Announcement: It’s the 8th Annual WHAT A CHARACTER! Blogathon

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It’s hard to believe we’ve been hosting this blogathon for eight years now. But perhaps not that shocking considering that discussing those scene-stealing character actors is a crowd-pleasing pastime amongst cinephiles.

Wise-cracking Eve Arden, nurturing Louise Beavers, sassy Thelma Ritter, double-take pro Edward Everett Horton, tart-tongued Edna May Oliver, gravelly-voiced Eddie “Rochester” Anderson, fatherly Charles Coburn, frazzled Franklin Pangborn, bull frog voiced, barrel-chested Eugene Pallette, cigar chomping Ned Sparks… these and so many more lovable character actors are who we look forward to seeing as our dearest ole chums. Couldn’t we all could use a trusted sidekick?

For the eighth consecutive year, we as the blogathon hosting trio of Aurora of Once Upon A Screen@CitizenScreen, Paula of Paula’s Cinema Club@Paula_Guthat, and yours truly- Kellee of Outspoken & Freckled/ @IrishJayhawk66 invite you to join us for the WHAT A CHARACTER! BLOGATHON 2019, November 15, 16, 17, as we pay tribute to the brilliance of the supporting players.

Our objective for the What A Character! Blogathon has always been to shed the spotlight on these lesser-known but equally talented thespians, whose names usually appeared below the title. If you wish salute your favorite on-screen character actor- the quirky maid, that ornery hotel manager, frustrated maître D’, sassy best friend, a hot-tempered heavy, flabbergasted father, sarcastic sidekick, grumpy boss, gobsmacked butler- then you’ve come to the right place. Please review the guidelines below first, and leave me a comment.

  • Let at least one of the hosts know which character actor is your choice.
  • Don’t take it for granted we know exactly who you are or where your blog resides – please include the title and URL of your blog, also your Twitter handle if you have one.
  • We will not accept previously published posts, or duplicates, 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 has featured talented regulars since the beginning, and continues to do so.
  • Publish your WAC! post on either November 15, 16, or 17, 2019. Let us know if you have a date preference; otherwise, we’ll split publicizing duties equally among the three days.
  • Please include one of our banners (see below) within your What A Character! post.
  • Additionally, please include the WAC! 2019 event banner included in this post on your blog itself to help us promote the event.
  • Thank you for sending any of us the direct link to your post once you have published it. Searching on social media sites can lead to missed entries.
  • My contact info: prattkellee@gmail.com / twitter~ @IrishJayhawk66 ~or, simply leave a comment below
  • HAVE FUN and spread the word!

BANNER:

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Participating Bloggers/Character Actors:

Beulah Bondi / Once Upon A Screen @CitizenScreen

Frank McHugh / Outspoken & Freckled @IrishJayhawk66

Bratt Pitt / Paula’s Cinema Club @Paula_Guthat

Richard Erdman / Paulas Cinema Club @Paula_Guthat

Hedda Hopper / Carole and Co. @vp81955

Frank Faylen / A Shroud of Thoughts @mercurie80

Thelma Ritter / The Last Drive-in

Fay Bainter (in The Lady and the Mob (1939) / The Movie Night’s Group Guide to Classic Film

Barton MacLane / Silver Screen Classics Blog @PaulBee71

Charles Coburn / Second Sight Cinema @zleegaspar

Keenan Wynn / The Cinephile & Mrs. Muir

George Zucco / Caftan Woman @CaftanWoman

Una O’Connor / Wide Screen World @ratzo318

Charlie Ruggles / Nickie’s Vintage Life (Instagram)

William Powell / That William Powell site

Franklin Pangborn / Silver Screenings @925screenings

 

 

THAT TOUCH OF MINK (1962)

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Doris Day was 40 years old when Delbert Mann’s THAT TOUCH OF MINK (1962) premiered, cementing her ridiculous (yet popular) reputation as the “world’s oldest professional virgin.” At this point, she was flourishing in her career within a string of crowd-pleasing sex comedies and rom-coms from the late 1950s that continued into the 1960s. THAT TOUCH OF MINK followed a sure-fire formula with successful films like PILLOW TALK (1959) and LOVER COME BACK (1961), co-starring her good friend Rock Hudson and reliable sidekick, Tony Randall.

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Replacing Rock in this take is… wait for it… my favorite dashing hunk of the silver screen, Cary Grant as “Philip Shayne.” Replacing Randall as his second banana here is Gig Young as “Roger.” Replacing Thelma Ritter’s wisecracking maid from PILLOW TALK, or the more subtle spin of Ann B. Davis (yes, Brady Bunch’s family maid “Alice”) as her secretary in LOVER COME BACK, is the wonderfully sardonic roommate, Audrey Meadows, “Connie.” There are more recognizable character actors sprinkled about such as the creepy clerk from the unemployment office, “Everett Beasley” perfectly and hilariously portrayed by John Astin.

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Speaking of unemployment, that’s why I’m discussing this film. When Steve over at Movie Movie Blog Blog announced his “Unemployment Blogathon,” I immediately thought of this film. In the opening scene, Doris Day (my favorite actress, in case I failed to mention) as “Cathy Timberlake” makes her way to the unemployment office to file her weekly claim, with a job interview scheduled to follow. While filing her unemployment benefits claim, she runs into persistent obstacles from Beasley’s (John Astin) less than subtle pick up lines and sexual harassment. She thwarts his advances only to later have a long limousine splash her head-to-toe via a large mud puddle, as she waits to cross a busy NYC corner. Nothing makes for a solid first impression on a job interview than being drenched in mud. It’s wealthy business tycoon, Mr. Shayne’s (Cary Grant) limo, and he doesn’t stop.

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Frustrated, Cathy vents to her friend and roommate Connie (Audrey Meadows), who works at the automat across the street from Mr. Shayne’s. Spotting Cathy from his office window, Shayne sends his executive assistant Roger (Gig Young) over to apologize on his behalf. As you can imagine, this hands-off approach doesn’t fly with feisty Cathy.

Cathy Timberlake: How would you feel? Here I am, he practically runs me down and then drives right away! And doesn’t have the decency to apologize himself. Furthermore I have a job interview and have to go like this. He doesn’t care. 
Roger: Ohhh… 
Cathy Timberlake: You know what I’d like to do? 
Roger: Throw the money in his face? 
Cathy Timberlake: Exactly! I’d like to throw that money right in his face. 
Roger: Would you? 
Cathy Timberlake: Yes, I would. 
Roger: I’ve waited seven years for this moment. You come with me! 

