Pre-Code Crazy: The Little Giant (1933)

pre-Code Crazy The Little Giant (1933) review by Shadows and Satin. It’s Robinson and Astor and it’s grand!

shadowsandsatin

Edward G. Robinson? Mary Astor? It’s a “don’t miss” combo – and the reason why The Little Giant (1933) is my Pre-Code Crazy pick for the month of August. (My Pre-Code Crazy partner in crime, Kristina over at Speakeasy, is taking a little break from our monthly collaboration, so I’m going to do my best to keep it moving in her absence!)

The Little Giant is a rare Robinson comedy (for that matter, I’m not all that accustomed to seeing Astor in comedies either, especially during this stage of her career), but it’s a welcome one, and is a perfect showcase for the actor’s versatile talent. The movie opens with the presidential election of Franklin D. Roosevelt, which signals the impending termination of Prohibition.  The members of Chicago’s Little Social Club are none too pleased about this news, but the gang’s leader, J. Francis “Bugs” Ahearn (Robinson) accepts the…

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Happy Pride 🌈 from The Last Drive In

I had every intention of releasing Queers & Dykes in the Dark: Classic Noir and Horror Cinema’s Coded Gay Characters! in time to celebrate June’s Gay Pride month with you. But as it goes with me somehow, I am always apt to bang my head from time to time. A couple weeks ago I got clobbered by an iron headboard and wound up with one hell of a concussion. So it’s put my writing on hold. Actually it put almost everything on pause, since in order to rest the brain, you must observe stillness nor read, think or do anything physical.

I did try to write against the prescribed wishes of my doctors and Wendy. Needless to say It was like throwing a scrabble board of tiled letters up in the air and watching the scattershot of words fall aimlessly without connection to what my brain was trying to spell out on the computer. Nothing  made sense. My eyes saw one thing and my hands had something else entirely in mind. So this is what they call brain fog eh?

I will have the piece done hopefully in a few weeks/months?, and with the Medrol my Neurologist gave me will help me put sentences back together again without the tremendous effort to refocus my eyes. Then there’s always the post-concussion side effects. One iron bed frame wallops you in the head and your whole writing plan becomes a silent comedy!

And of course, this constant pain in my skull has been so distracting I can’t even concentrate on the word concentrate.

Your Ever Lovin’ Joey saying I’m standing with you my sisters and brothers in arms and see ya real soon, and say… watch your heads!

1940s B Horror Films and the 21st Century Mind

This is a though provoking article on the Monogram 9 by Ruth over at the wonderful Silver Screenings — and Bela always deserves his due!

Silver Screenings

Bela Lugosi (centre) and Angelo Rossitto steal brides. Image: IMDb

“In early 1940s Hollywood,” writes Robert Guffey, “you had to go out of your way to descend any lower than Monogram Studios.”¹

Monogram was one of the small Hollywood studios – collectively known as Poverty Row – that produced low-budget “B” films. Monogram specialized in action and adventure; one of their stars in the early-to-mid 1930s was a young John Wayne.

Among the films Monogram released in the early 1940s, nine were made with former Hollywood legend, Bela Lugosi. Lugosi, best known for his portrayal of Dracula both on stage and in the 1931 film, was really Up Against It in life. In addition to his morphine addiction (the result of a WWI injury), he had a troubled personal life and was unable to expand his career beyond the horror genre. His time at Monogram screams Reduced Circumstances.

Lugosi…

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A Trailer a Day Keeps the Boogeyman Away! Deep End (1970)

“DEEP END” (1970)

If you can’t have the real thing– you do all kinds of unreal things.

I LOVE creepy British psycho-sexual thrillers of the 1970s – Goodbye Gemini (1971) with Judy Geeson and Martin Potter, Twisted Nerve (1968) with Hayley Mills and Hywel Bennett, Beware My Brethren (1972) with Ann Todd, and The Night Digger (1971) with Patricia Neal and Nicholas Clay. And then there’s the non-conformist Polish auteur Jerzy Skolimowski with his portrayal of the seamy underbelly of a tawdry swinging London’s Soho at the end of the 1960s — Deep End (1970) similar to his other works – Le Départ (The Departure 1967) and Walkover (1965) all representative of a character disadvantaged by his social class inhabiting a bourgeois realm and in Deep End the story is about young Mike (John Moulder-Brown) set against a classist system that crowds him into a strange world that brings out his unstable burgeoning sexuality.

Like his colleague Roman Polanski, Skolimowski uses water in his films and here in Deep End especially- it is used as a liminal space where the characters may move in and out of reality. It’s significance here is a passage between childhood and maturity and life and death. All of the narrative is geared toward flow and not necessarily structured.

Actor, writer, producer and director Jerzy Skolimowski (King, Queen, Knave 1972, The Shout 1978-actor in Mars Attacks! 1996, Before Night Falls 2000) Here he directs and has written the screenplay with Jerzy Gruza and Boleslaw Sulik for Deep End 1970.

Cinematography by Charly Steinberger who creates a surreal and dreamlike landscape that lends itself to metaphorical interpretations of pubescent angst and awakening, set against a squalid London at the end of the 1960s. With a soundtrack by Cat Stevens using his song under the opening titles ‘But I Might Die Tonight’ and German band The Can with their song ‘Mother Sky.’

Skolimowski uses the recurring theme of the color red in much the way – red was used as symbolism as illustrated in the poster of the blood trailing downward, it reminds me of the same motif used by Nicholas Roeg’s adaption of Daphne du Maurier’s incredibly haunting  Don’t Look Now (1973) a particular favorite 70s horror of mine.

Deep End stars cherubic faced John Moulder-Brown (The House that Screamed 1970, Forbidden Love Game 1975) as Mike, Jane Asher as Susan, Karl Michael Vogler as the swimming instructor, Christopher Sanford as Susan’s fiancée Chris, Diana Dors as Mike’s 1st lady client- a ‘withered rose’, Louise Martini as Beata the prostitute, Erica Beer as the Bath’s cashier, Anita Lochner as Kathy.

