Frances Farmer in Come and Get It (1936)

I have yet another Frances Farmer post. I finally found some footage of her acting via YouTube. Here are two short parts of her film, Come and Get It. I watched it last weekend, and while it's a bit slow, Frances' performance locked me in. I thought she rocked it. Her deep voice sounds so haunting, no?

A new girl crush

At first, I thought Frances Farmer was interesting. Now, it's become a full girl crush. First, she's beautiful. Second, her performance in Come and Get It was amazing. She reminded me of all sorts of actors I love, like Joanne Woodward, Mae West, and Clara Bow, but at the same time, there was something more unique. Third, this photo is boss:

I mean, come on now.

Spring Wardrobe Ideas

I admit, I am kind of a celebrity personal style junkie.

However, with the exception of Carey Mulligan and Kirsten Dunst, I avoid stalking celebs via paparazzi photos. Those two dress too deliciously to resist a creeper-esque peep when inspiration itches. Instead, I comb my Google and Bing image searches for dressed down vintage stars. These often prove hard to come by, but they are there. Marilyn Monroe, Audrey Hepburn, or Natalie Wood stripped from their iconic glamour in exchange for something more simple equals magic. Here, cropped trousers, cardigans, ballet flats, big sunglasses, and dresses appear, with some jewelry for kicks.

I love these looks. The make their point without fuss. They exude fashion without trying. Rather, they just are. I decided I should look like that this spring. My Minneapolis lifestyle rarely accommodates outfits decked with bells and whistles. For one, I rarely wear stilettos anymore. But I need to edit my wardrobe so it becomes more "me" and less faux-urbanista. I am Idaho. Let's be real.

This, however, I can handle.

Just ... minimal.

"Blackmail" (1929)

The first ten minutes of Alfred Hitchcock's  Blackmail begin as a silent, as Scotland Yard catches a criminal. One of these, detective Frank Webber, meets his girlfriend Alice later that night. Their awkward dinner conveys Webber's lack of interest in Alice, so her late night date with another man remains no surprise. However, Alice walks away from this secret date a murderer, and the plot twists from there.

I am a fan of early talkies, and this one is one of the best I have seen. When the film transitioned from silent to talkie, I literally exclaimed, "whoa!" It would have made sense either way. Furthermore, I am fascinated with what a consistent and quality filmmaker Hitchcock always was. His early work maintains the same standards classics like "Psycho," "The Birds," "Rear Window," etc. have that make him legendary today.

And, as always when I review a Hitchcock film, this review ends prematurely because of what I do not want to reveal. It remains worth seeking out.

~F.

Natalie Wood's Death: Case Re-opened

I feel I should report this rather HUGE classic film news. Natalie Wood who, is one of my favorite actresses, just made headlines! The case of her death has just been re-opened after thirty years. I heard rumors of this happening, but never thought it would become official. Her death has been well-documented, and is a rather complicated story, so Google it if you're not familiar. Here, also, is the article from The New York Times.


Natalie Wood's Death is Being Re-investigated

Let's Make it Legal (1951)

The opening scene of Let's Make it Legal reveals the old beauties of post-WWII suburbia: white houses, white fences, lawns lined with cars and dotted with rosebushes. Enter Hugh Halsworth (Macdonald Carey), who cares deeply about his own rosebushes. He makes special trips to the home he used to share with his soon-to-be ex-wife Miriam (Claudette Colbert) to tend them, much to her annoyance. Hugh and Miriam will soon see their divorce finalized. While Miriam feels elated, proclaiming several times she does not need a man, Hugh fights his grief. He "won" Miriam in a gamble years before, and considers it his luckiest moment.

Now, enter Hugh's competitor in the gamble and Miriam's old flame, Victor (Zachary Scott). Victor, a wealthy "businessman," spends the film pursuing Miriam, and convinces her to become engaged. To counter this, Hugh flaunts a blonde tart, Joyce, (Marilyn Monroe) in Miriam's face, but she does not convey jealousy.

Then there's the Miriam's live-in couple: the daughter, the son-in-law (Robert Wagner), and their newborn baby. The daughter refuses to grow up, as she asks Miriam to take care of the baby and keep house for her. While I admire how Wagner's character constantly calls her out for this while keeping so darn handsome, it remains an annoying subplot in this otherwise cute film.

