She Kills Her Husband Once but THE POSTMAN ALWAYS RINGS TWICE, 1946

The postman always rings twice doesn’t refer to a mail carrier’s methodology of delivery in this 1946 film noir directed by Tay Garnett, starring John Garfield and Lana Turner. This is film noir, friends, so we are addressing the subject of dark and dirty crime. Not just any crime but murder. Mariticide, to be exact.

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Mariticide is the act of killing one’s husband. Not exactly a new concept in film noir. As a matter of fact, many parallels can be drawn between this film and Billy Wilder’s DOUBLE INDEMNITY (1944). In THE POSTMAN ALWAYS RINGS TWICE (1946), the title alludes (spoilers ahead!) not to the beginning fiery heat of two lovers, not to the detailed steps of planning the murder of a spouse, but moreso to the aftermath and ironic justice in how this ill-fated romance ends.

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Many crime stories and film noirs focus on the tension, motivation and players that lead up to or explain the crime. While THE POSTMAN ALWAYS RINGS TWICE (1946) does a marvelous job in that arena, a good chunk of the story focuses on good ole karma that comes along not on the first ring, but on that second ding. I’ll save those scrumptious details for you to savor when you watch the film.

Before I get ahead of myself, let’s start at the beginning and chat about the sparks that brought this doomed couple of criminal lovers together. John Garfield as Frank Chambers is perfection as the casual drifter who floats in to the Twin Oaks roadside diner on a breeze. Actually, he wanders in via hitchhiking with the local district attorney (who lives closeby and will become a key factor in his undoing) and is soon greeted by the local motorcycle cop who is often witness in rather inconvenient ways.

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He soon meets Nick Smith (Cecil Kellaway), owner of the cafe, and they quickly conduct a job interview via on-the-spot character reads. Note: we will discover later that Nick fails miserably at both job interviews and character assessments. After Frank confidently and casually pushes his loosely tied commitment for the position, Nick dashes off to greet a gas customer outside as Frank is introduced to his platinum blonde doom aka Mrs. Smith inside. We meet Lana Turner as Cora Smith in a memorable character debut where the camera follows her from her ‘accidental’ lipstick drop and roll to the slow pan up her legs to her petite frame in iconic ivory shorts, crop top and turbin.

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The heat and tension is palatable from the very first exchange. Frank wastes no time in making his move. But first, and what plays out as a very interesting foreshadowing, is the power struggle gauntlet is thrown down upon their very initial exchange- over lipstick, no doubt. Before their first first kiss, which Frank plants boldly and rather assumedly, Frank issues the challenge of who is in charge. Cora plays her best game of sexy meets coy to lure Frank close to the flame via handing her the fiery red lipstick. But watch Frank pause, lean back and challenge Cora to come to him. She succumbs allowing Frank to think this was his game. But is it? This initial exchange was the true precursor and warning for them both.

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Through a botched attempt to run away, Cora symbolically morphs from pristine and crisp white to dirty, sweaty, and dusty hitchhiker as she has a change of heart. This is not how she planned. They go back. Narrowly escaping Nick’s discovery, Frank has an opening to leave. But as countless film noir anti-heroes eventually do, he ignores any instinct to do the right thing. Frank: “Right then, I shoulda walked outta that place… She had me licked and she knew it.”

After initial and seeming resistence, we later learn that she was actually the one strategically in charge all along. And he acted helpless in acting better on his own behalf. Once the hooks were firmly embedded deep, even the red flag of ‘if you truly love me, you’ll murder for me’ couldn’t stop her quest to fulfill her ambitious needs to “be somebody.” Cora challenges Frank: “Do you love me? Do you love me so much that nothing else matters?”

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Watching this trainwreck of an excuse for love unfold, as the audience we see the red flags, the road signs of dangerous curves up ahead… everywhere. From our lofty tower of wisdom, we see the mistakes, the grave errors in judgement. While this film spends a good chunk of time and detail serving justice post-mariticide in an ironic twist of fate for these two with a one-two punch, the fascinating components remain the motivations and evolutions of behavior.

Why this film remains a classic, besides enjoying the sexual tension sizzle off the screen and the nail-biting moments of thrills and suspense, what keeps us riveted as the voyeurs to this obsessive, dysfunctional romance is the undercurrent of self questioning, playing out in our own hearts and heads of how obsession can turn oneself against their own morality. Where is that line drawn? What does it take to push someone over the edge? This film ultimately begs the question: if a smart, non-commitment, non-romantic type like Frank can fall into such a deep, tragic trap, could something like this happen to anyone? Yes, perhaps even you?

I think that is what is at the heart of THE POSTMAN ALWAYS RINGS TWICE (1946). Even the sharpest cynic can blunder and fall prey. Not that murder is a very likely result, but I wager to guess that a significant number of people have experienced a type of obsessive love that has altered their judgement in morality, which was not in their own best interests. So, let that mail courier ring your doorbell twice, even three times. But watch out for the Lana Turner cunning beauties of the roadside cafes. More importantly, watch out for the little voice in your heart and head whenever you hear it crying out “NO!!” – sometimes it’s important to listen.

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This post was my contribution to the ‘Til Death Us Do Part Blogathon on CineMaven’s Essays From The Couch. As this is sure to be a rousing assembly of blog posts of spouse-murdering twist and turns, I encourage you to read all the other contributors!

 

 

 

31 DAYS OF OSCAR BLOGATHON- Day 2

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Taking the baton from fellow co-host Aurora of Once Upon A Screen, who brought us the initial round of blogger contributions yesterday, today I pick up on the second day of the 31 Days Of Oscar Blogathon. Paula of Paula’s Cinema Club will pick up the final day tomorrow. Explore all three days for three days for the best in the blogger biz for everything Oscar.

Just a reminder, this is our 5th year hosting this event in conjunction with Turner Classic Movies network’s month-long event to honor the Academy’s Oscars. TCM is showcasing this year’s special programming in alpha order. Click here for more info: TCM’s 31 Days Of Oscar

Now, onto today’s lineup!

