I know little about her but I do believe she played the lady blacksmith.knitwit45 wrote:Mr. R, do you know what part Ms. Fazenda played? Didn't she become a premier Hollywood hostess?
WHAT FILMS HAVE YOU SEEN LATELY?
-
moira finnie
- Administrator
- Posts: 8024
- Joined: April 9th, 2007, 6:34 pm
- Location: Earth
- Contact:
Mention of Swing Your Lady, which probably ranks somewhere between The Return of Doctor X (on the high side of the "so bad it's good scale") and The Wagons Roll at Night, a flea-bitten circus epic handed to Humphrey Bogart after he'd made High Sierra, reminds me that Bogie went on suspension a couple of times to dodge the script of the backwoods wrestling story. The actor's letters from this period, quoted extensively in Ann Sperber and Eric Lax's book, Bogart, written to his bosses at Warners asking for a reprieve, are a blend of pleading, anger and obsequiousness. No wonder the guy drank.
I loved his performance in It All Came True because of his barely concealed mirth whenever he shares the screen with Una O'Connor, Zasu Pitts and, Ann Sheridan in this little sleeper. I swear he was laughing off script throughout the scene when Felix Bressart performs his vaudeville act in the living room.
Louise Fazenda (above) was the wrestler/lady blacksmith in the abysmal Swing Your Lady. She began in movies with Mack Sennett as a stuntwoman and her broad style popped up regularly in '30s films as well at Warner Brothers, including some of the Busby Berkeley and Kay Francis movies, in which she often played easily outraged society women. She appeared in occasional dramas, and seemed to favor the lighter stuff.
The horse-faced comic actress was married to the legendary Warner's producer Hal B. Wallis from 1927-1962. Around the studio, reportedly, Wallis was known as "the prisoner of Fazenda." Meeting in the mid-'20s on the set of a Rin-Tin-Tin movie, Light House By the Sea (1925) in which Louise played the daughter of a blind lighthouse keeper when the slightly younger Wallis was a WB dogsbody, he was initially impressed with her ability to hold her own in scenes with the scene-stealing German Shepard. As they courted, she began to thaw out the frosty Hal, who had never met such an independent, yet generous and canny woman.
After Louise shed her first hubby, director Noel Smith, the pair married and Fazenda continued to work in films, while acquiring a significant portfolio of real estate in California, from which she made a fortune, (and reportedly gave much of it away). They were a well known couple in Hollywood during that period, remained married until her death in '62 and had a son who was a psychologist. According to most sources, she was known for her art collection and her philanthropy, even after she retired from movies in '39. Bernard Dick's bio, Hal Wallis: Producer to the Stars (2004) documents much of the pair's lives in what appears to be a thoroughly researched book.
Here's an interesting sidelight from Wikipedia on Louise Fazenda, (which, of course, we should take with a large grain of salt):
I loved his performance in It All Came True because of his barely concealed mirth whenever he shares the screen with Una O'Connor, Zasu Pitts and, Ann Sheridan in this little sleeper. I swear he was laughing off script throughout the scene when Felix Bressart performs his vaudeville act in the living room.
Louise Fazenda (above) was the wrestler/lady blacksmith in the abysmal Swing Your Lady. She began in movies with Mack Sennett as a stuntwoman and her broad style popped up regularly in '30s films as well at Warner Brothers, including some of the Busby Berkeley and Kay Francis movies, in which she often played easily outraged society women. She appeared in occasional dramas, and seemed to favor the lighter stuff.
The horse-faced comic actress was married to the legendary Warner's producer Hal B. Wallis from 1927-1962. Around the studio, reportedly, Wallis was known as "the prisoner of Fazenda." Meeting in the mid-'20s on the set of a Rin-Tin-Tin movie, Light House By the Sea (1925) in which Louise played the daughter of a blind lighthouse keeper when the slightly younger Wallis was a WB dogsbody, he was initially impressed with her ability to hold her own in scenes with the scene-stealing German Shepard. As they courted, she began to thaw out the frosty Hal, who had never met such an independent, yet generous and canny woman.
After Louise shed her first hubby, director Noel Smith, the pair married and Fazenda continued to work in films, while acquiring a significant portfolio of real estate in California, from which she made a fortune, (and reportedly gave much of it away). They were a well known couple in Hollywood during that period, remained married until her death in '62 and had a son who was a psychologist. According to most sources, she was known for her art collection and her philanthropy, even after she retired from movies in '39. Bernard Dick's bio, Hal Wallis: Producer to the Stars (2004) documents much of the pair's lives in what appears to be a thoroughly researched book.
