I'm not sure if others are as interested in this month's SOTM as I am, but if you'd like to post about any of the rare films being shown this month on TCM, here's a spot for it. I'd love to know your take on the movies.
Living on Velvet (1935) with Kay Francis, George Brent and Warren William was one of the films shown last week on TCM that I hadn't seen in its entirety before.
Did anyone else see this one?
There were several striking moments in the Frank Borzage movie, some touching, some funny, and some much more somber than expected. The story centers around the sense of disconnection and self-destructive behavior of the Brent character after his small plane crashes at the beginning of the movie, killing his parents and sister. In an unusually good, emotional performance for Brent, who seems, for all his good looks and devil-may-care air to be ensnared by an innate shyness as well as a superficial blitheness, he wanders around the world, waiting, it seems for the other shoe to drop while feeling a survivor's guilt and a sense of alienation from the life around him. The only earthly pursuit that appears to consistently intrigue him is flying, (often recklessly). His arrival in NY and the efforts of his wealthy friend Warren William to distract him from his sense of doom leads to a party, peopled with a frieze of high society fossils--except for one woman, who, as a besotted Warren William explains, is surpassingly beautiful and lovable. Of course, once Brent and Kay ("Amy") spot each other, Borzage stages a scene that makes me wonder if Rogers and Hammerstein were thinking of this film a decade later when they wrote:
"Some enchanted evening
You may see a stranger,
you may see a stranger
Across a crowded room
And somehow you know,
You know even then
That somewhere you'll see her
Again and again."
From that moment, Brent has a chance to live again through the connection he and Kay feel for one another. Soon the two are married, the gentle William character (called "Gibraltar") acquiesces gracefully and generously offers them an aerie on Long Island to build their nest in. As reality sets in, the impractical nature of Brent resurfaces, and Kay's character, who loves him and comes to see him as beyond her help, the film takes a series of interesting turns.
If the film has a major flaw, it is the ending, which in true Warner's speedy fashion was rather abrupt and out of tune with the preceding drama, at least to me.
There are several scenes that were particularly enjoyable. I especially liked that moment when Kay & Brent spot one another for the first time, and the small touches in the story. The couple's ride atop a 5th Avenue bus, their visit to the Augustus Saint-Gaudens statue of General Sherman in Central Park, the expression on Brent's face when he starts to feel trapped on a commuter train to NYC, and their relationship with "Gibraltar", (played by Warren William in a quiet, gentle key that made me think of him even more than usual as a rather sweet greyhound, rather than his often wolfish self on screen).
I was puzzled by the ending. Then I read that Warren William, whose character is secondary to the leads, with few scenes, was about to finish his Warner's contract at the time of production. His stability and loyalty appear to make him a more logical mate for Kay, who craves a stable, meaningful life. Yet, because of his precarious position at Warner Brothers, and because George Brent had just signed a multi-year contract, his unlikely redemption was emphasized, distorting the story a bit for me. A good movie, nevertheless, with some moments that gleamed, despite the flaws.
Here's a link to the trailer for Living on Velvet, which refers to Kay's keeping a diary--something that those of us who know Kay's story, might find amusing.
Kay Francis SOTM
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moira finnie
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Well I've been on a Kay Francis kick for the past few days. I saw Jewel Robbery, Mary Stevens MD and Living on Velvet for the first time and revisited One Way Passage.
Over the years I've seen Kay in The House on 56th Street, Wonder Bar, My Bill, In Name Only and The Feminine Touch. When this month is over I'll have stocked up on enough Kay Francis to keep me going for quite some time.
I have said this time and again about film stars and I'm afraid it sounds trite but the bottom line is Kay Francis is one of those people who is simply always interesting to watch. I have horrible insomnia. I've had it since I was a kid. Many years ago I started a nighttime ritual (it's what the doctors tell you to do) which includes watching a film before I retire. Now don't get me wrong I'm not suggesting that Kay Francis is a cure for insomnia. I mean nothing of the kind. It's just that most often as that time of night draws near I want to escape. I find escaping into a world inhabited by Kay Francis a perfect way to relax.