Pop Culture Pundit takes a look at the brilliance of PURPLE RAIN: A Traditional Musical With an Anti-Traditional Score.

CineMaven’s Essays From The Couch presents Jeff Lundenberger as guest blogger as he goes deep in the Best Actress field of 1950 with, And The Winner Is…

Charlene’s (Mostly) Classic Movie Reviews discusses the beauty and bleakness of existence in The Diving Bell and Butterfly (2007)

Wolffian Classic Movies Digest explores the unforgettable oblique angles and visual styles of Cinematography in THE THIRD MAN.

Weegie Midget swoops in for a caped landing with Best Actor Oscar Winners in Superhero Movies!

Blogged Of The Darned enjoys life’s banquet in 3 Beekman Place- The Art Direction/ Set Design of AUNTIE MAME. I promise you won’t starve to death when reading this one.

I will continue to add more posts later today so check back for more blogger bliss! And to all the participating writers and readers alike, Aurora, Paula and I cannot THANK YOU enough for your continuing support!

…Kellee

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5th annual 31 DAYS OF OSCAR BLOGATHON!

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Welcome to the 31 Days of Oscars Blogathon redux for the fourth time, making this the fifth installment of our grand celebration of all things Oscar.

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Aurora of Once Upon A Screen, Paula of Paula’s Cinema Club and yours truly, Kellee of Outspoken & Freckled started this event to coincide with Turner Classic Movies’ 31 Days of Oscar marathon. For 31 days TCM spotlights the movies and players that have made a legend of the golden statuette and this blogathon is our way to pay tribute to the network and the movies we love. We hope you join us in the effort.

Rather than hosting the 31 Days of Oscar Blogathon for the entire month of February, as we’ve done in the past, we will host all entries the weekend before the Oscars this year. That is from Friday, February 17 through Sunday, February 19, which leaves Oscar weekend free for last-minute movie-watching. We’re also combining all topics this year and simply presenting them over the three days. Any Oscar-related topic is fair game. We are not limiting this event to classic film fare as we’d like to see entries covering the entire 89-year history of Oscar, including this year’s nominees. To help get you motivated here are the categories we’ve used in the past…

-The Actors
-The Directors
-The Motion Pictures
-Oscar Snubs
-The Crafts (music, costumes, etc.)
-New Idea – Oscar Controversies
Most of you know the drill, but as a reminder, adhering to the following would be appreciated:

Let us know what your desired topic is by leaving a comment on any of the host blogs.
Include the title and link to your blog in the comments area.
Advise if you have a date preference – Friday 2/17, Saturday 2/18 or Sunday 2/19
Include the event banner on your blog and in the entry post to help us promote the event.
Restrictions – just two:

-Please do not submit previously published posts
-No duplicates to ensure we cover as much of the Oscars as possible
We look forward to hearing from you and to reading your entries. As many entries as you want, actually, so get to it!

Until then, here’s to Oscar, to TCM and to YOU!

Happy blogging…

NOTE: Starting on February 1st TCM will feature Oscar winners and nominees in alphabetical order, which should make it easy to set your DVRs favorites. Be sure to check out the schedule. The Oscars will be broadcast live on Sunday, February 26 on ABC.

Participating Blogs & Chosen Topics:

Thoughts All Sorts – The Piano (1993)

Phyllis Loves Classic Movies – Timeline of Award-winning costumes (1961 to 1977)

Once Upon a Screen – The Horror of Oscar

Wolffian Classic Movies Digest – Cinematography in The Third Man (1949)

In the Good Old Days of Classic Hollywood – Judith Anderson’s Snub for Rebecca (1940)

The Old Hollywood Garden – 1943 Best Actress Nominees

Once Upon a Screen – Conrad L. Hall and Cinematography in Road to Perdition (2002)

Cinematic Scribblings – Day for Night (1973)

4 Star Films – (Some) Nominated actors who never won an Oscar
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Joan Blondell, Shining Star Forced to be a Satellite

“I don’t know what the secret to longevity as an actress is… maybe it’s the audience seeing itself in you.” … Joan Blondell

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Joanie should know. Joan Blondell, born Rose Joan Blondell on August 30, 1906, in NYC, lived her entire life performing on stage and screen. She died of leukemia on December 25, 1979 in Santa Monica, CA. It is bittersweet to honor this remarkable woman so close to what will be the 37th anniversary of her death this Christmas day.

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Joan was born to entertain audiences. She cut her teeth working with her comic parents on the vaudeville stages from age three to seventeen, while educated at the Professional Children’s School. She was a seasoned pro by the time she transitioned to the Ziegfeld Follies and then onto the Broadway stage.

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It was a Broadway production that paired her with James Cagney, which lead to five more celebrated film features, starting with John G. Adolfi’s SINNERS’ HOLIDAY (1931) where they reprised their stage roles. The other Blondell/Cagney paired films that followed are:  William Wellman’s OTHER MEN’S WOMEN (1931), William Wellman’s THE PUBLIC ENEMY (1931), Howard Hawks’ THE CROWD ROARS (1932), Lloyd Bacon’s FOOTLIGHT PARADE (1933), and HE WAS HER MAN (1934). The chemistry sizzle on the screen was visible between these two talents, making for memorable performances that launched both of their careers into an explosion of roles in the Pre-Code era. While they supposedly kept their romance limited to the screen, Cagney said she was the only woman other than his wife he ever loved.

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But to give you some perspective on just how much Blondell worked starting with the early talkies of the Pre-Codes and throughout the duration of the 1930s, she was in over fifty films during that decade alone. Most of this ridiculously busy schedule could be attributed to her contract with Warner Brothers. They kept her working fast and furious in roles at a time when being employed was a very good thing. And she enjoyed her WB family of co-star friends and filming crews immensely. The problem was, while she found herself in-demand and in work, she was not only typecast but stuck below the top tier of the marquee.

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While others demanded more and knew how to cause ripples within the political studio system in a persuasive way (like her good friend Bette Davis), Blondell thought of her job as a job. Joan punched the clock and went home when the job was done. She worked extremely hard, acted consistently professional, but didn’t desire to play the ambitious game.

