🎥 Review: Lonesome (1928)

 “In the whirlpool of modern life — The most difficult thing is to live alone”

 

Today is Silent Film Day, and I'm excited to share my new favorite silent film with you!

Describing my newfound love for the movie Lonesome (1928) by Hungarian-American director Paul Fejos, I can't help but use simple, charming, lovely, exquisite, and romantically sublime words. This film really knows how to nail the feeling of love at first sight, it had me totally swooning.The story takes place on July 3 in NYC, where two lonely souls living in boardinghouse rooms navigate their daily lives in the bustling city. 

 

 

He toils as a machinist while she's a telephone switchboard operator, both yearning for something more than their mundane routines. 

As the holiday weekend approaches, they find themselves grappling with how to spend their time when their plans fall through. Upon hearing a live band promoting that evening's carnival,

 “There’s nothing like the hurly-burly of a carnival to help recover from the stress of daily routine.”, they both independently decide that Coney Island is the perfect getaway to break free from their daily grind.

On their journey, they unexpectedly cross paths, and Jim (Glenn Tryon) is immediately captivated by Mary (Barbara Kent). After winning her affection, they enjoy a day filled with rides, games, and blossoming romance at the beach. 

"I see riches, travel, pretty clothes and marriage with a dark handsome young man- he'll make you happy miss."

However, a roller coaster accident separates them, and without knowing each other's last names or addresses, they are left heartbroken and desperate to reunite. Lonesome captures the intense longing of these two lovers as they search for one another amidst the bustling crowds of Coney Island. Will they find each other again? 

 

Barbara Kent shines on screen with her infectious smile, showcasing honest vulnerability in her performance. Meanwhile, Glenn Tryon adds a comedic touch as an ordinary man afraid of missing out on his chance at happiness. Together, they create a dynamic and engaging on-screen duo.

 

From the vibrant color-tinted shots at the beach and dance hall, to the creative edits like a Roman numeral clock overlaying job scenes, every frame is a work of art. This early "part-talkie" film seamlessly transitions between silent intertitles and audible dialogue, keeping you engaged throughout. 

Director Fejos's attention to detail, from hand-tinted sequences to long camera takes, brings the characters' lives to vivid life. The film boasts stunning cinematography that features a dazzling array of techniques, including superimposition effects, innovative editing, dynamic camera movements, and exhilarating roller-coaster shots. It employs fast motion, extended one-shot scenes, split screens, intricate model work, mesmerizing double-and triple-exposures, breathtaking matte paintings, as well as both hand-held and dolly shots. 

Initially conceived by the studio as a short film with a three-page outline, Lonesome was transformed into a feature-length production by Fejös. The studio insisted on adding three dialogue scenes to the film that Fejos did not originally direct. These scenes had simple dialogue and a stationary camera, all in the name of attracting more viewers. Plus, the sound design prominently featured Irving Berlin's "Always."

It was released mainly in a sound version. The silent version was mostly shown in theaters that hadn't switched to sound yet, like those in rural areas that couldn't afford the upgrade. Some original prints of the film have scenes colored with purple stencils. When it was ready for a wider release, Lonesome included a synchronized soundtrack featuring music, sound effects, and three dialogue scenes. The studio marketed the film as a sound production.

In 2010, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".The film was released on Blu-ray disc and DVD on August 28, 2012, as part of the Criterion Collection.

Fejos who was also an explorer, screenwriter, anthropologist, and doctor created a film that left me in awe. I couldn't help but be captivated by the beauty of love found and creativity of this visually stunning film.

🎥 Review: Because They’re Young (1960)

Suddenly Kids grow up! Only yesterday they were red-hot athletes and hot dates...today they're gripped by grownup desires!

 As you might have guessed, I love B-movie high school and teen angst flicks from the fifties and sixties. With Dick Clark making his dramatic film debut and Bobby Rydell’s "Swingin' School" playing during the opening, plus performances by Duane Eddy and James Darren, Because They’re Young (1960) is a film I couldn’t resist.

The film is not as widely recognized or discussed as the more prominent teen classics of its era, such as Blackboard Jungle (1955) and Rebel Without a Cause (1955), largely due to its lack of the rebellious spirit and emotional weight that those films possess. It also falls short of the exhilarating entertainment in my earlier review of High School Confidential! (1958). Still, Because They’re Young is pretty good. Directed by Paul Wendkos (Gidget), this 1960 adaptation of the controversial novel "Harrison High" centers on an idealistic young high school teacher facing the challenges of over-sexed and troubled teens.