She marches over to give Shayne a piece of her mind, with Roger cheering her on. But with one look at the breathtaking Shayne, her fire has fizzled and she suddenly turns doe-eyed, love-at-first-sight, and weak in the knees.

She proceeds to jet set around with him all day, as she charms his VIP business clientele. Impressed by her beauty as well as her business networking savvy, Shayne proposes a trip to Bermuda. Pretending to be more sophisticated than her “girl from Upper Sandusky” image, Cathy accepts despite her roommate’s discouragement. Things go rocky from there, as Cathy is nowhere near as cosmopolitan as she pretends to be. Certainly, not without a wedding ring first.

A funny scene revolving around unemployment occurs when Cathy lands a job in an office that appears to sort credit card accounts and billing. Her gig doesn’t last for very long. Upon discovery that it really wasn’t her own savvy that secured her position, but rather her Shayne connection, she’s infuriated. Again. In her rage, she randomly starts punching buttons on a huge sorting machine and marches out, unaware of her subsequent damage. In assessing the damage, Philip Shayne: “The Four Horsemen now have a riding companion. There’s War, Famine, Death, Pestilence, and Miss Timberlake!” There are few things more charming than Doris Day on-screen percolating frustration and anger.

You should note that these sex comedies from the 1960s played it safe despite the majority of the plots centered on sex, or the struggles around sex. Films like this were the bubble-gummed twist on an alternative to the ‘free love’ sexual revolution, which was blossoming just around the corner. Also, it may be tough for a modern, woke, #MeToo audience to watch them with today’s perspectives and not be aghast by the overt sexism. But keep in mind, even back then, they knew this was closer to parody than reality. (If you want to read more on this sex comedy sub genre from this era, take a look at my thoughts over at Classic Movie Hub: “Sex Comedies of Sixties”)

As for these caveman-like standards for gender equality, and societal norms for things like pre-marital sex, it’s a movie magic to imagine a vibrant, talented, and intelligent beauty like Doris Day approaching 40 years old playing the virginal, naive “girl” who is intended to be in her early twenties. Even Cathy and Connie’s apartment set-up feels more like a college dorm room, with their twin beds crammed into a shared room. Additionally, Cary Grant was 18 years her senior, and 58 years old when THAT TOUCH OF MINK was released in theaters. But do we notice or care about such glaring age issues? Not with the gorgeous, age-defying likes of Doris Day and Cary Grant. Such pesky truths melt away from the very moment our gaze first greets them.

An essential tool in this film’s charm box is an immaculate sense of style- from the set designs to the stunning wardrobes. The film delights us with a fashion show, too. Three-time Oscar nominee (including for this film) George Milo was the set decorator, and was notable for his work on several Hitchcock classics. The art direction came from two of the best in the industry, Robert Clatworthy (nominated for 4 career Oscars including Hitchcock’s PSYCHO and this film, plus a win) and Alexander Golitzen (nominated for 11 career Oscars, with 4 wins including SPARTACUS). The costume designer was Rosemary Odell, who was contracted to Universal from 1945 to 1967. She was adept in handling a variety of demands as she worked on westerns, noirs, and comedies from over a hundred pictures, including CREATURE FROM THE BLACK LAGOON (1954), TO KILL A MOCKINGBIRD (1962), and horror-comedies like Abbott and Costello monster flicks.

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But here, the gowns and wardrobe pieces are as impeccable as Day and Grant themselves. Doris Day was a standout for her stunning fashions, and there’s no doubt Cary was known as the best dressed man in Hollywood for decades. He took a heavy hand in advising Day on her apparel and contributed his own personal books to enhance the set for key scenes. For example, he was the one who chose her raincoat, from an ad he saw, and arranged to get it in person. He was very meticulous in this regard.

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In her autobiography, Doris Day wrote: “Of all the people I performed with, I got to know Cary Grant least of all. He is a completely private person, totally reserved, and there is no way into him. Our relationship on That Touch of Mink (1962) was amicable but devoid of give-and-take…Not that he wasn’t friendly and polite – he certainly was. But distant. Very distant. But very professional – maybe the most professional, exacting actor I ever worked with. In the scenes we played, he concerned himself with every little detail: clothes, sets, production values, the works. Cary even got involved in helping to choose the kind of mink I was slated to wear in the film.” (source: imdb)

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The only problem the two faced on set was that each insisted a preference for a right profile for closeups. Cary Grant was the true professional and conceded. Not exactly the warm and fuzzies felt from the on-screen chemistry of leading men like Rock Hudson or James Garner, which better suited Day’s naturally warm and approachable persona behind the scenes.

Meanwhile, Grant assisted Gig Young in preparing for his role by suggesting he play up the neurotic obsessive character akin to Tony Randall’s similar roles, which worked well. Young often played the more serious or romantic types but I enjoyed him so much in this comic bit as Roger that I wish he did more like it. Tragically, Gig Young’s life ended in a murder-suicide with his fifth wife, 31 year-old Kim Schmidt, only 3 weeks after their wedding in 1978. As a big “Honeymooners”‘ fan, Grant rallied to get Audrey Meadows. I’m personally grateful because she’s delightful here as the protective pal with her maternal “honey” catch phrase on a loop.

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What does all of this have to do with unemployment? You’ll have to watch the film to see for yourself. Suffice to say, she may have started at the unemployment line, but she landed up getting the job she really wanted. Despite a few items here and there that don’t quite round the bases like PILLOW TALK, Mann’s THAT TOUCH OF MINK still packs an enduring punch with slapstick fare, style and solid performances.

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BORDER INCIDENT (1949)

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Next month marks the 70th anniversary of the gripping film noir, Anthony Mann’s BORDER INCIDENT (1949). It’s a violent, intense, shocking, and visually stunning peek into the slave labor conditions of the braceros who work farming along the American/Mexican border. Here it is 70 years later, and I cannot think of anything more topically relevant.

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Don’t let the arid, sweltering heat of the Imperial valley farmlands setting fool you into thinking this film couldn’t possibly hold up in true film noir style. It does. Thanks to the brilliant teaming of director Anthony Mann and cinematographer John Alton, it doesn’t matter that we are hundreds of miles removed from typical urban streets like San Francisco. There’s plenty of grit and doom to be found in the Mexicali desert.

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In a similar fashion as other noirs at the time such as Mann’s T-MEN (1947) and HE WALKED BY NIGHT (1948), the film begins via voice-over narration in a government sanctioned, just-the-facts-ma’am style of police procedural. Based on a true story, we are introduced to the visual spectacle of the All-American Canal farmlands, the Mexican immigrants who work it-both legally and illegally, and the violent bandits that hunt them down. The tone is sympathetic to the plight of these illegal Braceros who are robbed and killed as they attempt to return to their Mexican homeland after long period of hard labor.

