🛣️ Road Trip! The Red Skelton Festival

"If I can make people smile, then I have served my purpose for God"- Red
Skelton

 

Richard Bernard "Red" Skelton, the comedic legend, was born on this day, July 18th, back in 1913. Hailed for his dynamic expressions and golden heart, he was truly a comedy genius. Skelton held audiences captive with his simple yet patriotic brand of humor and charming stage persona that drew deeply from the clown tradition. He left his mark not just in live performances, but also through radio and television broadcasts. Just last month, I had the wonderful opportunity to meet Lothian - Skelton's wife and daughter of the famous cinematographer Greg Toland, renowned for his work in 'Citizen Kane' and 'The Best Years of Our Lives'. This encounter took place at the annual festival in Vincennes, Indiana, Skelton’s hometown, which proudly celebrates the legacy of their beloved comedian each year. What an incredible experience it was!

 

Even though I was running late to the Clown Parade, I was able to capture a few end moments and funny clown antics. The parade route culminates at the Red Skelton Museum of American Comedy. This is a real treat if you're a fan, as there you are able to take snaps of fellow fans dressed up as Skelton's well-known TV characters. 

 

 

As I was about to explore the exhibits, I struck up a conversation with a delightful woman, both of us adorned with Red Skelton festival buttons. To my surprise, she introduced herself as Lothian, the late Red Skelton's wife! Our chat was heartwarming. Her love for Skelton's fans and determination to maintain his legacy was evident. What took me by surprise was her own connection to golden era Hollywood, being the daughter of honored cinematographer, Greg Toland. He was well-regarded for his contributions to cinematic classics like Orson Welles' Citizen Kane, William Wyler's The Best Years of Our Lives, and John Ford's The Grapes of Wrath.

 

Lothian Toland Skelton

 

 

 

 

 

 

 

The museum primarily serves as an homage to Skelton, yet also acts as an extensive resource on the history of American comedy. The guests are accommodated in a small theater where they are presented with a highly professional introductory documentary about Skelton and his place in the dynamic history of American comedy. After that, guests can explore various exhibits showcasing the original costumes worn by Skelton for different characters on television. Accompanying each exhibit is footage that provides insights into the character, including standout moments from their TV career. The museum brilliantly leverages digital media to narrate Skelton's story, alongside an impressive display of artifacts. Numerous hands-on and interactive exhibits contribute to a fun and engaging experience for both children and adults. 

 

 

 

Additionally, the museum houses an exhibit detailing Skelton's position on keeping "under God" in the Pledge of Allegiance - a phrase he remembered learning as a young boy in Vincennes. Moreover, the museum features exhibits that shed light on Skelton's interests beyond comedy. These highlight his artistic talent and written works, offering a comprehensive look into the man behind the comedic genius.

 

 

Art by Red Skelton

 

1978 Cecil B. DeMille Award. First one, the top was broken off by Red, then replaced by the second which was broken off again!

Broken Cecil B. DeMille Award presented to Red by Richard Burton

 

 

Museum's History

Since 2006, Vincennes, Indiana,  proudly remembers Red with a festival.  The Red Skelton Performing Arts Center was dedicated in February 2006 on the campus of Vincennes University, one block from the home in Vincennes where Skelton was born. The building includes an 850-seat theater, classrooms, rehearsal rooms, and dressing rooms. Its grand foyer is a gallery for Skelton's paintings, statues, and film posters. The theater hosts theatrical and musical productions by Vincennes University, as well as special events, convocations, and conventions. The adjacent Red Skelton Museum of American Comedy opened on July 18, 2013, attended by fans, Skelton's widow, Lothian, daughter, Valentina Skelton Alonso and Jamie Farr. Throughout the years Crystal Gayle, The Smothers Brothers and Debbie Reynolds also visited. It houses his personal and professional materials, which he had collected since the age of 10, in accordance with his wishes (that they be made available in his hometown for the public's enjoyment). Lothian, the wife of Skelton, pointed out that he didn't fancy any Hollywood-style memorials. The funding for the museum is a joint venture between the Red Skelton Museum Foundation and the Indiana Historical Society. Plus, they didn't stop there; they also purchased and maintained his childhood home as well as other special spots.