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Working free of the studio playbook in the 1940s and 1950s, the work was less frequent and the pace less brutal; yet offered some meatier roles, such as Gail Richards in TOPPER RETURNS (1941), Aunt Sissy in A TREE GROWS IN BROOKLYN (1945), Zeena Krumbein in NIGHTMARE ALLEY (1947), and Annie Rawlins in THE BLUE VEIL (1951) for which she was nominated for An Oscar, Best Actress in a Supporting Role. Even still, she struggled to garner critical acclaim in a way that moved her name up to the leading lady, mega star status.

The 1950s ushered in the television age and Joan Blondell was determined to be a player. The frequency of roles kept her busier but yet again, she found herself working harder, not smarter in struggling to move her name to the top position in billing.

The 1960s and 1970s brought memorable roles such as Jenny in SUPPORT YOUR LOCAL GUNFIGHTER (1971), Lady Fingers in THE CINCINNATI KID (1965), Sarah Goode in OPENING NIGHT (1977) and Dolly in THE CHAMP (1979). Her TV work continued with roles such as Lottie Hatfield in “Here Come the Brides.” Fans unaware of her saucy and leggy days as a Pre-Code platinum blonde may know her more for her later work such as Vi in GREASE (1978) or caught her in reruns from retro TV networks such her bit parts in 50’s TV westerns, Starsky and Hutch (1976), The Love Boat (1978), Fantasy Island (1979) and so much more.

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She worked right up until the end, even while battling the Leukemia that ultimately took her life in 1979, with her last role being Aunt Coll in THE WOMAN INSIDE (1981), released posthumously. With 160 acting credits to her name, and after publishing her popular 1972 autobiographical novel “Center Door Fancy,” Joan never quit.

Married three times, divorced three times, her first husband famed cinematographer George S. Barnes (m. 1933-1936) was a decision reflecting her “naive sophisticate”(as James Cagney called her) ways of a younger Joanie, fresh in her film career. Emotionally dysfunctional, this relationship was fated for disaster. Barnes was still married to his third wife as their romance grew and he assured her the marriage was on paper only and would be ended swiftly. During this time of officially divorcing his third wife and marrying Joan (he went on to marry for a total seven times), she became pregnant and he arranged for the termination. Their son and only child from the marriage, TV producer/director Norman Scott Barnes was born in 1934 but later changed his last name to Powell in 1938 when Barnes relinquished all parental rights and he was adopted by Joan’s second husband.

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Her second marriage to actor Dick Powell (m. 1936-1944) was more stable but tepid in romance. In addition to adopting Norman, they had a child together, Ellen Powell, who is known for her makeup department work in film and tv, such as her Emmy nominated work in hair styling.

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Joan and Dick made ten musicals together. But after they both had grown weary of the incessant typecasting of formulaic musicals each began over a decade prior, just as they attempted to move their careers in more dramatic roles, their marriage also became stagnant. Right up until the time Dick left Joan for actress June Allyson. In this same pivotal year Dick Powell left one marriage for another, he left his sugary musicals and boyish charm behind with MURDER MY SWEET (1944), launching a dramatically different type in his cinematic world with film noir and never looked back.

Her last husband (m. 1947-1950), producer Michael Todd was said to be physically abusive and a financial mess, thanks to heavy gambling and repeatedly poor investments. She found this relationship to be her most passionate. Great for the bedroom initially but later his behavior revealed itself into abuse. His chaotic ways also wiped out her savings. So she continued to work for the next three decades-because financially she had to.

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She wasn’t always lucky in love or ambition, but certainly made up for it in talent, enduring work ethic and generosity of spirit. Time after time, this unforgettable performer played second-fiddle, the rapid-fire, sharp-tongued best friend, the second lead, the snarky office gal, the lingerie-clad roomie, the sharp opportunist, the frowzy, lovable saloon owner, the gangster’s girlfriend, the wise aunt, and the down-to-earth, tell-it-like-it-is scene-stealer. She was all these nuances of woman and more. She mastered tv and film, Pre-Codes, dramas, and comedies. But she never truly reached the well-deserved splendor of consistent top billing.

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While I admire the entire breadth of Joan Blondell’s work, I am always biased towards her early days of Pre-Codes. You couldn’t find a better pair of sexy gams in those Busby Berkley musicals and she delivered such hilariously sassy lines with the perfect punch. Take a look at her delicious delivery of “As long as they’ve got sidewalks, YOU’VE got a job!” as she proceeds to kick the woman out the door, right in the tuchus, in Lloyd Bacon’s FOOTLIGHT PARADE (1933) or her haunting “My Forgotten Man” in Mervyn LeRoy’s THE GOLD DIGGERS OF 1933. There are too many to list here (because the woman was a damn work-horse during those years!) But no matter how small the role, Joan Blondell made it her own and she made it memorable. So yes, Joanie, you did know the secret to longevity as actress, and perhaps your greatest role in life was that of survivor- a role this audience member and countless other fans can relate.

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*This was my contribution to the What A Character! Blogathon, hosted by Aurora of Once Upon A Screen, Paula of Paula’s Cinema Club, and yours truly. Please review all three days for a recap of fantastic character actor tributes… THANK YOU & ENJOY!! 🙂

day one: kellee

day two: aurora

day three: paula

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Victor McLaglen – A Man as Big as the Screen

*The following is a guest post by my husband Gary, aka Santa on twitter as @SantaIsThinking

I signed up for the What A Character! Blogathon to write a post on one of my favorite character actors, Victor McLaglen (pronounced Muh-clog-len, not Mack-loff-len) because he appears in my favorite movies, adorns one of my walls at home, and reminds me in so many ways of my dad.

As I did research on him I realized that plenty had been written on him so what could I possibly add to that? He’s very loved by so many. So I decided, as I sit here with a Guinness, to focus on two things that I find most interesting about him, his adventurous youth and his big screen (grin) charm. vm-image-1

Victor Andrew de Bier Everleigh McLaglen (10 December 1886 – 7 November 1959)

His Adventurous Youth – Boers, Boxing, and Baghdad

Victor McLaglen was big enough at 14 to enlist in the English Army to fight the Boers. (Sounds like a young English lad’s dream, until he was found out a short time after and had to exit the Army.) When he was 18, he moved to Canada, became a wrestler and a boxer and toured with circuses, vaudeville and Wild West shows.

