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Showing posts with label Mickey Rooney. Show all posts
Showing posts with label Mickey Rooney. Show all posts

Thursday, July 10, 2014

THE REEL REALS: Ava Gardner


Ava Gardner

Ava Gardner's beauty was insane. INSANE. Labeled "the Love Goddess" by the Hollywood publicity machine, the title was both an accurate description of the sensual feelings she inspired (merely by purring) and an equal misnomer, considering the reality of her romantic life. Ava was far from the dynamic seductress she would become as a Hollywood star. Growing up an impoverished tomboy in North Carolina, she became a surprise beauty queen when a talent scout spotted her picture in her brother-in-law's shop window. What followed was an uncomfortable for her, yet extraordinary for us, ascent as one of the most beautiful women in cinematic history.

However, Ava was far more than her luscious extremities. A down-to-earth, unpretentious, accidental femme fatale, her persona would be turned upside down through her progression in Hollywood from a shy kid from the sticks to the ultimate tiger woman. Unschooled in acting, she would have preferred to be a singer, which explained her brief love affair and infatuation with Artie Shaw. However, her abilities on the screen were more than enough to garner public affection. To say she was charismatic is the understatement of the millennium. Ava was fierce. In contrast to Marilyn Monroe, for example, she was not as openly vulnerable. The sharp features of her face as accompanied by her full mouth were intense, alluring, and unforgiving in a predatory sense. When paired with her sultry voice, the effect was devastating. She wasn't a sex-object so much as a a dominatrix. Women admired her intensity and related to the broken woman hiding underneath her veneer. Men... they just wanted to be destroyed by her. 

As many of the scout-found talents of her era, one can literally watch Ava's abilities grow on film. The awkward and uncertain girl (who married Mickey Rooney) artfully evolved into a courageous and dangerous actress. To see her blink-and-you'll-miss-it-featured roll in Calling Dr. Gillespie, to her poetically aggressive presentation in One Touch of Venus, and her comfortable, sexual masterdom in Mogambo is a fascinating experience in itself. By the time she appeared in Stanley Kramer's On the Beach, she was a seasoned veteran, through with pretense and totally embracing the raw, rough and tumble aspects of her true nature. Ava had little use for BS. The older she got, the more she was able to shirk the accepted affectations and just be the edgy, emotionally abandoned, and even frightened woman she was underneath. Few actresses had such courage.

Her personal life was less savory. She suffered a slew of broken hearts, most notoriously from her intense marriage to Frank Sinatra, a soul mate that would never fully recover from her nor she from him. Unrepentant for the woman whom she developed into, Ava left the world of Hollywood behind for the most part in her later years, moving to her beloved Spain and dancing "barefoot," as was her way. As she aged, her iconic beauty remained but was faded by harsh years, hard knocks, and alcoholism. The real Ava, who was built into a star, got lost somewhere in the Hollywood machinery and spent the majority of her life trying to find herself again.

Still, the love Goddess remains, and on this day, the day of Lovers, it seems appropriate to honor her and the impassioned, unarguable, unbreakable imprint she left behind. An accidental pioneer in the world of feminism, her example of confidence, a healthy sexuality, and chronic defiance still coaches the women of the world on their own quest for pride in identity. And the dudes still dig her too.

Friday, May 24, 2013

HISTORY LESSON: TV Movie [Stars] - Part 1



Olivia De Havilland contributed to Bette Davis's surprise when the latter lady
 was a special guest on the popular television program "This Is Your Life." 
Laurel and Hardy, Johnny Cash, and Jayne Mansfield were 
also participants, although not always gladly!

The transition of dull civilian life to devoted cinema spectatorship was not an overnight process. It started as a tingle and grew into an earthquake that left many a movie theater but nary a vaudeville circuit in its wake. In 40 years, we went from ogling the naughty motion photography of hopping, bathing, and leapfrogging male and female nudes (oh, Eadweard Muybridge, you rapscallion you!) to staring in thunderstruck admiration at the Oberammergau Passion Play of 1898, which was the first commercially produced motion picture, (thank you German Cinema professor of 2003), to being hysterically enraptured by the intricate comic wizardry of Charlie Chaplin in The Circus. The year 1928 would be another big one in film, for this year proved that our artistic and technological innovation was growing at just as rapid a speed as our increasing appetite for entertainment. Fittingly, sound brought the boom that turned the industry on its head. Talkies made Silents a thing of the past in less than two years. As in the first "box office" crash with the advent of film-- does Digby Bell ring any bells today?-- it was only the members of the entertainment community that suffered. Some evolved and some didn't, wouldn't, or couldn't. 


Eadweard Muybridge's studies in motion photography did much to further the process of
 turning still photographs to motion pictures. He later used his expertise to do popular
"motion studies" regarding the naked form. There doesn't seem to be any record
of male audiences reacting negatively to bounding breasts in motion. 
To be fair, Eadweard featured  men too, including himself-- 
naked as a jay bird.

Following Hollywood's golden age, history would repeat itself yet again with the next great innovation, the birth of the television set, which-- like film itself-- started slowly in the late forties and found itself in half of all households by the mid-fifties. The celebrity reaction was the same as ever. Some denied; some jumped on the gravy train. Some bowed out of the biz gracefully; others fell on their faces. Some disappeared; others found a new generation of viewers and a second run at fame. We are arguably going through another cycle of media reconstruction as the computer increasingly takes the place of both film and television by offering a new medium for both options-- often for free. As per usual, the stars are suffering, in that there aren't really any left-- at least none who rule with as much magnitude as their predecessors (see old article here). When a God becomes too accessible, He transforms from a golden idol into last year's fad-- what once was as exciting as the invention of the light bulb thus becomes as ridiculous in retrospect as the slap bracelet.

