It’s that marvelous time again, when one of the most enjoyable Blogathons has come around, it’s the 7th Annual What A Character Blogathon. And the reason I adore it so much –it’s purpose is essential in paying tribute to the memorable character actors who have often added the sparkle to the cinematic sky of movie stars– they touch our lives so profoundly because of their unique contribution as the characters they bring to life!
I want to thank Aurora of Once Upon a Screen, Paula Guthat of Paula’s Cinema Club, and Kellee Pratt of Outspoken & Freckled. for giving me the opportunity to once again show my sincerest love for the actors & actresses who are so discernible within the art of film, television and theatre. It is their unforgettable performances that make it a much richer, a more compelling experience — as they are as much the stars who inhabit the dream of art because of their singular personalities.
I’ve been participating now for 7 years, and it’s always a great expedition to delve deeper into the career’s of the people who I’ve found the most enigmatic, extraordinary and uniquely engaging. This year I’ve been excited to pay special attention to two remarkable women, Eileen Heckartand Louise Latham.
For years I have always thought of these two women together, as one of those odd associations–yet unexplicable– that makes you put certain faces or impressions together in your head. Another example of two actors that often seem to merge in that vast noggin of mine — I’m always thinking of E.G.Marshall and Eli Wallach together. Heck, maybe, next year I’ll do the same double feature for them. As I adore them both!
It struck me that I should pair Eileen and Louise as a kind of sisterhood, for both of their uniquely extraordinary styles stand out and somehow stand together for me. And an interesting confluence happened as I went on my more intensive journey of discovering of these two fine actresses. I found out that Eileen Heckart and Louise Latham appeared together in a rare episode of The Doctors and The Nurses an hour long television medical drama that ran from 1962-1965. In a macabre tale reminiscent of a Robert Bloch story — the episode is called Night of the Witch, about a woman (Eileen Heckart) who is tortured by the loss of her 6 year old daughter, and seeks her own brand of retribution from the medical staff she believes is responsible. The hospital receptionist who is cold and unfeeling is portrayed by none other than Louise Latham. The fascination I’ve had to see this performance led me to hunt down a rare copy and now I own it and have put together a sample of it here for you. It’s a rather long clip of the episode in honor of them appearing together. It showcases both their talents. I hope you enjoy the excerpt And I am praying that the television series itself will someday find a full release as it is worthy of being re-visited for it’s groundbreaking content, incredible cast and performances.
As in past What A Character Blogathons, Burgess Meredith, Ruth Gordon, Agnes Moorehead, Martin Balsam, and Jeanette Nolan–each of these actors– had a way of elevating every single project they were involved in, making it just that much more fascinating, delightful, heart wrenching and unquestionably memorable because of their performance–no matter how small their presence, they changed the landscape and impacted the narrative.
It is my absolute honor this year to feature two of the most remarkable women whose legacy still lives on.
The clever & cheeky Barry of Cinematic Catharsis has summoned this great and powerful idea for a Summer Blogathon! Whether it’s the weather, or giant mutant bugs, blood hungry sharks, large animals run amok, or the elements gone awry–Nature’s Fury can be seen in so many fascinating and awe inspiring feature films and those lovable B movie trends that showcase the natural world in chaos. I immediately thought of Alfred Hitchcock’s The Birds as it is a film that has stayed burned in my mind since I first saw it as a child. Certain scenes will never lose their power to terrify.
And in celebration of this event, I’ve actually written a song and made a film/music mash up to tribute Tippi Hedren in The Birds, with a montage from the film featuring my song Calling Palundra…
“The Birds expresses nature and what it can do, and the dangers of nature. Because there’s no doubt that if the birds did decide, you know, with the millions that they are, to go for everybody’s eyes, then we’d have H.G.Wells Kingdom of the Blind on our hands.”-Alfred Hitchcock
“Why are they doing this? They said when you got here, the whole thing started. Who are you? What are You? Where did you come from? I think you’re the cause of all this… I think you’re evil EVIL!”–Actress Doreen Lang playing the hysterical mother in the diner!