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He fought under his own name and took on the nickname ‘Sharkey’ McLaglen. In 1909, he survived a 6-round exhibition bout with heavyweight champion Jack Johnson. Commenting later on the fight, “He never knocked me down . . . but he sure beat the livin’ be-Jesus out of me.” In 1918, he was named the heavyweight champion of the British Army. For the record, Victor’s lifetime boxing record (as far as is known) was 11-6-1, with 9 KOs.

He returned to Britain in 1913 and enlisted in the Army, then served as captain (acting) with the 10th Battalion, Middlesex Regiment. Besides serving in WW1, other early chapters in his life included serving as a bodyguard for an Indian Rajah and later as Provost Marshal (head of Military Police) for the city of Baghdad. In the 1920’s, he was off to Hollywood.

His Career – Big Screen Grins and Bromance

Though a big man at 6’ 2 1/2” and broad-shouldered, it was his roguish charm and big toothy smile that took up most of the big screen. He often grinned and fought his was across the screen with the biggest Hollywood stars of the day (including Cary Grant, Douglas Fairbanks, John Wayne, and Maureen O’Hara). The ease and charm with which he interacted with his co-stars served to compliment and enhance their own substantial on-screen charisma.

Victor appeared as MacChesney, in the original bromance adventure movie Gunda Din (1939). The chemistry he had with Cary Grant and Douglas Fairbanks is why this film is in my top 5 films of all time. His comic timing and dialogue delivery was on par with his co-actors. If you’ve not seen it, rent it or buy it. And if you have seen it, might be time to watch it again (so says my Guinness). As you watch these three British sergeants and their native water bearer take on a murder cult in colonial British India, you’ll see a “best buds” heroic action movie DNA that has been passed down and continues to make ripples through many more modern flicks (and not just that poor Temple of Doom movie.)

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In The Quite Man (1952), McLaglen (now late in his career) played the role of Squire “Red” Will Danaher, resident loud-mouthed brother to Mary Kate Danaher (Maureen O’Hara.) In it, Victor squares off with Sean Thornton (John Wayne) over his sister, a farmstead, and that ornery Irish pride. It’s got romance, drinking, brawling, and… brawling. And the extended cast is a who’s who of some of the best character actors of the day. By the time this was filmed, Victor was 64, but he still gave John Wayne a run for his money with his hulking physical presence and personality (though John Ford and Wayne did have to take it easy on him during filming). His performance got him his second Academy nomination for Best Supporting Actor.

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This post isn’t an exhaustive overview of McLaglen’s life and family; others have done a better job of that. Rather it’s a feel-good loving tribute to someone I love watching on film. But if you want a few other notable movies to watch to get his range, try The Informer (1935) for which he won the Academy Award for Best Actor, She Wore A Yellow Ribbon (1949) another great pairing with Ford and John Wayne and The Lost Patrol (1934). The last Pre-Code feature has Boris Karloff in it and is a great survival story.

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McLaglen received a star on the Hollywood Walk of Fame on February 8, 1960. I discovered his films in the early 70’s with my dad and continue to re-watch them today with my Irish wife. That lovable, hard-nosed character actor will always have a place in my heart…and I hope he can find a place in yours.

This is my entry to the 2016 What A Character! Blogathon, hosted by Kellee at Outspoken & Freckled, Aurora at Once Upon A Screen, and Paula at Paula’s Cinema Club, taking place all this weekend. Check all three day’s of posts this weekend for other fascinating character actor profiles. Catch me as @santaisthinking on Twitter.

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It’s here! 5th annual WHAT A CHARACTER! BLOGATHON: Day 1

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The day has finally arrived to honor those unsung heroes of the silver screen, the character actor. For the 5th year, the classic film obsessed trio of Aurora aka @CitizenScreen of ONCE UPON A SCREEN, Paula aka @TCM_Party & @Paula_Guthat of PAULA’S CINEMA CLUB and yours truly, Kellee aka @Irishjayhawk66 of OUTSPOKEN & FRECKLED bring you this film community tribute to the marvelous scene-stealers.

DAY ONE:

Movies Silently profiles the popular character actor known for his soothing voice, EDWARD EVERETT HORTON in one of his early talkies, After The Silents: LONELY WIVES 1931.

The Wonderful World of Cinema explains How Arthur Kennedy Changed My Cinematic Life.  As Virginie writes, “Arthur Kennedy was Arthur Kennedy, he couldn’t have been anybody else and nobody could have been him.”

Real Weegie Midget Reviews revisits a tribute post with Looking Back at the Actor, the Voice and Movies of ALAN RICKMAN.

Jack Deth, as guest blogger on Paulas Cinema Club, offers up a “Shot and a Chaser” of two works of M. EMMET WALSH:

As he summarizes, “Though I was well-versed in Walsh’s work prior to these initial meetings, it’s these two roles which reached out, took hold, and shook me to this actor’s grossly underestimated talents.”

Then, Theresa of CINEMAVEN’S Essays From The Couch takes on a “Mighty Roman”, RUTH ROMAN, in her performance in “Tomorrow Is Another Day” 1951. 

As she describes Roman, “There’s a touch of danger in her. Her performances are believable and with conviction. I’m not quite sure why she really wasn’t a bigger star.” Read more to see what Theresa unveils.

Next, Thoughts All Sorts examines the many character lives of MICHAEL WINCOTT.

As this blogger aptly scribes on Wincott, “There was something about him that just drew me in…Or, maybe it’s just that he’s a great artist, understated but vital.” We couldn’t agree more.

Next up, The Last Drive In views All Kinds of Observable Differences in the World of RUTH GORDON for us.

As this blogger writes, “There’s a vast dimension and range to Ruth Gordon’s work both her screenwriting and her acting, the effects leave a glowing trail like a shooting star.” Amen to that!