Jewel Robbery was a particular treat. Powell and Francis make a great team. The marijuana references were hilarious. I just loved hearing Robert Osborne introduce it as a "film that's really smokin'." Kay was a delight throughout the film. That wink to the camera at the end of the film was priceless.
One Way Passage is really a beautiful film. Together with Powell again I thought they, and the supporting cast, make the movie such a treat. It's just the way the film is constructed. I'll say one thing for the people at Warner Brothers, they knew how to keep a story moving. First off, I am always up for an ocean voyage. There is just something about films set on ships that brings out the adventurous romantic in me. Then we have the added privilege of having Aline MacMahon along for the ride. She is a wonder and when she says she wants to give it all up for a chicken ranch hey, I believe her. Frank McHugh and Warren Hymer complete a cast that is just hard to beat. The ending is very poignant and I must admit I didn't notice the first time I saw it that the broken glasses on the bar vanish. Wow! What an ending. I can see why this was such a big hit.
Living on Velvet was an unusual little film. I agree about Brent's performance. I think he was better here then I have ever seen him. I also loved the scene when they first meet. I haven't had the pleasure of seeing a lot of Frank Borzage's earlier films. I just watched Man's Castle and, now having seen this one as well, I am looking forward to seeing more of his 20's and early 30's work.
I thought the scene where Kay confesses to a speech impediment strangely touching as well as surprising. It made me like her even more.
I did find the plot disconcerting at times. You did a wonderful job in your description of the film and I particularly appreciate your insights on the ending. I agree it had it's flaws but it kept my attention and I enjoyed watching it.
Now it is getting late. If you'll excuse me I must finish off the night with either Raffles or The Keyhole...hmm...I can't decide. It's a good thing I work the evening shift.
Over the years I've seen Kay in The House on 56th Street, Wonder Bar, My Bill, In Name Only and The Feminine Touch. When this month is over I'll have stocked up on enough Kay Francis to keep me going for quite some time.
I have said this time and again about film stars and I'm afraid it sounds trite but the bottom line is Kay Francis is one of those people who is simply always interesting to watch. I have horrible insomnia. I've had it since I was a kid. Many years ago I started a nighttime ritual (it's what the doctors tell you to do) which includes watching a film before I retire. Now don't get me wrong I'm not suggesting that Kay Francis is a cure for insomnia. I mean nothing of the kind. It's just that most often as that time of night draws near I want to escape. I find escaping into a world inhabited by Kay Francis a perfect way to relax.
Jewel Robbery was a particular treat. Powell and Francis make a great team. The marijuana references were hilarious. I just loved hearing Robert Osborne introduce it as a "film that's really smokin'." Kay was a delight throughout the film. That wink to the camera at the end of the film was priceless.
One Way Passage is really a beautiful film. Together with Powell again I thought they, and the supporting cast, make the movie such a treat. It's just the way the film is constructed. I'll say one thing for the people at Warner Brothers, they knew how to keep a story moving. First off, I am always up for an ocean voyage. There is just something about films set on ships that brings out the adventurous romantic in me. Then we have the added privilege of having Aline MacMahon along for the ride. She is a wonder and when she says she wants to give it all up for a chicken ranch hey, I believe her. Frank McHugh and Warren Hymer complete a cast that is just hard to beat. The ending is very poignant and I must admit I didn't notice the first time I saw it that the broken glasses on the bar vanish. Wow! What an ending. I can see why this was such a big hit.
Living on Velvet was an unusual little film. I agree about Brent's performance. I think he was better here then I have ever seen him. I also loved the scene when they first meet. I haven't had the pleasure of seeing a lot of Frank Borzage's earlier films. I just watched Man's Castle and, now having seen this one as well, I am looking forward to seeing more of his 20's and early 30's work.
I thought the scene where Kay confesses to a speech impediment strangely touching as well as surprising. It made me like her even more.
I did find the plot disconcerting at times. You did a wonderful job in your description of the film and I particularly appreciate your insights on the ending. I agree it had it's flaws but it kept my attention and I enjoyed watching it.