In any case, the following Movie Gods and Goddesses were able to make the transition from big-screen to small-screen-- some with dignity, others with... humdingery, but fortunately for all, their great cinematic reputations were big enough to maintain their lost luster, and history has mostly forgotten their fruitless televised efforts. Gable perhaps remains untouched, if only because he never sold in his "King" stature to become a Prince of Pabst Blue Ribbon or the Baron of Brylcreem, but as you will see, the following pack of experimental pals did all right for themselves too, even if the big gamble of the small screen wasn't always worth it.

Son, switch the dial!


Sadly, of the many who made the jump to Television, the majority were duds. Character actors often had a better shot of maintaining their careers as their sinister, comical, or otherwise malleable characterizations could easily be plugged into various series, occasional episodes, or even a permanent supporting role on TV. In some cases, smaller names were able to transcend their former B-status to become huge stars of the boob tube, some playing the lead in their own series, as in Clayton Moore aka "The Lone Ranger" (left) and George Reeves aka "Superman." Conversely, some film stars who had enjoyed a glorious hey day in the cinematic stratosphere found themselves floating into oblivion after their attempts at broadcast success. Some dipped in a toe only to gracefully retire from show-business; others made a bold attempt to board the gravy train only to be left behind. There too was a stigma attached to some stars who wandered over to TV town, for just as Television became both a welcoming place of refuge for aging movie icons-- where studios would gladly profit off their notoriety-- TV debuts could also be seen as their fall from grace: "This guy, he used to be big! Now look at him..."


One of the biggest celebs to give television a go was Judy Garland. Judy, whom Fred Astaire once dubbed "the greatest entertainer who ever lived," endured a very public series of ups and downs in her career. Overworked and doped at MGM, everyone's favorite little girl matured into a very nervous and high-strung woman. Her addictions to drugs and alcohol would remain a constant throughout her life, and it was only her love of singing that could at times propel her through her personal haze of confusion, lethargy, and man-handling, to the place where she truly shined brightest--the stage! While her (occasionally canceled) live performances kept her busy for the majority of her adulthood, she also was an always welcome surprise as a guest on various television programs. With her witty humor and hammy storytelling, Judy's reminiscences on her many interviews with TV personalities like Jack Paar (right) were consistently and thoroughly entertaining, especially to nostalgic viewers who still remembered her trip down the yellow brick road. Judy was also a notorious bull-sh*tter, and one could never be certain whether she was being honest, embellishing, or completely fabricating a grand story on the spot, but that was part of her charm-- as was her sharp but slightly naughty repartee.


Soon enough, CBS offered Judy her own show, during which she would, of course, perform songs and chat it up, as only she could, with random guests. This could have been a huge turning point in Judy's life. Looking for a chance to rebuild herself, she was ecstatic at the opportunity and, after getting healthy, was looking better than ever by the time shooting began. Fueled by optimism, she was also more cooperative than she had been in years and collaborated well with the entire production team. Fittingly, her first guest was Mickey Rooney (left)! Unfortunately, the show bit the dust when the network changed management, and suddenly Judy's natural style was not considered "suitable." To her dismay, her team was dissembled, the format was altered, and instead of being devious, genius, glamorous Judy, she was supposed to play the fallen idol who was the butt of America's joke. Her stalled career, her weight fluctuation, and her failed marriages, were regularly used to mock her on the air, to which she always brilliantly played along, but the ploy didn't work. Judy was expected to be Judy, and audiences didn't like her being brought down to earth with the mortals. As such, they stopped tuning in. As for Judy, she became severely depressed and fell back on her old patterns. It was a huge opportunity lost purely from bad business.


The good news, at least in Judy's case, though she certainly had trouble seeing it at the time, was that it wasn't her that was rejected by viewers but the show's style. A few other sufferers fell into this category, including Robert Mitchum. Bob had performed on television in various miniseries, such as "North and South," as well as in a fairly successful 1990 TV movie called "A Family for Joe" (right). The latter plot involved the coalition of four orphans who, in fear of being separated, elected a crotchety homeless man to pose as their "grandfather." Chaos, as expected, ensued. The network decided to adapt the film into a show, but as it turned out, people weren't interested in seeing Bob every week, particularly when playing an old buffoon with a heart of gold. Audiences liked his edgy versatility and reacted negatively and confusedly to his turn as a diluted, family-friendly archetype. As such, "Joe" was again rendered homeless after nine episodes. However, the show did spark the career of one Juliette Lewis. Bob and Juliette would re-team in a mere year for the Cape Fear re-make.


Errol Flynn (right) enjoyed a little more success in 1956 when he started "The Errol Flynn Theatre" anthology series-- a popular format of the time that produced weekly, unrelated stories and rotating performers. Filmed in London but aired in the United States, Errol hosted the series casually with the same, utter lack of pretension that made his small screen personality as charming as his big screen characters. He would perform in several of the episodes himself, which he also produced, and various other stars made appearances, including Christopher Lee, Paulette Goddard, Mrs. Flynn- Patrice Wymore- and even Errol's son, Sean. Always uncertain of his talents but eager to explore his range, the diverse plotlines and character roles allowed Errol to do some of his most interesting acting, which was more fitting to his years. However, Flynn was getting older, and it was perhaps for this reason that audiences didn't respond to the series. They preferred him in tights, forever young, and swashbuckling to victory. The show only lasted one season.