Here's an interesting sidelight from Wikipedia on Louise Fazenda, (which, of course, we should take with a large grain of salt):
In 1954 Fazenda read about a woman who died in a car accident. She paid the entire hospital bill of her daughter, who was injured in the wreck. She subsidized the studies of a law student who was contemplating leaving school when his wife became pregnant. At the UCLA Medical Center she helped to feed young children, before she rocked and sang them to sleep. Actress Laura LaPlante witnessed her charitable efforts. LaPlante described Fazenda helping children and poor people. One child refused to eat. The actress reportedly went back and forth to the hospital from her home, making various dishes, until she was successful, and the youth regained his health. Among the children she helped there was one Edward Bunker, who described what had happened in his autobiographical The Education of a Felon.
Ah, Moira! I can ALWAYS count on you to come thru with the needed (or just wanted) information. The picture you posted is amazing. The lady in the movie was a beefy, broad woman who looked like she COULD be a blacksmith or a wrestler. The photo shows a rather dainty looking woman. It seems like Larry has mentioned her parties, and that she was one of his all-time favorite ladies of Hollywood.
Thanks again,
Nancy
Thanks again,
Nancy
"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
Moira said:
I watched and recorded this subpar movie. Why? Never allow a John Alton moment pass one by.Battle Circus (1953) with Humphrey Bogart as a MASH doc and June Allyson as his unlikely nurse. This was on just the other day and it seemed pretty abysmal, despite Richard Brooks' script and direction and, since I like the stars, I'm sorry to say, with Bogie looking terribly wan, and June keeping her flippy 'do and her virtue in perfect shape throughout the combat action.
Everyday people...that's what's wrong with the world. -- Morgan Morgan
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
Thanks to the gracious invitation of Mr. & Mrs. Bryce, Mrs. ChiO and I saw THE CURIOUS CASE OF BENJAMIN BUTTON. While I cannot be as effusive in my praise as Bryce (being more effusive would be impossible), it is a film that touched us and will likely touch many -- poignant (Mrs. ChiO's description) and sentimental, but not resorting to sentimentality. We could not hold back the tears, but they were not cheap and we were not tricked into them. Bryce's affection for the film reminded me of my reaction upon seeing BIG FISH. And they have a common element with two of my three favorite films, CITIZEN KANE and STARS IN MY CROWN: the primacy of memory. Definitely a must-see.
While looking through Facets' Film Noir section in search of an interesting title I hadn't seen, CHRIST IN CONCRETE caught my eye -- what a marvelous title and I hadn't heard of it. Made in 1949 in England about Little Italy in NYC just before and during The Depression, and released in the US as GIVE US THIS DAY, it was directed by Edward Dmytryk (blacklist), starring Sam Wanamaker (blacklist), with a script by Ben Garzman (blacklist). Yes, there were pickets when released in the US. It follows the struggles of a poor hodcarrier (Wanamaker), his family and friends trying to survive and the allure of making a better life for himself and his family while risking his family's and friends' love, respect and lives. The look of the film alternates between classic film noir expressionism and neo-realism, but the story is pure social-realism.
And, Judith, one bit of dialogue made me smile and think of you. Wanamaker has convinced a friend's relative to come to the US and marry him, lying to her that he has a house because that was her only precondition. He's made a down payment and convinced the seller to let them spend their three day honeymoon in the house. When they leave the wedding reception:
She: Where are we going?
He: To Paradise.
She: But what do others call it?
He: Others call it Brooklyn.
While looking through Facets' Film Noir section in search of an interesting title I hadn't seen, CHRIST IN CONCRETE caught my eye -- what a marvelous title and I hadn't heard of it. Made in 1949 in England about Little Italy in NYC just before and during The Depression, and released in the US as GIVE US THIS DAY, it was directed by Edward Dmytryk (blacklist), starring Sam Wanamaker (blacklist), with a script by Ben Garzman (blacklist). Yes, there were pickets when released in the US. It follows the struggles of a poor hodcarrier (Wanamaker), his family and friends trying to survive and the allure of making a better life for himself and his family while risking his family's and friends' love, respect and lives. The look of the film alternates between classic film noir expressionism and neo-realism, but the story is pure social-realism.