And it boasts cuteness. I could not get over the happy ending. Claudette always gives a good performance, as does Marilyn (even though I always find it odd watching her early films where she plays smaller roles), but Macdonald Carey stole my heart. What a romantic.

At only an hour and sixteen minutes, Let's Make It Legal may not provide layers of depth, but I am always down for alternate retro worlds where nothing but the best persists. Wunderbar!

~F.

Beautiful Elizabeth Taylor

To make up for how lame I thought Blue Valentine was, I thought I would post this Elizabeth Taylor tribute I found via YouTube. She is, after all, the epitome of Classic Hollywood Glamour, in my opinion.

A Date with Judy (1948)

A Date with Judy is a fun, late 40's MGM musical starring Elizabeth Taylor and Jane Powell, among others. The trials of Judy, played by Powell, and her friend, played by Taylor, first came alive through radio programming, according to Imdb. I also stumbled upon an original broadcast via You Tube. It's adorbs! I need more radio stories and girly drama in my life. I also need a boyfriend named Oogie who I call "cad" and who calls me "pearl." Then we can see the "new Tyrone Power picture" together, yadaydayada. 

The film version most likely did its predecessor justice. The music and surprise technicolor (I missed the whole "MGM musical" aspect when I stuck it in my NetFlix queue) aside, I found a small detail delightful:

Carmen Miranda's shoes.

Seriously. They're sick. Wonderbar. You can see them in the trailer below around the two minute mark. Strappy platforms galore! 

I'm going to dance, dance, dance, dance, dance!

From about ages three to seventeen, I was a very serious ballet dancer. I wanted to be a professional ballerina, and danced for about forty hours a week throughout my teens. However, dance in that atmosphere creates criticism and pressure. I quit because it was too much, and have stayed away since.

However, since I moved to Minneapolis, I joined the YWCA, and have enjoyed most of my membership so far through dance classes. I cannot say what exactly drew me back into it. I guess I feel since I moved about 2000 miles from my previous home, I am already out of my comfort zone. Why not give it another shot? Well, my passion burns strong. I LOVE my classes. They are fun, great exercise, and pressure-free. One thing I always remained anxious of was when the instructor walked up to me, and corrected or criticized my dancing. Here, the instructor takes the class with us, and I do everything to my own standards and comfort. It makes the experience for me. I am even trying a new-to-me kind, Zumba, tomorrow evening. 

All this dancing reminds me of my favorite dance movie, Flashdance. It's a GREAT movie, if you have not seen it yet. It features a predictable love story, but the choreography, costumes, and music always bring me right to a 1980s dance studio. 

And yes, I have invested in some dancer-ish clothes from American Apparel. Now that I dance again, I have no problem looking like Jennifer Beals. 

"Yesterday, Today, and Tomorrow" (1963)

I teased in the last post I would elaborate on why I kinda adore Sophia Loren right now. I watched the Italian film "Yesterday, Today, and Tomorrow" last weekend, and I found it perfect. It was funny, romantic, stylish, and so ... Italian.

It reminded me a bit of "Paris, Je T'aime," or "New York, I love You," because it contained three mini story lines. Only here, the cast remained consistent as the movie covered three different women (played by Sophia), and their men. Marcello Mastroianni (known for "8 1/2," "La Dolce Vita," "Marriage, Italian Style," among others) plays the the main male roles. The first story follows a woman who avoids jail time by continually having children, the second shows a neglected businessman's wife and her affair with an artist, and the third (also my favorite), develops Sophia's character as a prostitute who befriends her neighbor, a seminary student.

Throughout, Sophia and Mastroianni keep chemistry on screen. I believed they were a couple in each story. They were funny, romantic, feisty, and sexy. In one story, their altercation almost made me cry, and in another, Sophia's striptease for Mastroianni's character left me cracking up. They made me excited to watch them. I wanted to see how their characters fit, and how they ended together. Sophia, of course, gave three notable performances. If anyone had screen presence, she did. She conveyed every emotion I can think of in this movie, and slid easily into each character.

Not to mention, she rocked some fabulous fashion! She looked amazing in the peasant dresses, fur coats, and bustiers her characters required.

Here is a great scene!