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In a federal law enforcement partnership between Mexico and America, enter dreamy Ricardo Montalban as agent Pablo Rodriguez and baby-faced George Murphy as agent Jack Bearnes (and later as fictional Jack Bryant), government agents working under cover. The two work different angles of the same corrupt operation- Montalban as the bracero being smuggled like a human sardine across the border, and Murphy as the gringo offering illegal immigration paperwork.

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Things get heated from the start, especially when Pablo has palms too soft to be a field hand, and they each are nearly found out, repeatedly, and constantly tested, along the way. Jack is robbed at knife-point then tortured via a truck battery by the bandits before he meets the head of the operation, sinister ringleader Owen Parkson (Howard Da Silva) and taken into confidence. The tension intensifies as both agents attempt to close in on the key elements of this dark world, while their own lives are in imminent danger. As the film progresses, Mann doesn’t hold back in intensifying the violence. One scene in particular, involving a tractor in a field at night, is rather gruesome.

Despite the mounting tensions and violence, the overall approach is very diplomatic and equitable as it promotes collaboration, politically-speaking. And the ending feels somewhat ‘typical Hollywood ending’ as it wraps it up with tissue paper and a pretty bow.

A couple of things stand out for me. The cast, for one.

Ricardo Montalban- Pablo Rodriguez

George Murphy- Jack Bearnes

Howard Da Silva- Owen Parkson

James Mitchell- Juan Garcia

Arnold Moss- Zopilote

Alfonso Bedoya- Cuchillo

Teresa Celli- Maria

Charles McGraw- Jeff Amboy

Jose Torvay- Pocoloco (as Jose Torvay)

John Ridgely- Mr. Neley

Arthur Hunnicutt- Clayton Nordell

Sig Ruman- Hugo Wolfgang Ulrich

Otto Waldis- Fritz

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Ricardo Montalban, born November 25th, 1920 in Mexico City, Mexico, was a dynamically handsome, force of nature. Ricardo made 13 Spanish-language films in Mexico before his debut American film, FIESTA (1947). He was a true working actor, with a variety of roles… romantic latin lovers in musicals, noir detectives (i.e. MYSTERY STREET, 1950), TV westerns, his powerful “Khan” roles in Star Trek, Mr. Roarke on TV’s “Fantasy Island,” and so much more. In 1970, he founded “Nosotros,” a non-profit whose mission is to help those of Spanish-speaking origin in the motion picture and television industry. With over 170 roles across seven decades in film and television, Montalban worked til the very end in 2009 at the age of 88. He will always remain in the hearts of many as the embodiment of the hardworking, virile movie star. For all of his performances in a storied career, this one stands out for me.

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When I think of Howard Da Silva, it’s easy to recognize that face in dozens of roles on stage, TV, and film. But it’s hard pressed not to recall him for his blacklisting in the early 1950s which curbed what could have been even more illustrious career. After being named by writer Martin Berkley, the HUAC (House on UnAmerican Activities Committee) called on actor Robert Taylor as a “friendly witness”, he pointed fingers at many of his fellow colleagues. Taylor said, “I can name a few who seem to sort of disrupt things once in a while. Whether or not they are communists I don’t know. One chap we have currently, I think is Howard da Silva. He always seems to have something to say at the wrong time.” Appearing in front of the HUAC, Da Silva refused to respond or name names, being the first in Hollywood to invoke the 5th amendment, and subsequently was blacklisted until the early 1960s when it was lifted.

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Although heavy ladened in Mexican stereotypes that were especially commonplace at the time, the performances by Alfonso Bedoya and Arnold Moss are truly memorable, as they steal every scene. Bedoya was born in Mexico City and worked small roles in nearly  60 films in the Mexican film industry before John Huston offered him his breakthrough role in THE TREASURE OF SIERRA MADRE (1947). To this day, his line of “stinkin’ badges” has since grown into a pop culture life of its own, including a parody moment in Mel Brooks’ BLAZING SADDLES. Bedoya has a very amiable and appealing quality that transcends the screen, even when he portrays despicable bandits as in this film. You find yourself conflicted in secretly hoping his character somehow turns a new leaf of an upstanding citizen, even as he cackles when committing mischief and crimes. In the midst of a long film career, he struggled with alcoholism and died at the age of 53, in 1957.

Brooklyn-born Arnold Moss possesses a distinctively smooth, bass voice that draws you in. Unlike Bedoya, Moss was trained on the Shakespearian stage and BORDER INCIDENT was only his 4th film role. Moss portrayed a variety of character roles, often as Arab sheiks, with a majority of his career spent working in television. He earned a PhD from NYU in 1973, at the age of 63. In 1989, he died at age 79 of lung cancer. The pairing of Bedoya and Moss as partners in crime here is wholly satisfying.

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I realize I should say something regarding George Murphy, as he was essentially the co-lead (along with Montalban) in this film, but I find him to be mostly stiff, and he feels out of place the entire film. Don’t worry, that doesn’t spoil a thing. The only performances of his that I find captivating and genuine, are when he’s being tortured or harmed. No, I’m not a masochist. But those scenes are more dramatically plot-driven; and like witnessing a horrific car accident, one cannot help themselves but to peek in horror, no matter who’s in the wreckage.

There’s no doubt that an enormous reason for loving this film can be credited to 3 men: director Anthony Mann, cinematographer John Alton, and screenwriter John C Higgins. If ever there was a perfect threesome in creating film noir, this is it. Mann, Alton, and Higgins were formidable in their contributions to some of the era’s best film noirs such as T-MEN (1947), RAW DEAL (1948), and HE WALKED BY NIGHT (1948). While these films were made at the poverty-row studio at Eagle-Lion Films, Mann got the chance to move up to the big leagues at MGM. Thanks to a story by George Zuckerman and Higgins, it was intended to be a ‘T-Men on the border” to replicate its success, but this time with LB Mayer’s fatter wallet. Mann’s only condition was that John Alton come along, too.