And, Judith, one bit of dialogue made me smile and think of you. Wanamaker has convinced a friend's relative to come to the US and marry him, lying to her that he has a house because that was her only precondition. He's made a down payment and convinced the seller to let them spend their three day honeymoon in the house. When they leave the wedding reception:
She: Where are we going?
He: To Paradise.
She: But what do others call it?
He: Others call it Brooklyn.
Everyday people...that's what's wrong with the world. -- Morgan Morgan
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
-
jdb1
Ah, music to my Brooklyn ears.ChiO wrote: And, Judith, one bit of dialogue made me smile and think of you. Wanamaker has convinced a friend's relative to come to the US and marry him, lying to her that he has a house because that was her only precondition. He's made a down payment and convinced the seller to let them spend their three day honeymoon in the house. When they leave the wedding reception:
She: Where are we going?
He: To Paradise.
She: But what do others call it?
He: Others call it Brooklyn.
As Anne Sexton so succinctly put in in her poem "Rumpelstiltskin:"
Poor thing.
To die and never see Brooklyn.
I watched "The Desperate Hours" this week. It was okay. It just lasted too long, and I felt that Wyler let too many chances for suspense slip past. In some scenes, I felt that he missed a bet by having the interesting character speak with his back to the camera. Of Wyler's "suspense" films, I like "Dead End" and "The Collector," but this and "Detective Story" leave me rather cold. ("Detective Story" strikes me as an episode of "Barney Miller" that takes itself way too seriously, and I know that is my problem and not Wyler's.)
I also watched the 1946 "The Postman Always Rings Twice" and didn't like it. The best part of the movie was watching the two lawyers spar. Having Alan Reed as the corrupt private eye worked against the movie as well. I kept hearing Fred Flintstone's voice.
What's the 1983 "Postman Always Rings Twice" like?
I also watched the 1946 "The Postman Always Rings Twice" and didn't like it. The best part of the movie was watching the two lawyers spar. Having Alan Reed as the corrupt private eye worked against the movie as well. I kept hearing Fred Flintstone's voice.
What's the 1983 "Postman Always Rings Twice" like?
I watched The Affairs of Martha, 1942, this week. I almost forgot how much I love Marjorie Main...
"Sure...trading's in my blood...had an uncle was a horsetrader...died on the gallows...where he belonged..." it's one of those lines you really have to be paying attention to catch because you're focused on the next action. Nobody could deliver a line like that but her!
B
"Sure...trading's in my blood...had an uncle was a horsetrader...died on the gallows...where he belonged..." it's one of those lines you really have to be paying attention to catch because you're focused on the next action. Nobody could deliver a line like that but her!
B
-
feaito
I've watched some very good films this week while hospitalized:
"Morning Glory" (1933). It was very interesting for me to watch Kate Hepburn in the portrayal which won her first AA. Although "Alice Adams" remains my favorite performance of hers from the 1930s, more worthy of an AA, she gives quite an impressive, powerful performance as the stage struck Eva Lovelace. Adolphe Menjou is also very good. Fine vintage film.
"Without Love" (1945). Kate looked so beautiful and lovely in this film; Oh God, she glowed! Her features, her eyes, hair....every part of her body shone in this photoplay; her final scene impersonating Lila -Spencer Tracy's old flame- is priceless. Spencer is top-notch too. Very amusing and endearing.
"Dragon Seed" (1944). Super-interesting adaptation of Pearl Buck's Oeuvre. Although at first sight it may look odd casting so many occidental actors made up as Chinese, I found it a totally absorbing, harrowing, well-acted film. Agnes Moorehead is specially noteworthy as an utterly despicable woman. Walter Huston and Aline Mac Mahon are excellent. Kate was specially hard to take as Chinese woman at the beginning, but she's fine.
"Objective Burma!" (1945). Utterly gripping WWII film. Realistic, harsh, hard-to-take at times (what is not shown is actually worse than seeing it...). At times it looked so real as if it were a documentary. One of the best War films I've seen. Sterling performances by all.
"Watch on the Rhine" (1943). Suspenseful drama with a Bette Davis, almost devoid of her typical mannerisms. Very human, touching story of a beautiful family living in not so beautiful times. Paul Lukas won a well deserved Oscar. Lucile Watson is marvellous. A must-see.