I will continue to update this list throughout the day and don’t forget to look on twitter for contributor shout-outs, too. So check back frequently! These participating writers continue to educate and dazzle us so I encourage you to not only read, but give lovely feedback, to these fine folks.

Look for day two and day three of this mega blogging event via my co-hosts, Aurora and Paula… much more to enjoy throughout the entire weekend!

A huge THANK YOU to all the contributors and my cinematic charming co-hosts! … Kellee

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Announcement: 5th annual WHAT A CHARACTER Blogathon

“What’s great about being a character actor is you know that you can survive forever. It’s not about the gloss of your eyebrows.” – Martin Short

We’re back for a fifth consecutive year to honor the versatility and depth of supporting players with the WHAT A CHARACTER! Blogathon.  Based on a phrase borrowed from Turner Classic Movies (TCM) the WHAT A CHARACTER! Blogathon is an event that many look forward to each year.  Your enthusiasm for paying tribute to the oft nameless faces that appear in countless beloved classic movies is admirable.  Aurora, Paula and I extend a sincere thanks to all the bloggers who have joined us in the previous four years and invite you all to help us make the fifth anniversary extra special.

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By now you know the drill.  This is for the Louise Beavers and Eddie Andersons of the world, the names that never appeared above the title.  If this is right up your movie alley then give us a shout out…
Kellee at Outspoken & Freckled and (@IrishJayhawk66) and Kellee Pratt

Paula at Paula’s Cinema Club and (@Paula_Guthat) and Paula Guthat

Aurora at Once Upon a Screen and (@CitizenScreen) and Citizen Screen

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And please adhere to the following:

-Let one of the hosts know which character actor is your choice.
-We will not accept repeats since there are so many greats worthy of attention, but your choices are not limited to classics. You can choose any character actor from any era and from the medium of television, which featured a number of talented regulars.  Scroll down to see the list of chosen characters.
-Don’t take it for granted we know exactly who you are or where your blog resides – please include the title and url to your blog.
-Publish the post for either December 16, 17 & 18.  Let us know if you have a date preference, otherwise we’ll split publicizing duties equally among the three days.
-Please include one of Paula’s beautiful event banners on your blog to help us promote the event and include it in your post.
-It would be really helpful if you can send any of us the direct link to your post.  Searching on social media sites can lead to missed entries.

HAVE FUN and spread the word!

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#WhatACharacter Roll Call

Outspoken & Freckled – Joan Blondell

Cindy Bruchman – Eileen Brennan

Blogferatu – John Carradine

Film Noir Archive – Elisha Cook, Jr.

Wanna Be Film Critic – Jack Davenport

Critica Retro – Margaret Dumont

Shadows and Satin – Hope Emerson

Immortal Ephemera – Stanley Fields

The Last Drive In – Ruth Gordon

Old Hollywood Films – Sidney Greenstreet

Once Upon a Screen – Edmund Gwenn

The Midnight Drive-In – John Hillerman

Movies Silently – Edward Everett Horton

The Wonderful World of Cinema – Arthur Kennedy

A Shroud Of Thoughts – Charles Lane

Gary Pratt/ guest post on Outspoken & Freckled – Victor Mclaglen

Anna, Look! – Ben Mendelsohn

In The Good Old Days of Classic Hollywood – Agnes Morehead

Phyllis Loves Classic Movies – Mildred Natwick

Wolffian Classics Movies Digest – Una O’Connor

RealweegieMidgit Reviews – Alan Rickman

Life’s Daily Lessons – Margaret Rutherford

Christina Wehner – Takashi Shimura

Movie Movie Blog Blog – JK Simmons

CineMaven’s Essays From The Couch – Art Smith

Phyllis Loves Classic Movies – George Tobias

Jack Deth/ guest post on Paula’s Cinema Club – M Emmett Walsh

Blog Of The Darned – David Wayne

Thoughts All Sorts – Michael Wincott

Caftan Woman – Cora Witherspoon

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A big thank you – HAPPY BLOGGING!

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The Black Pools of Noir in MURDER, MY SWEET 1944

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It’s dark. Too dark to see without assistance from a handy flashlight to confirm the time on his watch. Private dick Philip Marlowe is scouting out the meeting place in a densely wooded area, just off the road. He walks cautiously as dense, smoky fog crawls along the ground, in his tipped fedora and buttoned up trench coat. He hears the snap of a twig underfoot, close range, and turns abruptly only to see a deer.

He heads back to his parked car. Leaning against the large, open top convertible and without looking down, he tells the man hiding in the back of his car- the same man who just hired him to go into those dark woods to help him buy back a stolen jade necklace- that they’re likely being watched and tested for obedience, for this mysterious exchange. Unexpectantly, Marlowe is suddenly struck from behind on the head. Hard.

As he slumps to the ground we hear him narrate in a raspy-smooth voice, “I caught the blackjack right behind my ear. A black pool opened up at my feet and I dived in. It had no bottom. I felt pretty good… like an amputated leg.” Visually we see black edges closing in on his unconsciousness body until total darkness fills the screen.

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This is just one scene from Edward Dmytryk’s MURDER, MY SWEET (1944) which perfectly evokes the many hallmarks of a signature film noir. Even before I completed the TCM/Ball State University course in Film Noir last summer, I had seen this film prior and knew this was what film noir is supposed to be.

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All the beautiful shades of shadows and light are glowing on the screen. Dick Powell as Philip Marlowe drops bitter and sarcastic cynacism in descriptive lingo that his profession as a hard-nosed private investigator affords. From time to time, he narrates to us. Often with uniquely descriptive metaphors. He’s no hero charging in wearing a ten gallon white hat, but he’s not exactly the villainous anti-hero either. Ultimately he does the right thing, but not out of conformity to society rules. He’s in business for himself.