Red's History

Joe, the father of Red, passed away two months prior to his birth, which left his mother, Ida Mae, solely responsible for bringing up Red and his three brothers. Throughout his early life, Red faced challenges such as financial instability and frequent bullying by his siblings. Yet, in spite of these difficulties, he is remembered as a caring and playful jester who always aimed to induce joy in others. To contribute to his family's income, Red engaged in various small jobs and sold newspapers, an endeavor he began at just seven years old. In 1923, an individual purchased all copies of the day's paper distributed by Skelton, intending to quiet Skelton. He then invited Skelton to watch the newest local show, even promising him a behind-the-scenes tour. It was the first time Skelton had an encounter with the theater industry - the individual turned out to be the famed comedian, Ed Wynn.

  

When he was 15 years old, Red embarked on a journey into the world of entertainment, performing in medicine shows, vaudeville, burlesque, and minstrels. The year 1937 saw Red making his first mark in the spheres of radio and Broadway, where his comedic skills were quickly recognized. In the course of the 1940s, "The Red Skelton Show" became a customary feature on radio. Simultaneously, Red continued to expand his horizons by appearing in films for MGM. Memorable scenes from this point in his career include his "Whistling" series in the 1940s and the endeared duet "Baby, it's Cold Outside" with Betty Garrett in the film, "Neptune's Daughter." Throughout WWII, Red's services extended beyond entertainment; he served in the US Army and ensured the morale of troops by performing comedy shows. In 1951, he played a significant role in promoting television with the launch of "The Red Skelton Show". This program enjoyed a long run of 20 years with multiple Emmy Awards to its name. Red never squandered an opportunity for creativity, establishing himself as an abundant artist, writer, and composer of music. Even in his later years, he maintained an active stage presence, performing at numerous colleges, casinos, and theaters.

My funny bone was tickled the entire time I was there. His contribution to our lives brought a newfound respect in me for him, particularly during a period when we deeply required laughter - a need that remains essential to this day!

 

 

⭐Actors on Actors: Myrna Loy on Joan Crawford

 “When you made a friend in Joan you had a friend for life”-Myrna Loy

 

 

🌟Classic Off-Screen Quotes: Al Pacino

 “Forget the career, do the work. If you feel what you are doing is on line and you’re going someplace and you have a vision and you stay with it, eventually things will happen.”

 

 

⭐Actors on Actors: Spencer Tracy on Jean Harlow

 “A square shooter if there ever was one.” — Spencer Tracy 

 

 

 

🎥 Review: The Velvet Vampire (1971)

 “ever since that night at the gallery, ever since—I knew I wanted you. I was hungry for you as long as I could have you.”

 

 

 

Stephanie Rothman's 1971 film, The Velvet Vampire, isn't your average fang-tastic flick. Rothman co-wrote and directed a pioneering film that embodies the creativity and ingenuity of a female director in a largely male-dominated genre. With its unique take on the queer seductress vampire subgenre, Rothman shatters the conventional mold of passive female victims and instead elevates a strong and empowered female character to the forefront of the horror narrative. By standing out from the crowd and daring to tell a fresh and exciting story from a female perspective. 

 

 

 

Diane LeFanu, portrayed by Celeste Yarnall, is a cultured and affluent individual with a profound appreciation for art and music. She takes a keen interest in the striking married duo, Lee (Michael Blodgett) and Susan (Sherry Miles) and cordially invite them to her desert retreat for an indulgent weekend. However, Diane hesitates to disclose her true identity as an age-old vampire who still mourns the loss of her husband, centuries past, and feeds on the unsuspecting intruders wandering on her property. As Lee and Susan become aware of their genial host's vampiric nature, they may become her next victims. The film pays homage to J. Sheridan Le Fanu's illustrious work, Carmilla (1872), by naming the vampire character Diane Le Fanu, who happens to be the first lesbian vampire protagonist and served as the inspiration for The Vampire Lovers.