And, the trailer:


I suggest you watch this, if you get a chance! It's a wonderful weekend movie.

Bella, Sophia Loren Style

I kind of adore her right now. Stay tuned. There will be more about this later!

The Life of Emile Zola (1937)

Do not be fooled by this dashing cover art of Paul Muni in the The Life of Emile Zola. Much to my personal disappointment, he dons the "beard and glasses" ensem in the biopic about the famous French writer and his involvement in a trial underscored by anti-semetism. Still, I have come to the conclusion I can watch Paul in any film, and in any form. He could wear a carrot costume and sing "Old MacDonald," and I would find it wonderful.

Still, allow me a moment to oogle at this screen cap from Scarface.

Back to topic, he gives a fantastic performance in this. It makes me so sad he remains so underrated today. The Life of Emile Zola remains a serious film, but Paul inserts all these little quirks that make it more light-hearted. It comes together in one of "those" film-y courtroom speeches toward the end where I became so mesmerized I forgot where I was for a second. He also speaks with his voice I find smooth as butter ...

Speaking of performances, Joseph Schildkraut gives another good one as an officer wrongly court martialed for disclosing military secrets. He snagged an Oscar and all. And, Paul? Just a nom, but who wins them all? At least he does not have to worry about my heart.

A New Kind of Love (1963)

Paris and fashion blend again in A New Kind of Love, a romantic comedy starring the best Hollywood couple ever, in my opinion, Paul Newman and Joanne Woodward. But back to the fashion for the moment. It IS seriously amazing here. Of course, the opening credits list Edith Head, Lanvin, Christian Dior, and Frank Sinatra singing, so I expected nothing less. From the full-skirted, feather couture ensems walking Parisian catwalks, to Joanne's menswear inspired blouses and trousers (and one or two pencils stuck randomly in her hair) this movie treats what women wear as consciously created works of art.

These fashions circle what I see as a typical Paul/Joanne storyline: She plays the intelligent career woman who at first ignores his charming advances, but then viewers discover she loved him all along. More specifically, Joanne plays Sam, a tomboy who "steals" high fashion designs for the mass production of more affordable, department store versions. For this reason, she travels to Paris with two co-workers, and meets columnist-in-exile (for sleeping with the boss's wife), Steve. The two begin awkwardly---Steve mistakes Sam for a man.

Inspired by the Paris fashion, a dance with Maurice Chevalier (don't ask) and embarrassment over her single-dom, Sam invents a more feminine, fashionable version of herself. Steve then spots her again, mistakes her for a famous call-girl, and interviews her several times for column inspiration. Though Sam fails to extend the act, and Steve dislikes her for that, I think no shock will come from my assurance that everything works out for them in the end.

I find this movie fun, despite its lack of an original plot. Paul and Joanne convey so much chemistry and comic timing. Also, Thelma Ritter, Eva Gabor, and George Tobias head a charming supporting cast. However, I think the movie's best point remains its use of fashion. I rarely see one that uses fashion so intentionally for both entertainment and insights. For instance, a split-screen of Sam observing a fashion show, while Steve indulges in burlesque acts, with models and dancers wearing similar ensems, seems so clever to me. As someone who already loves fashion, it made me appreciate it, and its possibilities, even more.

Happy birthday, Natalie Wood!

Please check out the new "Marlon on a Wednesday" post below, as he is looking particularly dashing on a boat there, but I also have to put together a birthday post for one of my favorite actresses, Natalie Wood! She is definitely worth celebrating for her style, charm, and of course, talent. Here are clips from some of my favorite movies:

Sex and the Single Girl with Tony Curis


Splendor in the Grass with Warren Beatty


Finally, perhaps my favorite of all, Love With the Proper Stranger with Steve McQueen

Where the Sidewalk Ends (1950) and The Woman in the Window (1944)

I was hungry for some film noir last week, so I watched two new-two-me, Where the Sidewalk Ends and The Woman in the Window. I will keep these descriptions brief, and avoid details as I think the surprise element is important in films like these. I recommend both.

In Where the Sidewalk Ends, Detective Mark Dixon (Dana Andrews) wants so much to escape his criminal father's legacy, he goes to elaborate measures to cover up the accidental death of a murder suspect, to which he plays a part. This cover-up leads to more flawed suspects and investigations, along with Dixon's burgeoning relationship with the deceased suspect's wife, played by Gene Tierney. External and internal struggles abound as Dixon decides how to handle his mistake.

