Mildred's Fatburgers
  • Home
  • The Blog
  • Clips & Quotes
  • Blogathon Archive
  • Contact

Birthday of the Week: Glenda Farrell

6/30/2014

0 Comments

 
Glenda Farrell
Glenda Farrell: June 30, 1901 (or 1904) to May 1, 1971

She Could Rattle Off 400 Words in 40 Seconds

Glenda Farrell, the fast-talking, wisecracking blonde of early Warner Bros. films, was born in Enid, Oklahoma, probably in 1901. Some sources cite 1904, but if the U.S. Census is to be believed, Ms. Farrell's publicity people probably encouraged the misconception.

But what's three years? Whether she started acting at 7 or 10 as (what else?) Little Eva in Uncle Tom's Cabin, Glenda Farrell knew what she wanted and worked very hard to get it. She preferred stage work to movies, but appeared in several silent films in uncredited parts before making a name for herself on Broadway. Her success in theatre led to a contract with Warner Brothers anyway, and Farrell became the studio's go-to gun moll, girl reporter, and smart-aleck best friend; second leads, but sturdy ones. She was often paired with pal Joan Blondell in the early 30s, but also supported the likes of Paul Muni, Edward G. Robinson, and Kay Francis.

She is probably best known as the eponymous star of the Torchy Blane series, an agreeable B series about a plucky reporter who'd do anything to get a story. But Farrell grew tired of being typecast and took fewer roles on the screen, preferring the range of opportunity Broadway offered.

Throughout the 1950s and 60s, Farrell's screen appearances were primarily on television. In 1963 she won an Emmy for her recurring role on Ben Casey, and took the occasional role in film up until 1970, the year before her death. Even though several sources claim that Glenda Farrell was not a smoker -- and even though there's many an excellent photo out there of Glenda Farrell spectacularly posed with a cigarette -- it was lung cancer that took her on May 1, 1971, at age 66 or 70, depending.

She was a joy to watch, particularly in those buddy pictures with Joan Blondell. For a gal who was often shooting three pictures at once in those years, Glenda Farrell seemed to be having an awfully good time.

Favorite Five

  • I Am a Fugitive from a Chain Gang  (1932)
  • Lady for a Day  (1933)
  • Gold Diggers of 1935  (1935)
  • Traveling Saleslady  (1935)
  • The Torchy Blane Series (1937-1939)
0 Comments

MGM Blogathon: The Human Comedy (1943)

6/28/2014

6 Comments

 
Human Comedy, MGM Blogathon
Uber-sweet, but worth it.

Cloying, but Comforting

My memory of this film is fonder than it should be. It appeals to me because Mickey Rooney is restrained and affecting in it and certain scenes were etched in my memory from the first time I saw it on television a thousand years ago.

But I forgot about the soundtrack. And the harp. And the platitudes. And the dripping sentimentality. Oh god, and the folk dancing -- THAT slipped my mind. But if all I retained, lo these many years, is Rooney's truly excellent performance, the cinematography, the sudden overwhelming grief brought on by a wartime telegram, and Jackie "Butch" Jenkins generally, maybe it's worth the slog through molasses.

The story opens under the narration of the late Matthew Macauley (Ray Collins) who soothes us with the idea that although he is dead, his "self" lives on in the places he frequented, the town he called home (mythical, allegorical, Ithaca, California) and the family he left behind: 6-year-old Ulysses (Butch Jenkins), high schooler Homer (Mickey Rooney), next oldest Bess (Donna Reed), eldest son, Marcus (Van Johnson), a private in the US. army about to go to combat, and wife Kate (Fay Bainter).

Now that dad's dead and Marcus has joined the army, Homer is the "man" of the house and has recently taken a job at the local telegraph office. His boss is sturdy, up-and-comer, Tom Spangler (James Craig), who used to be Ithaca's 220 low hurdle champion, but who now runs the Western Union office and keeps the telegraph operator, drunken, world-weary old man Grogan (Frank Morgan) in coffee and pie.  Spangler is also engaged to Diana something-or-other (Marsha Hunt), a frivolous debutante, who is in this movie, one supposes, to show us that all classes are sacrificing for the war and that the rich are people too. She also gets to comment on the quaint folk dancing during the "It's a Small World" portion of the film that showcases the melting pot that is America. One feels for Marsha Hunt.