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Mann’s vision brought the brutality, Alton painted the beautiful imagery, and Higgins wrote the screenplay to make it all sing in harmony. One of the most telling lines in BORDER INCIDENT comes from favorite tough guy Charles McGraw who portrays Jeff Amboy, one of the corrupt henchmen along the trail of terror. It’s a wide-eyed revelation when bracero Juan asks why they would only get paid $.25 cents per hour, and not the $.75 cents they were told in Mexico. Amboy explodes, “Listen monkey, ya come in here like a crook, break our laws, expect to be treated like one of us?!” It’s more than a tad hypocritical, when it is they (Amboy and the fellow criminals) who are actually committing the much more serious crimes, both legally and certainly morally, as they take full advantage of these braceros in the most menacing ways.

For its time, this film’s stance on the issue of illegal passage of immigrants from Mexico to work American farms is taken somewhat neutrally with blame and credit laid out on both sides of the border. I find this topic especially relevant considering today’s headlines that reflect real dangers for asylum seekers and undocumented immigrants that seek nothing more than an opportunity to work hard to support and protect their families. In contrast to BORDER INCIDENT, we don’t see a cooperative effort today between our two governments with a goal of protecting such targeted people.

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Ironically, in modern politics, many agree that it is our own government’s policies which are placing undocumented immigrants in serious risk and harm. For a brief history lesson, the United States signed the Mexican Labor Agreement with Mexico on August 4, 1942, which was a wartime initiative to utilize braceros (Mexican laborers allowed into the U.S. for seasonal agricultural work) to meet the demands of produce farming. The problem is, the program ended in 1947, just as American politics took a turn to red scare paranoia. As a result, we still have a growing demand for these laborers but our current laws, plus the mountainous backlog of legal channels, are no longer in step with these demands, thereby forcing many to seek illegal routes. Sadly, more than 70 years later, our modern world hasn’t solved the immigration challenge as swiftly and cooperatively as BORDER INCIDENT. If only Ricardo Montalban were here to save us.

*This article was my pleasure and my contribution to HOLLYWOOD’S HISPANIC HERITAGE BLOGATHON, hosted by my dear friend Aurora of Once Upon A Screen aka @CitizenScreen, taking place September 29th, 2019. Be sure to read all the participating entries, honoring the many Hollywood talents of hispanic heritage.

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Day One: The #31DaysOfOscar Blogathon!

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We have finally arrived to our exciting annual event, The 31 DAYS OF OSCAR BLOGATHON. In tribute and in namesake of the Turner Classic Movies network month-long programming, we honor all things Oscar related by inviting bloggers to contribute. Today, for the first day in our 3-day event, I will be your host and here are your entries… Enjoy!

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1) Our own co-host Aurora (@CitizenScreen) of Once Upon A Screen interviews Kimberly Truhler (@GlamAmor) of GlamAmor.com. Fashion and Film historian Kimberly was recently featured in the CNN docu-series American Style and discussed “FASHION HISTORY, HOLLYWOOD, and the OSCARS” with Aurora…

Interview: Kimberly Truhler on Fashion History, Hollywood, and the Oscars

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2) Paddy (@CaftanWoman) of Caftan Woman presents her entry with the extremely talented and highly influential man of Hollywood, “IRVING BERLIN at the OSCARS.” 

https://www.caftanwoman.com/2019/02/31-days-of-oscar-blogathon-irving.html

3) Sharleen of Clara’s Closet offers up her thoughts on some of Oscar Snubs in “GONE WITH THE WIN.”

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4) The Gal Herself of One’s Gal’s Musings breaks down the impressive stats and Oscar noms of a legend who spent a lifetime on screen, “NATALIE WOOD: Nominated Three Times by Age 25.”  

https://onegalsmusings.blogspot.com/2019/02/31-days-of-oscar-blogathon-tha-actors.html

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5) RealWeegieMidget Reviews (@realweegiemidge) chimes in with “5 OSCAR SUPPORTING NOMINATED ACTORS SINGING UP A STORM.”  

https://weegiemidget.wordpress.com/music/best-singing-supporting-actors/

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6) Daniel (@dsl89 ) of Movie Mania Madness takes a look at the winner of the Best Original Song Score Oscar of the 43rd Academy Awards with the Beatles’ “LET IT BE: IT DON’T COME EASY.”

https://moviemaniamadness.wordpress.com/2019/02/22/31-days-of-oscar-blogathon-let-it-be-the-beatles/


Thank you for reading these wonderful entries in our first day of #31DaysOfOscar Blogathon! But wait… there’s more to come! We have a full weekend yet to come. My co-hosts, Aurora and Paula will take over the hosting for more fascinating Oscar worthy topics…

DAY 2, Saturday 2/23: Host-> Aurora @CitizenScreen/ ONCE UPON A SCREEN

DAY 3, Sunday 2/24: Host -> and Paula/ @Paula_Guthat/ PAULA’S CINEMA CLUB

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Announcement: 31 Days Of Oscar Blogathon 2019

Announcement: 31 Days of Oscar Blogathon 2019

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From the time Douglas Fairbanks, then President of the Academy of Motion Picture Arts and Sciences, hosted the first Awards dinner party for about 250 people on May 16, 1929, to this year’s host-free Oscars ceremony ninety years later, this iconic celebration honoring Hollywood’s finest continues to be just as spectacular and riddled with excellence and contentions as the films and filmmakers they honor.

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If you take a look back at the many Oscar moments in these past 90 years of Oscars ceremonies, you’ll find numerous surprises, disappointments and controversies, which continue to spark debate to this day. That’s where we come in. For the seventh consecutive year, I am joining forces with Aurora of Once Upon A Screen aka @CitizenScreen and Paula of Paula’s Cinema Club aka @Paula_Guthat to bring you the 31 Days of Oscar Blogathon. We hope you’ll consider joining us to make this the best and brightest Oscar blogging event yet.

Not surprising, this blogging event is inspired by Turner Classic Movies’ 31 Days of Oscar marathon, which begins its 24th installment on February 1 and ends March 3rd. This year the network presents the film schedule in a mixed topics potpourri surrounding the historic film industry. Topics range from “Grittiest Streets of New York” to “Favorite Singing Cowboys” to “Favorite Epic Soap Opera.” As the Oscars themselves, there’s something for everyone. See the full schedule here: http://prod-images.tcm.com/Microsites/31Days/31Days2019-Schedule.pdf

Since both TCM and the Oscars bring to mind our beloved host and favorite historian, Robert Osborne, we thought we would kick off our Blogathon with his words about the 31 Days of Oscar marathon…

“One thing seems to stir the souls of our Turner Classic Movie loyalists like no other: the 31 Days of Oscar salute.” 