Now it is getting late. If you'll excuse me I must finish off the night with either Raffles or The Keyhole...hmm...I can't decide. It's a good thing I work the evening shift.
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moira finnie
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Thanks for responding to my post, Molo.
I thought that scene you mentioned with Kay and Brent on the bus, in which she acknowledges her trouble with her "r" s was charming. It was also fun to see the glamourous Kay shed her glad rags and take up housekeeping (though to my eyes, that little house of theirs was fine just the way it was--new furniture wasn't really needed). Did you see the underlying need for nest-building to be at all materialistic?
I agree about George Brent. He was endearingly winning and even wistfully peppy, which is something I never expected to write about the human tranquilizer. I guess this shows what he could do with a good director and costar? Btw, Frank Borzage, Kay & Brent also do some pretty good, though not as elegant work in Stranded (1935), which airs at 3:15am on 9/26 on TCM
While I've seen Trouble in Paradise many times, I'm looking forward to Cynara tonight on TCM--since it's been decades since I've seen it. I must admit that I watched previously primarily to quench my lifelong schoolgirl crush on Ronald Colman, (I barely remember Kay in the movie! Maybe my powers of perception are sharper now--I hope).
I hope you'll let me know your takes on the other Kay Francis movies.
I thought that scene you mentioned with Kay and Brent on the bus, in which she acknowledges her trouble with her "r" s was charming. It was also fun to see the glamourous Kay shed her glad rags and take up housekeeping (though to my eyes, that little house of theirs was fine just the way it was--new furniture wasn't really needed). Did you see the underlying need for nest-building to be at all materialistic?
I agree about George Brent. He was endearingly winning and even wistfully peppy, which is something I never expected to write about the human tranquilizer. I guess this shows what he could do with a good director and costar? Btw, Frank Borzage, Kay & Brent also do some pretty good, though not as elegant work in Stranded (1935), which airs at 3:15am on 9/26 on TCM
While I've seen Trouble in Paradise many times, I'm looking forward to Cynara tonight on TCM--since it's been decades since I've seen it. I must admit that I watched previously primarily to quench my lifelong schoolgirl crush on Ronald Colman, (I barely remember Kay in the movie! Maybe my powers of perception are sharper now--I hope).
I hope you'll let me know your takes on the other Kay Francis movies.
Well, kick me for being an idiot. I got to like Kay Francis last time they had a day for her, but I've been so involved in the political process lately, I haven't even looked at TCM to see what's been offered. Hopefully I can catch one or two of her movies before the end of the month. If so, I'll be back to discuss them.
Anne
Anne
Anne
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I have indeed enjoyed the Star of the Month, Kay Francis. I've recorded some to savor later and watched a few as they were broadcast. I've seen some of her movies in the past, but so many run to the darker side that they don't end up in my watch over-and-over-and-over pile of DVDs. I truly appreciated the comedy Trouble in Paradise(1932) with William Powell last Thursday. That would be likely to move to the top of my list, wouldn't you know, it's one I didn't get recorded. (Sorry - enough of my gremlin woes.)
I also enjoyed the drama Cynara (1932) with Ronald Colman and Phyllis Barry. Mr. Osborne's introduction explained the title of the movie and reminded us that pre-code good girls were expected to tough out their marriages no matter how they'd been wronged.
Kay's character, Clemency, leads her life in the way I would expect of a character of that name; high ideals and self-deprecating. The unfolding drama of her becoming suspicious was performed in the perfect manner. My heart beat a little faster each time a doubt flickered on that beautiful face. I thought the performance was superb and I loved the way she swept into the room when all was discovered.
Later, I became distracted during the court scene by Kay's wrap. The way that poor dead animal was wrapped around her shoulders and clamped on by its own teeth was downright hilarious. (One of the things I love about the 30's!)
And her final performance of the movie on the boat was ...well...hard to judge. Did anyone think she kept closing her eyes to 'think she'd never see him again' as Tring had suggested? Or did I imagine that?