The grotesque and creepily moving tableau- a seedy Bath house where Mike (John Moulder-Brown) a 15 year old towel boy who’s awakening sexuality is aroused by Susan (Jane Asher-Masque of the Red Death 1964, Alfie 1966) a beautiful red head who provokes and baits his distorted hormonal urges to the verge of madness. Mike is sexually inexperienced and obsessed with Susan until he transforms into a voyeuristic stalker.

Skolimowski’s film is uncomfortable, disorienting, oddly dark, curiously droll and off-kilter in the same way, Polanski’s Repulsion (1965) is with it’s similar eye for detail as cinematographer Steinberger focuses the camera on each particle and trace of the bath house which creates a nightmare world that this disturbed young man inhabits among the other weirdos. In a similar vein as Polanski’s The Tenant (1976) and Cul-De-Sac (1966). Skolimowski was a co-writer with Polanski on Knife in the Water (1962). The film is littered with subconscious outré and offbeat imagery and weird and unsavory characters and we can see a bit of influence from Polanski at work.

Skolimowski (left) and Polanski (right)

Jane Asher’s character of Susan, a slightly older co-worker turns Mike onto the secret world that goes on in the private rooms of the bath house where certain of the clientèle indulge in their deviant proclivities and are willing to pay for it. Among them is the blonde Rubenesque British actress Diana Dors who taunts Mike in a libidinous bizarre scene.

Skolimowski refers to Dors type of character as a “withered rose’ the presence of an older woman who once was famous for her sex appeal but is now pathetic as she tries to seduce much younger men or comparing herself to favorite male past times as seen with the Physical Ed teacher (Karl Michael Vogler) who was in reality older that Dors. And with Mike whom she taunts unmercifully.

Susan is not serious about her fiancée Chris, she participates in various private sexual encounters with clients at the baths, and gets perverse gratification out of turning on Mike, until he realizes that she is having a deeper affair with his former teacher.

“Mother’s Sky” is utilized in a great scene where Mike stalks Susan ‘the object of his fixation’ to a London Club, and then moves onto a seedy strip joint where his dreams become even more subverted when he sees the large cardboard cut out of Susan, then he meets an old prostitute, and finally we follow them to the London Underground where he confronts her. When Mike’s obsession devolves it ends with tragic consequences as the story plays out with the quivers of young sexual innocence that quickly turns from disturbing pervy fixation to the kinky shivers of death. John Moulder-Brown is so perfect at playing at radiating a damaged boyish psyche.

If you love to luxuriate in odd British psycho-thrillers like I do, then Deep End will certainly fulfill that fancy mate!

Your EverLovin’ Joey saying, stay out of the deep end, and bring your own towel!

A tribute to Diana Sands “Please look at me!…”

“I refuse to be stereotyped. Look at me. Never mind my color. Please look at me!”

WHY ISN’T THERE A BIOPIC OF DIANA SANDS’ LIFE?

I can’t help being drawn to Diana Sands’ startling equilibrium, her fire. Her complex and multi-layered performances. I see her as a Black Woman. I see her as a woman. I see her as ubiquitous. Diana Sands refused to be typecast in roles that were confining and dishonest. I can imagine that she forged an inroad that would later influence incredible dramatic Black actresses like Alfre Woodard or Angela Bassett, women who exude that similar fire and vibrancy from the depths of their souls.

I think of Diana Sands and I think of an inner strength that burns it’s way to the surface until it’s so bright you feel it pierce your skin. There is an essence of a powerfully self-possessed woman who broke ground with her captivating performances in the early 1960s to the mid 1970s. I don’t like the phrase “color blind” it evokes an irresponsibility not to see inequality. But that is not what Diana Sands is saying in her quote. That’s not what she is asking of us.

So I am using her own words but want to be clear about how I feel in this post honoring one of the great actresses of all time during Black History Month. We need to recognize each other. It’s essential not to try and erase any aspect of who we are and we need to be conscious of those differences in a positive way, while we embrace what we all have in common and can relate to universally.

Diana Sands had to fend off the offensive scrutiny, the “mysogynoir‘ of being referred to by some 70s critics -one whose name I refuse to even give a moment’s attention here except to pluck out two terms from the ignorant context of his entire, misguided and disrespectful review. Who referred to her role as “cute” in terms of her being a Black woman trying to find herself and “afrocentric” in her performance as Beneatha Younger (A Raisin in the Sun). What she was, was a dynamic, courageous  woman who aspired to become a doctor. That isn’t cute. That is the story of real passion and possibility and a god-given right.

Diana Sands as Beneatha Younger, seen here with Claudia McNeil, Ruby Dee, Sidney Poitier and Ivan Dixon.

As a white woman writing this post I want to just say one more thing. We need to see our own privilege and not be afraid to acknowledge that racism exists. I hope I am a good ally and when I pay tribute to a person of color, that I remain mindful to honor them fully and respectfully. I do see Diana Sands color. I see it as a strength and a dignity in all her pioneering roles. I see her emerge from a sea of white faces. She will not be marginalized, stereotyped and shut out of the conversation.

I began to follow Diana Sands’ career years ago, compelled by her dramatic, electrifying presence in film and in television. Growing up in New York, I wish my theatre mother would have taken me to see her on stage. She is remembered for her striking performance as Beneatha Younger in Lorraine Hansberrys play A Raisin in the Sun about the struggles of a poor black family from the side south of Chicago who have to decide about the direction their lives will take- “What Happens to a Dream Deferred?”

What happens to a dream deferred? by Langston Hughes
      Does it dry up
      like a raisin in the sun?
      Or fester like a sore—
      And then run?
      Does it stink like rotten meat?
      Or crust and sugar over—
      like a syrupy sweet?
      Maybe it just sags
      like a heavy load.
      Or does it explode?

The title A Raisin in the Sun was inspired by Langston Hughes’ powerful poem. The inspirational masterpiece that is A Raisin in the Sun is made all the more remarkable by the performances of the ensemble cast and standing out for me, though Poitier always grabs me by the guts and strums my heart strings, is his progressive sister Beneatha brought to life by Diana Sands with instinctual contemplation that was her acting style.