I re-watched "The Old Maid" (1939). Grand melodrama with Bette Davis at her suffering best. Miriam Hopkins is excellent as her nemesis cousin. Jane Bryan gives an impressive performance. I had erroneously thought that the film was based upon Edith Wharton's novel, but I noticed that it was based on Zoe Akins' stage play (which must be based on the former, just like the Opera "La Traviatta" is based on Dumas' Lady of the Camellias)
"The Visit" (1964). Interesting adaptation of Friedrich Dürrenmatt's stage play about revenge and capitalism. Ingrid Bergman is the absolute star of this quite compelling if not altogether succesful movie. My uncle had been searching this film for almost 30 years and I finally was able to get it for him.
Thanks to Christine I was able to watch the long awaited "Juarez" (1939) one the best historical dramas I have seen. Paul Muni is simply awesome in his characterization of Benito Juárez. He's simply incredible. Totally believable. Brian Aherne makes Maximilian totally touching and one can't help feeling sorry about his naiveté, although I don't know if the historical character was as he is portrayed in this biopic. Bette gives a forceful, mesmerizing portrayal of the doomed Carlotta, although her mannerisms and tics are at full display in some scenes -which does not detract much for her performance, because she's playing a mentally unstable woman. Claude Rains and Gale Sondergaard (as Napoleon III and Eugènie de Montijo, more or less reprise their evil roles from "Anthony Adverse" (1936). Amazing Korngold score. Just loved this one.
"Morning Glory" (1933). It was very interesting for me to watch Kate Hepburn in the portrayal which won her first AA. Although "Alice Adams" remains my favorite performance of hers from the 1930s, more worthy of an AA, she gives quite an impressive, powerful performance as the stage struck Eva Lovelace. Adolphe Menjou is also very good. Fine vintage film.
"Without Love" (1945). Kate looked so beautiful and lovely in this film; Oh God, she glowed! Her features, her eyes, hair....every part of her body shone in this photoplay; her final scene impersonating Lila -Spencer Tracy's old flame- is priceless. Spencer is top-notch too. Very amusing and endearing.
"Dragon Seed" (1944). Super-interesting adaptation of Pearl Buck's Oeuvre. Although at first sight it may look odd casting so many occidental actors made up as Chinese, I found it a totally absorbing, harrowing, well-acted film. Agnes Moorehead is specially noteworthy as an utterly despicable woman. Walter Huston and Aline Mac Mahon are excellent. Kate was specially hard to take as Chinese woman at the beginning, but she's fine.
"Objective Burma!" (1945). Utterly gripping WWII film. Realistic, harsh, hard-to-take at times (what is not shown is actually worse than seeing it...). At times it looked so real as if it were a documentary. One of the best War films I've seen. Sterling performances by all.
"Watch on the Rhine" (1943). Suspenseful drama with a Bette Davis, almost devoid of her typical mannerisms. Very human, touching story of a beautiful family living in not so beautiful times. Paul Lukas won a well deserved Oscar. Lucile Watson is marvellous. A must-see.
I re-watched "The Old Maid" (1939). Grand melodrama with Bette Davis at her suffering best. Miriam Hopkins is excellent as her nemesis cousin. Jane Bryan gives an impressive performance. I had erroneously thought that the film was based upon Edith Wharton's novel, but I noticed that it was based on Zoe Akins' stage play (which must be based on the former, just like the Opera "La Traviatta" is based on Dumas' Lady of the Camellias)
"The Visit" (1964). Interesting adaptation of Friedrich Dürrenmatt's stage play about revenge and capitalism. Ingrid Bergman is the absolute star of this quite compelling if not altogether succesful movie. My uncle had been searching this film for almost 30 years and I finally was able to get it for him.
Thanks to Christine I was able to watch the long awaited "Juarez" (1939) one the best historical dramas I have seen. Paul Muni is simply awesome in his characterization of Benito Juárez. He's simply incredible. Totally believable. Brian Aherne makes Maximilian totally touching and one can't help feeling sorry about his naiveté, although I don't know if the historical character was as he is portrayed in this biopic. Bette gives a forceful, mesmerizing portrayal of the doomed Carlotta, although her mannerisms and tics are at full display in some scenes -which does not detract much for her performance, because she's playing a mentally unstable woman. Claude Rains and Gale Sondergaard (as Napoleon III and Eugènie de Montijo, more or less reprise their evil roles from "Anthony Adverse" (1936). Amazing Korngold score. Just loved this one.
