“Mildred Pierce”: 4th Film in “High Heels and Fedoras” series at Daystar Center May 14, 2013

Tuesday, May 14, 2013
6:30 p.m.
The Venue 1550 at the Daystar Center
1550 S. State Street


Mildred Pierce was a critical and financial hit when released in 1945. It resurrected the career of screen legend, Joan Crawford, who many had written off as a has-been. The movie was a showcase for some new talent too, but it was Crawford’s film and she commands the screen in every scene she’s in.

The straightforward narrative in the James M. Cain novel was changed for the film version. Mildred’s story is told in flashback, a popular film noir convention that works really well and adds to the movie’s texture. The film itself is put together very nicely with the Warner Brothers A-Team pulling out all the stops. Cinematographer Ernest “Ernie” Haller’s black and white photography is beautifully atmospheric. The angles, the contrasts, are seamless and help advance the story without getting in the way. The score by Max Steiner is lush without being overwhelming, at least not overwhelming as far as Steiner scores go (They’re all kind of overwhelming, actually). Legendary makeup artist Perc Westore makes Crawford’s transition from waitress/working mom into successful/sophisticated businesswomen seem natural and believable. Much of Crawford’s look in this film, and for the rest of the decade, is due in great part to the costuming of Milo Anderson. Last but not least, director Michael Curtiz assembled all the pieces together to form a perfect whole, but Curtiz wasn’t at all set on working with Crawford.

Zachary Scott, Joan Crawford, and Ann Blyth

According to Crawford, Curtiz wanted Barbara Stanwyck to play Mildred. He didn’t want to work with a “difficult” has-been. In order to change Curtiz’s mind, Crawford submitted to a screen test. This was unheard of for an established star, but so determined was Crawford to snag the role that she consented. Crawford’s screen test impressed Curtiz enough that he agreed to direct her. And for Crawford, a new career was born at Warners.

Mildred Pierce was nominated for six Academy Awards, including Best Picture and Best Actress. Crawford’s Best Actress Award was the only win, put it propelled her back to the top of the heap, giving fellow Warner contract-player, Bette Davis a run for her money. Ironically, Davis’s career was on a downward arch while Crawford was starring in some critical and commercially successful melodramas. After Mildred Pierce, Crawford starred in Humoresque (1946), Possessed (1947), Daisy Kenyon (1947), and Flamingo Road (1949). Possessed brought her a second Best Actress nomination.

Mildred Pierce isn’t considered a true film noir movie, by some critics. But it sure feels like film noir to this movie fan.

To purchase tickets for the May 14 screening, click here. Tickets are $5 per person general admission $3 for students and seniors. Tickets may also be purchased at the door. To stay on top of film events like this, join the Chicago Film Club Meetup.

To download a flyer to post in your building or office, click here.


The Venue 1550 is located at 1550 S. State St. in the Daystar Center. The Daystar Center offers a variety of educational, artistic and cultural activities, including classes for children that teach practical life skills like social aptitude, creativity and cultural awareness in fun ways; classes for adults that give space for self-reflection and improvement; room rentals for many different-sized groups in several multipurpose rooms. For more information, call 312.674.0001 or visit their Web site.

Murder, My Sweet: 3rd Film in “High Heels and Fedoras” series at Daystar Center April 9, 2013

Tuesday, April 9, 2013
6:30 p.m.
The Venue 1550 at the Daystar Center
1550 S. State Street


Murder, My Sweet, based on the novel by Raymond Chandler, was released in 1944, a few months after another noir classic, Double Indemnity. It was popular with audiences and critics alike. It transformed Dick Powell from a pretty-boy singer into a film noir icon. It also provided a great femme fatale role for Claire Trevor, one of Hollywood’s most versatile and talented actresses. For Anne Shirley, who was acting in the movies since she was four years old, her portrayal of Ann Grayle would mark her last film role.

Powell was probably the only actor in Hollywood who actively campaigned to play Walter Neff in Double Indemnity. Most of his contemporaries were afraid to play a murderer, but Powell was desperate to reinvent himself.

As a contract player at Warner Brothers, Powell was cast in musicals often costarring tap dancer Ruby Keeler and his first wife Joan Blondell. With his pretty-boy looks and tenor voice, Powell was a matinee idol during the early to mid-1930s. As the 1940s began, Powell thought he was too old to continue playing young romantic leads.

Powell  starred in movie musicals
during the 1930s.

Although he didn’t get the Walter Neff role, Powell did secure a contract with RKO where they were developing a B-movie based on Raymond Chandler’s detective novel, Farewell, My Lovely. When Powell and Trevor signed on as leads, the budget increased, turning it into an A-picture. Audiences and critics loved Powell’s portrayal of detective Philip Marlowe. Powell was now a successful dramatic actor. His reinvention was complete. Here’s what the New York Times said of Powell: “This is a new type of character for Mr. Powell. And while he may lack the steely coldness and cynicism of a Humphrey Bogart, Mr. Powell need not offer any apologies. He has definitely stepped out of the song-and-dance, pretty-boy league with this performance.”