She was marvelous as sassy Fanny Johnson, married to a Black activist Copee (Louis Gossett Jr.) in Hal Ashby’s (Harold and Maude 1971, The Last Detail 1973, Being There 1979) The Landlord 1970. The story of Elgar Enders a young wealthy white New Yorker (Beau Bridges) who buys a tenement building in a low-income neighborhood afflicted by white-flight and going through gentrification. Elgar Intends to evict the black residents so he can turn it into a luxury apartment building and live there all by himself. The cast is rich with superb performances by Pearl Baily, Mel Stewart, Lee Grant, Louis Gossett Jr, and Marki Bey as Lanie.  In Ashby’s thought provoking method, it’s an interesting meditation on race during the close of the 1960s.

Diana appeared in innovative television dramas, such as the innovative socially conscious series East Side/West Side 1963-1964 that dealt realistically with social problems. The gritty series starred Cicely Tyson, George C. Scott, and Elizabeth Wilson as social workers in 1960s New York City. Sands appeared on several episodes of the 1960s series The Doctors and the Nurses which I am desperately waiting for it to somehow be released on disc. The groundbreaking series surrounded the lives of nurses who in their daily lives confront socially relevant issues. Diana Sands even graced one of my favorite television series The Outer Limits in 1964 as Dr. Julie Harrison in the episode “The Mice”. She also played Dr. Marylou Neeley who went head to head with Chad Everett (who always wore clogs and his scrubs 2 sized too small, but who would mind!) in Medical Center’s episode “The Nowhere Child”. She appeared as Nurse Helen Straughn having an affair with Richard Crenna in George Schaefer’s pulpy Doctors’ Wives 1971, and as Cora in Willie Dynamite 1974 the title played by Roscoe Orman, a nasty piece of work who has a license plate that says Willie on the front and Dynamite on the back! As Cora, Diana Sands played a prostitute turned social worker who helps other prostitutes get out of jail and find a better life, while also trying to battle the badass pimp Willie who is smacking women around.

I am trying to track down a copy of An Affair of the Skin 1963 co-starring Viveca Lindfors and Lee Grant, LOVE them both, and Georgia, Georgia 1972 written by Maya Angelou. If anyone has a lead on where I can purchase either film please drop me a note here at The Last Drive In.

Diana Sands Broke Barriers In Theater and On The Big Screen

Stacia L. Brown’s thoughtful tribute published on August 23, 2012 on Diana Sands birthday in her piece Diana Sands: What Was and What Could’ve Been

“If you’re familiar with Sands’ work at all, it’s probably owing to her memorable portrayal of Beneatha, the Younger family’s willful, progressive aspiring doctor, in the 1961 film adaptation of Lorraine Hansberry’’s A Raisin in the Sun. But by then, she had already established herself as a living walking testament to the power of risk-taking. Sands grew up in the Bronx with working class parents, her father a carpenter, her mother hatmaker. After high school graduation, she toured with a carnival before returning to New York and joining Greenwich Mews, a multicultural theatre repertory. She worked night jobs to survive, before scoring her first theatre roles (one of the earliest was the stage production of A Raisin in the Sun). By 1964, her star was rapidly rising. She won an Obie for the play, Living Premise, and a Tony nomination for her role in James Baldwin’s Blues for Mr. Charlie.

This was also the year that Sands became a pioneer in colorblind casting as one of the first ever actresses to earn a role intended for a white actress, without any line rewriting to explain or accommodate her race. She played opposite Alan Alda as his love interest as a would-be actress to his would-be writer. When the film was adapted for screen, Barbra Streisand was cast in her role, but by that time, she’d already garnered a great deal of positive press and audience notice. Television came a-courtin’ and she eventually earned two Emmy nominations. Sands acted through the sixties in various theatre and TV roles. In 1970, she scored her first costarring film role in Hal Ashby’s The Landlord. But the early ’70s would mark the end of a steady and promising rise toward superstardom.”

Diana Sands was born in New York City, the Bronx to be exact, on August 22, 1934. She was a student at the New York City High School for the Performing Arts and a member of the Actor’s Studio. Nominated twice for a Tony Award and twice for an Emmy. She took risks and challenged racial barriers taking on roles that traditionally would have been performed by white actresses. She also fought against a system that marginalized black actors and their roles, becoming a driving force that saw an integration of the cast members.

In 1953 Diana made her debut in the off-Broadway play “An Evening with Will Shakespeare” She went on to appear in George Bernard Shaw’s “Major Barbara” in 1954, also performing in the theatrical production of “The World of Sholem Aleichem.”

Her striking work is notable as she is the first Black actress to be cast in a major Broadway play. Cast in “Land Beyond the River” in 1957 and then appearing in “The Egg and I” in 1958.

It was in 1959 that Diana Sands made her memorable debut as the astonishingly nuanced Beneatha Younger in Raisin in the Sun, in which she won the Outer Circle Critics’ Award, eventually manifesting that magnetic performance in director Daniel Petrie’s (Resurrection 1980) film adaptation co-starring Sidney Poitier, Ruby Dee, Claudia McNeil and Ivan Dixon.

And I want to give a shout out to the incredible contribution by fine actress Claudia McNeil (Bernice Sadie Brown in Member of the Wedding 1958 for The Dupont Show of the Month, Mrs. Quincy in The Last Angry man 1959, Mrs. Hill in television series The Doctors and The Nurses 1963, Madam in There Was a Crooked Man 1970, Odessa Carter in Incident in San Francisco 1971 tv movie, Granny Marshall in Tv’s Mod Squad 1972, Sara in Moon of the Wolf 1972 tv movie, Mu’ Dear in Black Girl 1972, To Be Young, Gifted and Black 1972 tv movie, Ethel Hanson in Cry Panic 1974 tv movie, Big Ma in Roll of Thunder Hear My Cry 1978, Sister Will Ada Barnett in Roots: The Next Generation 1979) as the matriarch, Lena Younger in A Raisin in the Sun. An extraordinary actress herself who deserves the spotlight too. Partly what worked for Hansberry’s story is the chemistry and confluence of the entire cast.

Diana Sands returned to the stage in 1962 appearing in “Tiger Tiger Burning Bright.”