Otto Preminger directed Where the Sidewalk Ends, and after seeing several of his films, this one also kept me interested. His works I previously viewed, Laura, Bunny Lake is Missing, Angel Face, and River of No Return, contained suspense and complex characters. Dixon and his plight certainly parallel these. Juxtaposed with Andrews and Tierney's chemistry, it all became poetry disguised as a cop movie to me. Of course, I also liked Andrews and Tierney together in Laura, so I am not surprised they deliver another top-notch film together.

I then watched The Woman in the Window, and surprisingly loved the similarities between the two films. A man and woman (Edward G. Robinson and Joan Bennett) brought together by an accidental murder, and subsequent cover-up, also dominates this one. Robinson plays Richard Wanley, a professor whose family leaves on vacation. While downtown with some drinking buddies, he spots an intriguing-to-him portrait of a woman displayed in a window. After a few drinks, he meets the woman, Alice Reed (Bennett), she invites him to her apartment, and a brawl between Richard and the woman's lover ensues when the lover sees Richard there. In self-defense, Richard stabs the lover, and kills him. Panicked, Richard and Alice dispose the body, and try cover their tracks as the investigation ensues.

Fritz Lang, who directed the exquisite films M and Metropolis succeeds again in my view. While The Woman in the Window is much more fast-paced than M, it is still smartly played out, with an unexpected twist at the end. Also, I love the film's details. Richard's first sighting of Alice as a reflection in the window beside her portrait seemed original, and a little eerie to me.

Like any classic film lover, this genre intrigues me, but I do not often view movies like this back-to-back. It was a fun experience. Do you like film noir? Which ones are your favorite?

"Now I'm smooth and snappy"

Here is another Formspring question, this time from Shybiker's Ally!


In the movie "Zelig," Woody Allen inserted himself into past events. If you could do that in real-life, what old movie or historical event would you want to be inserted into?


Great question (and movie recommendation :-))! The first classic film I really fell in love with was the 1962 musical, Gypsy. It stars Natalie Wood as the famous stripper and burlesque performer, Gypsy Rose Lee, with Rosalind Russell as her mother, Rose, and Karl Malden as Rose's boyfriend, Herbie. The musical actually chronicles Gypsy's life before she became famous, and her relationship with her mother. Her mother, "Mama Rose," pushes Gypsy (then known as "Louise") and her younger sister into show business by creating a ridiculous vaudeville act. The film mostly centers on this, runs at about two and a half hours, and does not introduce the burlesque until the last thirty minutes or so. 


I first saw Gypsy when I was 11 or 12, and it stuck with me. I developed an obsession as I learned the songs, and pined for Gypsy's sophistication and glamour. Therefore, of all the classic films I have seen, I would most like to be in Gypsy. First, its time period and genre make it ideal. Since it is a musical, I could express myself by singing and dancing with a 1920s and 1930s theater backdrop. Tulsa, another character who performs in Mama Rose's act, does this. One of my favorite numbers from Gypsy is Tulsa's "All I Need is the Girl." He comes off as so charming, and dances impressive choreography. I could not find the 1962 version on YouTube, but I did find 1993 film version. I have not seen this version, but the scene remains pretty much the same, except with different actors.





Second, as I mentioned before, Natalie Wood's portrayal of Gypsy has always inspired me. I would love to be in this movie and perform a striptease like this number. It looks fun and empowering, though I would probably never do anything similar in real life. This (which is from the 1962 version) is one of my favorite parts of any movie.





Feel free to keep asking me such awesome questions!

~F.

Harvey (1950)

Elwood P. Dowd is a gentle man who makes friends wherever he goes. He shakes new acquaintances' hands, offers them his "card," and invites them home for dinner. Yet others misunderstand him. He supposedly spends hours in saloons, and dotes on a invisible, giant rabbit-friend named Harvey. Because of this, the sister and aunt he lives with think him crazy and an embarrassment. They want his quirks to disappear.

