of the West from Oz)

Produced by Hal Wallis, Jack L Warner and Robert Lord and Directed by Archie Mayo (Svengali 1931, Bordertown 1935, The Petrified Forest (1936) Moontide 1942 Angel on My Shoulder 1946) and with the production and art design by John Houghs (Treasure of the Sierra Madre 1948, The Thing From Another World 1951)

Mary Astor as well as Mae Clarke (Frankenstein 1931, Waterloo Bridge 1931 and Public Enemy’s memorable grapefruit in the face girl) seem to be wasted in both these roles where the women are subverted ridiculed, demeaned and inconsequential. I wish Astor had more presence in the film… even the housekeeper Nettie has more spark to her character as does Aunt Martha. Astor just isn’t given enough layers to work with because she is in a trance most of the time, her character Jessica’s lack of affect doesn’t suit her usual spirited performances, here there are only little bursts of the dimension she is capable of.

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Ricardo Cortez titles

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David Landau and Emily Fitzroy

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I went to Syosset High School which was the town right next to Locust Valley… just a little sentimental factoid about your little MonsterGirl

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Jessica-“doctor dear why are you such a bother”
Dr. Kendall– “the bother was getting you well enough to act at all… if you think it’s been a picnic”
Jessica-“Alright I’ll rest but do you mind if I get a little excited, it’s the first time in three years… doctor why did all those people remember me?”
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Dr. Kendall-” Why shouldn’t they, you weren’t entirely unknown you know.”
Jessica-“I know but comebacks you know, you know what they are. Critics staying home out of kindness. And the Times saying you were ‘adequate’

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Damon throws books at Barry as he enters the dressing room
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John Eldredge as playwright Barry Jones
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Daphne-“Give the gentleman a cigar”
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Barry-Why, he missed me
Damon “Ah, just my luck I always get buck fever when I see an author
Barry-“Damon, I don’t know what you’re sore about your sister has a whole basket full of telegrams and everybody thinks it’s a grand play
Damon– “Yeah, grand for a high school strawberry lawn festival, somebody oughta stuff that second act and put it in a museum…”

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Barry– “You, you’ve had a hangover for the last ten years. You, you just hangover with him.”

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Daphne– “f I had known that, I’d never have acted in your play”
Damon– “Oh Daphne my love… you never acted in any play, never will.”

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Aunt Martha– “Well you’ve never said a truer word in your life Mr.Weston the work was just the medicine that Jessica needed”
Ben Weston– “Well I always knew she would act again.”
Aunt Martha “Well I didn’t. I was in front the night she collapsed. They dismissed the audience, you’d a thought she’d been drugged.”
Ben Weston– “A lot of people said it was drugs.”
Aunt Martha– “There were all sorts of stories around but the truth was that husband of hers… Stanley Vance.”
Ben Weston– “From what I’ve heard, he must have been the lowest form of animal life.”
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Aunt Martha– “You put it mildly”
Ben Weston– “What I can’t understand is, how a girl of Jessica’s type would… I mean to say, a girl with her brains and talent”
Aunt Martha -“Brains and talent don’t mean much to the Devil Mr. Weston.”
Ben Weston– “I don’t follow you”
Aunt Martha-“Did you ever see a snake with a bird Mr Weston? That’s Jessica and Stanley Vance. Horrible… of course you know the night she collapsed was the night he left. But this is something you may not know. The day she learned that he’d been shot dead in San Francisco was the day her mind began to heal….”

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Damon-“Why do you always break down, you did that tonight”
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Damon coaches Jessica on the finer points of her acting…

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“Hattie I’m famished”

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Daphne asks Barry to accompany her on a bit of Stormy Weather.  

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Mary Astor who plays actress Jessica Welles, is a delicate Trilby-like sylph who is married to a cold-blooded cad Stanley Vance (Louis Calhern The Asphalt Jungle 1950) Vance is a conniving, controlling Svengali/Caligari-esque cutthroat who not only bilks old ladies out of their fortunes but actually murdered his first wife. He seems to possess the art of hypnosis and uses it to manipulate Jessica into a state of virtual somnambulist enslavement. With the mere tilt of his head and leering eyes that penetrate she goes deeper under his control. In his presence she is a wilting flower, powerless, catatonic and as submissive as Trilby, a piece of clay to be molded in any form Vance desires.

Continue reading “The Mary Astor Blogathon: The Man With Two Faces (1934) A Caligarian Black Comedy with Astor as a Trilby like Sylph and the tell-tale Mustache in a Gideon’s Bible”

Happy Birthday Mary Astor!