Blogathon Details

This year, we will host all the contributing entries the weekend of the Oscars. That is from Friday, February 22nd through Sunday, February 24th, wrapping up just in the nick of time to watch the Oscars ceremony. 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 span of 9 decades history of Oscar, including this year’s nominees. To help get you motivated, here are categories we have 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 is necessary:

  • 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 2/22, Saturday 2/23 or Sunday 2/24
  • 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 will be accepted to ensure we cover as much of Oscar history 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!

Participating Blogs and Topics:

Caftan Woman… Irving Berlin at the Oscars

Once Upon A Screen… Interview with Kimberly Truhler- Fashion and Oscar

The Stop Button… Eleanor Parker: Oscar Nominee

Movie Night’s Group… Peter O’Toole in My Favorite Year

The Old Hollywood Garden… Best Supporting Actress of 1952 (1953 Oscars ceremony)

Outspoken & Freckled… Bizarre and Beautiful at the Biltmore: the 7th Academy Awards

 

Elisha Cook Jr

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A crazy-eyed neurotic. A nervous noir thug. A sell-out weasel. These are not exactly the most flattering depictions of a character. But these are just a few of the characters Elisha Cook Jr. was best known. “Cookie” was a true working actor with over 200 credits across stage, film, and television for a career that lasted nearly sixty years.

Starting as young as 14 years old, Elisha began in vaudeville and doing stage work. By the 1930s, Elisha kicked off his film career in Pre-Codes. Here’s a lip-sticked Elisha, along with Frances Underwood, from his first on-screen role in HER UNBORN CHILD (1930). The promotional marketing pitched, “A vividly dramatic all-talker of the Broadway stage hit which rocked the nation with its frankness.” I’m hooked.

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Soon, he transitioned from his squeaky clean, youthful roles into a much darker presence. With a petite stature of 5 foot 5″ he became known as Hollywood’s lightest heavy. He could gain the audience’s sympathy as the timid man with equal vigor as he portrayed the cowardly villains. It can be argued that he was the first emotionally-conflicted gangster heavy.

One of his most notable roles came in 1941 as “Wilmer the gunsel” in John Huston’s THE MALTESE FALCON. He is a vivid stand-out even though surrounded by a stellar cast. Even more impressibly, most of his scenes include very little dialogue. As Sydney Greenstreet’s gun for hire, he is frequently and frustratedly humiliated as sport by Humphrey Bogart’s Sam Spade. Unforgettable use of restraint and characterization by Cook’s performance makes him an iconic figure.

A year prior to THE MALTESE FALCON, Cook appeared in STRANGERS ON THE THRD FLOOR, considered by many film scholars as the original Film Noir. Elisha thrived in this style of film, finding a steady stream of work for his ‘type.’ According to a New York Times piece (written upon the occasion of his death 1995), Cook described this era in career…

“I played rats, pimps, informers, hopheads and communists,” he once said, recalling that as a character actor generally assigned to subsidiary roles, he had to take what was offered. “I didn’t have the privilege of reading scripts. Guys called me up and said, ‘You’re going to work tomorrow.”  (“Elisha Cook Jr., Villain in Many Films, Dies at 91” by Robert MCG Thomas Jr/ New York Times/ May 21, 1995)

And he kept working. One of the most memorable Elisha Cook Jr performances is his frenzied, drum solo from the noir classic PHANTOM LADY (1944). After exchanging flirtations with Ella Raines as Carol “Kansas” Richman on the hunt for evidence, Cook as drummer Cliff Milburn with the key to evidence, takes her to his jazz jamming session. There he works up a substance-infused, climatic drumming crescendo that can only be described as orgasmic. The censors must have sweat a few drumsticks of their own. Take a peek for yourself : http://www.tcm.com/mediaroom/video/1324863/Phantom-Lady-Movie-Clip-You-Sure-Know-How-To-Beat-It-Out.html  

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Beyond his work on film noirs and with legendary co-stars and filmmakers, Cook branched out into other genres. One of my favorite classic horrors is a William Castle classic, HOUSE ON HAUNTED HILL (1959) starring Vincent Price. But as in all of his work, Elisha Cook Jr.’s small role leaves a strong impression. Here’s our spooky introduction to his role as Watson Pritchard:

 

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“The ghosts are moving tonight, restless… hungry. May I introduce myself? I’m Watson Pritchard. In just a moment I’ll show you the only really haunted house in the world. Since it was built a century ago, seven people, including my brother, have been murdered in it. Since then, I’ve owned the house. I only spent one night then and when they found me in the morning, I… I was almost dead.” Memorable, eh?

As many actors did, Cook garnered more gigs by moving to television in the 1950s, starting with the popular westerns (“Wagon Train,” “Rawhide,” “Gunsmoke,” “Bonanza”). One of his career highlights includes his bit role as Stonewall Torrey in SHANE (1953). Watch him being gunned down in the muddy streets by Jack Palance:

For the most part, TV is where Cook filled his resume for the decades that followed. From looking at his acting credits in the 50s, 60s, 70s, and 80s, I’m not sure if there was a TV show that didn’t include him somewhere. His last acting job was for 13 episodes of “Magnum PI” as ‘Ice Pick’ (1981 – 1988).

Because he worked nearly constantly, I cannot possibly list them all. But here are some fun favorites, in no particular order:

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“The Duo Defy” episode from BATMAN, aired March 30, 1967. Eli Wallach as Mr. Freeze, Leslie Parrish in fur, and Elisha Cook Jr. as Professor Isaacson.

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Ketty Lester sinks her teeth into Elisha Cook Jr. in BLACULA (1972).

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Cook as a hood Frank Lucas, opposite Laurel and Hardy, in A-HAUNTING WE WILL GO (1942).

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Elisha Cook Jr with William Shatner in the “Court Martial” episode of “STAR TREK” (1967).

Born Elisha Van Slyck Cook Jr. in San Francisco on December 26th, 1903, his 115th birthday is approaching soon. The other personal detail that seems very interesting of this reliable, working actor is his love life. Married twice, he married his first wife Mary Lou at the age of 25 and they divorced 13 years later. Mary Lou Cook was an actress as well and died just 3 years after they divorced. Two years after his divorce from Mary Lou, he married his 2nd wife, Elvira Ann “Peggy” McKenna in 1943. Peggy was a huge fan of Carole Landis and her fandom led to a close friendship. Elisha and Peggy divorced in 1968 and divorced. Oddly, they remarried just two tears later and remained married until her death in 1990. It was during the same year of her death that Elisha suffered a stroke that took away his ability to speak. Five years later, he died on May 18, 1995 in Big Pine, CA. Even in real life, he seemed to be pillar of hard work ethic, always sticking to it, no matter what.