In 1964 she took on two outstanding roles onstage as Juanita in James Baldwin’s “Blues for Mr. Charlie” she was nominated for a Tony Award for Best Featured Actress in a play. She co-starred with Alan Alda as Doris W. in the The Owl and the Pussycat, originally offered to Kim Stanley another actress I find mesmerizing to watch, when Stanley was unavailable, with the script intentionally not re-written for a Black woman went to Diana Sands and once again she nominated for a Tony Award for Best Actress in a Leading Role.

In 1968, she was back on stage at the Vivien Beaumont Theater as the first Black woman to play Saint Joan of Arc in George Bernard Shaw’s play “St. Joan.”

In the beginning of the 1970s Diana Sands among other notable Black actors such as Ossie Davis and Brock Peters, who wanted to feature more positive roles for African-Americans in films, and so they founded Third World Cinema. One of their first productions was the film Georgia, Georgia written by Maya Angelou. Diana Sands plays Georgia Martin a Black woman artist struggling to find herself.

From a New York Times article printed in Feb 1971, A.H. Weiler writes that Third World Cinema Corporation founder and President actor/director Ossie Davis planned on filming The Billie Holiday Story which would have starred Diana Sands. How incredible would that have been.

In hopes of creating an independent film corporation, Sands and her colleagues hoped to ensure that there would be better opportunities for positive portrayals of African-American and People of Color, that would ensure films that presented Black actors with outstanding roles that were versatile and representational rather than stereotypes and limiting. “A group of black and Puerto Rican actors, writers and directors, backed by union leaders and public officials, have joined to form the minority‐controlled Third World Cinema Corporation, an independent company that plans to produce feature films and train minority group members in the film and television fields.”

Above image from the movie, Georgia, Georgia 1972.

In 1974 Diana Sands was ready to take on the role of Claudine, tragically suffering at this point with pancreatic cancer she was too ill by this time, and the part went to friend Diahann Carroll.

Theatre Roles:

As Beaneatha Younger in 1959 A Raisin in the Sun, as Adelaide Smith in Tiger, Tiger Burning Bright 1962 (Theatre World Award), The Living Premise 1963 (Obie Award Distinguished Performance), Doris W. The Owl and the Pussycat 1964, Juanita in Blues for Mr. Charlie 1964, The Premise 1965, as Ruth in We Bombed in New Haven 1968, as Cassandra in Tiger at the Gates 1968, as Joan in Saint Joan 1968, The Gingham Dog 1969.

Television Roles:

As Dr. Julie Harrison in The Outer Limits “The Mice” 1964, in East Side/West Side 1963-1964 as Jane Foster “It’s War, Man and Ruth Goodwin in “Who Do You Kill?” As Sara Harris in Breaking Point 1964. As nurse Ollie Sutton three episodes of The Doctors and The Nurses 1962-1964 and Andrea Jagger in the episode “Night Shift”. In four episodes as Irene Rush along side James Earl Jones (whose wife she played in East Side/West Side episode Who Do You Kill?) In Dr. Kildare 1964, as Dr. Rachel Albert in I Spy 1966 “Turkish Delight”, as Davala Unawa in The Fugitive 1967 “Dossier on a Diplomat” as as Mrs. May Bishop in Bracken’s World 1970 “Will Freddie’s Real Father Please Stand Up” as Cousin Sara in 5 episodes of Julia 1970-1971, as Dr. Marylou Neeley in Medical Center 1971 “The Nowhere Child.”

As Nurse Ollie Sutton from the episode “Imperfect Prodigy” – The Doctors and The Nurses 1964 television series

As Ruth Goodwin in the episode “Who Do You Kill?” from the television series East Side/West Side 1963

As Davala Unawa in The Fugitive 1967 “Dossier on a Diplomat

As Dr. Julie Harrison in The Outer Limits episode “The Mice” 1964

As Irene Rush in Dr. Kildare “The Hand that Heals” 1966

As Dr. Marylou Neeley in Medical Center 1971 “The Nowhere Child.”

As Fanny in Hal Ashby’s The Landlord 1970

As Helen in Doctors’ Wives 1971

As Cora Williams in Willie Dynamite 1974

Film Roles:

Appearing in two extraordinary films, Diana Sands still stood out…

Uncredited as a homeless woman in Elia Kazan’s A Face in the Crowd 1957, uncredited as a club hostess in Odds Against Tomorrow 1959, as Beneatha Younger in A Raisin in the Sun 1961, as Janice in An Affair of the Skin 1963, as Mila in Ensign Pulver 1964, as Fanny in The Landlord 1970, Helen Straughn in Doctors’ Wives 1971, as Georgia Martin in Georgia, Georgia 1972, as Nancy Newman in The Living End (tv movie) 1972, as Cora Williams who co-stars with Thalmus Rasulala (Dr. Gordon Thomas in Blacula 1972) in Willie Dynamite 1974 and as Laura Lewis in Honeybaby, Honeybaby 1974.

Thank you Diana Sands… You touch me with your powerful presence and I am deeply saddened that you left us at age 39, so young, too soon, and I wonder what might have been.

Your EverLovin’ Joey

 

 

Classic TV Blog Association: Announces the 25 Greatest Classic TV Series

CLASSIC TV BLOG ASSOCIATION

After careful deliberation & shared concentration on some of the most groundbreaking and beloved classic television series, the final list is here! Visit Classic TV Blog Associations Blog (Link Above) to read how the list evolved…

I am proud to have been part of this project. Many of the shows included on the final list were series I suggested and while series such as Naked City, Boris Karloff’s Thriller, Alfred Hitchcock Hour, Dark Shadows, Dr. Kildare, Kolchak: The Night Stalker and Leave It To Beaver didn’t make the ultimate tally, I am content that many many fans will agree it is an all inclusive collection of shows that contributed to our collective consciousness, influenced generations of series to follow and left indelible impressions in our hearts and minds.

