Tuesday, May 14, 2019

Remembering Doris Day (1922 – 2019)

When I was a kid, I remember my dad playing Doris Day records on our stereo system (remember those?). Not only was Day one of my dad’s favorite vocalists, but she was his favorite movie star. I can still remember the album covers of Day’s albums and the songs.

This was a popular recording in our house.

When I was still in single digits, I could sing along with “Pillow Talk,” having no clue what that song was about, and “Everybody Loves a Lover,” ditto. But Day’s voice was clear, true, and memorable. When I got a little bit older, I realized that Day made movies too! Some of our family favorites were Midnight Lace (1960), The Thrill of it All, Move Over Darling (both 1963), The Glass Bottom Boat (1966) and With Six You Get Eggroll (1968).

When I really started getting into classic movies, I realized the depth of Day’s talent. Early in her career, she was more than able to hold her own against the more experienced Kirk Douglas and Lauren Bacall in Young Man with a Horn (1950), which was her first dramatic role. Then there was Calamity Jane (1953), a rip-roaring musical and Love Me or Leave Me (1955), a biographical musical based on the life of Ruth Etting. One of her best dramatic performances was as Josephine “Jo” Conway McKenna in Alfred Hitchcock’s The Man Who Knew Too Much (1956) opposite James Stewart.

Her motion picture debut

What set Day apart was the honesty in all her performances be it comedy or drama. She always came across as natural in her singing, acting, and dancing (yes, she was a triple threat). Somehow that honesty connected with fans in a way few other stars were able to do. Even though she basically retired when The Doris Day Show ended in 1973, the public never forgot her. Her legend grew with the passing decades and her fan base was a big as ever.


Day was a true entertainment legend. She was the top box office star for four years, a feat equaled by only eight others. Her recordings sold in the millions, including her two signature songs: “Secret Love” and “Que Sera, Sera.” Her passing at age 97 is sad, but she left us with so much to enjoy. Her talent will endure for generations to come.


The Essential Doris Day in films
Romance on the High Seas (1948) –her feature film debut
Tea for Two (1950)
Calamity Jane (1953)
Love Me or Leave Me (1955)
The Man Who Knew Too Much (1956)
The Pajama Game (1957)
Teacher’s Pet (1958)
Pillow Talk (1959)
Lover Come Back (1961)
That Touch of Mink (1962)
The Thrill of It All (1963)
Move Over Darling (1963)
The Glass Bottom Boat (1966)
With Six You Get Eggroll (1968)

What’s your favorite Doris Day movie? Recording?

Saturday, April 27, 2019

2019 Turner Classic Movies Film Festival (#TCMFF) Recap: The Works!

I was excited to be attending my fifth Turner Classic Movies Film Festival this April 11 – 14. The fact that it was the festival’s 10th anniversary and TCM’s 25th anniversary made it something special indeed.

Getting to LA from Chicago is pretty easy, but I’m always nervous up to the time of departure. Did I pack everything I need? Will the flight be on time? Will I finally make the #TCMParty class picture? All that anxiety disappears once I’m on the plane and in the air. Then it’s what films will I see? Here’s how it went down:

Thursday 4/11/19
After arriving in LA and checking into my room, it was off to get some lunch and then over to the Hollywood Roosevelt Hotel’s Blossom Room for the meet and greet at Club TCM. It’s always great to see folks you haven’t seen in a year and catch up face to face, which is really one of the highlights of the festival.

Last year I missed the #TCMParty class picture due to a miscommunication. This year I was determined to get into the 2019 picture if it killed me. The fact that it was the 10th anniversary really didn’t factor in, but it turned out to be fortuitous. Because I’m not very tall, I was in the front row when they were staging us for the picture. I was holding the inflatable “0” next to Aurora (@CitizenScreen) who was holding the “1.”. After numerous takes, the photographers got what they wanted: some pics and video footage of all of us cheering. Check out the photo below. Yes, that’s me, holding the “0” (No cracks please!).

How many people can you recognize from this photo? Click image to enlarge.

As a Classic Pass holder, I wasn’t going to the red carpet event movie screening (When Harry Met Sally),so I decided to see Gentlemen Prefer Blondes (1953) at 6:45 p.m. at the Egyptian. The digital transfer was perfect; the movie looked brand new and Jane Russell and Marilyn Monroe never looked better in color. Seeing this classic with an audience was a hoot. The theater crowd loved it and made seeing it on the big screen a real joy.