 

 

Once a star college football player, Neil Hendry (Dick Clark) had his promising career cut short by a tragic car accident that took the lives of his brother and sister-in-law. Now, he's started a new chapter as a hopeful teacher at Harrison High, accompanied by his young nephew Eric (Stephen Talbot).

Sadly, Eric's parents also perished in the same accident while on their way to support Neil on the field. Feeling guilty about their deaths, Neil tried to live up to his brother's legacy as an outstanding mentor who cared deeply for his students. Despite his best intentions, Neil faced criticism as a student teacher for getting too close to his students, leading to a court decision granting him only temporary custody of Eric.

 

 

Neil and Principal Mr. Donlan's secretary Joan Dietrich (Victoria Shaw) become fast friends. They start to feel a connection towards each other, but Joan is cautious about moving too quickly. Her previous relationship with an idealistic teacher who was tragically killed has left her hesitant to dive into something new. She advises Neil to be more mindful of following Principal Donlan's rules and to not give too much of himself to his students. Joan opens up to Neil about her past love, a teacher similar to him who met a tragic fate at the hands of a student.

 

Now onto the students. We have Ann Gregor (Tuesday Weld). Last summer's sexual misstep with Griff Rimer, a former student from Conway High who has a history of juvenile delinquency, has negatively impacted her reputation. She also wants to become an actress and move away from her shrill bedridden mother. Tuesday won a Golden Globe Award for Most Promising Female Newcomer in 1960. And established a long career playing dramatic roles. She was nominated for an Academy Award for Best Supporting Actress for Looking for Mr. Goodbar (1978).

 

Ann's new beau is Buddy McCalla (Warren Berlinger) a shy new kid and a promising football player. But home life is difficult with an absent father and a promiscuous alcoholic Mom. You'll recognize Berlinger as the "tough-as-nails" United States Army recruiter Sergeant Betchler in TV's Happy Days.

 

Then there's the sweetheart couple Jim (Doug McClure) and Roberta Shore (Ricky Summers). Both starred in NBC's The Virginian. Their love prompts both sets of parents to advise them to not rush into having premarital sex.

I felt that Dick Clark did a decent job but he was essentially playing himself—so charming and friendly, with that shiny, immovable hair. “Look, we don’t love people because they’re perfect. If we did, you’d soon find out there’s nobody to love at all.” He’s the go-to guy for helping others and handling his students like a psychiatrist or social worker. But when his history comes up, he gets defensive and a bit angry. So when a scene required him to show a more negative side, his acting fell a bit short. The romance between him and Joan didn’t quite spark either. 

 

 

The real magic lies in the interactions between the teens. The scenes with Griff and Ann especially. I found it effective that we only hear Ann's mom without seeing her, which directs our attention entirely to Ann's feelings of frustration. And the unsettling and inappropriate dealings with Chris the Butcher (Rudy Bond) that tempt Griff into a risky armed robbery scheme.

 

 

I loved the fantastic opening instrumental by Duane Eddy which became one of the rare all-instrumental hits of the era, going to #4 on the American charts in the summer of 1960. He even performs another song "Shazam!" at the school dance, while James Darren (who recently passed away) sings a slow-down ballad version of the title track. 

 

 

The campus and classroom shots were filmed at Hoover High School in Glendale, California. With a film noir aesthetic, the third act is filled with excitement, as first film score composer John Williams enhances the tension using conga drum sounds.

 

 

According to Dick Clark filming it was "an extraordinary experience. Columbia really laid it on; they rented a house in Bel-Air owned by Mercedes McCambridge, provided a maid, a butler and a chauffeur, and gave me a hundred dollars a day in expenses."

He also added, "Most pictures about teenagers are wrong. They are older people's concepts of how teenagers act... I doubt if there ever can be a truly honest portrayal in films. Not all girls are beautiful and all boys are handsome, as they are in films... [But] the script is fairly true to life. Most teenagers are normal."

 

World Premiere of “Because They’re Young” at the Paramount Theatre in Phoenix and ABC-Paramount calls in American Bandstand’s Dick Clark to lead the band and host the evening in 1960.

 

 

 

All in all, I found the film to be a noteworthy entry in the teacher-student genre, offering a compelling narrative that resonated with me. On my B-Movie-o meter, it scores a solid B.