  1. The Twilight Zone

  2. I Love Lucy

  3. The Mary Tyler Moore Show

  4. Columbo

  5. All in the Family

  6. Dragnet

  7. Monty Python’s Flying Circus

  8. Star Trek

  9. The Prisoner

  10. M*A*S*H

  11. The Dick Van Dyke Show

  12. The Fugitive

  13. Dallas

  14. Doctor Who

  15. The Andy Griffith Show

  16. The Defenders

  17. The Golden Girls

  18. Perry Mason

  19. SCTV

  20. The Honeymooners

  21. Alfred Hitchcock Presents

  22. Hill Street Blues

  23. The Odd Couple

  24. The Outer Limits

  25. The Avengers

Your EverLovin’ Joey saying see ya soon and keep showing your love for those classic series that will forever remain –the finest television viewing experience for all time…

Coming up at The Last Drive In 🎥

*The Archie Bunker Malapropism Dictionary of Mangled English! Season Two

*From Glamour to Trauma: Deconstructing the Myth of Hag Cinema

*Robert Mitchum’s Cinematic Archetype: The Alpha-Male’volence of Harry Powell and Max Cady in Night of the Hunter (1955) & Cape Fear (1962)

*Satan in the City: Cinematic Incarnations-Modernity & the Beast in the Urban ‘pit’.

*Queers and Dykes in the Dark. Classic & Noir Cinema’s Coded Gay Characters: The idolizing/objectifying male, and the obssessive/psychotic woman.

Shelley Winters: The Bloodiest Mama of them all!

AND WHILE YOU’RE WAITING!!!!

Your EverLovin’ MonsterGirl saying see ya round the snack bar, save me a box of raisinets!

 

 

Shock (1946) Psychological-Noir – The mind is a delicate fragile thing, it’s almost as intangible as faith.

SHOCK (1946)

Directed by Alfred Werker (The House of Rothschild 1934, He Walked By Night 1948, The Young Don’t Cry 1957),  screenplay by Eugene Ling, based on a story by Albert DeMond. Cinematography by Glen MacWilliams (The Clairvoyant 1935, King Solomon’s Mines 1937, Lifeboat 1944, The Spider 1945) and Joseph MacDonald  (The Street With No Name 1948, The Young Lions 1958, The Sand Pebbles 1966) Art Directed by Boris Leven and Lyle R. Wheeler. Set direction by Thomas Little.

Shock stars Vincent Price as Dr. Dick Cross,Lynn Bari (Nocturne 1946, The Amazing Mr. X 1948) as Elaine Jordan, Frank Latimore as Lt. Paul Stewart, Anabel Shaw as Janet Stewart, Michael Dunn as Stevens, Reed Hadley as O’Neil, Renee Carson as Mrs. Hatfield, Charles Trowbridge as Dr. Harvey and Mary Young as Miss Penny.

Shock was Vincent Price’s first starring role for 20th Century Fox. It was originally slated as a “B” movie, but it’s unexpected success created openings in better movie houses. Vincent Price possesses an enigmatic sensuality that in my view makes him the complete leading man, tall and romantically brooding with his velvet intonations and his striking features and dramatic flare.

Shock falls into the category of the psychological film noir, where the lead antagonist is a psychiatrist who has committed a crime, and is able to use the resources of his craft to manipulate the chaos created by his act, in a way that sustains his secret. The subject of this tightly woven narrative is a young woman who is portrayed as hysterical and possibly losing her mind, evincing the idea that she is not to be believed. The mise-en-scène is also primarily set in the sanitorium.

 

“The films identifiable as psychological noirs offer much more extreme interpretations of this anti-traditional style. The mise-en-scène of psychological noirs can be classified as operating within two distinct modes, the surreal and the inexplicable. Surreal mise-en-scène refers to overtly artificial visual elements within psychological noirs that are often achieved through the use of special effects, while inexplicable mise-en-scène designates elements that can be either real or not, within the context of the narrative, and only make sense to the viewer once the film’s narrative has been fully revealed”– Matthew Ducca –Film Noir in Context-Psychological Noir

“Here’s one of the best of the season–and I’m referring to Shock, a terrific little picture that , without any particular ballyhoo, steps into the same category as Lost Weekend and Spellbound for intelligent, engrossing entertainment… {Price} is terrific as the psychiatrist-murderer –smooth, menacing and as dangerous as a tiger’s paw.” –-Los Angeles Herald Examiner, March 7, 1946

“…{Price} makes a sufficiently deadly menace…” –Variety

In Shock, Vincent Price plays a prominent psychiatrist Dr. Dick Cross who is having an affair with his nurse Elaine Jordan (Lynn Bari). During an argument with his wife who is willing to give him a divorce but goes to pick up the phone threatening to ruin his reputation, infuriating Cross who loses control and winds up beating her brains out with a silver candlestick. Price is marvelous as he straddles the moral fence between going to police and reporting what he has done and being completely led by the conniving Elaine who is more the pure villainess of the story. Cross states that he didn’t mean to kill her, there was no-premeditation but now that he’s put the body in a trunk and shipped it off to his lodge, he shouldn’t have listened to Elaine and called the police instead. Elaine is ruthless and Janet will talk, only if Dick Cross lets her.

In film noir fashion Elaine drives Cross to his ruination as the film’s malevolent femme fatale. Cross manifests a sort of sympathetic anti-hero, ambivalence with his tormented conscience and his attraction to the alluring temptress who doesn’t have an ounce of humanity in her beautiful bones is finely portrayed with Price’s iconic eloquence and his stylish restraint. Cross is torn between his feelings of guilt for what he’s done and fearing that the police will find out that he is responsible for his wife’s death.

At the center of the story is Anabel Shaw as Janet Stewart, waiting for her husband Lt. Paul Stewart (Frank Latimore) who was believed killed in the war, when actually he was in a Japanese prison-camp. While sitting up in the hotel room, Janet overhears the argument between Cross and his wife, about his mistress and him asking for a divorce. Janet, walking out onto the balcony, witnesses Cross striking his wife with a large silver candlestick and immediately goes into shock.

Janet becomes the film noir figure as the ‘un-believed’ who is in a semi-hysterical state an unable to articulate calmly what she she saw. Ironically is overseen by the one person she has to fear the most, her doctor who is the murderer! Everyone buys into the belief that Janet has in fact gone mad. The paralyzing sense of persecution that envelops poor Janet creates a world of paranoia and confinement.