It's Homer's job to deliver telegrams all over town --  the sad as well as the singing ones -- to keep Mr. Grogan sober enough to type out the messages as they come in, and to be on the receiving end of whatever lengthy pearls of wisdom come from an adult's mouth. Could be his teacher, Mr. Spangler, his dear mother, why, even a soldier on leave. Everyone has something to impart.


The soldiers are all fine young men: they sing hymns and think about their mothers or their girls, even when three of them (a super young Robert Mitchum, Barry Nelson, and Don DeFore) meet Bess and her friend Mary (Marcus's fiancée) and take them to the movies. No monkey business or threat of impropriety; this isn't Crossfire. And here's a bit of cinephilia: the hymn all the boys sing together on the transport train is the same one older Robert Mitchum sings menacingly throughout Night of the Hunter some years later. Telling...

But it was 1943, smack in the middle of the war (for the U.S. anyway) and lots of young people were heading off to possibly die, certainly to be forever changed, leaving families and friends behind. I'd like to think this movie made people feel better about the worry. Some of it is beautiful and painful, and some of it is maudlin and corny, but in spite of feeling socked in the face every so often with a bag of maple syrup, this movie makes me cry and makes me hope that audiences in 1943 watching it cried together and felt like maybe all their hardships were worth it.

But seriously, a harp?

MGM Blogtahon, Silver Scenes
This post is my entry for the MGM Blogathon, sponsored by Silver Scenes.

Please check out all the fabulous posts by other classic movie bloggers: More stars than there are in heaven.

6 Comments

Hypochondria Took a Lot More Effort Before WebMD

6/26/2014

3 Comments

 
Send Me No Flowers
I wanna see this movie in French

Paul Lynde, Rock Hudson, Send Me No Flowers
Sort of a Levittown of the Hereafter

Send Me No Flowers (1964)

One forgets that there were only three Doris Day/Rock Hudson/Tony Randall films, so good was their chemistry. Send Me No Flowers is the last of them, and unlike the other two, Rock and Doris start out married and very well-acquainted with each other. 

George (Rock) and Judy (Doris) Kimball have everything: a lovely home in the suburbs with the world's largest medicine cabinet (this is important), the latest model car, a gossipy milkman, and best friend, Arnold (Tony Randall), living right next door. George is a platinum-level hypochondriac who takes pills for everything. He's also a health nut by 1964 standards; a hipster by ours. He drinks carrot juice, wheat tea, eats organic foods with no animal fats, but takes sleeping pills because he's so anxious.

Or at least he thinks they're sleeping pills. Judy has been replacing the Seconal in each capsule with white sugar for the last five years, knowing George will sleep like a baby.

One day, George visits his long-suffering physician, Dr. Morrisey (veteran character actor, Edward Andrews), to get something for his chest pains (indigestion) and asks about the cardiogram he made the doctor do a couple weeks before. While in the office, he overhears the doctor receiving very bad results of another patient's cardiogram and thinks the results are his. Dr. Morrisey tells the consulting physician over the phone that he won't tell the patient that he has only two weeks to live, because, well, why upset the guy? George thinks Doc Morrisey is talking about him and now his worst fears have been realized.

The rest of the film is about George and Arnold trying to find Judy a suitable husband to take care of her after he shuffles this mortal coil in roughly two weeks. There's a dream about Judy and the groovy young delivery boy, some window shopping for likely candidates at the country club, until finally the friends land on Bert (Clint Walker), a millionaire who happens to be Judy's old boyfriend. Judy starts to get suspicious with George continually throwing Bert in her way.

The situation is further complicated by the plight of the Kimballs' neighbors, the Bullards, who are getting a divorce. We don't ever see Mr. Bullard, but Linda Bullard (Patricia Barry) is an attractive redhead who is about to be pounced on by George's skeevy wolf pal, Winnie Burr (Hal March). Judy happens upon George trying to warn Linda of Winnie's intentions and gets the wrong idea when she sees Linda kiss George in thanks.

