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”
Image courtesy of: JĆ¼rgen MĆ¼ller’s colorful Movies of the ’60s
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- “Hitchcockās 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”.
Tippi Hedren in Marnie (1964) What Grace Kelly had in pristine beauty and sophistication, Hedren possesses an undertow of sensuality that pulls you into that gorgeous mystique.
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.Ā 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.Ā
As Melanie is about to enter Davidson’s Pet Shop, she hears and sees a tremendous gathering of Seagulls in the sky. It is a foreboding moment of things to come…From the opening of The Birds, devoid of any musical lead-in or further soundtrack, all natural noise of bird sounds are what underscore the films visual story. The Seagulls in San Fransisco are many and loud this afternoon as Melanie takes notice… Melanie enters the shop as Alfred Hitchcock exits, giving the customary cameo walking two dogs that happen to be his own white terriers Geoffrey and Stanley!Tippi Hedren, Hitchcock’s new beautiful blonde to supplant the other object of his affections/fixation… Grace Kelly.Melanie (Tippi Hedren) has come to pick up the Mynah bird that she has ordered, but the shipment is late. She remarks to pet shop owner Mrs. MacGruder (the lovable Ruth McDevitt) “Hello Mrs. MacGruder have you ever seen so many gulls? What do you suppose it is?” Mrs. MacGruder supposes, “Well There must be a storm at sea that drives them inland you know.”
Mitch Brenner (Rod Taylor) enters the pet shop and approaches Melanie asking for help in purchasing lovebirds for his kid sisterMelanie is attracted to this handsome yet smug and polished smart ass in a suit, so she plays along pretending to be the clerk and continues to help him, giving completely ridiculous answers to his snide questions as he grills her about ornithology. The louse!Mitch –“I wonder if you could help me?” Melanie –āwhat?” Mitch –“I said I wonder if you could help me” Melanie “Just what is it youāre looking for sir?” Mitch “Lovebirdsā¦” Melanie “Lovebirds Sir?” Mitch “Well I understand thereās different varieties is that true?” Melanie āOh Yes there are” Mitch āWell uh these are for my sister for her birthday, and see uh as sheās only gonna be eleven, I wouldnāt want a pair of birds that wereā¦ too demonstrative.” Melanie āI understand completely” Mitch āAt the same time, I wouldnāt want them to be too aloof either.” Melanie āNo of course not” Mitch āDo you happen to have a pair of birds that areā¦ just friendly?…arenāt those love birds? Melanie “no those are red birds” Mitch “Arenāt they called strawberry finches?” Melanie “oh we call them that too…Oh now here we are love birds” Mitch “those are canaries…Doesnāt this make you feel awful?’ Melanie “Doesnāt what make me feel..?” Mitch “Having all these poor little innocent creatures caged up like that” Melanie “Well we canāt just let them fly around the shop you know” Mitch “No I guess not, is there an ornithological reason for keeping them in separate cages?” Melanie “Well certainly itās to protect the species” Mitch “Yes I expect thatās important especially during the molting season” Melanie “Hhm thatās a particularly dangerous time” Mitch “are they molting now?” Melanie “some of them are.” Mitch “how can you tell?” Melanie “well they give a sort of tang dog expression” Mitch “yes I see well what about the love birds?” Melanie “Are you sure you wouldnāt like to see a canary? We have some very nice canaries this week” Mitch “Alright, alright may I see it please?(he holds out his hand)”An ornithology lesson. These are strawberry finches not ‘red birds’
Melanie tries to hold a canary to show Mitch, but the little yellow bird flies out of her grip and starts fluttering all around the shop.
Mitch utters this insult at Melanie… “Back in your gilded cage, Melanie Daniels!” The louse!!!Melanie feels a sting… realizing that she has been made a fool of by this cocky fella she doesn’t even know but she wants to know him… Melanie “What did you say?” Mitch “I was merely drawing a parallel Miss Daniels” Melanie “How did you know my name?” Mitch “A little birdy told me” Melanie “Hey wait a minute, I donāt know you” Mitch “Ah, but I know you” Melanie “how?” Mitch “We met in court” Melanie “We never met in court or any place else” Mitch “Oh thatās true let me rephrase, it I saw you in court” Melanie “When?” Mitch “Donāt you remember one of your practical jokes that resulted in the smashing of a plate glass window” MelanieĀ “I didnāt break that window”Mitch “Yes but your little prank did–Judge should have put you behind bars!”Melanie “What are you a policeman?” Mitch “I may know a little about the law and Iām not too keen on practical jokes” Melanie “Well what do you call your Lovebird story if not a practical joke?” Mitch “Oh I really wanted the Lovebirds” Melanie “Well you knew I didnāt work here, you deliberately…” Mitch interrupts “Right! I recognized you when I came in I just thought youād like to know what itās like to be on the other end of a gag, what do you think of that?”MelanieĀ “I think youāre a louse.” MitchĀ “I am, good day Miss Daniels” Melanie “Iām glad you didnāt get your Lovebirds” Mitch “Oh Iāll find something elseā¦ see you in court”
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.