In one chilling scene later on in the film, shot with a restricted light source stemming from the lightening storm and narrowing warning shadows by cinematographers MacWilliams and MacDonald, one of the patients, the deranged Edwards, at the sanitorium whom the doctors have come to believe is too dangerous to be kept at their facility has hidden a key, sneaks out of his room and enters Janet’s room, where he tries to strangle Elaine. Once Cross arrives in time to save her, Janet comes out of her hypnotized stupor and begins screaming that Cross is the man she saw murdered his wife. Of course the staff just assumes it’s the ramblings of a mad woman who needs to be committed.

Back to the beginning of the film. When Dr. Cross is first called in to consult on the Janet’s condition, he realizes that her room is directly across from the window in his hotel room. He asks her “Did you walk out on the balcony?” when she responds yes, he understands that she witnessed him killing his wife which mostly likely is the cause of her trauma.

Finally, Paul has had enough and walks into Janet’s room, while Cross finds him there, Janet becomes agitated, “It’s him, he picked something up and he killed her, he killed his wife!”

Cross explains to Janet’s husband Paul, “The mind is a delicate fragile thing. It’s almost as intangible as faith.”

Dr Cross convinces her well-meaning husband Paul to commit her to his sanitorium for treatment, where he can watch over her progress and keep her in a catatonic state, sedating, hypnotizing and trying to control her memories of the murder. While under the influence of drugs, Cross tries to convince Janet that she imagined the quarrel and the brutal murder.

Finally, Paul has had enough of not seeing his wife and walks into Janet’s room, while Cross finds him there, Janet becomes agitated, “It’s him, he picked something up and he killed her, he killed his wife!”

“She Knows Elaine, she remembers!”

“Don’t leave me here, he’ll kill me!” Elaine sedates Janet

Cross in a move to illustrate how many of his patients feel paranoia about their surroundings. He explains to Paul that she’s “filled with delusions” even going as far as introducing Paul Stewart to the old oddball Miss Penny who decries that everyone at the institution are murderers and out to kill her! She suffers from Dementia Praecox or Precocious Madness, delusions of grandeur and feelings of great persecution.

To Elaine, it’s the perfect crime, allowing everyone to believe Janet is crazy when she’s really telling the truth. She gleefully tells him, “Well, smile darling, it’s fallen right into our lap.” As Cross becomes more desperate, he does takes on a more sinister role, telling Janet, “You’re losing your mind Mrs. Stewart, you’re losing your mind!” 

Paul isn’t as gullible to just go along, he asks to call in a consultation with Dr. Harvey (Charles Trowbridge) who happens to be Cross’ mentor. Of course Cross consents as to not call attention to his motivation for keeping Janet as the hospital so long. Cross also denies access to Paul, informing him that the shock of seeing him might cause her more harm than good. Even the staff thinks that Janet is having hallucinations.

Paul brings Dr Harvey (Charles Trowbridge) in on the case

While Cross wavers between keeping the young woman quiet and under his control, Elaine’s cold blooded nature urges him to actually give Janet an overdose of insulin. “If a man wanted to, he could get rid of her and no one would ever know… I could give her insulin shock treatment, give her an overdose.” Then they’d be safe. Elaine prods him, “why not… is her life more important than ours.”

But while Cross wavers between menacing moments and weakness which Elaine detests, he does feel sorry for Janet, feeling that he just can’t trick the poor child anymore, that there’s a limit to which even he can’t go. As Elaine takes Cross down memory lane of the first time they made love, he pleads with her, “I can’t do it Elaine, I won’t!”

Biting at Cross’ heals is D.A O’Neil invoking a prototype of Lt. Columbo for me, as he keeps coming back to Cross asking questions and slowly but surely leading him to his capture, by getting a court order to exhume his wife’s body, and telling him they’ve arrested a tramp in the same vicinity of where they found his wife’s body. The drunken intruder who clubbed  another women to death for her jewels, and they found traces under the microscope of silver and wax on her body, the coroner coming to the conclusion that the murder weapon is a silver candlestick! O’Neil asks Cross, “Do you have candlesticks at the lodge?”

Reed Hadley as D.A. O’Neil is as persistent and suspicious as Columbo asking all the small questions that would worry a murderer!

 

Cross is torn between the law closing in on him, his own inner conflict and the seduction by Elaine who wants Janet dead so they can finally be together. After Cross disposes of his wife’s body, put inside a trunk and shipped to their lodge, he dumps the body off the cliff and drives back home, meeting up with Elaine. “Driving back, there was a time to think. I got to thinking about you. I asked myself, is she worth what I’ve done.” Elaine whispers suggestively, “Well?” Cross embraces her passionately, as she utters, “That was a very satisfactory answer.”

in Lucy Chase Williams’ wonderful The Complete Films of Vincent Price- she points out that there are plot elements that are “reminiscent of Price’s great stage success Angel Street-as the smooth, charismatic therapist, Price sits on the girl’s bedside, quietly convincing her that she’s losing her mind.”

Fox’s creative publicity department sent out this statement, “Price’s days at the studio were spent under the supervision of a psychiatric technical advisor. Most of his evenings were spent rehearsing for the Theatre of Romance radio show on which he reenacted the same role in Angel Street that he made famous on the New York stage. ‘So you see,’ laughed Price, ‘I was a mental case both day and night’…

“Although Vincent is rapidly becoming known as ‘Hollywood’s most wicked man’ what with murdering practically every feminine contract player at 20th Century Fox–for films only, of course-he wants to play comedy.” ‘Ah yes,’ punned Price, ‘I’m getting to be quite a lady killer. But you wait and see, one of these days I’ll be killing them with love and murdering women with laughter.’

From Vincent Price (Classic Images, June 1992)

“Shock was an experiment, actually. The studio was spending too much money on films and taking too long to make them. Something had to be done to boost output and cut down on costs. So they asked me and Lynn Bari if we could make a film in twenty days and still have it look like a first-class production. I read the script and thought it was pretty good. I said, ‘Certainly we can do it, if you don’t change the script and louse it up for us’. And so they agreed… The Film did very well at the box office, so Twentieth was very pleased.”