Mary Astor

Today kicks off the celebration… it’s the Mary Astor Blogathon hosted by Dorian of Tales of the Easily Distracted and Ruth of Silver Screenings. So please join everyone in honoring this classy lady…

Just adore that Mary-MonsterGirl

Postcards from Shadowland No.11

Beast from 20,000 Fathoms
Beast from 20,000 Fathoms 1953
Bela in Chandu the Magician
Bela Lugosi and Irene Ware in Chandu the Magician 1932
Black Caesar
Fred Williamson in Black Caesar 1973
Cat People 1942 Alice at the pool
Cat People 1942 Alice at the pool
Chaney Sr., Lon (He Who Gets Slapped)_
Lon Chaney -He Who Gets Slapped 1924
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Claudette Colbert and Henry Wilcoxon in Cleopatra 1934
Try and Get Me
The Sound of Fury aka Try and Get Me 1950
CrimeWave
Crime Wave 1954
Dante's Inferno
Dante’s Inferno (1911)
FallenAngel
Fallen Angel (1945) Dana Andrews, Alice Faye and Linda Darnell
Gun Crazy
Gun Crazy (1950) Peggy Cummins and John Dall
InALonelyPlace
In a Lonely Place (1950) Gloria Grahame
kitten with a whip
Ann -Margret in Kitten With a Whip 1964
Laura
Gene Tierney and Dana Andrews Laura (1944)
Innocents 1961
The Innocents 1961 with Deborah Kerr
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Mary Astor The Maltese Falcon (1941)
misterbuddwing1965
James Garner and Angela Lansbury -Mister Buddwing (1966)
out of-the-past
Out of the Past (1947) Robert Mitchum and Virginia Huston
plunder road
Plunder Road (1957) Elisha Cook Jr.
Seance on a Wet Afternoon
Kim Stanley and Richard Attenborough Seance on a Wet Afternoon 1964
svengali Barrymore and Marsh
Svengali (1931) John Barrymore and Marian Marsh
The blue dahlia alan ladd and veronica lake
The Blue Dahlia (1946) Alan Ladd and Veronica Lake
z-Aelita
Aelita: Queen of Mars (1924)

☆ Tales of the Easily Distracted and Silver Screenings are hosting a fabulous Mary Astor Blogathon in May folks!

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TALES OF THE EASILY DISTRACTED

&

SILVER SCREENINGS

Hope you’ll come on by and join the gang when they show the great MARY ASTOR some love!

Joey

Postcards from Shadowland No. 8

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

Twelve Neglected Characters from Classic Film.

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1) The tragically poetic Pete Krumbein in Edmund Goulding’s Nightmare Alley 1947 played by Ian Keith
Franzi Kartos Caught 1949
2) The flamboyant Franzi Kartos in Caught 1949 portrayed by Curt Bois ‘darling’
Fred Foss- The Dark Corner 949
3) Stauffer, alias Fred Foss in The Dark Corner 1946-played by the wonderful William Bendix in the white linen suit…
Jan Sterling in Women's Prison -Brenda
4) Good hearted kite hanger, Brenda Martin in Women’s Prison 1955 – the eternal pixie Jan Sterling
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5) Jeff Corey, as the cringing,cowardly informer ‘Freshman’ Stack in Brute Force 1947
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6) Beulah Bondi as spiittin’ Granny Tucker in Jean Renoir’s The Southerner 1945 ‘Ah shuckity’
Ma Stone- Jane Darwell, The Devil & Daniel Webster
7) Ma Stone in William Dieterle The Devil and Daniel Webster 1941– the grand Jane Darwell
Wills and Jewel talk at tea-Hush Hush Sweet Charlotte
8) Cecil Kellaway as Harry Wills and Mary Astor as Jewel Mayhew in Hush Hush Sweet Charlotte 1964
Elisha Cook Jr. Jazz wild drummer Cliff-phantom ladyjpg
9) Cliff the jazz sexed drummer in Phantom Lady 1944– the ubiquitous Elisha Cook Jr.
(Ladies in Retirement)
10) Quirky sisters Louisa and Emily Creed in Ladies in Retirement 1941Edith Barrett & Elsa Lanchester

Boris Karloff’s Thriller 1960s television series

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From the show’s opening iconic musical score, you know something deliciously sinister is about to occur. The word THRILLER appears against a fractured white web like graphic title design quite a bit in the style of Saul Bass. The discordant piano and horn stabs of modern jazz already bring you into the inner sanctum of menacing story telling. As Boris would often say as a precursory welcome,“Let me assure you ladies and gentlemen, as sure as my name is Boris Karloff, this is a thriller”

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Boris Karloff’s THRILLER was an anthology series that ran from 1960-1962. It included 60 minute B&W episodes, 67 in all, that were expected to compete with The Twilight Zone and Alfred Hitchcock Presents.