Next up, I went back to the Egyptian for The Bachelor and the Bobby-Soxer (1947) at 9:30 p.m. I’ve seen this movie at least a dozen times, but the idea of seeing in on the big screen in the Egyptian with an appreciative audience couldn’t be denied. However, the introduction by film critic and journalist Tara McNamara was odd and in many ways inappropriate. The way she tried to cast this movie in light of the #MeToo movement was disturbing and quite literally made little to no sense at all. I really didn’t understand the point she was trying to make, nor did she seem to portray Shirley Temple in the best light. It was the strangest introduction of the festival. Fortunately the movie and the performances of Cary Grant, Myrna Loy, and Shirley Temple were comic gold. Also impressive were Ray Collins—in a rare comedic role—and Rudy Vallee.

After the whirlwind of the first night of the festival, it’s time for some sleep to rest up for Friday, the first full day of films!

Friday 4/12/19

I made up my mind that I was going to see The Postman Always Rings Twice (1946) at 9 a.m. at the Egyptian (I always seem to be at this theatre). I was counting on the pre-code Merrily We Go To Hell (1932) being one of the “To Be Announced” films on Sunday. Did my crapshoot pay off? We’ll soon find out.

The Postman Always Rings Twice is one of the most interesting films noir of the 1940s. It has two very attractive leads in Lana Turner and John Garfield, which isn’t unusual for the genre. What makes it different from many other films noir is the fact that most of the action takes place in the bright sunshine of California. There are some night scenes for sure, but darkness and shadows don’t hide most of the action. And for most of the film, Turner is costumed in glowing white outfits that are so bright they’re almost blinding at times. The M-G-M polish is evident in the entire production, but that doesn’t keep it from being a worthy entry into the films noir canon. Turner and Garfield smolder, but there are great supporting performances from Cecil Kellaway as Turner’s hapless older husband, Leon Ames as the fiesty District Attorney, and Hume Cronyn as the shiftiest of shifty defense lawyers.


At 12:00 p.m. I was back, where else, but the Egyptian for a screening of Sleeping Beauty (1959). My older sister took me to see just about all of the classic Disney movies, but I had never seen this film before. Author and historian, Mindy Johnson, introduced the film. She interviewed two of the film’s animators: Jane Baer and Floyd Norman. Baer and Norman were very young when they worked on Sleeping Beauty. They described what it was like to work as a Disney animator (It was fun!) and other tales from the old days of animation before computers came on the scene. The movie was really enjoyable and the old-school animation was charming and visually appealing. I was glad that I was able to see this classic for the first time the way it was presented back in 1959.

Randolph Scott, Irene Dunne, and Cary Grant in My Favorite Wife

At 2:45 p.m. I found myself, where else, but at the Egyptian! This time I was there for another comedy classic. My Favorite Wife (1940) is one of my favorite Irene Dunne and Cary Grant movies—truth be told, I love all three movies they made together—and one that still brings the laughs due in great part to the extraordinary talents of the two leads. Dunne and Grant were so natural in their comedy performances and together they’re comedy gold. Mario Cantone introduced the film. After his introduction he interviewed Jennifer Grant, daughter of Cary and Dyan Cannon, on what it was like to have Cary Grant as her dad. It was great! Special treat at this screening was the opportunity to share it with Melanie Hooks (@melaknee13), producer of my favorite podcast, Classic Movie Recall. We had connected some months earlier on social media so it was especially sweet to meet her in person.
I “escaped” the confines of the Egyptian for my next movie at 6 p.m. I went to Chinese Multiplex House #1 to see a movie that I had never seen before, Day for Night (1973). Directed by Francois Truffaut, I remember this film being heralded as a classic the moment it was first released. In French with English subtitles, the film stars Jacqueline Bisset, Jean-Pierre Aumont, and Jean-Pierre Leaud. This movie about making movies was interesting and engaging in the way it gave you a glimpse into how movies are made woven into the narrative. Eddie Muller introduced the movie and then interviewed star, Bisset. Muller admitted that the movie changed his life as a young man and his admiration for the film and its lead actress was plain to see. Bisset was gracious and classy during the interview, explaining the differences between making movies in the U.S. and Europe.

Cornell Wilde, Richard Widmark, and Ida Lupino in a tense scene from Road House

I may have grabbed something to eat, but honestly, I don’t do too much eating during the festival. At most I eat two meals, but it’s mostly just one meal a day, with a few protein bars in between. At 9:30 p.m. I was back at the Egyptian for Road House (1947). This is one of my favorite Ida Lupino movies. It’s not a film that will change your life, but you’ll have a lot of fun watching it. I couldn’t pass up the opportunity to see the nitrate print of this film noir classic on the big screen. Boy was it a blast. The film was introduced by Sloan De Forest who was an enthusiastic fan of Lupino and the film and joked that she was glad she “could give Eddie Muller a break.” The rest of the cast was terrific and included Cornel Wilde, Celeste Holm, and Richard Widmark at his looniest.

After the fun and excitement of seeing Road House on the big screen, it was time for some shuteye. Another big day of watching movies would start again on Saturday.