Murder, My Sweet made Powell a bankable star once again. It also gave Trevor one of the best roles in her long movie career. For director, Edward Dmytryk, it raised his profile at RKO. He was given more A-movies to direct, including the Academy Award nominated Crossfire (1947). Dmytryk would go on to direct the epic Raintree County (1957), The Young Lions (1958), and the all-star The Carpetbaggers (1964), which was the highest grossing film that year.

To purchase tickets for the March 12 screening, click here. Tickets are $5 per person general admission $3 for students and seniors. To download a flyer to post in your building or office, click here. Tickets may be purchased at the door.

Anne Shirley (center) in Anne of Green Gables

Backstory: Anne Shirley began acting in silent movies when she was only four years old. She started out as Dawn O’Day, but when she portrayed Lucy Maud Montgomery’s heroine Anne Shirley in Anne of Green Gables, she took that name for her own. Shirley progressed from child star to adult roles; she was one of many actresses who tested for the role of Melanie Hamilton in Gone With The Wind, eventually losing out to Olivia de Havilland.

She met and married her second husband, Adrian Scott, who produced Murder, My Sweet.

Happy Easter: From our gang to yours!

Happy Saint Patrick's Day!

We don't love Maureen O'Hara because she is Irish, but that doesn't hurt either!

Double Indemnity: 2nd Film in “High Heels and Fedoras” series at Daystar Center March 12, 2013

Tuesday, March 12, 2013
6:30 p.m.
The Venue 1550 at the Daystar Center
1550 S. State Street


Double Indemnity based on the short novel by James M. Cain, is considered the ultimate film noir by many. In fact, some critics think the whole genre began with this classic. If it hadn’t been for director Billy Wilder’s persistence, Double Indemnity may never have made it to the screen. Just about every actor in Hollywood turned down the male lead and Barbara Stanwyck, Wilder’s first choice to play Phyllis Dietrichson, had to be talked into playing a cold, calculated killer. Fred MacMurray, who up to this time had played likeable leads in romantic comedies, was afraid playing Walter Neff might be a career-killing move.

Before directing, Wilder had established himself as one of the best writers in Hollywood. He wrote or cowrote the screenplays for classic films like Ninotchka, Midnight, Ball of Fire, and Hold Back the Dawn, to name a few. In 1944, Wilder was still considered a novice, having only directed two films prior to Double Indemnity. Wilder’s first two films, Five Graves to Cairo and The Major and the Minor were well received by both the public and critics, but they were considered conventional films and didn’t do much to burnish his image as a director to watch. That was all about to change.

In 1943, Barbara Stanwyck was the
highest paid woman in America.

For many, Double Indemnity is the prototype for film noir. For sure, some of characteristics that we identify with the genre are in Wilder’s masterpiece. We have the manipulative femme fatale, the all-to-willing male protagonist, and murder, of course. We also have fast snappy dialogue filled with enough double-entendres to confound the censors of the day and delight 1940s audiences. The dialogue, written by Wilder and co-scriptwriter Raymond Chandler is masterful. Both loved language and it shows.

Stanwyck, already noted as Wilder’s first choice, is the ultimate femme fatale. She not only manipulates MacMurray’s Walter, but us as well. We’re never quite sure what she’s thinking. MacMurray’s nice-guy image also works to his advantage. He seems like your typical, but harmless, wise-guy, not someone who would plan a murder for money and a “dame.” In a supporting role, Edward G. Robinson shines as Neff’s coworker and friend Barton Keyes. Keyes can spot a phoney insurance claim a mile away and he’s certain there’s something fishy about the Dietrichson case. Mix it all together with John Seitz’s incredible black and white cinematography and you’ve got a stylized thriller on your hands.

Double Indemnity was nominated for seven Academy Awards including Best Picture, Best Director, and Best Actress. It was shut-out in all categories. The Leo McCarey hit, Going My Way was the big winner that year, capturing the award for Best Picture, Director, Actor, and Best Supporting Actor.

Publicity shot of Fred MacMurray

Time has been kind to Double Indemnity. It was entered into the U.S. Library of Congress in 1992, selected for preservation in the National Film Registry. It was ranked #38 on the American Film Institute's list of the 100 best American films of the 20th century in 1998, and it was 29th on the AFI’s 10th Anniversary list in 2007.

To purchase tickets for the March 12 screening, click here. Tickets are $5 per person general admission and $3 for students and seniors. Tickets may be purchased at the door. To stay on top of classic movie screenings in Chicago, join the Chicago Film Club by clicking here.

Backstory: Barbara Stanwyck and Fred MacMurray were both at high-points in their careers. Stanwyck was not only highest paid female movie star in 1943, but also the highest paid woman in America. MacMurray was the highest paid male movie star and the fourth highest-paid American. With things going so well, you can understand why they may have been reluctant to star in a movie like Double Indemnity.

This Gun For Hire: 1st Film in “High Heels and Fedoras” series at Daystar Center February 12, 2013

Tuesday, February 12, 2013
6:30 p.m.
The Venue 1550 at the Daystar Center
1550 S. State Street

This Gun For Hire, based on the novel by Graham Greene, was released in 1942, long before the label “film noir” was invented. As an early film in the genre, some of the plot devices that we associate with film noir are here: A killer who is a major protagonist, a cool female lead, an honest-by-the-book cop, and a double-crossing villain.