Afterwards, I started to watch A Notorious Affair (1930) but will have to finish it later. I was so awestruck by the total opposites in character between the two movies that I could hardly concentrate on the plot. Luckily, I have that one recorded.
Thoughts, anyone?
Birdy (who's ready to record on Thursday)
I also enjoyed the drama Cynara (1932) with Ronald Colman and Phyllis Barry. Mr. Osborne's introduction explained the title of the movie and reminded us that pre-code good girls were expected to tough out their marriages no matter how they'd been wronged.
Kay's character, Clemency, leads her life in the way I would expect of a character of that name; high ideals and self-deprecating. The unfolding drama of her becoming suspicious was performed in the perfect manner. My heart beat a little faster each time a doubt flickered on that beautiful face. I thought the performance was superb and I loved the way she swept into the room when all was discovered.
Later, I became distracted during the court scene by Kay's wrap. The way that poor dead animal was wrapped around her shoulders and clamped on by its own teeth was downright hilarious. (One of the things I love about the 30's!)
And her final performance of the movie on the boat was ...well...hard to judge. Did anyone think she kept closing her eyes to 'think she'd never see him again' as Tring had suggested? Or did I imagine that?
Afterwards, I started to watch A Notorious Affair (1930) but will have to finish it later. I was so awestruck by the total opposites in character between the two movies that I could hardly concentrate on the plot. Luckily, I have that one recorded.
Thoughts, anyone?
Birdy (who's ready to record on Thursday)
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jdb1
I missed RO's introduction. Did he mention the poem Cynara by Ernest Dowson? And did he also mention that the Cynara that Dowson addressed the poem to was a 12 or 13-year-old girl with whom he was obsessed? And that "Cynara" refers to having blue eyes? I suppose it's too much to hope that RO mentioned the source of Dowson's poem, that is, an ode by the Roman poet Horace. Anyway, who knows where Horace got it from?Birdy wrote: I also enjoyed the drama Cynara (1932) with Ronald Colman and Phyllis Barry. Mr. Osborne's introduction explained the title of the movie and reminded us that pre-code good girls were expected to tough out their marriages no matter how they'd been wronged.
As Horace said and Dowson quoted:
"Non Sum Qualis Eram Bonae Sub Regno Cynarae"
Yes, RO did tell about t e poem. While I got the gist that it referred to obsession, I sure didn't know about the underage girl or blue eyes or Horace. hmmm. I'm off on the web to search for the poem now, you've got me curious. I'll let the rest of you know where I find it. THanks for the extra info; maybe you should be doing the intros with RO!
B
B
Talk about distracted; I spent most of the last half of TROUBLE IN PARADISE wondering how her gown was held up, you know, the backless, off-the-shoulder dark velvet one with white fur trim. Gravity should have had it fall to her waist, but up it stayed - they must have used spirit gum or some type of adhesive!Birdy wrote: Later, I became distracted during the court scene by Kay's wrap. The way that poor dead animal was wrapped around her shoulders and clamped on by its own teeth was downright hilarious. (One of the things I love about the 30's!)
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myrnaloyisdope
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moira finnie
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I wasn't able to record Cynara either, myrna, but I really think that this movie needs to be issued as a dvd pronto. Where in heck is the Ronald Colman boxed set he deserves, (not to mention Kay's movies)?
Tonight, Sept. 18th on TCM we have a mixed bag of the SOTM's movies, with several examples of Kay Francis, "the dark years at Warner Brothers" along with some films made at the height of her popularity and a few made after she left the studio in the late '30s. When the studio and the actress were pretty much at a standoff and Kay wouldn't leave, but hung in there collecting her salary, the Warners just kept giving her some fairly vile scripts, though there are a few enjoyable moments in these as well. My don't miss movie among these is In Name Only (1939) at 7am EDT on Friday 9/19. Here's the rundown & I hope others will add their comments:
8:00 PM
Transgression (1931)
When her lover is killed, a straying wife tries to intercept the confession she mailed her husband. Cast: Kay Francis, Ricardo Cortez, Paul Cavanagh. Dir: Herbert Brenon. BW-70 mins, TV-PG
Quite a lot of pre-code fun for awhile, until Kay & the nefarious Ricardo get bogged down in some melodrama at his hacienda. It's interesting to see Paul Cavanagh playing an even younger version of his usual cuckold part. Who did he tick off in Hollywood that led to his playing that same part for decades?