Saturday 4/13/19

I was up bright and early to head back to Chinese Multiplex House #1 to see the 1951 science fiction classic When Worlds Collide. I remember seeing this film on television growing up. It was usually on Saturday afternoons before the days of cable. Comedian Dennis Miller introduced the film. Miller then introduced and interviewed star Barbara Rush. Rush looked every inch the movie star even at 92! Miller was obviously smitten with Rush, which made the interview a joy. Seeing the movie on the big screen with an audience was fun. The special effects, which were quite impressive when first released, seem kind of simple today, but the story was compelling and there were many parts of the film that I had forgotten. The real treat was the opportunity to see Rush in person though and a treat it was.


After When Worlds Collide, I walked over to The Legion Theater Post 43, the newest theater to the festival. The only theater owned and operated by veterans, it was one of the hits of the festival. Beautifully restored, with some of the most comfortable movie theater seating I’ve ever experienced, The Legian was a real treat. At 12 p.m. they screened Fox: An Appreciation (2019). The film was a series of clips that were introduced by Shawn Belson, Archivist at Twentieth Century-Fox. The history of the studio was told via clips of the studio’s many classic films. This presentation wasn’t as great as I had hoped it would be, but I was glad I had to opportunity to see it in such an amazing theater.


At 2:45 p.m. I went to Chinese Multiplex House #6 to see Love Affair (1939) starring Irene Dunne and Charles Boyer. An Affair to Remember (1957) is a remake of  the’39 original and perhaps the more famous of the two, but not the best version in my opinion. Dana Delany who introduced the film also found Love Affair the superior version. She shared her analysis of the film and her admiration for its two stars. Dunne and Boyer made three films together, but this is undoubtedly their most popular and enduring. Delany apologized for not being able to watch the movie with us. She said she was attending a memorial service for Luke Perry, which made the audience sigh. She said Perry loved classic films and that the two would often talk about classic movies when working together during down time. She dedicated the film to Perry.

Lawrence Olivier and Merle Oberon
Next on my list was another trip to The Legion Theater to see Wuthering Heights (1939) starring Merle Oberon, Lawrence Olivier, and David Niven. Had it not been for Gone With the Wind, Wuthering Heights might have been the Best Picture winner that year. It’s a beautifully mounted film, with a wonderful score and terrific black and white cinematography by Greg Tolland, not to mention excellent direction from William Wyler. Alex Trebek, who looked terrific, introduced the film. He said he wasn’t going to accept the invitation to participate in this year’s festival because it takes some preparation and he said, “I had other things going on.” But when he found out they wanted him to introduce Wuthering Heights, one of his all-time favorite films, he said yes. His introduction was insightful and he recommended that fans of the film not go out and read the novel, which is much darker. He’s not kidding; the novel is no picnic!


I hung around The Legion Theater to see Indiscreet (1958) at 9:15 p.m., a movie I had never seen. Before the film some friends and I went downstairs to the bar to enjoy a drink before the movie started. One of the pluses of the Legion is their full bar. Even if you weren’t drinking, it was a great place to hang out and talk movies and soak up its rich history. Indiscreet was directed by Stanley Donen and starred Cary Grant and Ingrid Bergman. It was a delight from start to finish. It was sophisticated and beautifully photographed.

Well, it was the end of another day of movies. Back to hitting the sack to rest up for the last (sigh!) day of the festival.

Sunday 4/14/19

Sundays at the festival are always bittersweet. There’s a full day of movies, but you know it’s the last day and that’s kind of sad. I was hoping the pre-Code Merrily We Go To Hell (1932) would be one of the TBA movies and I lucked out! At 9 a.m. it was presented at The Legion Theater in glorious black and white. The film starred Sylvia Sydney and Fredric March with Dorothy Arzner directing. Also in the cast was Cary Grant in a small role. Sydney was adorable as March’s much put-upon wife. There were times when she smiled that she reminded me of Gene Tierney. March was drunk during most of the action, which is a fairly typical scenario for pre-Code films. What was interesting for me was seeing character actress Esther Howard in a substantial role as the editor of the paper March worked for. I’m used to her doing comical bits in Preston Sturges movies, so seeing her as a younger woman was a bit of a revelation.


Since it was Palm Sunday, I thought catching The Robe (1953) at the Egyptian would be fitting. The Robe made history as the first film released in Cinemascope setting the standard for widescreen film production and was a forerunner to Panavision. Attending the movie were Bob Koster, director Henry Koster’s son, and Victoria Mature, star Victor Mature’s daughter. Unfortunately, neither were interviewed before the film, which was disappointing. In any event, seeing The Robe in a restored transfer was worth it. It looked brand new and seeing Richard Burton, Jean Simmons, Victor Mature, and Michael Rennie in their primes in the glory of Cinemascope and stereophonic sound was just plain awesome.