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He fully appreciates a pretty dame- good or bad. And speaking of bad dames, a good film noir isn’t complete without a beautiful and cunning femme fatale. Enter Claire Trevor. He doesn’t fool easily, although he sometimes likes to lead on as though he does. And a typical film noir is based on a crime drama. The crime is presented via a missing girlfriend and jade necklace. But were they ever missing/stolen or merely borrowed? And why are so many people interested in hiring Marlowe to find- or bury -the truth? Time will reveal all as Marlowe finds himself a very popular dick for hire.

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And what about those black pools? Another calling card of a film noir is a dream sequence. The more trippier, the better. Marlowe swims in that black pool more than once and it gets saturated wet in trippy.

Now that we’ve laid out all the evidence why MURDER, MY SWEET (1944) qualifies as   a definitive film noir, let’s discuss why it’s also one of my favorites of this genre (and perhaps should be yours too):

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Dick Powell. Dick Powell has always been one of my favorites of the silver screen. But like so many, we were introduced to him through Pre-Codes. In the thirties, he shined as the upbeat, charming crooner of those terrific Busby Berkley musicals and other classics. He was usually the guy singing and smiling his way into the hearts of the sweet girl next door or sassy sidekick (like cuties Ruby Keeler and Joan Blondell). But for the first time in his career, MURDER, MY SWEET took a dramatic turn of character for Powell. His role as Philip Marlowe was a major risk that paid off successfully and launched him into the noir world and other dramatic roles. Not all actors can boast such a successful breaking of typecasting and transition so effectively into the changing times of the big screen. He would transition again post-noir as a producer and director.

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Because of his prior roles in the thirties and his natural skills in comedy, I’ll admit there were times in viewing this film for the first time that I expected him to go more campy. Especially considering the dialogue, one could easily play it as dark humor and break character. But he delivers with a five o’clock shave, a heavy-smoky voice and candidly acerbic tone that a gumshoe Marlowe demands.

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Claire Trevor. This role came right between her big roles as Dallas, a woman of ill-repute and good intentions, in STAGECOACH (1939) and Gaye Dawn, the complex mess of a lush in KEY LARGO (1948). The deeper I look into these roles, the more I’m convinced Claire Trevor is a highly underappreciated actor. The variety and nuances across these three roles are a testiment to her range. Here in MURDER, MY SWEET she plays the femme fatale very well, with sophisticated beauty masking her street-wise naughtiness as Helen Grayle.

Anne Shirley is another underrated actor. Her portrayal as Ann Grayle keeps you guessing sometimes to see if she plays the sinner or the saint, but the good girl emerges ultimately to give great contrast to Trevor. The role is not quite as meaty as it could be, so Trevor tends to steal the scenes.

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The love/hate dynamic between Marlowe and Moose Malloy. Mike Mazurki appealingly plays the big thug with a broken heart who possesses more brawn than brains. Malloy is more than a typical hired heavy. He’s an unexpected romantic yet also like a big, dumb animal that can’t figure out if he wants to play with his food. Unfortunately for Marlowe, he’s often on the dinner menu. But I like the way that, no matter how many times he gets hurt, there’s a part of Marlowe that looks upon Moose like a big puppy that somehow just doesn’t know any better.

Dialogue. Oh the writing in this film is priceless!

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In introducing Marlowe, he narrates, setting up a scene with visual artistry and coarse flair, as the camera cuts a path through images of the city at night with all the neon flashing landscape:

“It was seven o’clock. Anyway it was dark. I’m a homing pigeon. I always come back to the stinking coop no matter how late it is. I’d been out peeking under Sunday sections looking for an old barber named Dominic, whose wife wanted him back. I forget why. Only reason I took the job is because my bank account was trying to crawl under a duck. And I never found him.  I just found out all over just how big this city is. My feet hurt and my mind felt like a plumber’s handkerchief. The office bottle hadn’t sparked me up, so I’d taken out my little black book and decided to go grouse hunting. Nothing like soft shoulders to improve my morale. The soft shoulders had a date, thought she could do something about, was going to check right back. There’s something about the dead silence of an office building at night. Not quite real. The traffic down below was something that didn’t have anything to do with me.”  

What a fascinating way to introduce a character. It’s so quintessentially noir. Thanks to the stylistic writings of Raymond Chandler (novel) and John Paxton (screenplay), it strongly influenced an entire genre and style of film. Here are some more lines that make me smile…

On women:

“She was cute as lace pants.” (Moose Mallory)

“She was a charming middle-aged lady with a face like a bucket of mud. I gave her a drink. She was a gal who’d take a drink, if she had to knock you down to get the bottle.”

On love and such romantic notions:

“I tried to picture him in love with somebody, but it didn’t work.” (Marlowe on Malloy)

“He’s in love and in a big hurry. He’ll get over that.” 

Helen Grayle: “I find men *very* attractive.”
Philip Marlowe: “I imagine they meet you halfway.”

On being roughed up or drugged up:

“My throat felt sore, but the fingers feeling it didn’t feel anything. They were just a bunch of bananas that looked like fingers.”

“‘Okay Marlowe,’ I said to myself. ‘You’re a tough guy. You’ve been sapped twice, choked, beaten silly with a gun, shot in the arm until you’re crazy as a couple of waltzing mice. Now let’s see you do something really tough – like putting your pants on.'”

And these lines gave me a chuckle:

“He died in the middle of a glass of beer. His wife Jessie finished it for him.”

“It was a nice little front yard. Cozy, okay for the average family. Only you’d need a compass to go to the mailbox. The house was all right, too, but it wasn’t as big as Buckingham Palace.”


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This post was my contribution to the Film Noir Blogathon, hosted by Quiggy of The Midnite Drive-In, Aug. 12-14. And kudos to Connie of Silver Scenes for the fabulous banners. With a tremendous list of participants, I encourage you to read these noir knock-outs.

The Seduction of SHANGHAI EXPRESS (1932)

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Josef von Sternberg’s SHANGHAI EXPRESS was the top grossing film of 1932 (in US and Canada)- at the apex of the salacious Pre-Code era. With good reason.

This exotic film takes us on a journey via rail in Northern China from Peking to Shanghai. There’s a uniquely diverse group of passengers that sometimes clash and sometimes simmer for the ride. Ultimately, each are surprised to find out who can be trusted, and who should be feared, when they become directly embroiled in local politics and civil unrest. And when old flames rekindle things really start to sizzle.