9:15 PM
Secrets Of An Actress (1938)
A leading lady falls for a married architect who's invested in her play. Cast: Kay Francis, George Brent, Ian Hunter. Dir: William Keighley. BW-70 mins, TV-G, CC
A new one on me, but they certainly teamed her with George & Ian often enough, huh? Hey, how many times did Kay play an actress on screen?
10:30 PM
Women In The Wind (1939)
Personal conflicts flare between competitors in a women's air race. Cast: Kay Francis, William Gargan, Victor Jory. Dir: John Farrow. BW-63 mins, TV-G, CC
This one is more enjoyable than it might seem, though Kay was definitely on the way out by then. Lots of fun whenever aviatrix Eve Arden shows up, though William Gargan & Victor Jory are odd choices as love interests, no? I've always fancied Jory myself, (even when he played hissable villains, which he avoids here).
11:45 PM
King Of The Underworld (1939)
A lady doctor gets mixed up with a criminal gang. Cast: Humphrey Bogart, Kay Francis, James Stephenson. Dir: Lewis Seiler. BW-67 mins, TV-PG, CC
When they made this movie, Bogie felt so sorry for Kay, he is said to have asked that she be given better scenes. Bogart was also receiving poor treatment from Warners around then, being stuck in poor roles in Swing Your Lady, The Amazing Dr. Clitterhouse, and The Return of Doctor X, but this one was a poor remake of a feeble Paul Muni film, Dr. Socrates (1935), (with capable Kay in the Muni role). It made those Bogart flicks look like Shakespeare. If you see the trailer for this film, found here, Kay's name is never mentioned nor does it appear in the credits of the teaser!
1:00 AM
It's A Date (1940)
Mother-and-daughter singers vie for the same man and the same stage part. Cast: Deanna Durbin, Walter Pidgeon, Kay Francis. Dir: William A. Seiter. BW-104 mins, TV-G, CC
Not my favorite Durbin vehicle by any means, (much too slow), but you must see the get-ups that Kay appears in during this movie, including, if memory serves, a lamé turbin that makes her look like a glam brain surgery patient.
2:45 AM
Play Girl (1940)
An aging gold digger takes a young woman under her wing. Cast: Kay Francis, Nigel Bruce, James Ellison. Dir: Frank Woodruff. BW-77 mins, TV-PG, CC
Sounds sort of interesting, though I've never seen this one.
4:15 AM
Little Men (1940)
A con artist tries to save the boarding school where his son has found a home. Cast: Kay Francis, Jack Oakie, George Bancroft. Dir: Norman Z. McLeod. BW-83 mins, TV-G, CC
This low budget adaptation of Louis May Alcott's follow up book is remarkably dull to me.
5:45 AM
My Bill (1938)
An impoverished widow fights scandal for the sake of her four children. Cast: Kay Francis, Bonita Granville, Anita Louise. Dir: John Farrow. BW-65 mins, TV-G, CC
Though this one is definitely one of those last Kay movies at WB, she exudes real warmth as the impoverished mother of a brood of kids who include Dickie Moore and Bobby Jordan, as well as the bouncy Bonita, who's not evil in this role.
19 Friday
7:00 AM
In Name Only (1939)
A wealthy man falls for a widow but can't get his wife to divorce him. Cast: Cary Grant, Carole Lombard, Kay Francis. Dir: John Cromwell. BW-95 mins, TV-G, CC
Great stuff from all players at the top of their form, and gives Kay a wonderful character role.
8:45 AM
The Keyhole (1933)
A private eye specializing in divorce cases falls for the woman he's been hired to frame. Cast: Kay Francis, George Brent, Glenda Farrell. Dir: Michael Curtiz. BW-69 mins, TV-G
One of Scott O'Brien's top ten Kay movies & it has quite a few lively pre-code touches. The development of the relationship between Kay & Brent is quite well done...and have you ever seen a truly boring Michael Curtiz movie from the '30s & '40s?