Guess what? It all works out in the end, and along the way we get great friend business between George and Arnold (the way Tony Randall sizes up Bert is hilarious); some beautiful righteous indignation from Judy (which no one does that better or cuter than Doris Day), and Paul Lynde as an enthusiastic funeral director,

If there had been an Oscar for reaction shots, Tony Randall would have won it every time.
Send Me No Flowers
Best poster ever. You can see Doris Day's freckles!!
3 Comments

Wednesday's Child: Diana Lynn

6/25/2014

5 Comments

 
Diana Lynn
Dolores Marie Loehr, October 7, 1926 to December 18, 1971

No Biography, But Look:

Diana Lynn, Paul Weston
Apparently, she "loathed playing piano for people; always have," but was quite good at it and made several records.

Piano Prodigy Played Sassy Sisters

I had no idea Diana Lynn played piano at all, let alone that her virtuosity is what got her into pictures in the first place. Play she did, and in her first two pictures, the pre-teen was billed at "Dolly" Loehr until 1942, when Paramount signed her to a long-term contract and changed her name to "Diana Lynn."

Lynn's first feature role was as Ray Milland's fiancee (Rita Johnson)'s kid sister in The Major and the Minor  (1942), and while she's not in it for long, she's pivotal -- wise, canny, and helpful. Similarly, in The Miracle of Morgan's Creek, Lynn plays a smarter, infinitely more mature kid sister to poor ol' Betty Hutton.

As with many other child actors that preceded her, Diana Lynn got fewer and roles as she got older. It's not a little confounding, because she played such sophisticated, mature kids, but what do I know? In the 1950s, she worked mainly on television, but did have an adult lead opposite Ronald Reagan in Bedtime for Bonzo (1951), which may very well have been the last straw. She also performed on Broadway and on the London stage.

Her first marriage was in 1948 to architect John C. Lindsay, whom she divorced in 1953. Several years later, she married Mortimer Hall, son of Dorothy Schiff, publisher of the New York Post. Lynn felt that it was possible to balance career and family, and when interviewed in the 1960s about how she managed it all, she said, "I don't burden my husband with every detail of stagecraft...[and] I try to be instinctive about raising my children. I try to hear what they're not saying. It's working out. They're nice; they're happy; they've got manners." 

Pretty sensible.

She had been running a fledgling travel agency in New York City when Paramount offered her the lead role in the film adaptation of Joan Didion's novel, Play It as It Lays. Just before shooting began, Lynn had a fatal stroke and died at the age of 45 on December 18, 1971. She left behind her husband and four children, two of whom, Dolly and Daisy, are in show business today.

I recommend Miracle of Morgan's Creek for a happy example of this fine actress' work.

Favorite Few

  • The Major and the Minor  (1942)
  • The Miracle of Morgan's Creek  (1944)
  • Our Hearts Were Young and Gay  (1944)
5 Comments

Birthday of the Week: Anne Revere

6/24/2014

0 Comments

 
Anne Revere
Anne Revere: June 25, 1903 to December 18, 1990

Closest Thing to Biography

Picture
Mom in the Movies: The Iconic Screen Mothers You Love (And a Few You Love to Hate)
By Turner Classic Movies and Richard Corliss, Simon & Schuster, 2014

Played Moms and Neurotics but Was Neither

Actually one of those Reveres, Anne Revere was born in Manhattan and educated at Wellesley College. She studied at the American Laboratory Theatre, the New York-based drama school that trained such theatre luminaries as Lee Strasberg and Stella Adler.

After enjoying success on Broadway in the early 1930s, Revere went to Hollywood to reprise her stage role in the film version of the play, Double Door (1934), but didn't get another film role until 1940. This time, she enjoyed regular work as a character actress, playing mostly the worried, poor, or otherwise careworn mother of the lead actor.

The work dried up abruptly in 1951 after Revere exercised her Fifth Amendment rights before the House Un-American Activities Committee. She had just finished a plum role in the film A Place in the Sun  (1951) as Montgomery Clift's mother, but the studio whittled it down to practically nothing in response. She didn't appear in another film until nearly 20 years later. Revere resigned from her position on the board of the Screen Actors Guild that same year.

The now blacklisted Academy-Award-Winning actress (Best Supporting Actress 1944, National Velvet) and her husband, writer and actor Samuel Rosen, ran a theatre school in Los Angeles for a time, then went back to New York to work on the stage. She won a Tony in 1961 for her performance in Lillian Hellman's, "Toys in the Attic," and also appeared on television in several soap operas.