Although thought of mostly as the bug-eyed psychotic or as the last surviving member of the MALTESE FALCON cast, Elisha Cook Jr. proved he may come in a small package and take on small roles, but he left a big impact in a variety of lasting work. I found this video tribute to Elisha Cook Jr. Hope you enjoy it, too..

My tribute piece to Elisha Cook Jr. is part of the 7th annual WHAT A CHARACTER! BLOGATHON, December 14, 15, 16th, 2018, hosted by Aurora @CitizenScreen of Once Upon A Screen, Paula @Paula_Guthat of Paula’s Cinema Club, and yours truly. Please enjoy all the fabulous entries from this fun weekend!

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Skelton Knaggs

This following is a guest post on SKELTON KNAGGS for the 7th annual WHAT A CHARACTER! BLOGATHON. The author is Bill Shaffer- President of the Kansas Silent Film Festival, recently retired as Director of KTWU for over 40 years, the go-to fella for anything happening in the “old movie realm” in this corner of the Sunflower State, a spaghetti western aficionado, and a helluva swell guy and personal friend…

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Skelton Knaggs is one of my favorite character actors because – wait a second! Skelton Knaggs? Who is that? Well, I often remember him as the creepy little guy in various 1940’s-era horror movies – three for Val Lewton’s unit at RKO and three more for Universal. However, the most famous bit I ever saw him in was as a menacing gunslinger hanging around Jane Russell’s hotel in Paramount’s terrific Bob Hope comedy, THE PALEFACE from 1948. One look at that face and hearing that voice like a rasping knife and he’s pretty hard to forget.

Knaggs was born in 1911 across the pond in the Hillsborough district of Sheffield, England. He moved to London where he attended the Royal Academy of Dramatic Art and became a Shakespearean actor. Aside from doing the Shakespeare plays on stage, Knaggs appeared in a few British films including 1939’s Michael Powell production, THE SPY IN BLACK where he was cast as a German orderly. He quickly found his way to Los Angeles and began appearing in Hollywood films including TORTURE SHIP (also 1939) and DIAMOND FRONTIER (1941). He was often cast in sinister parts in horror films due to his diminutive and eccentric looks, his prominent teeth and his bony, pock-marked face. He didn’t have too many lines. One look at that face and you’ll remember him.

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His first association with producer Val Lewton was not a particularly good one, although the film, THE GHOST SHIP (1943) turned out to be one of his best. Knaggs played the part of a mute sailor who narrates the story even though he never speaks. This impressively suspenseful Lewton film was directed by Mark Robson, but it became the center of a plagiarism case in which the plaintiff won and all prints of the film had to be pulled from theaters. It sadly did not see the light of a movie or TV screen until the mid-1990’s. A stunning DVD version appeared in 2006, thanks to Warner Home Video. For Lewton, there were also performances in ISLE OF THE DEAD (1945) and BEDLAM (1946), both with Boris Karloff. He also supported Karloff in DICK TRACY MEETS GRUESOME (1947) and landed another part in DICK TRACY VS. CUEBALL (1946).

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For Universal, Knaggs had good bits in THE INVISIBLE MAN’S REVENGE (1944) with Vincent Price, the all-star monster mash, HOUSE OF DRACULA (1945) and the Sherlock Holmes thriller, TERROR BY NIGHT (1946). In between all of these genre productions, Knaggs also managed appearances in some top-rated films like NONE BUT THE LONELY HEART (1943) with Cary Grant, THE LODGER (1944) with Laird Cregor, THE PICTURE OF DORIAN GRAY (1945) with Hurd Hatfield and Donna Reed, FOREVER AMBER (1947) with Linda Darnell and the aforementioned PALEFACE (1948) with Bob Hope and Jane Russell.

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After MASTER MINDS in 1949 with the Bowery Boys, Knaggs returned to London where he married Thelma Crawshaw and then returned to Hollywood for a number of film performances. There was CAPTAIN VIDEO: MASTER OF THE STRATOSPHERE, a 1951 serial for Columbia Pictures that ran for 15-chapters in as many weeks, BLACKBEARD THE PIRATE (1952) with Robert Newton, ROGUE’S MARCH (1953) with Peter Lawford and Richard Greene, BOTANY BAY (1953) with Alan Ladd, CASANOVA’S BIG NIGHT (1954) again with Bob Hope and finally, MOONFLEET in 1955, a period adventure film with Stewart Granger and James Mason. It was the final American film to be directed by German-emigre, Fritz Lang. It would be the last film for Skelton Knaggs. He was battling alcohol addiction and died of cirrhosis of the liver at the age of 43 in Los Angeles.  

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This post is an entry in the 7th annual WHAT A CHARACTER! BLOGATHON, as hosted by Aurora @CitizenScreen of Once Upon A Screen, Paula @Paula_Guthat of Paula’s Cinema Club and Kellee @IrishJayhawk66 of Outspoken & Freckled. Follow up with all 3 days of this mega blogging event, Dec 14 – 16, 2018, for informative contributions!     

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Day One: 7th annual WHAT A CHARACTER! BLOGATHON

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Today we bring you the first day of the 7th annual WHAT A CHARACTER! BLOGATHON, hosted by yours truly and my fellow co-hosts, the classic film loving ladies: Paula of Paula’s Cinema Club @Paula_Guthat and Aurora of Once Upon A Screen @CitizenScreen.

As promised, this annual event celebrates the character actors. Those unsung heroes of the silver screen, those familiar faces who often steal every scene from the leads… we salute you! Whether it’s the frustrated hotel manager, or sharp-witted maids, perhaps a sassy sidekick, or even the best friend… in so many ways, the character role is often our favorite, albeit small, performances of a film. We have invited bloggers to scribe on their favorite characters. Here they are!

