“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: 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.
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| Al Pacino & Charles Durning |
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| Chris Sarandon, with Durning and James Broderick |
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| 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.
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| 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.
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| '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
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| 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.
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| 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.
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| 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.
🎥 Review: Key Largo (1948)
"When your head says one thing and your whole life says another, your head always loses."
John Huston directed this film-noir masterpiece with an incredible cast which included the legendary Humphrey Bogart, Lionel Barrymore, Lauren Bacall, Edward G. Robinson, and the fabulous Claire Trevor - who won an Oscar for her outstanding performance.
The movie is set in Key Largo, where a hurricane is fast approaching, adding to the already-tense atmosphere inside the hotel. The sadistic mobster Johnny Rocco storms in and takes the hotel owner, James Temple, his widowed daughter-in-law Nora, and ex-GI Frank McCloud, hostage at gunpoint.
Fun fact: When Claire Trevor asked John Huston for some insight into her character, he gave her a hilarious description of "a drunken dame whose elbows are always a little too big, voice a little too loud, and a little too polite. Very sad, very resigned." And to top it off, he even showed her how to embody the character by leaning on the set's bar.
It's also worth mentioning that despite playing on-screen enemies, Humphrey Bogart and Edward G. Robinson's off-screen relationship was filled with respect and admiration. In fact, Bogart made sure Robinson received the same treatment as him on set.
If you haven't seen this film yet, I highly recommend it. The incredible mix of tension-filled moments, superb dialogue, and an all-star cast will keep you engaged from start to finish!
🛣️ Road Trip! The Clark Gable Museum
In June of last year, I had the good fortune to take a tour of the Clark Gable Museum located in Cadiz, Ohio. The museum is an exact reconstruction of the original house where Gable was born, which sadly, had been previously demolished. The two-story home is full of Gable memorabilia from his early days in southeastern Ohio, including his prized New Port Blue 1954 Cadillac Coupe De Ville, which was my personal favorite part of the tour. Additionally, famous Gone With The Wind stars Cammie King-Bonnie Blue Butler, Ann Rutherford, and Butterfly McQueen have also left their handprints and signatures on display at the museum. Interestingly, my hand size happens to be the same as Ann Rutherford's, which was a fun fact. However, the tour also contained a somber and poignant moment with the Carole Lombard room. Unfortunately, we were not permitted to take any photographs of the personal notes or jewelry that Gable had gifted to Lombard, or any of his childhood memorabilia, including his beloved boyhood sled. Finally, to complete the memorable day, I finished by taking a photo of the Gable mural located just a few blocks away from the museum. Ultimately, it was a classic day filled with history and nostalgia.
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