10:00 AM
I Found Stella Parish (1935)
An actress stops at nothing to protect her daughter from her shady past. Cast: Kay Francis, Paul Lukas, Ian Hunter. Dir: Mervyn LeRoy. BW-85 mins, TV-G, CC
This backstage story has some touching moments blending elements of sulimated motherhood, shadows of scandal, a cute kid played by Sybil Jason, one of those "broken hearts for every light on Broadway" storylines and some nimble pacing thanks to Mervyn Leroy.
Tonight, Sept. 18th on TCM we have a mixed bag of the SOTM's movies, with several examples of Kay Francis, "the dark years at Warner Brothers" along with some films made at the height of her popularity and a few made after she left the studio in the late '30s. When the studio and the actress were pretty much at a standoff and Kay wouldn't leave, but hung in there collecting her salary, the Warners just kept giving her some fairly vile scripts, though there are a few enjoyable moments in these as well. My don't miss movie among these is In Name Only (1939) at 7am EDT on Friday 9/19. Here's the rundown & I hope others will add their comments:
8:00 PM
Transgression (1931)
When her lover is killed, a straying wife tries to intercept the confession she mailed her husband. Cast: Kay Francis, Ricardo Cortez, Paul Cavanagh. Dir: Herbert Brenon. BW-70 mins, TV-PG
Quite a lot of pre-code fun for awhile, until Kay & the nefarious Ricardo get bogged down in some melodrama at his hacienda. It's interesting to see Paul Cavanagh playing an even younger version of his usual cuckold part. Who did he tick off in Hollywood that led to his playing that same part for decades?
9:15 PM
Secrets Of An Actress (1938)
A leading lady falls for a married architect who's invested in her play. Cast: Kay Francis, George Brent, Ian Hunter. Dir: William Keighley. BW-70 mins, TV-G, CC
A new one on me, but they certainly teamed her with George & Ian often enough, huh? Hey, how many times did Kay play an actress on screen?
10:30 PM
Women In The Wind (1939)
Personal conflicts flare between competitors in a women's air race. Cast: Kay Francis, William Gargan, Victor Jory. Dir: John Farrow. BW-63 mins, TV-G, CC
This one is more enjoyable than it might seem, though Kay was definitely on the way out by then. Lots of fun whenever aviatrix Eve Arden shows up, though William Gargan & Victor Jory are odd choices as love interests, no? I've always fancied Jory myself, (even when he played hissable villains, which he avoids here).
11:45 PM
King Of The Underworld (1939)
A lady doctor gets mixed up with a criminal gang. Cast: Humphrey Bogart, Kay Francis, James Stephenson. Dir: Lewis Seiler. BW-67 mins, TV-PG, CC
When they made this movie, Bogie felt so sorry for Kay, he is said to have asked that she be given better scenes. Bogart was also receiving poor treatment from Warners around then, being stuck in poor roles in Swing Your Lady, The Amazing Dr. Clitterhouse, and The Return of Doctor X, but this one was a poor remake of a feeble Paul Muni film, Dr. Socrates (1935), (with capable Kay in the Muni role). It made those Bogart flicks look like Shakespeare. If you see the trailer for this film, found here, Kay's name is never mentioned nor does it appear in the credits of the teaser!
1:00 AM
It's A Date (1940)
Mother-and-daughter singers vie for the same man and the same stage part. Cast: Deanna Durbin, Walter Pidgeon, Kay Francis. Dir: William A. Seiter. BW-104 mins, TV-G, CC
Not my favorite Durbin vehicle by any means, (much too slow), but you must see the get-ups that Kay appears in during this movie, including, if memory serves, a lamé turbin that makes her look like a glam brain surgery patient.
2:45 AM
Play Girl (1940)
An aging gold digger takes a young woman under her wing. Cast: Kay Francis, Nigel Bruce, James Ellison. Dir: Frank Woodruff. BW-77 mins, TV-PG, CC
Sounds sort of interesting, though I've never seen this one.