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Gill of Reelweedgiemidget Reviews @realweegiemidge discusses the usually second- billing, yet always first-rate performances of Engaging Roles from Enigmatic ED HARRIS Read about it here: https://weegiemidget.wordpress.com/starring/actors-2/ed-harris/ 

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Maddy of Maddy Loves Her Classic Films presents SARA ALLGOOD. As Maddy affectionately adds, “She truly was one of the most gifted and natural actresses of the classic film era.” Read more: https://maddylovesherclassicfilms.wordpress.com/2018/12/12/the-seventh-annual-what-a-character-blogathon-sara-allgood/

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Paddy of the Caftan Woman @CaftanWoman scribes on The Villainy of JACK LAMBERT. She describes him, “His craggy face and intimidating physique made Lambert a tough guy walking.” Read all the details on memorable character: https://www.caftanwoman.com/2018/12/what-character-blogathon-villainy-of.html

Actor Nat Pendleton

Sarah of the Mrs. Charles blog scribes on NAT PENDLETON. Sarah explains how she came to know a great deal about this prolific character actor who was much more than just “a likeable, but not too bright policeman, gangster, assistant…” Learn more here: https://mrscharlesonline.wordpress.com/2018/12/12/nat-pendleton/

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Jacqueline of Another Old Movie Blog offers her thoughts on WALTER ABEL. As she writes, “He was worthy of lead roles, but he was one of those actors who managed to turn even a small character part into the lead for even just a few moments.” Find out more here: https://anotheroldmovieblog.blogspot.com/2018/12/walter-abel.html?fbclid=IwAR04JcaUXcv9VSoMrWNz2yYKSINLBaC8siSW5g0cEz2VfXf5VCxJpmvDr6I

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One Gal’s Musings presents, JEAN DIXON. As she describes this scene-stealer, “Jean Dixon was once Hollywood’s Everywoman.” Read more on this relateable character: https://onegalsmusings.blogspot.com/2018/12/what-character-jean-dixon.html

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Theresa of CineMaven’s Essays From The Couch joins us. She reached her choice of character actor as she explains, “And who better to dive into but the tall, dark, ruggedly handsome and oh so dangerous… STEPHEN MCNALLY.” When he’s bad, he’s good! We agree, Theresa! Read on, friends: https://cinemavensessaysfromthecouch.wordpress.com/2018/12/14/stephen-mcnally-when-hes-bad-hes-good/

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Quiggy from The Midnite Drive-In saddles up with a tribute to a frequent John Wayne cowpoke, HANK WORDEN. As Quiggy adds, “And I’d hazard a guess that if you thought of minor characters in Wayne movies, at least one or two in the top 10 would be a character played by Worden.  Some of them were quite memorable.” More: https://midnitedrive-in.blogspot.com/2018/12/hank-worden-and-john-wayne.html

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Next up, Constance of Silver Scenes pays tribute to GEOFFREY KEEN – The Minister From England. As she notes, “He cut an imposing figure, was always well-groomed and cultured ( you’d never catch Keen among lowly people ), and walked in an air of authority.” Read on here:  https://silverscenesblog.blogspot.com/2018/12/geoffrey-keen-minister-from-england.html

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Last but not least, Bill Shaffer as guest blogger on Outspoken & Freckled offers up the distinctively familiar face of SKELTON KNAGGS. As Bill observes, “One look at that face and hearing that voice like a rasping knife and he’s pretty hard to forget.” Discover more about this character with a lesser known name and better known face: https://kelleepratt.com/2018/12/15/skelton-knaggs/

Thanks so much to all of our talented participants (who allow me to learn new and interesting details about characters every time we host this) and big kudos to my fellow co-hosts Paula and Aurora! Be sure to read all of these fascinating entries to our blogathon all weekend long..

Day 2: Once Upon A Screen

Day 3: Paula’s Cinema Club

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3 Godfathers

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There’s something very charming about an outlaw who shows us his good side. Sure, he breaks laws; but in a pinch, his instinct to do the truly right thing blazes in, just in the nick of time. He’s often the anti-hero with a tough, crusty exterior and vulnerable mush inside. The lovable cad.

In John Ford’s technicolor 3 GODFATHERS (1948), based on the 1918 novelette by Peter B Kyne, Ford introduces us to three outlaws who take us on a western journey of survival with a biblical Three Magi theme. And yes, these three outlaws give us their good sides, plenty.

In this film, Ford does what Ford does best. Gathers some of his entourage of actors, finds a breathtaking filming location for a backdrop, develops unforgettable characters with sprinkles of humor, then he masters the western storytelling like no one else. 3 GODFATHERS is a indeed western. But it’s also a heist film, a race for survival film, a spin on the standard hero film, a buddy film, and a romanticized telling of The Three Wise Men/ Christmas story.

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Ford made films from the silents to the 1960s, within a variety of genres including many masterpieces, but it is the western we most associate with his signature work. When you see a Ford western, you know it, and this one is unmistakably Ford. For a demanding director who was infamous for his gruff manner and harsh treatment of his cast, he had a heart-warming sentimental side that shines through in his films.

In 3 GODFATHERS, the sentiment starts even as the opening credits roll. Both Ford and his frequent lead, John Wayne, were very good friends with actor Harry Carey who just passed the year prior. Carey starred in Ford’s silent version of this film from 1916 with the same title. In the opening credits, Ford dedicates the film to him with a silhouette of a cowboy figure resembling Carey with the quote, “bright star of the early western sky.” But make no mistake in thinking this film is a soft, wordy piece. The man was a ‘doer’ of few words. Likewise, 3 GODFATHERS is a visual story telling of action across stunning landscapes, often with horses, mules, and an abundance of thirst.

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Our three outlaws are John Wayne as Robert Marmaduke Hightower (named by Ford for his favorite stuntman Slim Hightower), Pedro Armendariz as Pedro, and Harry Carey, Jr. as William Kearney aka “The Abilene Kid.” Despite choosing opposing sides of the law, marshal Perley ‘Buck” Sweet (Ward Bond) and Hightower connect instantly with report, respect, and humor, even before the 3 outlaws rob the local bank. As Perley and a posse take chase across the desert, Hightower strategically does his best to outwit their pursuit efforts. Perley isn’t daunted, his admiration for Robert only grows stronger.

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In their quest for water and escape, the trio come across a dire scenario. A woman has been abandoned by a derelict husband who has left after forever destroying a water well in his ignorantly “tenderfoot” ways. Worst yet, she is about as pregnant as anyone could be. No means for water, the threesome make do with cactus juice and meager newborn provisions from the wagon where the woman gives birth, thanks to Pedro. There is an especially poignant and gentle scene portrayed by Mildred Natwick as the pregnant woman (supposedly 28 or 30 years old, but she was actually 43 years old at filming) who gives birth to a baby boy, whom she names Robert William Pedro, after his three godfathers.

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In Scott Eyman’s novel, “Print The Legend: The Life and Times of John Ford,” he quotes Natwick’s recall of her experience in working with Ford in this particular scene:

“I’ve never forgotten,” remembered Natwick, “that Ford seemed pleased with the scene and pleased that I done it. I guess because I knew my lines and got through it in [one] morning… I don’t know, you get things by osmosis from a wonderful director, I think. His feeling about what the woman was thinking and feeling.” 