So work she did, and without regret: "I'm a free thinking Yankee rebel and nobody's going to tell me what to do!" A sentiment her ancestor, Paul, could certainly get behind.

Now I feel bad for continually mixing her up with Flora Robson in my youth.

Favorite Five

  • The Song of Bernadette  (1943)
  • National Velvet  (1944)
  • The Thin Man Goes Home  (1945)
  • Dragonwyck  (1946)
  • Gentleman's Agreement  (1947)
0 Comments

Billy Wilder Blogathon: The  Fortune Cookie

6/23/2014

0 Comments

 
The Fortune Cookie
A Surprise Buddy Picture

Ah, the Mobius Strip That Is the Moral Path

I love that The Fortune Cookie is structured like a caper film. The adventure is about two guys trying to make big money out of a small accident: will they get the money? will they give up? will they get caught?  It's comparatively small-time for a caper film -- no jewels or art to be stolen, but all is set to that trademark Billy Wilder dialog, unfolding through flawed, slightly unlikable characters, and that makes it big.

Jack Lemmon plays Harry Hinkle, a sports cameraman who is injured while covering a football game by one of the players, Luther "Boom Boom" Jackson (Ron Rich). While in the hospital, Hinkle's brother-in-law, "Whiplash Wille" Gingrich (Walter Matthau), convinces Harry to sue the football team for damages, defraud the insurance companies, and cash in with a huge settlement. The prospect of paying out half a million bucks to "Shyster Gingrich" (an oft-repeated phrase that makes me giggle every time) is too much for the insurance company, so they hire crack detective Chester Purkey (Wilder stable actor Cliff Osmond) to put Hinkle under surveillance in the hopes of discovering fraud.

The more lying Hinkle has to do, however, the less comfortable he becomes with the whole scheme. He's fine with using his injury to win back the affections of his crummy ex-wife, Sandy (Judi West), a pretty if unpleasant woman who is eager to get a piece of the action. But Harry is less happy about deceiving Boom-Boom, who feels so guilty for causing the injury that he's been taking time away from the team to take care of Harry, and in the process, is getting fined and benched for missing so much practice.

Boom-Boom is also beginning to drink, plays poorly on the field, and is getting into bar fights. On the evening Gingrich sews up a $200,000 settlement, Boom-Boom is arrested on a drunk and disorderly charge. Seeing how upset Hinkle is over the plight of his football player friend -- and in one last effort to prove fraud -- Purkey decides to pay the "invalid" a visit and do a little race-baiting to get a literal rise out of Harry. 

It works. But it also all works out: Sandy is shown up to be the gold-digger she is, Gingrich makes lemonade out of the lemons that are the pieces of a torn-up settlement check, and Hinkle helps his friend get back on track.

No one is better than Walter Matthau at fast-talking shysterism. During the making of this film, Matthau had a heart attack and all production stopped while he recovered. During said recovery, Matthau lost 30 pounds and had to wear a heavy coat for the remainder of the shooting for continuity's sake. The Fortune Cookie was also the first time Walter Matthau and Jack Lemmon were teamed up in a film, and that turned out pretty well.

I feel sorriest for Lurene Tuttle, who plays Hinkle's mother in this film, because her dialog consists mostly of screams and sobs. She's very good at it, but it's a waste of some good potential mom acting.

The Fortune Cookie is a charming movie about the problems of cheating -- on your family, your friends, and the system. It's also ahead of its time in the treatment of friendship between a white guy and  black guy without it being really about that. Refreshing and subtly revolutionary for a very racially charged time. But make sure you remember where you filed the DVD or you'll have to watch it streaming with Polish subtitles on YouTube.

Picture
This post is my (late) contribution to The Billy Wilder Blogathon, hosted by Outspoken & Freckled and Once Upon a Screen.

Please check out all the other bloggers who managed to get their entries in on time!


0 Comments

Birthday of the Week: Ralph Bellamy

6/18/2014

0 Comments

 
Ralph Bellamy, Birthday of the Week
Ralph Rexford Bellamy, June 17, 1904

Memoir

When the Smoke Hit the Fan
When the Smoke Hit the Fan,
By Ralph Bellamy, Doubleday, 1979

Amiable Soon-to-Lose-the-Girl Rebound Guy

Ralph Bellamy began acting as soon as he was able, running away from his Chicago home to join a repertory company right after high school. On the road he did every kind of theater work, from tent shows to the Chautauqua circuit. By the time he was 23, he ran his own troupe and performed all over the country, eventually landing on Broadway. His work on the stage landed him offers from Hollywood studios and off he went.