Your EverLovin’ Joey saying Happy Noir-vember and don’t be ‘shocked’ if I scare up a few more good film noir gems to celebrate the month!… and all my love to the charismatic Vincent Price.

 

First Look: The Dark Pages’ Latest Issue

There’s no better place to indulge your passion for Film Noir than The Dark Pages!

Speakeasy

Image result for body and soul 1947 poster

Hot off the presses is the new issue of the original publication for noir movie fans, and as a regular contributor, I love to tell you what’s in it:

  • In-depth looks at noirs new on disc for your collection, this time covering The Man Who Cheated Himself (1950), Black Widow (1954), The Spiral Staircase (1945), and more
  • My regular noir-on-TCM calendar for two months of viewing
  • Karen and I each pick one noir you should see on TCM
  • Body and Soul (1947)
  • Actresses who played against type as femmes fatales– Gene Tierney, Marilyn Monroe and others
  • Kansas City Confidential (1952)
  • White Heat (1949)
  • James M. Cain’s final novel, The Cocktail Waitress
  • a trivia quiz

… and this is your reminder that the theme for this year-end GIANT issue is GREAT COUPLES OF NOIR. If you’re interested in contributing, please contact thedarkpages [at] yahoo.com

The Dark Pages’ creator and editor…

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Postcards from Shadowland no. 17 🌀 The Twilight Zone edition

“Five Characters in Search of an Exit” Season 3 Episode 14-Stars William Windom, Susan Harrison, Murray Matheson, Kelton Garwood aired December 22, 1961 Teleplay by Rod Serling.
“The Sixteen Millimeter Shrine” Season 1 episode 4 aired October 23rd 1959-stars Ida Lupino and Martin Balsam, Jerome Cowan, Ted de Corsia and Alice Frost as Sally. Written by Rod Serling
“Black Leather Jackets” Season 5 Episode 18 aired January 31st 1964-stars Lee Kinsolving, Shelley Fabares, Michael Forest, Denver Pyle, Tom Gilleran, Michael Conrad and Irene Hervey.
“Elegy” Season 1 Episode 20 aired on February 19th, 1960 directed by Douglas Heyes and written by Charles Beaumont. Stars Cecil Kellaway, Jeff Morrow, Don Dubbins and Kevin Hagen
“Eye of the Beholder” Season 2 Episode 6 aired on November 11th, 1960 directed by Douglas Heyes and written by Rod Serling. Stars Maxine Stuart, William D. Gordon, Jennifer Howard, George Keymas, Joanna Heyes, and Donna Douglas -revealed
NOVEMBER 11: Twilight Zone episode ‘Eye of the Beholder’, written by Rod Serling. makeup by William Tuttle. Originally broadcast on November 11, 1960. Season 2, episode 6. (Photo by CBS via Getty Images)
“Nothing in the Darkness” Season 3, Episode 16 aired January 5th, 1962. Stars Gladys Cooper Robert Redford and R.G. Armstrong
“Nightmare at 20,000 Feet” Season 5 Episode 3 aired October 11th, 1963 directed by Richard Donner written by Richard Matheson, Starring William Shatner, and Christine White

“The Howling Man” Season 2 Episode 5 aired November 4, 1960 directed by Douglas Heyes written by Charles Beaumont and Rod Serling. Stars John Carradine, H.M. Wynant, and Robin Hughes

“It’s a Good Life” Season 3 Episode 8 aired aired November 3rd, 1961. teleplay by Rod Serling based on a short story by Jerome Bixby. Stars John Larch, Cloris Leachman, Don Keefer, Bill Mumy as Anthony, Alice Frost as Aunt Amy, Max Showalter, Jeanne Bates, Lenore Kingston and Tom Hatcher.

“A Most Unusual Camera” Season 2 Episode 10 aired December 16, 1960. Starring Jean Carson, Fred Clark and Adam Williams written by Rod Serling
“Little Girl Lost” Season 3 Episode 26 aired March 16, 1962 directed by Paul Stewart and written by Richard Matheson. Stars Sarah Marshall, Robert Sampson and Charles Aidman
“Living Doll’ Season 5 Episode 6 aired November 1, 1963 written by Charles Beaumont and Rod Serling. Stars Telly Savalas, Mary LaRoche and Tracy Stratford

“The Midnight Sun” Season 3 Episode 10 aired November 17, 1961 Written by Rod Serling. Stars Lois Nettleton, and Betty Garde
“Mirror Image” Season 1 Episode 21 directed by John Brahm written by Rod Serling. Stars Vera Miles, Martin Milner, Joseph Hamilton and Naomi Stevens
“Mr. Garrity and the Graves” Season 5 Episode 32. Aired May 8th, 1964 directed by Ted Post, with a teleplay by Rod Serling. Stars John Dehner, Stanley Adams, J. Pat O’Malley, Norman Leavitt, Percy Helton and John Mitchum
“Mr. Denton on Doomsday” Season 1 Episode 3 aired October 16th 1959 written by Rod Serling Stars Dan Duryea, Martin Landau, Jeanne Cooper, Malcolm Atterbury, Ken Lynch, Arthur Batanides, Robert Burton and Doug McClure
“A Stop at Willoughby” Season 1 Episode 30 aired May 6, 1960 directed by Robert Parrish written by Rod Serling. Stars James Daly, Howard Smith and Patricia Donahue, Jason Wingreen, and Mavis Neal Palmer.
“Nick of Time” Season 2 Episode 3 aired November 18, 1960 Written by Richard Matheson and Rod Serling Stars William Shatner and Patricia Breslin
“Night Call’ Season 5 Episode 19 aired February 7, 1964 Directed by Jacques Tourneur written by Richard Matheson and Rod Serling. Stars the great Gladys Cooper, Nora Marlowe and Martine Bartlett.
“Nightmare as a Child” Season 1 Episode 29 aired April 29, 1960 written by Rod Serling. Stars Janice Rule, Sheppard Strudwick and Terry Burnham as Markie
“Twenty Two” Season 2 Episode 17 aired February 10, 1961 Directed by Jack Smight written by Rod Serling from Famous Ghost Stories- Stars Barbara Nichols, Jonathon Harris, and Fredd Wayne
“One for the Angels” Season 1 Episode 2 aired October 9, 1959 Written by Rod Serling. Stars Ed Wynn, Murray Hamilton as death, Dana Dillaway as Maggie
“A Penny for your Thoughts” Season 2 Episode 16 aired February 3, 1961 Written by George Clayton Johnson and Rod Serling. Stars Dick York, June Dayton, Dan Tobin, Cyril Delevanti, and Hayden Rorke
“People are Alike All Over” Season 1 Episode 25 aired March 25, 1960 Stars Roddy McDowall, Susan Oliver and Paul Comi
“Long Live Walter Jameson” Season 1 Episode 24 aired March 18, 1960 Written by Charles Beaumont. Stars Kevin McCarthy, Edgar Stehli, Estelle Winwood and Dodie Heath
“Queen of the Nile” Season 5 Episode 23 aired March 6, 1964 directed by John Brahm written by Charles Beaumont and Rod Serling. Starring Ann Blyth, Lee Phillips, and Celia Lovsky