Jean Arthur, the Class Frown, also took a stab at the tube. After retiring from film and spending the majority of her later life on the stage-- that is, when she could muster up the courage and keep it together enough to perform-- Jean had only performed on one episode of "Gunsmoke" when she decided to go for it with her own series in 1966: "The Jean Arthur Show" (left). Always an intensely anxious and temperamental woman, Jean's inferiority complex caused problems from the very beginning. However, working against her even more was the show itself. The plot revolved around a female lawyer and her battle with a weekly case. She would always win the verdict, of course, but the style was that of heavy-handed comedy, and a little too much so. Jean's true brand of humor never derived from slap-stick nor from her being the butt of the joke. In her classic films, the laughs were much more situational wherein her wide-eyed reactions, dry humor, and iconic voice filled in the charm. As such, the context of the show and its jokes, which were far too on the nose and ridiculous, didn't work. (I said class frown, not clown, remember)? After the apparently always dependable Mickey Rooney made an appearance and upstaged Jean, she totally lost confidence, and a slew of other guest stars couldn't save her nor her show. She abandoned ship and left TV for good!

Hey, look who it is!


Changing stations, the next crew of TV trespassers were actually able to find mild success. More career-conscious entertainers and business-minded actors/actresses saw television as an opportunity as opposed to a death knell. As such, a lot of former and current stars broadened their fan base and bulked up their resumes by making the lucrative decision to join the realm of the telly. The reasons for this were both tactical and professional, examples of which can be seen in the cases of divas Barbara Stanwyck and Ann Sheridan. Neither woman opted to insult the "idiot box" with diversion, as clearly said 'box' was smart enough to get people across the nation to stare at it transfixed for hours on end. Babs was drawn to the TV-experiment more for her passionate need to work-- the all consuming drive in her life-- while Ann was just a practical and easy-going lady who was up for anything. Both of their gambles were relatively successful. Ann participated quite a bit in various shows, like "Wagon Train," or "The Lux (as in Soap) Theatre," which showcased abbreviated movies with guest stars and introduced such up and comers as Grace Kelly and James Dean to the world. An open fan of television, Ann also proudly proclaimed her love of soap operas, which she found absolutely addictive. This eventually led to her one season participation on "Another World." Her greatest success was appearing on her own series, "Pistols 'n' Petticoats" (right), though cancer would sadly claim her before the first season finished. Reviews weren't particularly friendly, unfortunately, so it is questionable whether it would have continued had she survived.


For her part, Babs-- as per usual-- hit one out of the park when she appeared on the hit television show "The Big Valley" (left) in the latter part of the sixties. Lasting four years, this show gave her a comfortable income, provided her with her favorite brand of storytelling-- the Western-- and earned her a place in broadcast history. While the show wasn't a huge sensation, it had a good run, and generations not familiar with her film work got to know her through this program. Babs continued seeking out opportunities, taking jobs here and there in the rare TV movie, but she hit her stride again with some coups in the '80s, including a guest spot on "Charlie's Angels." There was even talk of doing a male version of "Angels" with Barbara taking the role of their female Bosley! No dice (fortunately), but Babs had success with her powerful performance in the controversial mini-series "The Thorn Birds" and her participation in everyone's favorite guilty pleasure: "Dynasty." In fact, Aaron Spelling gave her her own spin-off, "The Colbys," but pro though she was, Babs found the material so ridiculous that she bailed out early. As she was aging and in poor health, she sadly would not make any more contributions. This was a painful thing for the always feisty Barbara, who became quite despondent in her last years. Her need to build and craft was denied her by her frail condition. She would confide to a friend that she had always hoped to "go out" in some wild or heroic fashion. Thus, ending her days helpless in bed was, to her, the ultimate of life's cruelties.

STAY TUNED FOR NEXT WEEK'S EXCITING CONCLUSION!!!

Thursday, October 25, 2012

HALLOWEEN SPOOKTACULAR III



Mary prepares for the Holidays...

This year's batch of devilish dollops to whet your seasonal appetite fall into the category of "Psychic Stress." More than one illustrious celebrity has rubbed elbows with a preternatural force, tangled with a daunting premonition, or had a profound supernatural revelation that left him or her a little worse for the wear. These moments of human and spiritual meeting do not consistently end in profound terror, but a brush with the dark side of existence is never easy to shake off. Curiosity may not always kill the cat, but it definitely leaves a scratch or two. Here are a few members of the Hollywood Haunted:

Mary Pickford left a lasting impression on Hollywood. In fact, so strong was her presence, that more than one witness claims that she continued to hang around her former abode-- Pickfair-- after her death. The fact that she had lengthy conversations with her deceased ex-husband, Douglas Fairbanks, while she was bedridden late in her own life makes one wonder whether she was simply losing her mind or talking to the actual ghost of her beloved. She was definitely a woman who had trouble letting go. Interested in the supernatural realm during her own life, Mary would have more than one spooky encounter with the other side. One would give her the chills. Another... had a different effect.


As a woman who always liked being "in the know," Mary (left) liked to have a plan. She always had her bases covered. Unfortunately, not all in life is spelled out for the living. You have to make it up as you go. A type-A kind of gal like Mary had problems with this. Patience was one thing; being ignorant of the unknown was far too daunting and left her vulnerable. As such, she decided to confer with fortune tellers from time to time, just to keep her abreast of what was to come, not to mention quell her loneliness. She often had her tea-leaves read. This way, she knew when something "wicked" was coming along, and she was also able to take peace in the fact that something joyous was approaching. One particular day-- June 11, 1939 to be exact-- Mary's Irish maid was asked by her miniature employer to  scrutinize the remnants of her tea cup. The maid complied and made the following revelation from the dilapidated leaves: "I see someone stretched out lifeless... He is close to you, and he is not close to you. He is either dying or dead, but I don't see you crying." The next day, the body of Owen Moore, Mary's first and ex-husband, was found lying dead as a doornail on his kitchen floor. He had been there undiscovered for two days. (Pause for Mary's gulp).