Bellamy made his film debut in 1931 as a gangster in a Wallace Beery picture called The Secret Six and worked steadily as a second lead until he got tired of being typecast as the dopey "new man" of the female lead -- even though he was so damned good at it! 

He took a break from movies and split his time between Broadway and television during those great early days when "Playhouse" and "Studio" programs brought drama to the small screen. During this period, Bellamy became a founder and board member of the Screen Actor's Guild and served as a much-reelected president of Actor's Equity. In that role, he helped navigate the troubled waters of the McCarthy Era by drafting guidelines for protecting actors against unfounded charges of Communist sympathies. He is also credited for making the tax code more just for actors whose earnings tend to fluctuate wildly between gigs.

The last of his 100+ film roles was as Richard Gere's powerful business associate in Pretty Woman (1990), a silly movie, but a successful one, and not a bad note to end on. 

Ralph Bellamy died on November 29, 1991 after a long illness at the age of 87. 

Favorite Five

  • The Awful Truth  (1937)
  • His Girl Friday  (1940)
  • The Wolf Man  (1941)
  • Rosemary's Baby  (1968)
  • War and Remembrance  (1988 TV Miniseries)
0 Comments

Too Much Time, Not Enough Booze

6/16/2014

0 Comments

 
Smash-Up: The story of a woman, Susan Hayward

Smash Up: The Story of a Woman (1947)

Felt like a bit of color and despair today, and even though Smash-Up: The Story of a Woman is in glorious black and white, Susan Hayward is always in color to me. The story is allegedly based on Bing Crosby's first wife, Dixie Lee, who gave up her singing career when they married and developed a problem with alcohol. In this film, Hayward plays Angelica "Angie" Evans, the nightclub singing wife of Ken Conway (Lee Bowman), an up-and-coming radio crooner. When the two marry, Angie quits show business to support her husband's career. Guess what happens next?

Ken, with the help of his songwriting partner, Steve Nelson (Eddie Albert), becomes a big star and sets up Angie in a beautiful penthouse apartment in New York City with truckloads of cash, a very well-stocked bar, and a household staff to look after her and their infant daughter, also called Angie. With nothing to do and no experience with the social expectations her husband's success demands, Angie begins to feel lost.

Ken means well, but as everyone around him knows, Angie Sr. likes to take a little drink now and again to build up her confidence. She used to have to have two snorts before performing when she was working, and now that she isn't working, there is more time and opportunity to do so. It doesn't help that Ken is away on tour a lot and that his lovely crooning attracts many a bobby-soxer, or that his super-efficient assistant is a beautiful young brunette called Martha (Marsha Hunt).

The more successful Ken becomes, the lonelier Angie gets and the less able the two are to connect in helpful ways. She starts hitting the sauce a lot harder and he doesn't know how to help her. Eventually, Martha starts taking over hostessing and other formerly wifely duties (well, not all of them) and winds up in love with Ken. 

Not a cheerful movie, in other words, even though it was written in part by Dorothy Parker. Smash-Up was billed as the woman's version of The Lost Weekend and earned Susan Hayward the first of her five Academy Award nominations. It's a good performance, but the movie is only a little better than average.

Eddie Albert does a sensitive and affecting job as the best friend who sees all of this coming. He also plays his own guitar. Who knew?
0 Comments

Wednesday's Child: Dickie Moore

6/11/2014

0 Comments

 
Dickie Moore, Wednesday's Child
John Richard "Dickie" Moore, Jr., September 12, 1925

Autobiography

Picture
Twinkle, Twinkle, Little Star (but don't have sex or take the car)
By Dick Moore, Harper & Row, 1984

Cute Little Rascal

Dick Moore is one of those actors I keep seeing, but  have never paid enough attention to. His is a distinctive look, with those large, brown eyes, and general sweetness. 