4:15 AM
Little Men (1940)
A con artist tries to save the boarding school where his son has found a home. Cast: Kay Francis, Jack Oakie, George Bancroft. Dir: Norman Z. McLeod. BW-83 mins, TV-G, CC
This low budget adaptation of Louis May Alcott's follow up book is remarkably dull to me.
5:45 AM
My Bill (1938)
An impoverished widow fights scandal for the sake of her four children. Cast: Kay Francis, Bonita Granville, Anita Louise. Dir: John Farrow. BW-65 mins, TV-G, CC
Though this one is definitely one of those last Kay movies at WB, she exudes real warmth as the impoverished mother of a brood of kids who include Dickie Moore and Bobby Jordan, as well as the bouncy Bonita, who's not evil in this role.
19 Friday
7:00 AM
In Name Only (1939)
A wealthy man falls for a widow but can't get his wife to divorce him. Cast: Cary Grant, Carole Lombard, Kay Francis. Dir: John Cromwell. BW-95 mins, TV-G, CC
Great stuff from all players at the top of their form, and gives Kay a wonderful character role.
8:45 AM
The Keyhole (1933)
A private eye specializing in divorce cases falls for the woman he's been hired to frame. Cast: Kay Francis, George Brent, Glenda Farrell. Dir: Michael Curtiz. BW-69 mins, TV-G
One of Scott O'Brien's top ten Kay movies & it has quite a few lively pre-code touches. The development of the relationship between Kay & Brent is quite well done...and have you ever seen a truly boring Michael Curtiz movie from the '30s & '40s?
10:00 AM
I Found Stella Parish (1935)
An actress stops at nothing to protect her daughter from her shady past. Cast: Kay Francis, Paul Lukas, Ian Hunter. Dir: Mervyn LeRoy. BW-85 mins, TV-G, CC
This backstage story has some touching moments blending elements of sulimated motherhood, shadows of scandal, a cute kid played by Sybil Jason, one of those "broken hearts for every light on Broadway" storylines and some nimble pacing thanks to Mervyn Leroy.
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jdb1
Oooh, Moira we should start a support group. I've loved Victor Jory since I was a pup. I have a soft spot for bass-baritones. I had his version of Tubby the Tuba (on a 78, of course), and remains the best one I've ever heard. Unfortunately, that record got lost to the sands of time. You should hear him sing -- that voice could get me to do anything!moirafinnie wrote: I've always fancied Jory myself, (even when he played hissable villains, which he avoids here).][/color]
I'll join that fan club. Even when he was at his most hissssssable, there was just something about the guy. I saw him as the romantic lead in an old movie recently, can't remember anything besides my shock. Any ideas at all what the movie is?
Ok, let's see. Moira is prez, Judith is veep, that makes me treasurer. OK you guys, where are your dues????
Ok, let's see. Moira is prez, Judith is veep, that makes me treasurer. OK you guys, where are your dues????
"Life is not the way it's supposed to be.. It's the way it is..
The way we cope with it, is what makes the difference." ~ Virginia Satir
""Most people pursue pleasure with such breathless haste that they hurry past it." ~ Soren Kierkegaard
The way we cope with it, is what makes the difference." ~ Virginia Satir
""Most people pursue pleasure with such breathless haste that they hurry past it." ~ Soren Kierkegaard
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jdb1
Was it Mills of the Gods, with Fay Wray? I sort of remember him being the hero in that one.knitwit45 wrote:I'll join that fan club. Even when he was at his most hissssssable, there was just something about the guy. I saw him as the romantic lead in an old movie recently, can't remember anything besides my shock. Any ideas at all what the movie is?
Ok, let's see. Moira is prez, Judith is veep, that makes me treasurer. OK you guys, where are your dues????
I think we should make our fanclub dues cyber-dues. That will make accounting easier for you.
Hi Moira,
Molo here. Reporting back for duty from the Kay Francis front.
I've seen four of the films coming up tonight.