The plot concerns a hired gun named Raven (Alan Ladd) who has been double-crossed by a man named Willard Gates (Laird Cregar) who represents a chemical company that may be working with enemies abroad, selling them poison gas. To keep tabs on Gates, the U.S. government enlists a beautiful novelty entertainer named Ellen Graham (Veronica Lake). Ellen is a magician who sings while she performs her magic act. She auditions for Gates, who apart from his duties at the chemical company, owns a popular nightclub. Her audition captivates Gates and he hires her.

Straight and vicious—that’s what this picture is. But it is a good cut above the average, both in its writing and its tensile quality. Bosley Crowther, The New York Times

Veronica Lake publicity still showing off
her iconic peekaboo bang

While on a train to perform at Gates’s Neptune Club, she accidentally runs into Raven. Gates, also on the same train, sees the two sitting next to each other. He assumes they’re working together, which sets him on edge and puts Ellen’s life in danger. Ellen’s cop boyfriend, Michael (Robert Preston) does his best to save her and capture Raven.

Lake was an established star when the movie was released. Ladd, as Raven, gave a breakout performance making him an overnight sensation. New York Times movie reviewer, Bosley Crowther compared Ladd’s performance to James Cagney’s in The Public Enemy a decade earlier. In his 1942 review of the film he said, “Keep your eye peeled for this Ladd fellow; he’s a pretty-boy killer who likes his work.:” Crowther also complimented the leading lady: “Miss Lake is a competent customer, and handles her men with cool disdain.”

Alan Ladd, Lake, and Robert Preston

The chemistry between Lake and Ladd was noted by the public and the executives at Paramount. It didn’t hurt that Lake was 4' 11" tall, making her the only leading lady Ladd worked with who was shorter than he was. Ladd was reported to be 5' 5" tall. The two costarred in a total of four films, all very popular with critics and 1940s film audiences.

To purchase tickets for the February 12 screening, click here. Tickets are $5 per person general admission and $3 for students and seniors. Tickets may be purchased at the door.

Discover the other films in this series by clicking here.

Backstory: The modern classic L.A. Confidential (1997) paid homage to film noir from the 1940s. Academy Award winner Kim Bassinger is Lynn Bracken, a call girl who adapts Veronica Lake’s iconic look.

Dana Andrews gets his due

The title for my class comes from
Carl Rollyson’s recent biography of Andrews.

As any reader of this blog knows, I love classic movies. I have many favorite actors and actresses from Hollywood’s Golden Age, but my favorite actor from this time period is Dana Andrews. As a kid growing up, I used to watch a lot of old movies on TV (before cable and TCM). When I discovered the films of Andrews (Laura, Fallen Angel, The Best Years of Our Lives), I was fascinated by his naturalistic acting style, one without artifice or exaggerated emotions and mannerisms.

Through my blog, I became acquainted with Andrews biographer, Carl Rollyson. Rollyson wrote the first comprehensive biography of the actor, receiving cooperation from the Andrews family. The book inspired me to organize a Dana Andrews blogathon with my fellow classic movie bloggers. It was a huge success. So successful was the blogathon that I decided to propose a class on Andrews. This spring I’ll be teaching Dana Andrews: Hollywood Enigma at Facets Film School, 1517 W. Fullerton Ave, Chicago, IL. If you’re in Chicago and you love classic movies, I encourage you to take this class.

DANA ANDREWS: HOLLYWOOD ENIGMA

Wednesdays, March 20-April 24, 7-10 pm

Dana Andrews (1909-1992) was one of Hollywood’s most popular movie stars during its golden age. He worked with many legendary, accomplished directors including John Ford, Lewis Milestone, Otto Preminger, Fritz Lang, and William Wyler to name just a few. Andrews’s career is a true American rags-to-riches story as he was the third of 13 children born to a Baptist minister and his wife, yet rose to become a movie star. His minimalist acting style personified ‘the male’ mask of the 1940s, in such classic films as Laura, Fallen Angel, and Where the Sidewalk Ends, in which he played the ‘masculine ideal of sang froid impassivity. These singular films, all directed by Preminger, recognized this distinguishing characteristic of Andrews’s acting ability and perhaps exploited it best. Although Andrews fulfilled his dreams, he did not live the typical celebrity lifestyle. A family man at heart, Andrews avoided the limelight that many of his contemporaries fully embraced. A complicated man, he had a problem with alcohol for most of his adult life, but despite his personal conflicts, he was admired and well liked by his colleagues, leaving us with an extraordinary body of work that will be studied for generations to come.

To register for this film class, click here.

FILMS SCREENED AND DISCUSSED:

Laura (Otto Preminger, 1944)

Fallen Angel (Otto Preminger, 1945)

A Walk in The Sun (Lewis Milestone, 1945)

Canyon Passage (Jacques Tourneur, 1946)

Boomerang! (Elia Kazan, 1947)

Daisy Kenyon (Otto Preminger, 1947)