So begins the premise of Harvey, a film released in 1950, and starring James Stewart, Josephine Hull, and the rabbit, Harvey. I heard many positive reviews before viewing, but I did not anticipate the delight I felt throughout. Harvey is one of the best films I have seen in awhile. I love the humor Hull provides, and the affection Stewart, as Dowd, shows Harvey, and everyone around him. I always forget what a great actor I consider Stewart until I watch one of his films. He creates relatable characters, and I easily empathize. In my opinion, no other actor during that time or since (with the exception of perhaps Tom Hanks) portrayed these "everyman" souls quite like him.

I think the film also captures the idea that everyone remains more than others give them credit. Dowd reveals himself as someone who has seen a lot of life, and exists as he does because of his experiences. However, few people appreciate what he can offer, particularly his family. His friendship with Harvey balances this out, but I still wanted his relatives to cut him some slack.

I adored that rabbit, by the way. He completely stole my heart.

In all, I recommend this if you want a feel-good movie with a happy ending. I think I made it sound more dramatic than it is. It is actually a comedy! I re-watched it as soon as I finished it.

~F.

The Lady Vanishes (1938)

I am on an Alfred Hitchcock kick right now, which I love. He may stand as one of the more mainstream, "classic" film figures, but I think it's in good reason. His films always prove suspenseful, clever, and full of chic costumes. Though perhaps less widely-seen, The Lady Vanishes adheres to these qualities with as much grace as popular works. 

When Iris Henderson (Margaret Lockwood) boards a train, she befriends an older woman named Miss Froy. Miss Froy (Dame May Whitty, who plays the "cute old lady" card flawlessly) soon disappears, and everyone Iris asks claims she never came on the train. Iris suspects more sinister moves, and enlists fellow passenger Gilbert (Michael Redgrave) to prove Miss Froy's existence.


Unfortunately, I cannot write more, as I would spoil the rest, but I enjoyed this. Usually I predict outcomes early, but the surprises remained refreshing. The train setting enhanced the suspense here, as the claustrophobic environment trapped each claim and character. Also, while Lockwood and Redgrave maintained chemistry, rarely does a film include an ensemble cast that works together to create such a believable set of characters. The ending contains more outrageous events, but I still felt they could happen to me, or anyone, at any time.

Finally, Lockwood's one costume was fabulous. I cannot find the costume credit anywhere (maybe Edith Head?), but I loved watching her stumble around the train her little black dress and pumps. It made me want to try harder when I travel.

~F.

BUtterfield 8 (1960)

I find nothing overrated about Elizabeth Taylor. She, Joanne Woodward, and Marlon Brando stand as my top picks for the most talented actors of their day. She became every character, and the variety of roles she took shows versatility. She also became a fashion icon. Her beauty and style epitomized Hollywood glamour. In many ways, they still do. All this comes together in Taylor’s first Oscar-winning performance in BUtterfield 8.

 As Manhattan model/call-girl Gloria Wandrous, Taylor is both aggressive and scared, fashionable and damaged. I realized I just used a lot of modifiers, but it makes sense. At the beginning of the film, she replies to lover Weston Liggett’s (played by Laurence Harvey) $250 and note, “Enough?” by smearing “No sale” on the bathroom mirror with lipstick, and then steals his wife’s fur coat. Still, she tries to please her mother, who always assumes the best about her, and play good friend to Steve Carpenter, played by Eddie Fisher. Having gone down the wrong path from an expected (in these types of films) horrendous past, Gloria wants to live differently.

Many other moments seem so “Elizabeth Taylor” to me. While not the greatest film, it remains hers, and I like it for that. When Gloria drives her heel into Laurence’s foot, or cries lines like, “Did you ever stop to think you bring out the wildness in me?” and “I saw a woman, utterly proper, utterly conventional, utterly beautiful,” with that Liz Taylor voice, I feel no one else can play the part. I think this despite my opinion Gloria resembles another 60’s film call-girl, Holly Golightly. They even dress alike, with little black dresses and pearls, and orange jackets. Not that this matters. I only find it an interesting resemblance.

I decided I like BUtterfield 8. It is melodramatic, and does not have a happy ending (I think it might have improved with one though!), but it still shows everything I like about Elizabeth Taylor. It also has a good story, bleak as it seems under all that 60s sugar-coating.  

Here is the trailer:

~F.