Mary may not have been too upset over Owen's demise, as the two had long since parted-- and not on glowing terms-- but she was deeply grieved by the death of her good friend Marshall Neilan (right) when he passed away in 1958 due to throat cancer. (Coincidentally, he had been staying at the Motion Picture Country House, an establishment for former stars that Mary had helped establish-- one of her many charities). Losing her long-time friends in droves, Mary seemed to be outlasting everyone. The world she had once known was quickly disappearing, and the life she currently had seemed empty without her once trusted companions to reminisce with. That's why it meant so much to her when Mickey popped up from beyond the grave to give her a reassuring "wink" of sorts. She was part of a very small pack who had been invited to attend Mickey's wake at the Knickerbocker Hotel, where an open beer waited at the end of the bar bearing the tag: "Reserved for Mickey Neilan." He was a humorist to the end... and after. See, Mary was deeply grieved and found this last wise-crack in poor taste, so she opted not to attend the wake. But, when she tried to leave the funeral and head for the cemetery instead, her car died. Mary had the sneaking suspicion that Mickey was playing one last prank and begging her to have one last drink with him. She smiled to herself, caught a cab, and hit the Knickerbocker at his request.


Bebe Daniels (left) was another silent film beauty who was directly responsible for the advancement of cinema as a reliable art form. Co-starring with such luminaries as Rudolph Valentino and Gloria Swanson, Bebe's reputation as a professional actress and generous woman made her universally adored. To fans, she was like a gift from the heavens: a star. Bebe too would receive a "gift," and it would leave her simultaneously shaken and grateful. See, Bebe had a bit of what is known as a "lead foot." In fact, she once had to serve a jail term when she was caught speeding (yet again) in Orange County. A spirited girl, somewhat reckless, it was clear that despite her jovial, good-natured demeanor, she was headed for trouble if she didn't start paying attention. Aside from her automobile inclinations, there didn't seem to be anything wrong with the girl, who was able to make everyone from Harold Lloyd to Jack Dempsey fall for her. She didn't stress; she didn't fret. Until... she had a dream. Adela Rogers St. Johns would recall the story: Bebe confided that one night, she had a strange but peaceful dream about a deceased couple that she had known. She came upon them at an unfamiliar white house, and they invited her inside. It was a good dream-- like seeing old friends. An eternal optimist, Bebe probably felt her good pals were just popping in to say "hello" from the other side. They had a different agenda. A few days later, she was racing around in her roadster, yet again, when her scarf blew into her face before a nasty curve and blocked her vision. She nearly crashed! Thankfully, she was as sharp as she was speedy, and she was able to avoid the collision. However, when she looked up, she saw the same white house that had been in her dream. Her mouth most probably hit the floor. She got the message. As she told Adela, that was the last day she sped. She spent the rest of her life focusing on more important, less dangerous things (save for her involvement in WWII, in which she became one of the most decorated women in history for her heroic efforts overseas).


Linda Darnell (right) and Natalie Wood probably never met. Their careers in Hollywood did overlap, but Linda's 15 year seniority meant that they would never have run in the same social circles. Linda too worked primarily at Fox; Natalie was less exclusive, but did a large majority of her early and most successful work at Warner Brothers. The two women had a lot in common, however. Both were incredibly young when they began their acting careers: Linda 15, Natalie 5. Both were dark-featured beauties with angelic faces, yet they were equally capable of giving meaty and gutsy performances. Both were family breadwinners even in their tender years, and both had tempestuous relationships with their mothers. More eerily, both had an astonishing sixth sense about their own deaths. Linda had held a deep fear of fire since her early youth, and had a nervous presentiment about burning to death. This did not make her scene in Anna and the King of Siam, in which she was burned at the stake, all that pleasant. She too had a close call during the big fire sequence of Forever Amber, in which she actually was physically burned, albeit not badly. Cinematographer Leon Shamroy stated that she barely escaped death when the set's roof caved in, all aflame. The fear never left her. In 1965, she would be severely burned all over her body at the home of her friend Jeanne Curtis when it caught fire and she failed to get out in time. She passed away less than 2 days later.


For her part, Natalie (left) had a pathological fear of drowning. In fact, her sister Lana once stated that Natalie's mother, Maria, had foretold her daughter that she would die in dark water. The root of Natalie's supposed phobia is often traced back to the experience she had while filming The Green Promise. During one particular sequence, she was to rush across a bridge to rescue her pet lambs. Unfortunately, she was knocked off the bridge by the raging water and nearly swept under, had she not been able to grab a hold of the collapsing bridge. To make matters worse, the director William D. Russell, urged the crew to keep filming, while Natalie clung for dear life and her mother tried to quell her own desperate hysterics. Aside from being nearly drowned, Natalie also suffered a broken wrist. The terrified look on the 10-year-old's face in the final cut is no act. Her fear continued into her adult life where she would avoid her own swimming pool for fear of being eternally submerged. Her on-again-off again husband, Robert Wagner, managed to coax her into a trip aboard his boat with pal Christopher Walken in 1981, despite her fears. Natalie would never return to shore. It is claimed that she drunkenly fell overboard while trying to reach the yacht's dinghy (after a lover's spat). To this day, mystery clouds her death, for many assert that she was far too terrified of water to ever make such a brazen attempt as rowing herself ashore alone. Foul play or cruel fate? It appears death by fire and water were in the cards for these two tragic ladies.