“Spur of the Moment” Season 5 Episode 21 aired February 21, 1964 directed by Eliot Silverstein written by Richard Matheson. Stars Diana Hyland, Marsha Hunt, Philip Ober and Roger Davis.
“The After Hours” Season 1 Episode 34 aired June 10, 1960 directed by Douglas Heyes written by Rod Serling. Stars Anne Francis and Elizabeth Allen
“The Dummy” Season 3 Episode 33 aired May 4, 1962 directed by Abner Biberman teleplay by Rod Serling. Stars Cliff Robertson, Frank Sutton, George Murdock, John Harmon and Sandra Warner.
“The Fear” Season 5 Episode 35 aired May 29, 1964 directed by Ted Post written by Rod Serling. Stars Hazel Court and Peter Mark Richman
“The Grave” Season 3 Episode 7 aired October 27, 1961 Written and Directed by Montgomery Pittman Stars Lee Marvin, James Best, and Strother Martin, Elen Willard and Lee Van Cleef
“The Hitch-Hiker” Season 1 Episode 16 aired January 22, 1960 Teleplay by Rod Serling based on a radio play by Lucille Fletcher. Stars Inger Stevens, Adam Williams, Lew Gallo and Leonard Strong as The Hitch-Hiker
“The Invaders” Season 2 Episode 15 aired January 27, 1961 Directed by Douglas Heyes written by Richard Matheson. Stars Agnes Moorehead in a completely dialogue-less performance.
“The Lonely” Season 1 Episode 7 aired November 13, 1959 Directed by Jack Smight written by Rod Serling. Stars Jack Warden, John Dehner, Jean Marsh and Ted Knight
“The Man in the Bottle” Season 2 Episode 2 aired October 7, 1960 directed by Don Medford written by Rod Serling. Stars Luther Adler, Vivi Janiss, and Joseph Ruskin
“The Masks” Season 5 Episode 25 aired March 20, 1964 Directed by Ida Lupino written by Rod Serling. Stars Robert Keith, Milton Seltzer, Virginia Gregg, Brooke Hayward and Willis Bouchey
“The Monsters are Due on Maple Street” Season 1 Episode 22 aired March 4, 1960. Written by Rod Serling. Stars Claude Akins, Barry Atwater, Jack Weston, Jan Handzlik, Amzie Strickland, Burt Metcalfe, Mary Gregory, Anne Barton
“The New Exhibit” Season 4 Episode 14 aired April 4 1963 Directed by John Brahm written by Charles Beaumont and Rod Serling. Stars Martin Balsam, Will Kuluva, Margaret Field William Mims
“The Shelter” Season 3 Episode 3 aired September 29, 1961 directed by Lamont Johnson written by Rod Serling. Stars Larry Gates, Joseph Bernard, Jack Albertson, Peggy Stewart, Sandy Kenyon, Michael Burns, Jo Helton, Moria Turner, and Mary Gregory
“Time Enough At Last” Season 1 Episode 8 aired November 20, 1959 Directed by John Brahm and teleplay by Rod Serling based on a short story by Lynn Venable. Stars Burgess Meredith as Henry Bemis
“To Serve Man” Season 3 Episode 24 aired March 2, 1962 Teleplay by Rod Serling based on a short story by Damon Knight. Stars Lloyd Bochner, Susan Cummings and Richard Kiel
“A Passage for Trumpet” Season 1 Episode 32 aired May 20, 1960 Directed by Don Medford written by Rod Serling. Stars Jack Klugman and John Anderson
“Walking Distance” Season 1 Episode 5 aired October 30th, 1959 directed by Robert Stevens and written by Rod Serling. Stars Gig Young, Frank Overton and Irene Tedrow and a young Ronny Howard
“Two” Season 3 Episode 1 aired September 15, 1961 directed by Montgomery Pittman written by Montgomery Pittman and Rod Serling. Stars Elizabeth Montgomery and Charles Bronson
“Third from the Sun” Season 1 Episode 14 aired January 8, 1960 Teleplay by Rod Serling based on a story by Richard Matheson. Stars Fritz Weaver, Edward Andrews, Joe Maross, Denise Alexander and Lori March
“What You Need” Season 1 Episode 12 aired Deccember 25, 1959 Stars Steve Cochran, Ernest Truex, Read Morgan and Alrene Martel
Season 1 Episode 1 aired October 2nd 1959. Written by Rod Serling. Stars Earl Holliman, James Gregory, and Paul Langton,
“Will the Real Martian Please Stand Up?” Season 2 Episode 28 aired May 26, 1961. Directed by Montgomery Pittman written by Rod Serling. Stars John Hoyt, Jean Willes, Jack Elam, Barney Phillips, John Archer, William Kendis, Morgan Jones, Gertrude Flynn, Bill Irwin, Jill Ellis and Ron Kipling

Your EverLovin’ Joey saying The Last Drive In is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man’s fears and the summit of his knowledge!