Moore's career began at age 18 months in the film, The Beloved Rogue (1927), as baby John Barrymore and continued fairly steadily until he retired from acting in 1957 at the ripe old age of 29. Like many child performers before him, the lion's share of his work and box office appeal occurred before he turned 10, by which time he had made 52 pictures, not the least of which were a year's worth of the early "Our Gang" shorts.

Unlike most of his contemporaries, Moore had a fairly good run in juvenile parts through the 1940s, and even took time to finish college and serve in the Second World War. A fact often cited during this period in his career is that he was the actor chosen to give Shirley Temple her first screen kiss. It was his first kiss ever, but not hers, as she was fond of saying. Just seems like something to mention.

By the end of the decade, the parts did begin to dry up and Moore turned to television for a while before quitting acting altogether, Afterward, Moore became an editor and public relations man for Actors Equity and had a very successful post-film career.

In 1984, Dick Moore interviewed 31 former child actors for his book Twinkle, Twinkle, Little Star (But don't have sex or take the car), a fascinating, sad and sensitive insight into the lives and problems faced by his cohort during Hollywood's golden age. It was in the process of writing this book that Moore met and began dating Jane Powell, an actress who survived child stardom in much the same way he did. They married in 1988 and are together to this day.

Favorite Five

  • So Big!  (1932)
  • Three on a Match  (1932)
  • Blonde Venus  (1932)
  • Sergeant York  (1941)
  • Out of the Past  (1947)
0 Comments

Birthday of the Week: Paul Lynde

6/10/2014

0 Comments

 
Paul Lynde, Birthday of the Week
Born Paul Edward Lynde, June 13, 1926, Died January 10, 1982

Biography

Picture
Paul Lynde: A Biography - His Life, His Love(s) & His Laughter
By Cathy Rudolph, Bear Manor Media, 2013

Center Square, Open Closet

You know when somebody asks you what kind of superpower you'd like, you're supposed to answer something like "invisibility" or "x-ray vision" or something like that, but I'd want Paul Lynde's heroic ability to say and get away with some of the s*** he did on Hollywood Squares. 

Known mostly for his work on television games shows and sit-coms, Paul Lynde started his show business career as a stand-up comic in New York City in the late 1940s. His Broadway debut was in the musical comedy revue, New Faces of 1952, which was later made into a film. From there, Lynde guest starred on a number of TV comedies and returned to Broadway to play what later would be his most famous screen role, Harry MacAfee, the beleaguered father in Bye Bye Birdie.

It's hard to recall the first time I became aware of Paul Lynde, because he was kind of in everything during the early 1970s, my formative TV years: Bewitched  as Endora's jokester brother, Uncle Arthur; the voice of the Hooded Claw in The Perils of Penelope Pitstop (and the only thing that made that cartoon watchable); guesting on I Dream of Jeannie or  Love, American Style; voicing Templeton the rat in Charlotte's Web; and, of course, Hollywood Squares, where he'd make jokes I knew were funny, but didn't know why.

And yet, I never did watch the shows developed for him. Apparently, not many other people watched The Paul Lynde Show (1972-1973) or The New Temperatures Rising Show (1973-1974) either, and both were canceled without much fanfare. Already a heavy drinker, Lynde became more alcohol and drug dependent after the failure of the sitcoms and was arrested a number of times for public intoxication. He continued to work, but as a game show panelist or guest star in other people's shows.

Paul Lynde's sexuality was an open secret in Hollywood, and indeed, was the theme of many of his funniest one-liners from Hollywood Squares:

Peter Marshall: What is a pullet?
Paul Lynde: A little show of affection.

Peter Marshall: Paul, why do Hell's Angels wear leather?
Paul Lynde: Because chiffon wrinkles too easily.

Peter Marshall: According to the old song, what's breaking up that old gang of mine?
Paul Lynde: Anita Bryant!

In the Salon interview with Lynde's biographers, Lynde emerges as both a pioneer for gay humor in popular culture and as a symbol of "a self-loathing era for gay culture." He also turns out to have been a mean drunk, not a little racist, and a pretty unhappy person.

For the last couple years of his life, Paul Lynde quit drugs and alcohol and became a spokesperson for Weight Watchers. Alas, the years that preceded his attempt at a healthier lifestyle seemed to win out, and Paul Lynde died of cardiac arrest attributed to extreme substance abuse in 1982. He was only 55 years old.

