Saturday, 26 November -- The Study

1) Random autumnal entertainment has meant sweeping a lot of refuse and detritus. Taking up most of the space is a snowdrift of white plastic bags from the supermarket that delivers. The fact that I save them (to use instead of garbage bags), and the fact that I can’t use them up as quickly as they arrive, proves beyond any doubt that I have become my mother.

2) In addition, lots of junk mail to toss, all the Christmas cards I received last year, photos a friend took in Hawaii in 1996, a tornado of receipts and other chits from my trip to Spain and Malta, a Mother’s Day card a friend sent to me this year (who knew that I would be missing my own mother), and a slender sheaf of Lovely Notes from my ex-boyfriend.

3) On the useful end, at some point I tossed a few small-to-medium sized cardboard boxes in here, which will help a lot when sending Christmas gifts next month, which proves beyond any doubt that I have become my mother.

Hallowe'en 2022 -- Spooky Movie Recommendations

Hallowe’en is today, and you are probably (not) wondering what Weeping Baby Pumpkin Head(s) and I have been binge-watching this month. Well, too bad, here’s a few anyway.

Allan Dinehart, Carole Lombard, and Randolph Scott in Supernatural.

SUPERNATURAL (1933): Absolutely at the top of the list is Carole Lombard’s only horror film, Supernatural. The scientific premise is unusually ridiculous. A notorious strangler, Ruth Rogen (Vivienne Osborne, in a manically intense performance), is about to be executed, vowing revenge against the lover who betrayed her, a phony spiritualist named Paul Bavian (Allan Dinehart). Local scientist H.B Warner has been experimenting with “nitrogenic rays,” ultraviolet rays emitted from the corpses of the recently deceased that could influence the behavior of the living. He persuades Rogen to allow him to use her corpse in an experiment. Of course this takes place in his Manhattan penthouse laboratory — don’t all scientists have one?! As luck would have it, Warner’s friend bereaved heiress Carole Lombard and her fiancé Randolph Scott (looking woodenly studly in black tie) ignore the pleadings of the butler to keep out of the lab, Rogen’s spirit inhabits Lombard, and hilarity ensues as Rogen’s quest for vengeance against her former lover takes form when he contacts Lombard to conduct a seance.

There’s so much to love here. Lombard’s use of makeup to show when she’s possessed by Rogen couldn’t be more obvious. Dinehart frequently shows up as the villain, in Study in Scarlet and several of the Charlie Chan films. Randolph Scott in a tux — yes, please! But my most favorite scene is with my beloved Beryl Mercer (James Cagney’s mother in Public Enemy) as the comic landlady encountering a kitchen counter of cockroaches with a bottle of gin.

Boris Karloff (yes, that’s him!) and Gloria Stuart in The Old Dark House

THE OLD DARK HOUSE (1932): Kind of a hot mess with some standard plot elements, e.g. rainy night, large spooky and possibly haunted house in a very remote location, eccentric inhabitants, someone who might or might not be a homicidal maniac locked in a distant chamber, etc. But the performances! Boris Karloff as the menacing butler, Melvyn Douglas (!), Raymond Massey, and the imortally prissy/queeny Ernest Thesiger. The way he said “My name is Fem” is worth the price of admission. Bonus: Gloria Stuart, later known for her Oscar-nominated performance in 1997’s Titanic, at the height of her youth and beauty. Directed by that genius of early cinema James Whale.

Would you just look at her shoulders?!

SECRET OF THE BLUE ROOM (1933): Gloria Stuart again! This time she’s the object of every man’s affections, including her father’s, Lionel Atwill — but IS he her father? On her 21st birthday, Irene von Helldorf and her father Robert entertain three of her suitors at a late dinner, where the story of the fatal Blue Room is reluctantly recounted. Long story short (too late!), one suitor declares that he’ll sleep in that room that night, and has disappeared by the next morning! Bonus (for me, anyway): Paul, the butler who’s in on the secret, is played by Robert Barrat, who also played Barbara Stanwyck’s evil father in Baby Face. Also, Elizabeth Patterson who plays the cook has a fabulous scene with Marie Dressler in Dinner at Eight. Also, Gloria Stuart’s dinner gown in the first scene . . . oomph!