Montgomery Clift (right) has been known to do a little creeping around. His trumpet continues to put on a concert at the Hollywood Roosevelt Hotel where his restless spirit eternally continues to pace the hallway in preparation for his role as "Pvt. Prewitt" in From Here to Eternity. Craig Chester, a modern actor and writer who authored Why the Long Face?: The Adventures of a Truly Independent Actor about his battle with a congenital disorder, had a lengthy and otherworldly connection to Monty, whose ghost seemed to maintain close contact with him in order to foster his own acting career and acceptance of his homosexuality. Craig's painful ordeal and metamorphosis from a child suffering from Long Face Syndrome to a surgically salvaged, handsome man, when contrasted with Monty's converse demise from a man of beauty to facial mutilation, also seems to strengthen the bond between them. Monty was always a fascinated and fascinating man in his life, but if he had any interest in the supernatural he kept it to himself. However, the "forces that be" seemed to have a deep need to communicate with him while he walked this earthly plane. In fact, he received an early warning that his years would be abruptly cut short. When stopping at a bar at the Camden Airport with his one time secretary Arlene Cunningham and friend Ned Smith, the trio encountered a handwriting expert, who must have recognized the movie star and offered his services. Monty scrawled out a little something or other, perhaps his autograph, and the graphologist diagnosed it: "You're the most disturbed man I've ever met-- you'll die young." True to form, Monty passed away at 45 years of age.


Mae West (left) is perhaps the last person that anyone would connect to the occult. However, Mae was a much more curious and open-minded person than many realize. By 1941, she had already made her major Hollywood films, including My Little Chickadee and She Done Him Wrong, which had made her a sexual icon, early feminist, and all-around business dynamo. After all the hustle and bustle of Tinsel Town, Mae was tired and looking forward to more time spent on the stage. First and foremost, she wanted a vacation. Always close with her mother, Mae was devastated when "Tillie" passed away over a decade earlier. Sitting on top of the world, Mae couldn't help but wonder if there were more "out there" to be reckoned with and more for her to learn. Always an eager student, Mae decided to dip her toe into the tepid pool of the afterlife. Wanting to be as legit as possible (she was as skeptical as she was curious), Mae sought the guidance of Rev. Thomas Jack Kelly, a psychic who was so well-trusted that he was often used as a consultant by the police during investigations. He became a spiritual coach to Mae, teaching her how to meditate, to block out the noise and light, make her mind a blank canvas, and commune with the other side. For days, weeks, Mae tried and tried, but a busy dame like herself had trouble sitting still and opening her mind. She finally decided to give up.


Then, one morning, she was awakened by a little girl's voice. "Good morning, dear," it said. Mae was a little surprised of course, but she was not easily rattled. The voice was pleasant, and Mae wondered if perhaps it came from some sort of guardian angel. She and the Reverend referred to it from then on as Juliet. Soon, more voices came... and presences. Apparently, Mae had "the gift," and her boudoir was often crowded with noisy visitors: spirits who seemed to just want a place to come together and gab. Not to Mae, mind you. In fact, she found it quite rude that these presences were only speaking to each other and not noticing her at all. Then, things turned dark. She woke one morning to find herself surrounded by dark, cloaked figures chanting in a foreign tongue. She tried to speak to them, but they ignored her. This was too much. Mae sat up and told them "Scram!!!" She would recall a look of sadness on the faces of some of the ghosts who were told to finally leave, as if they were hurt that they could no longer share in her earthly aura, but enough was enough. It wasn't that she was scared, mind you. She was irritated! It was one thing to ignore her; it was another to make a lot of gosh-darned noise and wake her up at the break of dawn! That's just bad manners. She never saw any of the entities again, though she had often though that she would revisit the spiritual realm eventually. At the end of the day, the experience made her feel better. She knew her Mama was out there somewhere... She just wasn't going to lose her mind trying to find her! (Mae defies intimidation, right).


When recollecting the masculine idols of the Golden Studio Era, it is easy to forget the short-stacked Mickey Rooney (left). However, when you weigh the evidence, Mickey is one of the most successful actors who ever lived, boasting a career that has spanned nearly 90 years. Over 90-years-old himself, the man is still working, most lately having a cameo in The Muppets. He won America over at a young age, using his unstoppable energy to propel himself up the cinematic ladder: from "Puck" in A Midsummer Night's Dream, to Love Finds Andy Hardy, to National Velvet. He was a bona fide box-office sensation who wed and bed some of the most beautiful women of the silver screen. There's no telling what a little fortitude and charisma can do for you, and Mickey never let his short stature short-change him out of any of life's blessings. However, when his career hit the skids after his notoriety as the energetic boy-next-door wore off, Mickey found himself lost in a sea of self-doubt. He would recall this harrowing time on an episode of "Celebrity Ghost Stories": He had always been close with his mother, Nellie, particularly after his actor father, Joseph, abandoned them. Mickey had, in essence, become the family breadwinner when he and Nellie hit Hollywood. Growing up without a father is rough, and during his later bout with depression, one can only imagine the conflicted thoughts going through Mickey's head. Never having a good man stand in as a father figure, Mickey had no idea what a good man was, or if he was even close to being one. He felt like a failure-- as if the best years of his life were over...