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Marlene Dietrich portrays Shanghai Lily, along with her traveling companion, Anna May Wong as Hui Fei, and they make a HELLUVA entrance. Shanghai Lily is mysterious, drop-dead gorgeous and with every little movement she poses draped in the most stunning fashions, enveloped in the most sensuous glowing light and shadows. Her boudoir reputation precedes her.

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Shanghai Lily: “It took more than one man to change my name to Shanghai Lily.”

As for Ms. Anna May Wong’s Hui Fei, she is one tough lady and not to be messed with. While Hui Fei projects street-wise, her striking companion is apparently bedroom savvy. Like Shanghai Lily, she also carries herself with high style and a penetrating beauty.

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Clive Brook plays Captain “Doc” Harvey. He’s a suave military man and a former lover to Shanghai Lily. He’s apprehensive to her flirtations at first with the promiscuous rumors. As hard as he tries to avoid falling for her, in the end, and via her sacrifices that reveals her love for him, her undeniable sexual appeal and their love prevail.

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As for the rest of the cast of key characters, Warner Oland (most famous for his many turns as Charlie Chan) is untrustworthy Mr. Henry Chang. Lawrence Grant is Reverend Carmichael, who discovers there’s more to Shanghai Lily than a tarnished reputation. Louise Glosser Hale is the uptight, prude Mrs. Haggerty.  And Eugene Pallette is spectacular as the hilarious Sam Salt.

For comic relief, Eugene Pallette’s Sam Salt delivers the most witty lines. Keep in mind that by today’s standards they are blatantly racist, but there’s something about his delivery (thanks to that lovable Pallette way) that makes us laugh at his non-PC ignorance of Chinese culture, rather than the 1932 audiences that likely laughed with him. As my daughter pointed out, he’s sorta a Pre-Code Peter Griffin (Family Guy reference):

Sam Salt: “I can’t make head or tail outta’ you, Mr. Chang. Are you Chinese, or are you white, or what are you?”
Mr. Henry Chang: “My mother is Chinese. My father was white.”
Sam Salt: “You look more like a white man to me.”
Mr. Henry Chang: “I’m not proud of my white blood.”
Sam Salt: “Oh, you’re not, are you?”
Mr. Henry Chang: “No, I’m not.”
Sam Salt: “Rather be a Chinaman, huh?”
Mr. Henry Chang: “Yes.”
Sam Salt: “What future is there in bein’ a Chinaman? You’re born, eat your way through a handful of rice, and you die. What a country! Let’s have a drink!”

Sam Salt: “I don’t know what you’re saying brother… but don’t say it again.”

Along with these inappropriately funny moments, the other characters provide us entertainment in just how uncomfortable they are just to be near Shanghai Lily, as though her ill-repute will somehow rub off. But what really makes this film is not these things, nor the story (although those are all great), it’s the visual telling of the story… through dramatic, jaw-dropping fashions and through the so-hot-the-screen-steams images of Marlene Dietrich.

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When you consider Marlene Dietrich’s personal life as well as her behind the scenes relationship with director Josef von Sternberg, this performance may not come as a surprise. She was brilliant in understanding how to convey her image on screen in just the perfect light and shadows. That is, she was the perfect student of Josef von Sternberg’s teachings in these skills (skills she utilized the remainder of her life.)

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But when you add in Dietrich’s own extremely sexual persona, it’s no wonder this film unravels as though we the audience are experiencing one long seduction directly from the empress of Pre-Code seduction herself. Let’s face it, she isn’t really seducing the ilk of glossy smooth Clive Brook. The camera is the object of her desire. And we all benefit in her aim.

This perspective on SHANGHAI EXPRESS (1932) is my contribution to the “Hot & Bothered Blogathon” as hosted by those saucy bloggers Theresa of Cinemaven’s Essays from the Couch and Aurora of Citizen Screen, July 9-10. Explore both of their sites to read more lustful and licentious posts.

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Clara Bow is “IT”(1927)

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Elinor Glyn’s novel “It” may be a different story than the film adaption, but the concept of “It” remains the same. What exactly is “It”? To claim it simply meant sex or sex appeal is selling it short. According to Clarence Badger’s/Josef von Sternberg’s IT (1927), “Self-confidence and indifference as to whether you are pleasing or not – and something in you that gives the impression that you are not all cold. That’s ‘It’!”

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To be more specific, “It” was sex appeal enhanced with this description and the film’s star Clara Bow was ‘It’ in spades. She was the definition of the ‘It girl’ and it defined her for her entire career.

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In the film, Clara Bow portrays the beautiful, young, department store clerk, Betty Lou Spence who exudes an air of confidence and a bubbly zest for life. Betty has her sights set on the boss and son of the company, Cyrus Waltham (Antonio Moreno). But it’s his pal Monty (William Austin) that first sets his sights on her. Monty has read about a new book by Elinor Glyn referring to “It.” He discussed his intentions of finding a girl with “It” with his friend Cyrus as they walk the sales floor. Monty sees Betty and knows he’s discovered ‘It’! He asks her out and she insists on going to the fanciest restaurant in town, The Ritz.

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There’s a charming scene when she prepares her limited wardrobe for this event. Her friend helps her transform her basic black dress with a lace collar (appropriate for work but not The Ritz) into a cocktail dress. Later at dinner, she takes joy in adapting to high-end society life. She spies her conquest, Cyrus Waltham, who is seated at a nearby table along with his steady date. Playfully, she offers Monty a wishbone and with her winning end of the bone she prophetically claims, “I am going to get my wish” as she looks over sensually at Waltham.

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Cyrus’s date, blue blood Adela Van Norman (Jacqueline Gadsdon) is guarded because she assumes she will be Mrs. Waltham someday. Author Elinor Glyn (playing herself) walks in. Cyrus motions her over and asks her to explain “It” from her novel creating all the buzz (see her definition above.) Adela, completely lacking in ‘It,’ should be worried by now. Betty strategically forces a ‘bump in’ with Cyrus  in the lobby. The flirting and attraction is immediate and strong. Betty makes a bet with him that he won’t recognize her the next time he sees her. He takes the bet assuming his draw to her would make that impossible.