 

While it did have a slow pace, it was totally worth it for its dreamy Technicolor eroticism and campy psychedelic trip. What I found particularly interesting was the setting of the film. Instead of your typical gothic castle or spooky woods, our vampire protagonist, Diane, resides in a modern mansion in the middle of the California desert.  

 

I love Diane's fascinating wardrobe.  She's always covered from head to toe to avoid the sun, so we get to see her in a variety of stylish sun hats and capes. And her clothing is just stunning - passionate reds when seducing men, and stiff yellows or whites when approaching women.  It's an interesting choice that really adds to her character development. Now, I should mention that the script was written in just three months, but the director added some comedic elements to make it stand out from similar movies. The story may be simple, but the execution is imaginative and just plain beautiful.
 

 

Celeste Yarnall previously had substantial cameos in Live a Little Love a Little with Elvis Presley and Bob and Carol and Ted and Alice before being cast as the alluring, conflicted Diane.  

 

 

Yarnall is simply delightful in this movie- she exudes chill confidence and has an alluring gaze that just draws you in! Watching her is a lot of fun. Unfortunately, Blodgett and Miles, appear quite flat, passive, stilted, and dopey. We do get to see a lot of him and the female leads get quite a bit of screen time in the nude.

 

Michael Blodgett played a bevy of charming cads in Beyond the Valley of the Dolls, The Carey Treatment, then switched to screenwriting in the ‘80s, co-scripting Rent-A-Cop, Hero and the Terror, and Turner & Hooch. Sherry Miles was a regular cast member in Hee Haw, known for her roles in Mod Squad, The Beverly Hillbillies, Love, American Style, and The Partridge Family. Sherry Miles was a regular cast member in Hee Haw, known for her roles in Mod Squad, The Beverly Hillbillies, Love, American Style, and The Partridge Family.

 

Rothman was the first woman to receive a DGA fellowship during her studies at the University of Southern California and one of the first woman directors to work for a US studio. This led to a long working relationship with producer Roger Corman. She did everything learned in film school: write new scenes, scout locations, cast actors, direct new sequences and edit final cuts. Among the film were Beach Ball (1965), Voyage to the Prehistoric Planet (1965), and Queen of Blood (1966). She directed sections of Blood Bath (1966), followed by It’s a Bikini World (1970) and The Student Nurses (1970).  The Velvet Vampire, also made under the aegis of Corman’s New World Pictures, was a modest hit for her.  Rothman: "One of my greatest pleasures, determining how my style of shooting could enhance the content of a scene." 

After teaming up with her husband Charles Swartz, Rothman helped establish Dimension Films in 1971. The company gained notoriety for producing a number of exploitation films. During her stint with Dimension, Rothman directed Group Marriage (1973), Terminal Island (1973), and The Working Girls (1974), in addition to writing Beyond Atlantis (1973). However, she and Swartz parted ways with the company in 1975. Rothman then attempted to venture into non-exploitation films, but unfortunately found it difficult.

The Velvet Vampire has become a cult classic over time, with some theaters even booking it as an art film. However, its distribution was never consistent, as people reacted differently to it and it was produced independently. It also had to compete with other vampire movies that starred big-name actors. Despite these challenges, it's still enjoyed a dedicated following and can often be found at various festivals and retrospectives.

The film was released during a time when there was a lot of feminist activism happening, especially around issues like work, sex, and family. Her unique approach to the subject matter is a testament to her talent and how much of a trailblazer she was. It's pretty cool that her work was celebrated with a retrospective at the Vienna International Film Festival in 2007.