And then, lying in bed one night, Mickey woke to the feeling of someone tugging on his toes. Half asleep, he ignored the sensation at first, but as the peskiness continued, and his consciousness became more alert, Mickey suddenly realised that something weird was going on. He opened his eyes, and there, standing at the foot of his bed, was his father. "Keep going," Joe said. "Don't stop." A series of similar phrases followed, Joe smiled, and then his image disappeared into thin air. Mickey couldn't totally wrap mind around what had happened, and he tried in vain to rationalize what had occurred. Perhaps it had all been an illusion, "an undigested bit of beef, a blot of mustard, a crumb of cheese..." A dream!?!? Mickey pinched himself. He new that what he had just witnessed had been real. His father had come to him, finally, from beyond the grave, to do the best thing that he ever could for his son: offer the encouragement he had not given in life. MIckey did indeed pull himself together and 'go on.' He's still going. He hasn't seen his Pops again, but then, one visit was enough! (Mickey is back up to snuff, right).


Shirley ain't scared 'a no ghost.


That being said, don't let the boogey-man get you down this All Hallow's Eve. Enjoy the merriment and mirth, stick to the road, and try your best not to go down a dark hall alone! Happy Halloween!!!

Wednesday, March 14, 2012

DIDJA KNOW: Didja See?



Spencer Tracy and Irene Dunne play lovers split asunder and 
reunited in a spiritual way in A Guy Named Joe. 


Didja ever notice a glaring similarity between a modern movie and an earlier predecessor? Sometimes, the latter-made films are direct remakes; other times, they just bear a strange plot resemblance to earlier fare. I normally discuss this double-take analysis in my "Take One, Two, Three" articles, but today's offering is less in depth. Instead of re-hashing storylines and how they mutate from film to film, I instead offer up a new game of: If You Liked This, You Should Watch This. Since not all of the following original films were hits, it makes one wonder why studios would decide to reinvest in an already failed clunker; since some of the originals were great box-office successes, it makes one wonder why studios would want to desecrate an already perfect vehicle by re-doing it-- sometimes to disastrous results. In any case, here is the latest conglomeration of my congested, media-soaked head. You be the judge:


Angels in the Airfield


Steven Spielberg's film Always was fairly well received upon its 1989 release. An atypical romance with an otherworldly quality, it told the story of a renegade pilot (Richard Dreyfuss) who squelches forest fires. Due to his risky job, his girlfriend (Holly Hunter) is constantly in emotional turmoil with worry over his safety, and rightly so. He goes on one mission too many, and the cost is his life. However, he returns as a spirit, looking over his grieving love and getting mighty jealous when she starts falling for another guy (Ted Baker). An appearance by Audrey Hepburn as a helpful angel (left) also tipped the scales on this one, making it a well-acted, well-crafted love story for adults. BUT...


Didja see A Guy Named Joe? The plot is practically identical! Released in 1943 and directed by Victor Fleming, this film tells the tale of ace WWII bomber pilot (Spencer Tracy) who loses his life in the line of duty, much to his girlfriend Irene Dunne's despair. He is soon back as a guardian angel, who too is forced to watch his young mentor (Van Johnson) as he rises in the ranks as a pilot and falls for his girl. In both versions, the returning guardian learns with bitterness the love he took for granted in his life, overcomes his overzealous penchant for danger, and coaches the new, younger pilot into a better flier. He too overcomes his own personal envy in pushing his mourning girlfriend toward a love that he was unable to fulfill for her himself in life. The later film is admittedly a remake-- though, as 45 years had passed between pictures, few people know it! (Spence and Irene embrace next to Ward Bond, right). 


Two Little Mermaids


In 1984, the fantastical romantic comedy Splash hit theaters thanks to director Ron Howard. The unconventional tale of a young man (Tom Hanks) who falls in love with a mysterious woman (Daryl Hannah, both left)-- who turns out to be the mermaid who saved him from drowning as a child-- was an unlikely sensation that helped seal Hanks's reputation as the comic leading man of his generation. The mermaid, known as Madison, comes to land, sprouts legs, and hides her tail by avoiding water. As she acclimates to human life, she is forced to keep her true identity a secret from the man she loves, but eventually the truth comes out, and the befuddled (and a little grossed out) suitor is left with a harsh decision to make. With the help of his brother (John Candy), he decides that love is the only answer, and he forsakes his life on the land for an eternal swim with Madison. (It goes without saying that a massive suspension of disbelief is necessary to enjoy said picture). BUT...

Didja see Mr. Peabody and the Mermaid? It was produced in 1948 and directed by Irving Pichel. It too tells the unlikely tale of a girl with a tail. (Haha). This time, William Powell is the surprised recipient of aquatic affection, however, he is aware that the girl of his dreams (Ann Blyth) is a fish from the get-go. To boot, he is middle-aged and unhappily married. Hence, when he accidentally catches a mermaid when out fishing on vacation (right), he is both struck dumb and pierced with Cupid's arrow. He takes his prize home, where he moves her from the bathtub to the outdoor coi pond and tries to keep her existence a secret, though his shenanigans increasingly make him look as mad as a hatter to his friends. Though man and fish fall in love, in this case they admit defeat: their two worlds can never be one, and besides, Powell's character needs to go back to his wife and patch all that matrimonial business up. Because of the differences in plot, this is clearly not a remake, but with such an interesting spin on romance (or should I say, "fin"), you can't help but draw a comparison.
Knock Outs