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Natwick’s account was a stark contrast from Harry (“Dobe”) Carey, Jr.’s, for whom Jack Ford was also known as “Uncle Jack.” Despite the fond admiration betwixt his father and Jack, Dobe was not given any special treatment on the set. If anything, Ford was much tougher on him than most. Also according to Eyman’s book, this was Jack’s typical baptism onto his set via a form of fraternity hazing.

Clearly, Ford was a complicated man imbued with contradictions. Perhaps the salty layers of Robert Hightower with a firm moral code is how Jack chose to see himself.

I won’t reveal a full synopsis of this film to spoil it, but I’m confident that at the beating heart of 3 GODFATHERS is its humanity. Each of the three outlaw godfathers reveal their ultimate goodness, and individual strengths and weaknesses to us. Both small characters (like man-hungry, cackling Jane Darwell as Miss Florie) and larger characters alike are brilliantly developed and showcased. You don’t have to be a nativity believer to find appeal in this moral journey these three men face. Their struggle for survival and search for integrity at all costs, in complete devotion to the baby, tugs at the heart strings.

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I’m a sucker for the holidays. I embrace it with child-like wonder and magic. If this is a Christmas film you’ve never seen before, or if it’s been a long time, you owe it to yourself to screen it soon. You can get your chance via TCM in December 15th at 9:30pm ET, 2018. 


*This article is a submission to the Outlaws- The 2018 Fall CMBA Blogathon. I encourage you to read all the entries (click here for each day’s full list: https://clamba.blogspot.com/2018/10/outlaws-2018-fall-cmba-blogathon.html ) in this collective, of which I’m proud to be a part of. Outlaws Bannner - Jesse James

Announcing the 7th Annual WHAT A CHARACTER! BLOGATHON

Announcing the SEVENTH ANNUAL What A Character! Blogathon
December 14-16, 2018

GoldDiggersOf193324-650x493When you re-watch your favorite films, what keeps you coming back for more? A great story with sharp writing? No doubt. Beautiful costumes, swanky set designs, and stunning cinematography? Most assuredly. But the performances are key to any movie. While we all look forward to the popular leading actors, it is the stand-out, scene-stealing supporting actors that feel like “home.”

Wise-cracking Eve Arden, nurturing Louise Beavers, sassy Thelma Ritter, double-take pro Edward Everett Horton, tart-tongued Edna May Oliver, gravelly-voiced Eddie “Rochester” Anderson, fatherly Charles Coburn, frazzled Franklin Pangborn, bull frog voiced, barrel-chested Eugene Pallette, cigar chomping Ned Sparks… these and so many more lovable character actors are who we look forward to seeing as our dearest ole chums. We all could use a trusted sidekick.

For the seventh consecutive year, we as the blogathon hosting trio of Aurora of Once Upon A Screen/ @CitizenScreen, Paula of Paula’s Cinema Club/ @Paula_Guthat, and yours truly Kellee of Outspoken & Freckled/ @IrishJayhawk66 invite you to join us for the WHAT A CHARACTER! BLOGATHON 2018, December 14, 15, 16, as we pay tribute to the brilliance of the supporting players.

Our objective for the What A Character! Blogathon has always been to shed the spotlight on these lesser-known but equally talented thespians, whose names usually appeared below the title. If you wish salute your favorite on-screen character actor- the quirky maid, that ornery hotel manager, frustrated maître D’, sassy best friend, a hot-tempered heavy, flabbergasted father, sarcastic sidekick, grumpy boss, gobsmacked butler- then you’ve come to the right place. Please review the guidelines below first, and leave me a comment.

  • Let at least one of the hosts know which character actor is your choice.
  • Don’t take it for granted we know exactly who you are or where your blog resides – please include the title and URL of your blog, also your Twitter handle if you have one.
  • We will not accept repeats (previously published posts), or duplicates, 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 has featured talented regulars since the beginning, and continues to do so.
  • Publish your WAC! post on either December 14, 15, or 16, 2018. Let us know if you have a date preference; otherwise, we’ll split publicizing duties equally among the three days.
  • Please include one of our banners (see below) within your What A Character! post.
  • Additionally, we appreciate when you include [one of] the WAC! 2018 event banner[s] included in this post on your blog itself to help us promote the event.
  • Thank you for sending any of us the direct link to your post once you have published it. Searching on social media sites can lead to missed entries.
  • My contact info: prattkellee@gmail.com / twitter~ @IrishJayhawk66 ~or, simply leave a comment below
  • HAVE FUN and spread the word!

Here are the spectacular banners Aurora has created for you to promote on your blogs…

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Participating blogs and their choice of actors:

Walter Abel ~ Another Old Movie Blog

Sara Allgood ~Maddy Loves Her Classic Films

Lionel Atwill ~ Paula’s Cinema Club

Beulah Bondi ~ Once Upon A Screen

Elisha Cook, Jr. ~ Outspoken & Freckled

Jean Dixon ~ One Gal’s Musings

Alan Hale (Sr) ~ Silver Screen Classics

Margaret Hamilton ~ Wide Screen World

Ed Harris ~ Reel Weedgie Midget Reviews

Eileen Heckart ~ The Last Drive-In

Frieda Inescort ~ Sister Celluloid

Skelton Knaggs ~ Bill Shaffer, guest blogger on Outspoken & Freckled

Jack Lambert ~ Caftan Woman

Charles McGraw ~ The Old Hollywood Garden

Stephen McNally ~ CineMaven’s Essays From The Couch

Agnes Morehead ~ In The Good Old Days of Classic Hollywood

Eugene Pallette ~ Carole & Co.

Elizabeth Patterson ~ Backstory: A Guide To Classic Film

Nat Pendleton ~ Sarah as guest blogger on Once Upon A Screen

Thelma Ritter ~ A Shroud Of Thoughts

Everett Sloane in LADY FROM SHANGHAI ~ Silver Screenings

Kay Thompson ~ The Lady Eve’s Reel Life

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*This WAC! Blogathon is dedicated in memory to two very fine character actors whom we lost this year. James Karen (1923 – 2018) was a hard-working actor who was a personal friend of Buster Keaton and frequent attendee of the Buster Keaton Celebration in Kansas and the TCMFF. Vanessa Marquez (1968 – 2018) was an extraordinary actress of film and TV and an even better friend. She is greatly missed and we continue to hold her close in our hearts.

Thank you to TCM for the tagline inspiration and to all you bloggers and film fans for your ongoing participation and support for seven years running! And a big ShoutOut to my fellow co-hosts who inspire me all year long for being such marvelous and lovely characters themselves!

~Kellee

 

 

 

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