Little Men: Agreed. It's a snoozer.
My Bill: I like this one. I was surprised about the implications of Bill's parentage in this 1938 film when I first saw it. Kay is good here and the kids are good too. I like seeing "dead end kid" Bobby Jordan playing a bit of a nerd.
In Name Only : Agreed this is a very good film. Kay doesn't play nice but she and Lombard and Grant all deliver and the story keeps you interested.
The Keyhole: Oh fun! We get to go on a ship again. This one had been gathering dust since my last Kay outing and now I wonder why I didn't watch it then. It's a fun film. This time Allen Jenkins and Glenda Farrell come along for a fairly amusing subplot. I liked the scene where Kay explains all to Portia Brooks in a montage of scenes. I have never watched so many George Brent films in such a short time span. He's not helping so much, but I'm not as put off by him as I used to be.
Thanks for the breakdown of Kay's films tonight. I've got the recorders going full steam.
Women in the Wind: Did you say Eve Arden? That's all I need to know. I'll be there.
It's A Date : I have never seen a Deanna Durbin feature film. I guess that's about to change.
I watched Trouble in Paradise for the first time and I haven't enjoyed a new (to me) comedy so much since catching Easy Living for the first time months ago. What a magical film. I liked the whole cast. I've always liked Miriam Hopkins and Herbert Marshall anyway and of course Horton is one of my all time favorite comedic character actors. The film seemed very much ahead of it's time particularly with all the quick cuts. This one moves into my top comedies file.
I also found The Goose and the Gander rather enjoyable. I had a hard time following some of it but it had a screwball feel to it. I didn't think so much of Stolen Holiday even though I got to switch out George Brent for Claude Rains. I just kept waiting for the Rains' part of the story to gain traction and it never did. It wasn't a bad film just not up to the level of some of the others I've seen. I also seem to be quite partial to comedies in general lately so maybe it's just me.
I'm going to try and get around to all of these at some point. I still haven't watched Cynara yet either. I'll be back.
Molo here. Reporting back for duty from the Kay Francis front.
I've seen four of the films coming up tonight.
Little Men: Agreed. It's a snoozer.
My Bill: I like this one. I was surprised about the implications of Bill's parentage in this 1938 film when I first saw it. Kay is good here and the kids are good too. I like seeing "dead end kid" Bobby Jordan playing a bit of a nerd.
In Name Only : Agreed this is a very good film. Kay doesn't play nice but she and Lombard and Grant all deliver and the story keeps you interested.
The Keyhole: Oh fun! We get to go on a ship again. This one had been gathering dust since my last Kay outing and now I wonder why I didn't watch it then. It's a fun film. This time Allen Jenkins and Glenda Farrell come along for a fairly amusing subplot. I liked the scene where Kay explains all to Portia Brooks in a montage of scenes. I have never watched so many George Brent films in such a short time span. He's not helping so much, but I'm not as put off by him as I used to be.
Thanks for the breakdown of Kay's films tonight. I've got the recorders going full steam.
Women in the Wind: Did you say Eve Arden? That's all I need to know. I'll be there.
It's A Date : I have never seen a Deanna Durbin feature film. I guess that's about to change.
I watched Trouble in Paradise for the first time and I haven't enjoyed a new (to me) comedy so much since catching Easy Living for the first time months ago. What a magical film. I liked the whole cast. I've always liked Miriam Hopkins and Herbert Marshall anyway and of course Horton is one of my all time favorite comedic character actors. The film seemed very much ahead of it's time particularly with all the quick cuts. This one moves into my top comedies file.
I also found The Goose and the Gander rather enjoyable. I had a hard time following some of it but it had a screwball feel to it. I didn't think so much of Stolen Holiday even though I got to switch out George Brent for Claude Rains. I just kept waiting for the Rains' part of the story to gain traction and it never did. It wasn't a bad film just not up to the level of some of the others I've seen. I also seem to be quite partial to comedies in general lately so maybe it's just me.
I'm going to try and get around to all of these at some point. I still haven't watched Cynara yet either. I'll be back.