Annie in an ironic tone “I guess that’s where everyone meets Mitch.”
Annie āDid you drive up from San Fransisco by the coast road?” Melanie āYesā Annie āNice drive” Melanie āItās very beautiful” Annie āIs that where you met Mitch?ā Melanie āYesā Annie āI guess thatās where everyone meets Mitchā Melanie āNow you sound a bit mysterious Miss Hayworthā Annie āDo I, actually Iām an open book Iām afraid , or actually a closed oneā She looks down at the cage of Lovebirds Annie āpretty, what are they?ā Melanie āLovebirdsā Annie with a pain that stretches deep across her face āI seeā¦ good luck Miss Daniels.ā
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!
Melanie gets out of the motor boat, surrounded by beauty and serenity, the mood, peaceful, the quiet before the storm… she proceeds to sneak into the Brenner farmhouse to leave the Lovebirds for Mitch, or well eh Cathy, yeah Cathy. Melanie waits until Mitch is in the barn, sneaks into the house and leaves the cage of Lovebirds in the den, ripping up her original letter to Mitch and instead just placing a birthday card for his little sister Cathy. How cagey.. oops sorry for the pun guys!
the tranquility and romantic game-play is about to shift, from this moment on…
Melanie is attacked by a crazed sea gull who swoops down from the cloudy blue sky to put a nice gash in her beautiful head, messing up that very coiffed blonde hair with the faint trickle of blood dripping down her face and a spot on her glove.
Mitch helps Melanie taking her into the diner to get her wound cleaned up, āThatās the damnedest thing I ever saw, it seemed to swoop down at you deliberately.ā
THE SILENT YEARS: When we started not giving a damn on screen!
THE GODLESS GIRL (1929) CHAIR SMASH courtesy of our favorite genius gif generator- Fritzi of Movies Silently
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!Ā Not in this Blogathon baby!
From the heyday of Silent film and the advent of talking pictures, to the late ā20s 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….
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. 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. 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!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.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.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.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.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.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.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.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 chance12) 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 ofĀ 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 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!
Barbara Stanwyck posing with boxing gloves!
The following actresses and their immortal characters are in no particular order…!
13. Phyllis Dietrichson (Barbara Stanwyck) Double Indemnity (1944) set fire to the screen as one of the most seductive femme fatalesā 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).Ā Walter Neff (Fred MacMurray) is the insurance guy who comes around and winds up falling under her dangerous spellā¦ Walter Neff: āYouāll be here too?ā Phyllis: ā I guess so, I usually am.ā Neff: āSame chair, same perfume, same ankle?ā Phyllis: Ā āI wonder if I know what you mean?ā Neff: āI wonder if you wonder?ā 14. Marie āSlimā 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 āSlimā Browning in To Have and Have Not (1944). A night club singer, (who does a smoking rendition of Hogie Carmichaelās āHow little We Knowā) Sheās 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 doesnāt 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.”15. Margo Channing (Bette Davis) All About Eve (1950) In all Bette Davisā 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 werenāt alwaysĀ āattractive.āĀ Davis made her comeback in 1950, perhapsĀ 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 Margoās territory. Davisā manifests the persona of ambition and betrayal which have become epic… “Fasten your seat belts, it’s going to be a bumpy night.āĀ 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 elseā¦ Margaret DeLorca: You really hate me, don’t you? You’ve never forgiven me in all these years.”Ā Edith Phillips: “Why should I? Tell me why I should.”Ā Margaret DeLorca: “Well, we’re sisters!”Ā Edith Phillips: “So we are… and to hell with you!”17. Jane Hudson (Bette Davis) in What Ever Happened to Baby Jane? (1962)Ā 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.Ā Jane is a tragic tortured soul whoās life becomes āuglyā 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. Janeās itching for a comeback and is ready to dance and sing her way back into everyoneās 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, Janeās repressed rage also leaves room for joy. Sheās an empowered aging actress who refuses to give up the spot lightā¦ Good for you Jane, now put down that hammer and feed Blanche something edibleā¦ 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!” 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 sheās 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.”19. Sugarpuss OāShea (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 itās like to speak like real folk and does she turn their world upside down. Sugarpuss O’Shea: [needing help with a stubborn zipper] āYou know, I had this happen one night in the middle of my act. I couldn’t get a thing off. Was I embarrassed!ā 20. Jo Courtney (Barbara Stanwyck)Ā in Walk on The Wild Side (1962). Jo runs the New Orleans bordello called The Doll House with an iron handā whenĀ anyone steps out of line she knows how to handle them. Stanwyck had the guts to play a lesbian in 1962, madly in love withĀ Hallie Gerard (Capucine). Stanwyckās 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 conclusionā¦Ā āOh you know me better than that Hallie. Sometimes Iāve waited years for what I wanted.