The next day at work, Betty is calling out a dishonest shopper, who chronically returns items she’s worn for six months then returns. Her manager sends her up to Cyrus’s office to be scolded. He finally looks up and serendipitously realizes he’s just lost their bet from the night before. She suggests a date at the beach “Fun House” (Coney Island?) will square their deal.

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After a delightful evening of fun, Cyrus sneaks in a kiss as he drops her off at her place. She slaps him for his presumptive action, “so you’re a Minute Man! The minute you know a girl you think you can kiss her!” She takes her stuffed toy souvenir and marches into her building. But inside she playfully smiles as she happily ponders her evening. She’s hooked and so is he.

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Later on, trouble has exploded back at her apartment. Betty shares a place with her friend and her friend’s little baby. But some meddling neighbors are trying to take her baby away from her. Her friend has been ill and unable to work so they assume she has no means to take care of the baby. The entire neighborhood rushes to the scene, including a young reporter (Gary Cooper) who takes notes as the drama unfolds. Betty and Monty arrive in time for Betty to claim the baby is her own to protect her friend.

Monty is alarmed to discover Betty is a fatherless mother. He shows up the next day to reveal the bad news to Cyrus with the newspaper article in hand. Not fully satisfied,  the snooping ladies arrive at Waltham’s office to confirm her employment. Monty acknowledges that the fatherless mother is the same as his target of affections, Betty. Cyrus is crushed. When bonus checks are passed out to staff, Cyrus is unable to even look at her face.

She sneaks a moment alone in his office. She flirts but is surprised by the cooler response. Assuming he’s upset by her slap, he instead offers a “left-hand arrangment” of bling and other materialistic offerings. She’s justifiably and visibly upset. He says, “I’m crazy about you, isn’t that enough?” She barks back, “is that what men like you call love?” Her pride prompts her to quit her job.

Monty later arrives at her place with enormous baskets of flowers and edible treats. “I’ve come to forgive you,” he proclaims. In a few exchanges the whole baby’s rightful mother confusion is cleared up. They laugh it off and Monty mentions that he told Cyrus the wrong baby story. Betty’s furious that Cyrus never gave her benefit of the doubt.

She forces Monty to take her as his mysterious ‘plus one’ on Cyrus’s yacht cruise. (Along with buying her a whole new wardrobe appropriate to high seas with high society.) Thirsty for payback, she plans to use her ‘It skills’ to manipulate Cyrus into proposing to her just to laugh in his face in rejection.

On board, Monty is visibly nervous and distressed in being placed in this awkward scene that is soon to unfold. Cyrus senses something is up. Monty only divulges, “I feel so low old chap that I could get on stilts and walk under a dachshund.” Then his mystery date enters the room on cue. Cyrus is a conflicted mix of excitement and pain in seeing her.

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Betty plays the part well. She acts coy knowing she has Cyrus’s full attention. Adela recognizes this woman looks familiar but can’t place her as the socialite she pretends to be. Regardless, she knows she’s a direct threat. And the games continue.

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In a moment alone, Betty gives him a look. She has him in her hooks now. He proposes on the spot. She laughs in his face and walks off. Immediately, she cries with regret. The payback didn’t feel as funny or sweet as she planned. She loves him.

Meanwhile, Monty breaks his secret to Cyrus, explaining the whole baby mix-up.  He runs after her, leaving Monty at the ship’s helm. Distracted Monty collides the boat with another. Both Adela and Betty go flying off the deck and into the waters.

Despite all that expensive education and breeding, somehow swim lessons were not covered because Adela appears to be struggling to swim or stay afloat. Betty attempts to rescue her. Adela’s jealousy bubbles up just as she repeatedly tries to push Betty underwater. Street smart Betty knocks Adela out cold then holds her head up. Let’s face it, it’s much easier to save a swimmer when they’re not busy trying to drown you.

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The fellas finally join the party: Cyrus swimming with a life-preserver and Monty in a row-boat. Adela is pulled into Monty’s boat so Cyrus can swim after Betty. She swims off stating she’s “going home.” Cyrus pursues and catches up with her at the hoisted anchor. They embrace in a kiss. As defeated and deflated Adela looks on, she knows she’s been licked. And Monty looks on to Adela announcing that they, the ‘non-Its’ should stick together.

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IT (1927) is a fun, sweet little romantic comedy. The premise and central characterization reminds me of Colleen Moore in William A Seiter’s WHY BE GOOD? (1929). The supporting cast does a fine job, especially William Austin as Monty with his heavy eye liner and comedic expressions. Or, at least that’s all it would be if it were not for Clara Bow. Wise casting placed Bow as THE flapper girl of the Jazz Age who embodied her era. In addition to a rocketing rise to mega stardom after this film’s performance, Bow also has the distinction of starring in the first ever Oscar winning Best Picture,  William A Wellman’s WINGS (1927), released the same year.

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Clara Bow’s real life was a complete nightmare. To say someone has “daddy issues” doesn’t even begin to scratch the surface. So to see her perform with such illuminating energy, such radiant beauty, confidence, and well… “It” is even more impressive. From everything we know about Clara Bow’s personal life (the tragic details need to be detailed in another post), she was likely happiest throwing herself into her work. And it shows.

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circa 1925: American silent film actress Clara Bow (1905 – 1965), the original ‘It girl’, gives a wink and a smile for the camera. (Photo by Hulton Archive/Getty Images)

This post was written expressly for the SEX! (now that I have your attention) Blogathon, hosted by Movie Movie Blog Blog June 19-21, 2016. Look back to each day’s list of bloggers for sexy contributions. I chose to write about Clara Bow in IT because not only did her performance define sex for that entire era, and launched her career to mega star status, the film describes sex in a way that seems applicable to any era. Yet only the rare examples could compete with Bow’s level of on-screen self-assured confidence, effervescent presence and sexual magnetism in the decades following her reign.

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