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The series was developed by Executive Producer Hubbell Robinson and producers William Frye, Fletcher Markle  & Maxwell Shane for MCA’s Revue Studios. The format was somewhat plagued by two ambivalent themes, leaving the show’s narrative straddling both crime melodrama and tales of the macabre genres. But… either atmospheres created by some of the best writers, directors and players delivered a highly intoxicating blend of both.

“I think the title leaves the stories wide open to be based on melodrama not violence or shock. They’ll be stories about people in ordinary surroundings and something happened to them. The whole thing boils down to taste. Anybody can show you a bucket of blood and say-‘This is a bucket of blood’, but not everyone can produce a skilful story”-Boris Karloff (1960)

Karloff starred in five episodes: The Prediction, The Premature Burial, The Last of the Somervilles, Dialogues With Death, and The Incredible Doctor Markesan.

Many of the stories were based on writing taken from Weird Tales and scripted by that magazine’s contributors such as Robert Bloch (author of the novel Psycho) who wrote one of my favorite episodes The Cheaters as well as adapting his story The Weird Tailor.

Other contributing writers were Donald S. Sanford, Richard Matheson, Barré Lyndon and August Derleth John Kneubuhl, Alan Caillou, Robert Hardy Andrews, Charles Beaumont, Robert Arthur, William D. Gordon, Jay Simms and Wilkie Collins.

THRILLER had an incredible line up of serious dramatic players. Leslie Nielsen, Mary Astor, Rip Torn, Patricia Barry, Richard Anderson, Martin Gabel, Cloris Leachman, Fay Bainter, Victor Buono, Audrey Dalton, Alan Caillou, Elisha Cook, Robert Lansing, Mary Tyler Moore, Beverly Garland,Warren Oates, Werner Klemperer, Harry Townes, Jack Weston, Paul Newlan, Ed Nelson, Mildred Dunnock, Phyllis Thaxter,William Shatner, Elizabeth Allen, Guy Stockwell, Susan Oliver, Nehemiah Persoff, Torin Thatcher, Marlo Thomas, Robert Vaughn, John Ireland, Pippa Scott, Jeanette Nolan, Guy Rolfe, Hazel Court, Lloyd Bochner, Brandon DeWilde, Sidney Blackmer, George Macready, Tom Poston, Constance Ford, Elizabeth Montgomery, John Carradine, Edward Andrews, Estelle Windwood, Bruce Dern, Jo Van Fleet, Jane Greer, Richard Long, Ursula Andress, Lillian Bronson, Reta Shaw, Dick York, Howard McNear, Richard Carlson, Nancy Kelly, John Fiedler, Linda Watkins, Martita Hunt, George Grizzard, Robert Middleton, Natalie Schafer, James Griffith, Bethel Leslie, Patricia Medina, Richard Chamberlain, Sarah Marshall, Conrad Nagel, Reggie Nalder, Henry Jones, Russell Johnson, Natalie Trundy, Diana Millay, Philip Carey, Kathleen Crowley, Susan Oliver, J. Pat O’Malley, Judith Evelyn, Tom Helmore, Robert Vaughn, Virginia Gregg, Scott Marlowe, Judson Pratt, Marion Ross, Antoinette Bower, Jocelyn Brando, William Windom, George Kennedy, Abraham Sofaer, Monte Markham, Patricia Breslin, Charles Aidman and so many other great character actors.

Ida Lupino Looking Through Movie Camera
Ida Lupino directed Last of the Summervilles, The Lethal Ladies, The Bride Who Died Twice, La Strega, The Closed Cabinet, What Beckoning Ghost? Guillotine, Mr. George and Trio for Terror

The series drew much of it’s artist edge because of the directors who contributed their stylistic observations of the story telling like Robert Florey, French Screenwriter who was responsible for contributing to The Outer Limits , Alfred Hitchcock Presents and The Twilight Zone as well as assistant director on Murders In The Rue Morgue and the 1946 film The Beast With 5 Fingers yet another take of the Orlac saga. John Brahm had directed the 1944 version of The Lodger and Hangover Square. Much of the overall tone of the series combined elements of film noir and classical horror. The shadowy gray toned cinematography created so much of the atmospherics for some of the most memorable episodes in the series. Pigeons From Hell is yet another story adapted from Weird Tales Magazine. This episode was directed by John Newland of One Step Beyond, a television series consisting of half hour episodes that were purported to be based on true paranormal events. Some other notable directors who contributed their work to the series was the ever versatile Ida Lupino Arthur Hiller , Lazlo Benedak, (The Wild One ’53) Hershel Daugherty , Paul Henreid, Douglas Heyes and Jules Bricken.