āĀ Ā Ā 21. Marie Garson (Ida Lupino) in High Sierra (1941) Roy “Mad Dogā 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 hereā¦ 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.”22. Lilli MarloweĀ (Ida Lupino)Ā 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 aĀ guilty conscience.Ā Lilliās slick repartee is marvelous as Cal and his reluctant partner Jack Farnham (then husband Howard Duff) focus on her, hoping sheāll help them in their investigation. Lilliās tough, sheās made it on her own and isnāt about to compromise nowā¦ 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.”23. Constance Porter (Tallulah Bankhead)Ā in Lifeboat 1944. Itās WWII andĀ Connie is a smart-talking international journalist whoās 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 sheĀ doesnāt give a damn, she can take the punishment and still attract the hunky and shirtless (yum) JohnĀ Kodiakā¦ survivalās just a state of mindā¦ and she does it with vigor and class and a cool calm! Connie Porter: “Dying together’s even more personal than living together.”Ā 24. Berenice Sadie Brown (Ethel Waters) The Member of the Wedding 1952. Berenice doesnāt 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 soulā¦ Berenice is the only steady source of nurturing and a strong pair of shoulders to lean onā¦ Thank god Franky/Harris didnāt 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.”Ā Berenice Sadie Brown: [when Frankie threatens her with a knife] “Lay it down, Satan!”Ā 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. Sheās iconic, Ā memorable and filled with glorious hiss!.. because The Bride may have come into this world in an unorthodox way, but sheāll be damned if any man is going to tell her who to love! James Whale isnāt the only one who brought about life in this campy horror masterpieceā¦ Elsa Lanchester manifested The Bride with a keen sense of fearsome independence. No matter whether the Monster demands a Mate, The Bride isnāt 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-āHissā¦Screamā¦.”26. Hildy JohnsonĀ (Rosalind Russell)Ā in His Gal Friday (1940) Hildy is a hard-bitten reporter for New York Cityās The Morning Post. Sheās 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). Hildyās anxious to break ties with her manipulative ex-husband who just isnāt ready to let her leave the job or their marriage so she can marry straight-laced Bruce (Ralph Bellamy)ā¦ and heāll do so by any means. But sheās nobodyās foolā¦ and if she stays itās because sheās made up her mind to embrace Walterās crazy anticsā¦ 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!”Ā 27. Norma Desmond (Gloria Swanson) in Sunset Boulevard (1950) Thereās just no one quite like Norma Desmond. Itās 1950ās decadent Hollywood, the heyday of the Silent Era long goneā¦ 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,Ā creates an atmosphere of fevered madness. Sheās a woman whose desires are punished by an industry and the men who hold the reigns. But Norma doesnāt give a damn sheāll always be ready for that eternal close-upā¦ 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.”Ā Norma Desmond: “I *am* big. It’s the *pictures* that got small.”Ā 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. Thereās 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.Ā Yet she is shadowed by a young Italian street hustlerās 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 ticketā¦ The fling ends but Karen has taken back the power of attraction and sexual desire, and turns the usual stigmatizing dichotomy on itās head, for while it was okay when she was a younger woman married to a much older man,Ā 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.”Ā 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 āearthy widowā the director said her āfeline sexualityā was perfect for one of Tennessee Williamsā āhot-blooded ladies.ā 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 chasingĀ 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 everyoneā¦Ā Maxine waits patiently for Lawrence to realize that they could have a passionate life together if heād stop torturing himselfā¦ 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.”Ā Maxine Faulk: “Miss Fellowes, honey, if paramour means what I think it does you’re gambling with your front teeth.”Ā Ava Gardner | Maxine Faulk in Night of the Iguana 196430. Maude (Ruth Gordon) in Harold and Maude (1971) There is no one quite like Ruth Gordon. Sheās a sage, a pixie filled with a dreamy light that shines so bright from within. You canāt help but believe that she was as effervescent off screen as she was on screen.Ā 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 thinkā¦ 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 perspicacityā¦Ā Maude: “Harold, *everyone* has the right to make an ass out of themselves. You just can’t let the world judge you too much.”Ā — 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?”Ā Harold: “I don’t know. One of these, maybe.”Ā Maude: “Why do you say that?”Ā Harold: “Because they’re all alike.”Ā 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*”
The beautiful Tippi Hedren, who is a woman after my own heart. Surviving the experience of working with Alfred Hitchcock and the onslaught of his birds, now surrounds herself with pet lions, and large cats at her sanctuary.Actress and animal activist Tippi Hedren, in a swimming pool, playing with her lion Neil, in Sherman Oaks, California, May 1971. (Photo by Michael Rougier/Time & Life Pictures/Getty Images)
![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](https://monstergirl.files.wordpress.com/2015/07/tumblr_lvnaeyvi341r1a8w8o1_500.jpg)