 

 

 

 

 

 

🌟Classic Off-Screen Quotes: Melvyn Douglas

 "Your word is your bond"

 

 

🌟Classic Off-Screen Quotes: Joanne Woodward

 “Acting is like sex. You should just do it and not talk about it”

 

 

🎥 Review: Dog Day Afternoon (1975)

 

 

While re-visiting the film Dog Day Afternoon (1975) recently, I was struck anew by the sheer artistry of its opening montage. Set against Elton John's song Amoreena, the film immediately evokes the scorching heat and heady atmosphere of a typical summer afternoon in 1970s New York.  Other than Elton John’s song over the opening credits, the film doesn’t have a music score.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This critically acclaimed biographical crime drama film, directed by Sidney Lumet, features a stellar cast including Al Pacino, John Cazale, Chris Sarandon, James Broderick, and Charles Durning. Pacino delivers an electrifying and impassioned performance as a gay bank robber desperately attempting to raise the funds needed for his partner's (played by Sarandon) transgender surgery. 

 

Al Pacino & Charles Durning

 

 

 

 

 

 

 

 

 

 

 

Chris Sarandon, with Durning and James Broderick

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

John Cazale & Pacino

 

 

 

 

 

 

 

 

 

 

 

Al Pacino on Cazale- "I learned so much from him. I had done a lot of theatre and three films with him. He was inspiring; he just was. And he didn’t credit for any of it. He was in five films, all Oscar-nominated films, and he was great in all of them. He was particularly great in Godfather II, and I don’t think he got that kind of recognition”. Cazale, passed away in 1978 from lung cancer.

The movie is based on the actual events surrounding the 1972 robbery and hostage situation orchestrated by John Wojtowicz and Salvatore Naturile at a Chase Manhattan branch in Brooklyn.

 

 

The film won an Oscar for Best Original Screenplay. Originally called The Boys in the Bank, Pacino actually resembled the original Wojtowicz.

 

 

 

 

 

 

 

 

Director Lumet, best known for directing 12 Angry Men, disliked improvisation. But agreed to it for this film. The cast improvised during rehearsals, recorded it and some made their way into the film. Other non scripted scenes were Pacino’s real reaction to Cazale’s improvised answer to which particular country he wanted to go and Durning yelling at Pacino outside the bank. 

If you haven't seen it yet, be sure to add this gripping and compelling film to your watchlist ASAP.

 

 

Easter Parade (1948)

“Fred put me completely at ease. He’s a gentleman – and lots of fun to work with.”- Garland on Astaire

"She wasn’t primarily a dancer, but she could do what you asked her to do. And she had great charm, and she was a very big star. She was in good form – we had a very good time. Our numbers together remain as high spots of enjoyment in my career. Her uncanny knowledge of showmanship impressed me more than ever as I worked with her.”- Astaire on Garland 

 

 

Back in 1948, MGM came out with a fun, colorful musical film called Easter Parade. One of my favorite musicals, I've watch it every Easter since I was little. The film was shot in ten weeks in order to be released in time for Easter. Originally, they had planned to have Gene Kelly play the role of Don Hewes, alongside Cyd Charisse and Frank Sinatra. However, due to Kelly breaking his ankle and Charisse's torn ligament, the cast ended up getting completely switched around. In the end, we get to watch a couple of swells, Fred Astaire & Judy Garland mesh so beautifully, a fast-tapping Ann Miller as Nadine, and the boyish debonair Peter Lawford rounding out the cast as Jonathan. 

 

 

Film Synopsis: Set in New York, in 1912, about a successful Broadway dancer named Don Hewes (played by Fred Astaire). When his current dance partner, Nadine Hale (played by Ann Miller), decides to leave him for a Ziegfeld production, Don is pretty angry. But he's convinced he can work with anyone and turn her into amazing dancer. Enter Hannah Brown (played by Judy Garland), a cheap diner performer who doesn't have much dance experience. But with Don's guidance and training, they become a huge sensation on stage and also fall in love. It's such a heartwarming and entertaining film - you'll love it! 