There are a great many films out there surrounding the passion and the pain of athletic combat: Rocky, Cinderella Man, The Fighter, Golden BoyWarrior, Million Dollar Baby, etc. All of these films have some level of similarity in plot-- the underdog is put through the mill to overcome insurmountable odds and become a champion. Details vary, endings add new interpretations, but they all evoke the emotions of sympathy and aggression in the audience-- hearts with fists-- that makes this genre a continuing, surefire hit-maker at the box-office. The excitement of competition itself is enough to keep audiences coming back for more. Hence, much was made of Darren Aronofsky's recent take on the subject in The Wrestler in 2008. In this film, Mickey Rourke portrays an aging wrestler (left) of the comical yet intense WWF style, who struggles with the decision to give up the ring for a safer, more respectable life. The estranged relationship he shares with his daughter (Evan Rachel Wood) and the complicated and not fully reciprocated attraction he has for a stripper (Marisa Tomei) adds to his personal frustration. At the end, a broken, wreck of a man, he decides that the only place he belongs is in the ring, where he accepts the mask of his caricatured self and faces daily, painful atonement for his sins. The brutally nuanced performance of Rourke brought the film a great deal of attention, and it was hailed as a creative and moving contribution to the genre, BUT...


Didja see Requiem for a Heavyweight? Though this earlier movie by Ralph Nelson (1962) revolves around boxing, the plot is uncannily similar in many ways to The Wrestler. Adapted from a televised production, the film stars Anthony Quinn as the aging boxer Louis "Mountain" Rivera (right) who is clearly on the way out. Battle-worn and suffering from punch-drunk dementia, he too considers surrendering a life of pain in the ring for a more simplistic career-- as a camp counselor. An impossible romance enters his life too with the lovely Grace Miller (Julie Harris), for though her heart goes out to him, she is intimidated by his aggressive presence and too frightened for his safety to truly fall for him. Torn between his manager (Jackie Gleason) and his trainer (Mickey Rooney), Mountain vacillates between his feelings of duty to pay off the former's gambling debts and the latter's concern for his personal safety and support of his retirement. After having his heart broken and humiliating himself in his failed attempts at normal, civilian life, Mountain accepts his fate as a puppet of the ring. He even sacrifices his dignity to do so, sells out, and becomes a gimmicky, cartoon-ish wrestler known as "Big Chief Mountain Rivera." He enters the ring to jeers and laughs, but is too numb to hear them or feel the punches anymore. While different in details, this earlier offering proves that The Wrestler may not have been the super-creative endeavor that we  origianlly assumed.


Re-Count


In 2008, the all-American nice guy Kevin Costner appeared in the film Swing Vote (left) directed by Joshua Michael Stern. In it, he plays Bud Johnson, an immature and under-driven father whose daughter holds the reins of responsibility in their small family. Disappointed by his apathetic approach to life, she tries to vote for him at the latest presidential election in their home state of New Mexico, however, a technological mishap causes his ballot to go uncounted. This minor occurrence causes big waves when it is discovered that NM will hold the deciding vote in the electoral college and-- with a 50/50 tie between the Republican and Democratic candidates-- Bud's un-tallied vote alone will make the national decision. Suddenly swarmed by the media and forced to take a stand for the first time in his life, Bud is politically seduced by both flip-flopping candidates-- played by Kelsey Grammer and Dennis Hopper-- and he finds himself interested and asking questions on behalf of the American people. In the end, he must step up to the plate and make a decision, but the process changes the man he was and makes everyone else question their own political and social stances. Pretty interesting concept. BUT...


Didja see The Great Man Votes of 1939 starring John Barrymore? Directed by Garson Kanin, this film is a nearly identical precursor to Swing Vote. In it, Gregory Vance (Barrymore) is a washed up widower and fallen intellectual who has found solace in alcohol. To his children, he is a sad genius, but to the world, he is a faceless night watchman. His life is turned upside down even further when it is discovered that he is the only registered voter in his district left to solve the latest ballott dilemma. A big mayoral election comes to the fore, and the politicians come calling with their governmental flirtations, trying to win his deciding vote. Just as in the later picture, Vance is forced to remember himself as a man, embrace his duty as a patriot, and emerge as an integral part of his community. He garners a self-respect that has been absent for years, and thus the respect of his children, though their presence in his life is being threatened by un-trusting relatives who want to take them away. Confident for the first time in a long time, Vance fights back the only way he knows how and manipulates the system that is trying to manipulate him, inevitably refusing bribes, turning on the wooing candidates, and making up his own mind. The final victory is a dual one in that he wins back his self respect and his children. Swing Vote (as far as I know) is not an admitted re-make, but the close resemblance of the stories makes it and The Great Man Votes at least fraternal twins.


Several Brides for One Brother


In 1999, Gary Sinyor directed the romantic comedy The Bachelor, (no, not the TV show). In it, Chris O'Donnell plays Jimmie Shannon opposite Renee Zellweger as Anne Arden. Jimmie and Anne have been dating for some time, and while all of their friends get married around them, Jimmie finds it difficult to commit. Begrudgingly, he admits that maybe it is time for him too to settle down, but when he proposes to Anne with the phrase "sh*t or get off the pot," she gives him the heave-ho despite her love for him. Unfortunately, Jimmie discovers immediately afterward that his grandfather has died and left him a $100 million fortune-- wth the slight draw-back that in order to collect, he must be married by 6:05pm on his 30th birthday... which is tomorrow. Jimmie tries to win back Anne, but she's still miffed, so he is forced to go through his little, black book and approach any ex that will have him-- but his proposal skills are so poor that none will. When word gets out that he is to inherit a fortune, suddenly he finds himself attacked by every woman within driving distance and literally chased down the street by thousands of females in wedding dresses (left). Long story short, he and Anne reunite, but not before he has learned that it is she he wants and not the cash, which is thankful, since they have run out of time. At least they have each other and are rich in love. Cute enough, BUT...


