😽Happy National Hug Your Cat Day! A Pictorial

 

Vincent Price

Gloria Grahame

Steve McQueen

Carole Lombard

Kim Novak 

Marlon Brando

Burgess Meredith

Joan Blondell

Ava Gardner

Norma Shearer

Audrey Hepburn

Doris Day

Elizabeth Taylor

John Travolta

Ingrid Bergman

Elsa Lanchester

Peter Lorre

Glenda Farrell

Vivien Leigh

Jane Powell

Sophia Loren

Lauren Bacall

Ginger Rogers 

Jamie Lee Curtis

Marilyn Monroe

Sigourney Weaver

Lena Horne

Jean Harlow

Margaret Sullavan

Michael J. Fox

Donna Reed

Jane Russell

Jeanne Moreau

Michael Landon

Jane Fonda

Natalie Wood

Susan Cabot

Judy Garland

Lucille Ball 

Ann-Margret

⭐Classic Off-Screen Quotes: James Stewart

"I have my own rules and adhere to them. The rule is simple but inflexible. A James Stewart picture must have two vital ingredients. It will be clean and it will involve the triumph of the underdog over the bully."

Mr. Smith Goes to Washington (1939)

 

The Golden Age of Suggestion: Dancing Around Desire: Double Indemnity (1944)

Billy Wilder's journey to get Double Indemnity approved was quite the adventure! The Production Code Administration (PCA), overseen by the vigilant Joseph Breen, held strict standards to maintain moral values in Hollywood films. Breen described the original 1935 script, based on James M. Cain’s novel, as “amoral, objectionable, and distasteful.” This sparked a lengthy dialogue between Wilder and Breen, where the director made thoughtful adjustments to the dialogue and character portrayals. After nearly ten years of careful revisions, the revised script finally earned the PCA's Seal of Approval in 1944.

The production code required that institutions like the church, government, and family be portrayed as the foundations of society. It specified that genuine success and happiness arise from respecting and following this structure. This created quite a hurdle for Double Indemnity, a film that appeared to celebrate individuality over conformity. Wilder and co-screenwriter Raymond Chandler had to artfully navigate these restrictions, transforming Cain’s sizzling crime-and-passion story into something that would satisfy the censors.

One major change was in how they depicted sex and violence. With explicit content off-limits, Wilder and Chandler turned to clever innuendo and sharp dialogue to convey mature themes. In a memorable moment where Walter Neff, played by Fred MacMurray, meets the dangerously captivating Phyllis Dietrichson, portrayed brilliantly by Barbara Stanwyck, they couldn’t openly mention adultery. So, during their first meeting, which crackles with chemistry, we see a scene packed with innuendo and double entendres.

Neff: I wish you'd tell me what's engraved on that anklet.

Phyllis: Just my name.

Neff: As for instance?

Phyllis: Phyllis.

Neff: Phyllis. I think I like that.

Phyllis: But you're not sure?

Neff: I'd have to drive it around the block a couple of times.

Phyllis: Mr. Neff, why don't you drop by tomorrow evening about eight-thirty? He'll be in then.

Neff: Who?

Phyllis: My husband. You were anxious to talk to him, weren't you?

Neff: Yeah, I was, but I'm sorta getting over the idea. If you know what I mean.

Phyllis: There's a speed limit in this state, Mr. Neff. Forty-five miles an hour.

Neff: How fast was I going, officer?

Phyllis: I'd say about ninety.

Wilder had a clever knack for suggesting intimacy without being explicit, using straightforward techniques instead. Later, when they meet at his apartment, they're cozily nestled on the sofa, sharing a kiss. After a quick cut, they’re sitting a bit farther apart, with Phyllis freshening up her makeup. The audience could see right through it, and Wilder knew just how to leverage that.

 

The code also made it clear that graphic violence wasn’t permitted, which created a challenge during the scene where Neff strangles Phyllis’ husband. 

 

And later, when she meets her tragic fate. 

 

 

 

Yet, Wilder cleverly allowed Stanwyck’s performance to tell the story. By focusing our attention on her emotional reactions rather than the actual violence, he encouraged the audience to imagine what was happening, keeping the censors content.

With the PCA’s green light on the screenplay, Wilder had the creative freedom to experiment with technical elements like lighting, photography, and sound. These components were crucial in capturing the film's gritty, shadowy vibe. The moody cinematography and sharp contrasts, which are hallmarks of film noir, beautifully highlighted the story's darker themes and complex characters.

 

The film's innovative take on film noir, despite facing strict Production Code limitations, marked a significant milestone in cinema history. Billy Wilder's masterful direction and witty dialogue created a dark, sophisticated narrative that deeply resonated with audiences navigating the complex moral landscape of post-Depression and wartime America. The film's unique style and tone became defining traits of the noir genre, illustrating that compelling storytelling could flourish even under censorship pressures.