THRILLER’S musical compositions seemed to be sculpted perfectly for each episode, underscoring the haunting and poignant quality of each story in such an evocative way that the music itself became integral to the narrative. The subtly intrinsic emotional quality in each of the arrangements help forge a climate of the distinctive theater of dramatic and unearthly chills.

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Jerry Goldsmith , Morton Stevens & Pete Rugolo  wrote some of the most vivid and beautiful melodies for the series. I was inspired by the episode God Grante That She Lye Stille, to name a song on my album Fools and Orphans after it.

Henry Daniell, who in addition to his marvelous face, had a wonderfully theatrical voice, plays the 17th century reincarnation of his ancestor Vicar Weatherford in God Grante She Lye Stille. He condemns the witch Elsbeth Clewer to be damned to the fires of hell and burn at the stake. Memorable is his invocation “God Grant That She Lye Still.” in that measured and lucidly flowing tone of his.”Thou shall not suffer a witch to live!”

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Henry Daniell in God Grant That She Lye Stille

Daniell would inhabit several striking characters on the series, including Dirk van Prinn the alchemist in The Cheaters.

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Henry Daniell as the cruel headmaster in Jane Eyre 1943

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I’ll be writing about some of my favorite episodes in depth because THRILLER was so ahead of it’s time in terms of the serious and artful risk taking of the various directors on board, the incredibly spellbinding story telling and dialogue, inspired set & art design, experimental cinematography, dramatic performances and evocative musical scoring.

Together the confluence of all these elements contributed to a show that often pushed the boundaries of what you might expect from a 1960’s television series. It’s moody, compelling and haunting quality, have not been duplicated on any other anthology series of it’s type to date. Although I also feel passionately about The Outer Limits for much of the same reasons, a show philosophizing on morality with a very science fiction lens. I plan on covering that series in depth as well. Alfred Hitchcock Presents & The Alfred Hitchcock Hour was a fabulous mystery series that also merged noir with suspense. This is another show I’ll be talking about in the future. Yet THRILLER holds a special fascination for me, partly due to my enduring love for Boris Karloff.

Somehow THRILLER seemed to encapsulate it’s own Gothic methodology and mythos.

The sets had a uniquely eerie landscape and their own vitally uncanny, bizarre and shadowy environment. Not unlike the way Val Lewton seemed to create his own unique cycle of supernaturally themed shadow plays for RKO.

The show still evokes chills and Gestalt response in me even after having watched these episodes a hundred times over.

Also notable is Jack Barron’s make-up on the series, including The Incredible Doktor Markesan~

So please stay tuned as I journey back to Boris Karloff’s Thriller and wander through some of my most treasured episodes I’d love to share with you!

Also notable is Jack Barron’s make-up on the series, including Doktor Markesan ~

 

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a few scenes from a most groundbreaking & thrilling series!

A Wig for Miss Devore
A Wig for Miss Devore – Patricia Barry & Linda Watkins
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The Storm-Nancy Kelly
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What Beckoning Ghost?-Judith Evelyn
Fingers of Fear
Fingers of Fear- Robert Middleton
Mr George
Mr.George- Virginia Gregg and Lillian Bronson
Masquerade
Masquerade – John Carradine, Tom Poston and Elizabeth Montgomery
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Rose’s Last Summer– Mary Astor
Parasite Mansion
Parasite Mansion- James Griffith and Jeanette Nolan
Pigeons from Hell
Pigeons From Hell– Ottola Nesmith
Prisoner in the Mirror
Prisoner in the Mirror – Lloyd Bochner and
The Cheaters
The Cheaters- Mildred Dunnock
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The Ordeal of Doctor Cordell-Robert Vaughn
the grim reaper
The Grim Reaper– himself
the hollow watcher
The Hollow Watcher– Audrey Dalton
the hungry glass
The Hungry Glass– William Shatner and Joanna Heyes
The Premature Buriel
The Premature Burial- Sidney Blackmer
The Purple Room
The Purple Room
the remarkable mrs hawk
The Remarkable Mrs Hawk– Jo Van Fleet
the weird tailor
The Weird Tailor- Sandra Blake & Hans the mannequin
The Incredible Doktor Markesan
The Incredible Doktor Markeson – Boris Karloff
Doktor Markeson
Doktor Markeson
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There are 2 episodes listed that never made it to the screen- A Secret Understanding and The Black-Eyed Stranger

 

Season One –

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Season Two