Didja see Buster Keaton's classic Seven Chances??? Released in 1925, this hysterical hit of visual mayhem revolves around Buster's James Shannon, who is a struggling broker and romantic underdog. Suddenly, he is alerted to the fact that his grandfather has died, and he will inherit $7 million if he is married by 7pm on his 27th birthday... today! Uh-oh. He quickly proposes to his girl, Ruth Dwyer, but she turns him down when his proposal insinuates that he has to marry any girl he can find and not her in particular. Offended, she leaves him to his typical bad luck, aided only by his partner and the lawyer who initially broke the news. He proposes to every girl in sight, but as he is not exactly the prototypical ladies' man, he is consistently turned down. His pals line up seven girls for him to propose to, but still no luck. While he takes refuge at the church, unbeknown to him, the word of his upcoming fortune is leaked. Awakening from a nap, he is suddenly surrounded by frothing females in wedding gowns (right), but he is too overcome and intimidated to deal with the situation. He runs, the ladies take chase, but he finds salvation in Ruth's arms-- she has forgiven him. The two are married at the stroke of 7:00 and live happily, and richly, ever after. Since Keaton and O'Donnell's characters share the same name, it is pretty clear that the later film is a remake. While both are entertaining, there is no match for Keaton, so if you are going to see either, see Seven Chances!
Lon-a-Thon


Since I start to implode if I don't mention Lon Chaney at least once a month, I have a few past-present film comparisons to go over in relation to his work. For starters: Didja see Ace of Hearts? Produced in 1921 and directed by Wallace Worseley, the plot involves a group of insurgents who, having for various reasons become disenchanted with the court system, take matters of retribution into their own hands in the name of justice. They choose various subjects, whom they deem despicable, and engage in a game of chance in order to decide which member of their tribe should kill the immoral infidel. Another member, Lilith, played by Leatrice Joy, deals from a stack of cards. The man who receives the Ace of Hearts is the chosen assassin (left). In the midst of the latest caper, a love triangle ensues. Lon's Mr. Farrallone is in love with Lilith, but so too is Mr. Forrest (John Bowers), whom she, of course, chooses. Chaos follows, with Lon as per usual sacrificing himself for his beloved, while the obvious questions of right and wrong and the hypocrisy of man are brought to the fore. BUT, you may recognize the storyline in 1983's The Star Chamber, in which Michael Douglas joins a band of fellow judges who are determined to bring justice to the criminals that they were unable to punish in a court of law. They meet secretly, dole out verdicts, and condemn men to death by their own means. Both films beg the question, What is justice?


Didja see Tell It to the Marines? In 1926, George W. Hill directed this masterpiece with Lon starring as the intimidating Sergeant O'Hara (right) who has been tasked with bringing latest enlistee Skeet Burns (William Haines) up to snuff. Hard-boiled, rugged, and self-sacrificing, O'Hara consistently butts heads with Burns over the latter's insubordination and their shared affection for base nurse Norma Dale (Eleanor Boardman). In the end, Skeet overcomes his own selfishness, toughens up, and fights alongside his mentor in a pivotal battle, proving once and for all that he is a man, and thus, a man worthy of Norma's love. After the younger man has served valiantly, O'Hara bids him and Norma adieu, and continues on, training the next chapter of weak enlistees. In this film, Lon forever set the unsurpassed bar on military tough guys that would be frequently repeated in various films, from Full Metal Jacket to Stripes. BUT, you may notice an uncanny similarity between the plot lines of Tell it to the Marines and 1982's An Officer and A Gentleman. Minus the love triangle, they are very similar in that Lou Gosset, Jr's Sergeant has to train and mature the headstrong and crooked new soldier, Zack Mayo (Richard Gere). Both films present the strange, macho love-hate relationship between the superior officer and his trainee and the arduous process the underling must go through to embrace maturation, responsibility, and eventually love, (in the latter film via Debra Winger).


Didja notice how many of Lon's early gangster films centered around Chinatown? In Outside the Law (1920), his dastardly character of Black Mike Sylva cooks up trouble for fellow crooks Dapper Bill Ballard (Wheeler Oakman) and Molly Madden (Priscilla Dean) in this neck of the woods. In addition, Lon makes his first appearance as a Chinaman in a dual role as Ah Wing, thanks to director Tod Browning. ~ In The Shock, Lon portrays Wilse Dilling, a crippled con, again from Chinatown (left), forced to do some undercover work for Queen Ann (Christine Mayo). He switches locales to a small town, where he consequently falls in love with good girl Gertrude Hadley (Virginia Valli) and changes his ways. Turning his back on the criminal life, he returns to the dirty underbelly of Chinatown only to save his beloved's life. ~ In addition, the gang of cons in The Miracle Man were assembled from Chinatown. Lon, of course, plays Frog in this picture, which-- thanks to his abilities of contortion as a salvaged cripple-- would be his big breakthrough. ~ And finally, one of the working titles for Lon's cop drama While the City Sleeps, in addition to "Easy Money," was "Chinatown." ~ BUT, did this influence the eternal movie on this geographical subject, 1974's Chinatown starring Jack Nicholson and Faye Dunaway? Director Roman Polanski's take on the city presents just as many diabolical components as these Lon predecessors, including corruption, violence, and incest. What is it about this place that brings out the worst in people, anyway? Whether in NYC or L.A, early Chinatown comes across as a today's Compton!


See what happens? Ya' go to Chinatown and ya' get Jack'd (aka Nicholson).