Its commercial success and critical acclaim, including multiple Oscar nominations, were a game-changer in Hollywood's approach to mature themes. This accomplishment not only validated the audience's desire for more nuanced, morally complex narratives but also began to chip away at the rigid control of the Production Code Administration over film content. The lasting legacy of Double Indemnity reaches far beyond its immediate success, as it helped pave the way for the eventual decline of the Production Code and the rise of bolder storytelling in American cinema.

Next: The Golden Age of Suggestion: Dancing Around Desire: To Catch a Thief (1955)

The Golden Age of Suggestion: Dancing Around Desire: To Catch a Thief (1955)

The Hays Code was a self-imposed censorship system implemented by the Motion Picture Producers and Distributors of America (MPPDA) in 1930. Enforced after the thrilling pre-code era, from 1934 to 1968, it marked a pivotal moment in the history of American cinema. It emerged from a desire to address public concerns about morality on screen. When the strict guidelines that restricted certain content were finally applied, they also sparked an incredible wave of creativity among filmmakers. They quickly learned to embrace symbolism and nuance, finding clever ways to suggest desire and drama without crossing the newly established boundaries.

Alfred Hitchcock's 1955 classic "To Catch a Thief" is a shining example of how innovative filmmaking can outsmart the constraints of censorship. With his clever use of visual metaphors and sharp dialogue, Hitchcock created one of the most unforgettable romantic moments in cinema while skillfully navigating the strict moral codes of his time.

Take, for instance, the film's famous hotel room scene featuring Cary Grant as John Robie and Grace Kelly as Frances Stevens. This moment brilliantly utilizes symbolism to express desire without crossing the lines set by contemporary censorship. Filmed in Paramount's revolutionary VistaVision format, this sequence highlights Hitchcock's talent for visual storytelling and subtle innuendo.

The architecture of the scene is meticulously designed, with the widescreen format allowing Hitchcock to establish distinct spatial zones for his characters. Initially, John and Frances occupy separate areas of the frame, emphasizing their emotional distance. But as the scene unfolds, the space between them gradually diminishes, reflecting their deepening attraction.

 

Frances's character strikes a beautiful balance between innocence and sophistication. Kelly brings this duality to life as she engages in witty banter with Grant's character about jewels and theft. Their dialogue is rich with clever double meanings, leaving the audience wondering whether she's discussing stolen gems or a romantic chase.

The real genius, however, is found in the fireworks display outside the hotel window. Instead of lingering on extended kissing scenes that might have raised eyebrows with censors, Hitchcock cleverly shifts to the dazzling pyrotechnics. This visual metaphor serves several purposes: it symbolizes the characters' passion, their conflicts, and the growing tension between them. By opting for traditional musical scoring instead of sultry saxophone tunes, he deftly navigated the censorship waters.

The technical aspects of the scene further amplify its impact. The chiaroscuro lighting creates a striking contrast between Frances's face and her diamond necklace, which boasts a daring arrow-shaped design. This play of light and shadow adds layers to the visual storytelling while adhering to what censors would accept.

Hitchcock's brilliance lies in his knack for crafting a scene that feels both subtle and overt, sophisticated yet playful. He managed to convey a sense of passionate romance while still adhering to censorship rules, demonstrating that sometimes, creative limitations can lead to even more satisfying artistic outcomes. In the next post, I'll cover Hitchcock and the other ways he skirted around the code.

Next: The Golden Age of Suggestion: Dancing Around Desire: Alfred Hitchcock

🌟Classic Off-Screen Quotes: Ernest Borgnine

"You got to keep your hand in your craft, otherwise you can rot at the roots and first thing you know, you got nothing."

 

⭐Actors on Actors: Cary Grant on James Stewart

 “I think the reason Jimmy stood out from the other actors was that he had the ability to talk naturally. He knew that in conversation, people do often interrupt one another and that it’s not always so easy to get a thought out. It took a little while for the sound men to get used to him, but he had an enormous impact. Some years later, Marlon Brando came out and did the same things all over again. But what people forget is that Jimmy did it first. And he affected all of us, really.”-- Cary Grant talking about James Stewart 

 

🐰Happy Easter! A Pictorial

Vera- Ellen

 

Jean Arthur

Veronica Lake

Debbie Reynolds

Doris Day

Ida Lupino

Sharon Tate

Elizabeth Taylor

Susan Hayward

Shirley Temple

Margaret O'Brien

Lillian Roth

Doris Day Mural

 ”No matter what happens, if I get pushed down, I’m going to come right back up.”

As promised, I would like to share the other fun Doris Day mural that I enjoy. The late Day was born last week in Cincinnati, Ohio, on April 3, 1922. The mural is called The DORIS FOREVER by j_r_ustick and is located on the side of Braxton Cincinnati.

🌟Classic Off-Screen Quotes: Bette Davis

“Without wonder and insight, acting is just a trade. With it, it becomes creation.”