This tribute video features my special song written just for this blogathon…. Here’s Melanie Daniels & the birds– with my piano vocal accompaniment, ‘Calling Palundra’
The children’s song “Risseldy Rosseldy” heard at the school when the crows began to unite as a gang is the Americanization of an old Scottish folk song called “Wee Cooper O’Fife”
On it’s face The Birds can be taken literally as a cautionary tale about the natural world fighting back against the insensitivity & downright barbaric treatment of nature’s children and the environment at the hands of humankind. Is it a tale of simple unmitigated revenge against the town for the killing of a pigeon? Or is there something more nefarious & psycho-sexual at work? Once you peel back the top layer of the visual narrative there are multi metaphors at work.
From Dark Romance: SEXUALITY IN THE HORROR FILM by David J. Hogan- “Hitchcock’s The Birds (1963) is probably the ultimate expression of this sort of nameless dread. It is a film that cheerfully defies description: it is horror, it is science fiction, it is black comedy, it is a scathing look at our mores and manners. It is a highly sexual film, but in a perversely negativistic way.”
Before the release of The Birds in 1963, Tippi Hedren made the cover of Look Magazine with the heading “Hitchcock’s new Grace Kelly”.
As with Hitchcock’s other, worldly beautiful blonde subject — the strong willed socialite Lisa Carol Fremont (Grace Kelly) in Rear Window (1954)The Birds features the stunning Tippi Hedren as the coy, confident and a bit manipulative Melanie Daniels a San Fransisco socialite who descends upon Bodega Bay with a similar uncompromising will. Stiff, stolid and cocky Lawyer Mitch Brenner (Rod Taylor) meets Melanie in a pet shop where the two share shallow, faintly romantic barbs and repartee. Mitch is shopping for a pair of love birds for his sister Cathy’s eleventh birthday and Mitch pretends in a condescending manner to mistake her for the clerk. Melanie goes along with the mistaken identity as a way to flirt until his slightly mean-spirited joke backfires when she accidentally let’s a canary loose and while it lands in an ashtray Mitch throws his hat on it and places it back in it’s cage smugly saying “Back in your gilded cage Melanie Daniels.”revealing that he not only knew who she was from the very beginning and has quite a snotty preconceived notion about this socialite whom he appears to judge as running with a ‘wild’ crowd and is amoral. He manages to make a bit of a fool out of Melanie. The contrast between the flirty glib and calculating Melanie Daniels and the less interesting, judgemental and arrogant Mitch Brenner kicks off a chemistry that really isn’t as vital to the story as what the two personalities represent.
Melanie runs after Mitch and catches sight of his license plate number, getting his information from her father’s contacts at the newspaper. She decides to follow him 60 miles up the coast with a pair of Lovebirds to see him at his mother’s home in Bodega Bay where he spends his weekends.
And one of the popular theories is that it’s her driving impulse to seduce Mitch that has sparked the inexplicable terror that takes siege upon the residents of the sleepy little seaside community.
Once at Bodega Bay, she asks a storekeeper where to find Mitch’s little sister and is given Annie Hayworth’s address, where Melanie proceeds to drive to.
Now it’s time for two thirds of the triad of grasping women to meet each other. The confident socialite stylish and stunning in pursuit of Mitch, and the brooding beautiful woman he left behind who’s sullenness is as palpable as the surrounding sea. Though Annie winds up being a very good person, loves her students, and though she’s in pain and sees Mitch moving into a dynamic relationship with a outre sophisticated blonde, she winds up being a true friend, to the point of ultimately sacrificing her own life.
Melanie rents a boat from Doodles Weaver credited as the boat rental guy.
She starts up the motor and begins to head across the bay just to bring Mitch a ‘practical joke’ present in kind, what else but… a pair of Lovebirds. She has written him a letter which she winds up tearing up, instead placing a card for his sister Cathy presenting the Lovebirds as the originally intended birthday gift for her.
Melanie moves across the bay toward the object of her desire adorned in Edith Head’s glamorous boating attire, a luxurious mink, that stunning green suit and high heels, (yes! it’s a very understated chic outfit for the occasion of man hunting) Tippi’s gorgeous green suit she is seen wearing throughout the film was referred to by multi Academy Award winning fashion designer Edith Head, as “Eau de Nil” or Nile water!
THE SILENT YEARS: When we started not giving a damn on screen!
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 thesefabulous femmes….
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!
“The most courageous act is still to think for yourself. Aloud”-Coco Chanel
Stars like Bette Davis, Barbara Stanwyck , Joan Crawford and Ida Lupino managed to keep re-inventing themselves. They became spirited women with an inner reserve of strength and a passion for following their desires!
The following actresses and their immortal characters are in no particular order…!