Paul Lynde Singing "Ed Sullivan" in Bye Bye Birdie

0 Comments
<<Previous

    About Mildred

    I'll do just about anything a movie tells me to do. Unless it tells me wrong...

    Then I get cranky.

    But go ahead, like me on Facebook.

    RSS Feed

    Visit Mildred's profile on Pinterest.

    Proud Member Of

    Picture
    Classic Movie Blog Hub Member

    Archives

    May 2019
    December 2017
    October 2017
    June 2016
    May 2016
    April 2016
    March 2016
    February 2016
    January 2016
    December 2015
    November 2015
    October 2015
    September 2015
    August 2015
    May 2015
    April 2015
    March 2015
    February 2015
    January 2015
    December 2014
    November 2014
    October 2014
    September 2014
    August 2014
    July 2014
    June 2014
    May 2014
    April 2014
    March 2014
    February 2014
    January 2014
    December 2013

    Categories

    All
    Agnes Moorehead
    Akira Kurosawa
    Alan Mowbray
    Albert Salmi
    Alice Terry
    Aline MacMahon
    Allen Jenkins
    Alloy Orchestra
    Anna Massey
    Ann Dvorak
    Anne Bancroft
    Anne Baxter
    Anne Revere
    Anne Shirley
    Ann Miller
    Ann Sothern
    Anthony Quinn
    Anton Walbrook
    Arthur Penn
    Art Linkletter
    Arturo De Cordova
    Audrey Hepburn
    Baby Peggy
    Barbara Bel Geddes
    Barbara Stanwyck
    Barton MacLane
    Basil Rathbone
    Bea Benadaret
    Beatrice Straight
    Bette Davis
    Beulah Bondi
    Billie Burke
    Bill Scott
    Billy Wilder
    Birthday Of The Week
    Bob Newhart
    Bonita Granville
    Boris Karloff
    Brian Aherne
    Bugs Bunny
    Burt Lancaster
    Busby Berkeley
    Butterfly Mcqueen
    Carl Boehm
    Carl Theodor Dreyer
    Carol Haney
    Cary Grant
    Charles Boyer
    Charlton Heston
    Chester Morris
    Christopher Morley
    Claire Bloom
    Claire Trevor
    Clark Gable
    Claude Rains
    Claudette Colbert
    Cliff Robertson
    Cloris Leachman
    Connie Gilchrist
    Conrad Veidt
    Constance Bennett
    Cybill Shepherd
    Dana Andrews
    Dana Delany
    Dan Duryea
    David Niven
    Dean Stockwell
    Deborah Kerr
    Dennis Morgan
    Diana Lynn
    Diana Wynyard
    Dick Moore
    Dick Powell
    Donald Sutherland
    Donna Reed
    Doris Day
    Dustin Hoffman
    D.W. Griffith
    Eddie Albert
    Edie Adams
    Edith Fellows
    Edward Arnold
    Edward Everett Horton
    Elaine May
    Elissa Landi
    Elizabeth Taylor
    Ella Raines
    Ellen Burstyn
    Elvis Presley
    Emilio Fernandez
    Ernest Borgnine
    Ernst Lubitsch
    Errol-flynn
    Ethel Barrymore
    Eugene-pallette
    Eve-arden
    Evelyn Varden
    Fay-bainter
    Fay-bainter
    Firesign-theater
    Frank Hurley
    Frank McHugh
    Frank Morgan
    Frank Sinatra
    Freddie Bartholomew
    Frederic March
    Fredi Washington
    Fred MacMurray
    Fritz Lang
    Friz Freleng
    Gabriel Figueroa
    Gary Cooper
    Gary Merrill
    George Brent
    George Murphy
    Geraldine-fitzgerald
    Ginger Rogers
    Gladys Cooper
    Glenda Farrell
    Gloria Jean
    Government Cheese
    G.W. Billy Bitzer
    Hal E. Chester
    Hal Roach
    Harold Lloyd
    Hedda Hopper
    Henry Fonda
    Herbert Marshall
    Howard DaSilva
    Howard Hawks
    Howard Hughes
    Howard Keel
    Hume Cronyn
    Humphrey Bogart
    Inga Swenson