"This is a topical picture. Not a typical picture. Because they're young. Or are they?...."

🌟Classic Off-Screen Quotes: Robert Mitchum

 "I never take any notice of reviews - unless a critic has thought up some new way of describing me. That old one about my lizard eyes and anteater nose and the way I sleep my way through pictures is so hackneyed now." - Robert Mitchum

Weekends with Barbara Stanwyck

Barbara Stanwyck

Forbidden (1932)

Sorry, Wrong Number (1948)

🌟Classic Off-Screen Quotes: Greta Garbo

 

   (Caricature Artwork by me. On watercolor paper, Derwent pencils)  

 

 

 

"My talents fall within definite limitations. I am not as versatile an actress as some think. I have made enough faces"

🫶Love Nostalgia- Olivia de Havilland & James Stewart

 

In December 1939, both Olivia de Havilland and Jimmy Stewart were traveling to New York City. Olivia was going to attend the city premiere of 'Gone With The Wind' at the Astor Theatre, while Jimmy was planning a Christmas visit to his sister. Coincidentally, Irene Mayer Selznick, who was a significant figure in the entertainment industry, proposed to Jimmy's agent, Leland Hayward, that Jimmy accompany Olivia to her high-profile event. This suggestion piqued Jimmy's interest, as he had met Olivia briefly in Hollywood and jumped at the opportunity to further acquaint himself with her.

 

“Jimmy met me at LaGuardia airport,” Olivia recalled to James Fishgall, author of Pieces of Time: The Life of James Stewart. “He even had the limousine drive out to the airfield. We were both quite shy and ventured one word at a time in our conversation.” 

 

 

 

The kind of conversation they had must have been rather compelling. In no time, they became extremely close, spending almost every evening dining together, and frequently attending the most recent Broadway plays. Being a certified pilot, Jimmy used to enjoy taking Olivia for fly-overs across the Pacific, he even taught her a few flying lessons. Alongside this, they enjoyed engaging with his model aircraft, having picnics in the forest (bringing along a portable record player), and occasionally, they would settle by the lounge, engross with a book each, falling into relaxation in the end. The closeness between them was so palpable that as of spring 1940, fan magazines were hinting about a possible elopement. 

 

 

 

 

 

Despite the Hollywood glamour encompassing their lives, Jimmy and Olivia were more invested in world affairs, their perspective stretching far beyond the trivial contrivances of the showbiz industry. With the looming Nazi menace burgeoning atrociously, England, the birthplace of Olivia's parents and where her father still resided, was somewhat isolated in its resistance against the Third Reich. This was a time when other countries across Europe started to crumble.

 

In August 1940, as the production of The Philadelphia Story concluded, Stewart took the initiative to organize a fundraiser to aid Britain's strained forces. This event took place at the Sam Houston Coliseum in Texas, where Olivia, Tyrone Power, Mischa Auer, and Jimmy's former roommate and close associate Henry Fonda took center stage. Fonda partnered with Jimmy for a magic stint, complementing Jimmy's accordion tunes with his cornet.

 

 

March 1941 saw Jimmy join the army, nine months before Pearl Harbor was bombed. Despite efforts to maintain their relationship, distance took its toll, leading to their eventual parting. Olivia, in the subsequent year, initiated a relationship with John Huston, who directed her in 'In This Our Life.' Huston and Errol Flynn, according to reports, had a conflict over Olivia, marking the official end of their romance. 

 

 

 

Throughout their one and a half year relationship, Jimmy, known for dating numerous Hollywood celebrities, did propose. However, Olivia, despite being eight years his junior, questioned his maturity level.

 

 

 

“I think his offer of marriage was just a frivolous thing on his part,” she said years later. “Jimmy wasn’t ready for a wife—I guess he still had a few more wild oats to sow.”

 

“I think they got closer to the altar than was known at the time,” Jimmy’s friend, former MGM publicist Jerry Asher, recalled in Lawrence Quirk’s James Stewart: Behind the Scenes of a Wonderful Life. “But they ‘scaredy-catted’ out of it. They were a lot alike, Livvy and Jim. Prim, well brought up, decent, considerate, but as romantic and sexy as any guy or gal around.”

 

But both later said they wished they’d made a film together. In 1950, Jimmy was the one who handed over the Best Actress Oscar to Olivia for her stellar performance in "The Heiress".