-
charliechaplinfan
- Posts: 9040
- Joined: January 15th, 2008, 9:49 am
I don't think Objective Burma is appreciated here, due to the fact that the British fought long and hard in Burma and they are mentioned. I overlooked that fact and enjoyed it.
I've watched both Colorado Territory and High Sierra back to back. It's interesting to see these film both directed by Raoul Walsh using the same story but set in different places and different times.
Despite the similarities, the leads didn't strike me as at all similar. Bogie who I like as an actor but have only felt a mild attraction to him as in one film and that's Casablanca but in High Sierra he has more charisma than in the later roles I've seen. The romance with Velma didn't hold true in High Sierra for me, she seemed to young and Bogie too old. I thought he had a great rapport with Ida Lupino, a very under rated actress.
Joel McCrea is more laid back, they both play quite honorable thieves but I find it hard to believe that Joel McCrea's character was ever bad. He has charisma with both of the girls especially with Colorado. Westerns not being my favorite genre I was glad to have this film recommended to me (thatnks Christine) I liked it an awful lot, I might even say that the remake is better than the original and the original is very good.
I had a Joel McCrea double bill. Stars In My Crown was directed by Tourneur and is set in the 1800's. Joel McCrea is a man of God, a parson who provides looks after the souls of his flock. It's a tale of small town American life in the late 1800's. It draws you into a pleasant story only to nearly pull your insides out at the end. The last scenes touched me so much and say so much about how one person can touch so many lives. It's very good for the soul.
I've watched both Colorado Territory and High Sierra back to back. It's interesting to see these film both directed by Raoul Walsh using the same story but set in different places and different times.
Despite the similarities, the leads didn't strike me as at all similar. Bogie who I like as an actor but have only felt a mild attraction to him as in one film and that's Casablanca but in High Sierra he has more charisma than in the later roles I've seen. The romance with Velma didn't hold true in High Sierra for me, she seemed to young and Bogie too old. I thought he had a great rapport with Ida Lupino, a very under rated actress.
Joel McCrea is more laid back, they both play quite honorable thieves but I find it hard to believe that Joel McCrea's character was ever bad. He has charisma with both of the girls especially with Colorado. Westerns not being my favorite genre I was glad to have this film recommended to me (thatnks Christine) I liked it an awful lot, I might even say that the remake is better than the original and the original is very good.
I had a Joel McCrea double bill. Stars In My Crown was directed by Tourneur and is set in the 1800's. Joel McCrea is a man of God, a parson who provides looks after the souls of his flock. It's a tale of small town American life in the late 1800's. It draws you into a pleasant story only to nearly pull your insides out at the end. The last scenes touched me so much and say so much about how one person can touch so many lives. It's very good for the soul.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
-
feaito
I finally watched "She Wore a Yellow Ribbon" (1949), one of the most touching John Ford movies I've seen. It's superior than "Fort Apache" (1948) and it takes just after were this film ended. John Wayne is superlative and Victor McLaglen plays one of the most endearing characters that were ever written for the screen. The location shooting is superb and yes, there were real thunderstorms!! No, this scenery and the humanity of this movie cannot be surpassed by today's movies full of CGI. Mildred Natwick also stands out. The best John Ford Western I've seen after "The Searchers" (1956).
-
feaito
I just watched the Soviet version of "King Lear," directed in 1970 by Grigorii Kozintsev.
"Lear" has never been one of my favorite Shakespear plays, but the film was rivetting. The film makes it clear that Lear's tragedy affects the whole kingdom. There are refugees on the move, and the scenes of burning villages and corpses being carried back make this movie feel like a displaced Soviet WWII movie, as if the grief that couldn't be expressed openly in films on that subject were being released here.
The music by Shostakovich was wonderful as well. This "King Lear" is truly a great movie.
"Lear" has never been one of my favorite Shakespear plays, but the film was rivetting. The film makes it clear that Lear's tragedy affects the whole kingdom. There are refugees on the move, and the scenes of burning villages and corpses being carried back make this movie feel like a displaced Soviet WWII movie, as if the grief that couldn't be expressed openly in films on that subject were being released here.
The music by Shostakovich was wonderful as well. This "King Lear" is truly a great movie.
-
charliechaplinfan
- Posts: 9040
- Joined: January 15th, 2008, 9:49 am