 

 

Trivia: Garland's husband Vincente Minnelli was originally slated to direct, but Garland's psychiatrist advised them not to work together. She had just been released from a sanitarium where she was treated for mental distress and drug dependency. Due to his two-year absence from the screen, Astaire wasn't sure if he could return. But after getting in shape and being reassured by Gene Kelly, he took the part. Garland had never met Astaire before and was afraid to speak to him until they were properly introduced. The shedding feathered gown worn by Garland in one number is an in-joke reference to Ginger Rogers' problematic gown in Top Hat (1935). A Garland solo number, "Mr. Monotony", was cut from the film.

 

'A couple of swells'

 

Keep your eyes peeled for Jules Munshin's funny scene in which he plays a waiter making an elaborate salad. You might think it's just for laughs, but it was actually part of MGM's clever way of screen testing out how audiences would react to him on screen. 

 

“I was pleased to be responsible for getting Fred back to work, but every time I see him and Judy singing A Couple of Swells, I do get a twinge of regret.”- Gene Kelly 

 

 

Fred Astaire, Peter Lawford & Judy Garland

 

 

Did you know that Ann Miller had to dance through the pain of pinched nerves in her back? She even had to wear a back brace during her delightful performance "Shakin' the Blues Away". In a candid interview with Robert Osborne, she also opened up about the abuse she suffered at the hands of her ex-husband Reese Milner. While pregnant and in agony, Ann was thrown down the stairs. She was also taller than Astaire, so she wore ballet slippers instead of heels so that they could be better matched during their dance routines. 

 

Ann Miller is 'Shakin the Blues Away

 

More than half of the songs performed in the Easter Parade were written by Berlin in the four decades prior to the film, and many of the songs were performed in various stage and film musicals. The songs that Berlin wrote especially for Easter Parade were: "It Only Happens When I Dance with You," "Better Luck Next Time," "Drum Crazy," "Stepping Out with My Baby," "A Couple of Swells," "A Fella With An Umbrella" and "Happy Easter." Another song, "Mr. Monotony," which was also written especially for the film, was not used. Berlin wrote the melody for the film's title song in 1917 and originally used it for a song entitled "Smile and Show Your Dimple." The song "Easter Parade" grew out of Berlin's reworking of "Smile and Show Your Dimple" for the 1933 revue As Thousands Cheer.

 

 

Irving Berlin (piano) Fred Astaire, Ann Miller and Peter Lawford

 

 

 

It was MGM's top-grossing picture of the year, taking in about $6,800,000 at the box office in its initial release. Easter Parade marked the first and final time Fred Astaire would work with Judy Garland. They were supposed to star in The Barkley's of Broadway together the next year, but unfortunately, Judy fell ill and the production plans got canceled. Fred wrote in his autobiography that the studio wanted to wait and see if she would make a quick recovery, but unfortunately, that never happened. He was deeply disappointed that Judy couldn't join the production, but he was also grateful when he found out that Ginger Rogers would be his new co-star. 

 

 

Directed by Charles Walter. Story by Frances Goodrich Albert Hackett. The script was revised by Sidney Sheldon, a young writer who would later make his name as one of the most successful crime novelists of all time. Roger Edens and Johnny Green took home the statuette for “Best Musical Score.”

⭐Actors on Actors: Bette Davis on Spencer Tracy

 I wish I could have worked with Spencer again when we were both big stars. We worked well together and we shared the same birthday, April 5th. I considered having the same birthday a very important sign. Of all of the male actors I worked with, Spencer Tracy appealed the most to me. I saw everything in him that Hepburn saw in him.

 

— Bette Davis, co-star in 20,000 Years in Sing Sing, 1932.

 

Doris 'Birth' Day!

 “I love to laugh. It’s the only way to live. Enjoy each day-it's not coming back again!” 

Remembering Doris Mary Anne Kappelhoff aka Doris Day born today in 1922 in Cincinnati, Ohio.