    Ingrid Bergman
    Irene Dunne
    Jackie Butch Jenkins
    Jackie-coogan
    Jackie Cooper
    Jack Lemmon
    Jacques Tourneur
    James Craig
    James-garner
    James Gleason
    James Mason
    James-stewart
    James Whitmore
    Jane Darwell
    Jane-powell
    Jane-withers
    Jane-wyman
    Jay Ward
    Jean Dixon
    Jeanette-macdonald
    Jean Harlow
    Jean Simmons
    Joan Blondell
    Joan Crawford
    Joan-fontaine
    John Carradine
    John Ford
    John Hurt
    Joseph Cotten
    Juano Hernandez
    June Foray
    Karin-swanstrom
    Karl-malden
    Katharine Hepburn
    Kathleen Byron
    Kathryn Grayson
    Keenan Wynn
    Kevin Mccarthy
    Kirk Douglas
    Lauren Bacall
    Lee J. Cobb
    Leif Erickson
    Leila Hyams
    Leonard Nimoy
    Letitia-palma
    Lew Ayres
    Lewis Stone
    Lillian Gish
    Lillian-roth
    Lizabeth-scott
    Loretta Young
    Louise-beavers
    Lucille Ball
    Lurene-tuttle
    Lyle Talbot
    Maggie-smith
    Marcia Mae Jones
    Margaret Sullavan
    Maria Schell
    Marie-dressler
    Marjorie-main
    Marni-nixon
    Marsha Hunt
    Marx-brothers
    Mary-boland
    Maxine-audley
    Max-linder
    Max Ophuls
    Mel Blanc
    Mercedes McCambridge
    Mia Farrow
    Michael Powell
    Mickey Rooney
    Mike-mazurki
    Mike Nichols
    Miles-mander
    Miriam Hopkins
    Moira Shearer
    Montgomery Clift
    Movie-theatres
    Ned Sparks
    Niall Macginnis
    Nicholas Ray
    Nigel Hawthoren
    Ninon Sevilla
    Norma-shearer
    Orson Welles
    Pamela Franklin
    Patsy Kelly
    Patty Duke
    Patty McCormack
    Paulette Goddard
    Paul Henreid
    Paul Lynde
    Peggy Cummins
    Percy Kilbride
    Peter Bogdanovich
    Peter Breck
    Peter Falk
    Peter Lorre
    Peter Ustinov
    Preston Foster
    Ralph Bellamy
    Ramon Novarro
    Renee Falconetti
    Rex Ingram
    Ricardo Montalban
    Richard Barthelmess
    Richard Basehart
    Richard Briers
    Richard Mulligan
    Rita Hayworth
    Robert Benchley
    Robert Ryan
    Robert Wagner
    Rock Hudson
    Rodolfo Acosta
    Roger Livesey
    Roland Young
    Rosalind Russell
    Royal Dano
    Rudolf Valentino
    Sabu
    Sam Fuller
    Sandra Dee
    Shelley Winters
    Shirley MacLaine
    Shirley Temple
    Skippy/Asta
    Soyuzmultfilm
    Spencer Tracy
    Spring Byington
    Sterling Hayden
    Susan Hayward
    Sydney Greenstreet
    Takashi Shimura
    Teri Garr
    Tim Holt
    Tod Browning
    Tommy Kirk
    Tony Randall
    Toshiro Mifune
    Una Merkel
    Van Johnson
    Veronica Cartwright
    Victor Buono
    Victor McLaglen
    Virginia Weidler
    Walter Huston
    Walter Matthau
    Walter Tetley
    Warren William
    Wednesdays Child
    Wendy Hiller
    William Demarest
    William Powell
    William Shatner
    William Wyler
    W.S. Van Dyke
    Yasujiro Ozu
    Zero Mostel

    More

    Upcoming Blogathons

    Picture
    Rhoda Penmark flaunts some norms in THE BAD SEED (1956)

    Blogathons Gone By

    Great Breening Blogathon
    NIGHT NURSE (1931)
    Picture
    THE LAST PICTURE SHOW
    Nature's Fury Blogathon
    THE GRAPES OF WRATH
    Reel Infatuation Blogathon
    Sugarpuss O'Shea changes my life in BALL OF FIRE (1941)
    Great Villain Blogathon 2016
    Charlotte Vale's Mean Mom in NOW VOYAGER (1942)
© 2011-2019 Beth Daniels. All rights reserved.