MURDER IN THE BLUE ROOM (1944): Universal must have been in a bit of a rut late in World War II, because they basically took Secret of the Blue Room and made it a musical comedy by adding an Andrews Sisters-style trio, the Jazzy Belles, and a few numbers. And some appalling puns. I adore a big house party weekend, as you know, but there are limits. 😉 On the other hand, the Big Surprise is Donald Cook, famous from his performances in Show Boat and The Public Enemy (as James Cagney’s upstanding older brother).

Susanna Foster and Nelson Eddy in my very favorite scene in Phantom of the Opera.

PHANTOM OF THE OPERA (1943): I may well have written about this before, but it’s the only version of Phantom for me. I still remember seeing it on TV in my early teens for the first time! And while every performance is spot on and the production values superb, and in spite of what Hollywood did to the plot, it will always be the music that draws me here. The film opens with the third act of Martha, and I fell in love with what I learned years later was “Mag der Himmel euch vergeben.” Notice how cleverly the cameraman cuts to the chandelier for the tenor’s high note, since the tenor isn’t a character in the story! The film’s score includes an opera they cobbled together from famous bits of Chopin, Amour et Gloire, and I still get as excited as I did when I was a boy when Susanna Foster appears and sings an aria based on the nocturne that my grandmother, my mother, and I all played. Some kind person has mounted the on Youtube without all the backstage dialogue. (“Why, I was drugged! And you all know by whom. Anatole Garron did it to make room for that baggage!”)

Nicki Andre as Madame Lorenzi, about to scream the chandelier down.

Bela Lugosi and Dwight Frye.

DRACULA (1931): You can never go wrong with a classic, and Bela Lugosi’s Dracula leads the pack. Arthur Friedman used to talk about his line readings, particularly “I never drink . . . wine,” which added so much to his performance. Dwight Frye should be getting equal time for his dark and frantic performance as Renfield, the mild-mannered lawyer who becomes Dracula’s rat-obsessed vampire slave. The way he says “God will not damn a lunatic soul” could break your heart. And his evil laugh could haunt your dreams.

THE GHOST AND MRS. MUIR (1947): This ghostly romance was on late-night TV in my early teens, and I watched it after my parents went to bed with the sound down as far as possible. The movie was interrupted about every five minutes with local election results from Beaumont, Texas, or someplace. Arguably Rex Harrison’s finest performance (yes, I include My Fair Lady in this), but the film is really carried by Gene Tierney’s gentle and determined spirit, and Bernard Herrmann’s poignant score. And the supporting cast lights every corner, especially George Sanders, Edna Best, young Natalie Wood, Anna Lee as Mrs. Fairley, and my beloved Isobel Elsom (best remembered as Mrs. Eynsford-Hill) as the weepy mother-in-law.

Happy Hallowe’en, all!

Tuesday, October 4 -- Women Who Sing

1) I don’t often talk about the role Hee Haw had in my life — as much anticipated as Laugh-in, but something my father enjoyed as well — so it was with sadness that I learned this morning of the death of Loretta Lynn. One of the great American women of all time, bar none.

1a) I love this recording of her as a guest on Hee Haw singing “In the Sweet Bye and Bye,” a favorite hymn.

2) Today is also National Vodka Day, so here’s a recording of my very favorite George Gershwin song ever, “Vodka,” as sung by my beloved Spider Saloff.

2a) Broadway fanatics may also remember Dorothy Loudon singing at the Tonys a few years back.

3) Yesterday I was doing some research at the Massachusetts Historical Society, and came across a diary account of Adelina Patti singing La Traviata at Mechanics Hall when the stage curtain caught fire. Thankfully the stage hands yanked down the curtain and successfully extinguished the flames, but that’s an unexpected example of a diva setting the house on fire. 🔥