After The Robe, it was off to Club TCM for The Complicated Legacy of Gone With The Wind at 2:30 p.m. Film historian and author Donald Bogle hosted the panel. The panel consisted of film producer Stephanie Allain; author and film critic Molly Haskell; and Professor of Cinema and Media Studies at the University of Chicago, Jacqueline Stewart. I was a little worried how this panel would go, but the discussions and insights into this classic film were really enlightening. All of the panelists liked the movie and thought it was worthy of public screenings. They all acknowledged that there were problems with the film as far as its depiction of slavery is concerned, but all agreed that the film has a lot to offer modern audiences. The production, even after 80 years, holds up amazingly well. The acting of the main players also holds up, especially Vivian Leigh’s portrayal of Scarlett O’Hara as well as Hattie McDaniel’s ground-breaking role as Mammy. The panelists could have discussed the film for hours and we would have stayed and listened. It was really a very enjoyable experience.

Donald Bogle, Stephanie Allain, Molly Haskell, and Jacqueline Stewart
With all that background information now in my head, it was time to see the genuine article, Gone With The Wind at 4:30 p.m. on the big screen in the Chinese Theatre. And what a treat it was. The new digital transfer was absolutely stunning. The color was perfect and so was the sound. The story of the love affair between Scarlett O’Hara and Rhett Butler set against the backdrop of the American Civil War and Reconstruction really needs no explanation. The audience ate it up—one woman was dressed in Scarlett’s curtain dress, minus the rod—as if seeing it for the first time. And honestly, when you see a movie in a theater like the Chinese, it is like seeing just about any movie for the first time. Missing was some kind of video of Olivia de Havilland (still with us at 102!) or an interview with her daughter, Giselle, who has attended the festival in the past, but we can’t have everything.

Vivian Leigh and Hattie McDaniel

Boo, hoo, the movie is over and so is the festival. But it’s back to Club TCM for the Closing Night Party and the opportunity to bid farewell to all our friends until next year!

List of films I saw this festival:
Gentleman Prefer Blondes
The Bachelor and the Bobby-Soxer
The Postman Always Rings Twice
Sleeping Beauty—First time seeing this film
My Favorite Wife
Day for Night—First time seeing this film
Road House
When Worlds Collide
Fox An Appreciation—Special for the festival and new to me*
Love Affair
Wuthering Heights
Indiscreet—First time seeing this film
Merrily We Go To Hell—Fist time seeing this film
The Robe
Gone With The Wind

Total: 14 films and one documentary*

Friday, March 29, 2019

Book Review: “Stuntwomen: The Untold Hollywood Story”

Stuntwomen: The Untold Hollywood Story sheds light on the female pioneers in the field and the struggles they faced to have their talents recognized and appreciated.

Stuntwomen have been around as long as the movies. Silent film stars Pearl White and Helen Gibson were actresses who did their own stunts. These early silent movie serials were extremely popular with the public and White and Gibson had large fan followings. However, once the movies proved to be a thriving business where there was real money to be made, many women and stuntwomen working in Hollywood found themselves unemployed.

Once the Hollywood factory was in high gear, men doubled for women. Men would don wigs and dresses, essentially freezing out any chance for women to double for women. The few women who were working gags (the name given to stunts) were underemployed and underpaid compared to their male counterparts working the same gags. The stunt community was a small one (it still is) and if you weren’t a part of “the group,” you just didn’t get called for jobs.

Author Mollie Gregory does a good job explaining the ins-and-outs of the stunt business and the problems women and men faced and continue to face today. Doing stunt work in movies has always been dangerous. Many performers have been permanently injured and some have died performing gags. The way Gregory describes it, some movie directors and producers considered stuntmen and stuntwomen as expendable. Gags that had been carefully planned out were often changed at the time of filming, putting the performer in peril. The dilemma: refuse to do the gag and risk ever getting another gig. This was something women faced when trying to break into the all-boys club. If a woman made a mistake or refused a gag they were accused of not being up to the task. Men would say things like, well, we’ll just get a guy in a wig to do it.

The book also explores the difficulties minorities faced trying to break into the business. It was common for white stuntmen to do stunts in blackface when doubling African Americans. Today life for stuntwomen and stuntmen is still challenging and dangerous. I honestly couldn’t imagine myself working as a stunt performer. Everyday is dangerous and possibly life threatening, no matter how careful the planning.

The history of stuntwomen in the movies is also a history of the movie business itself. The book explores the origins of the profession and how women competed with men to get the recognition and compensation they deserved. For anyone interested in behind-the-scenes Hollywood stories, Stuntwomen: The Untold Hollywood Story would be a worthy read.



Stuntwomen: The Untold Hollywood Story
Trade Paper: 360 pages
University Press of Kentucky; Reprint edition (June 13, 2018)
Language: English
ISBN-10: 0813175836
ISBN-13: 978-0813175836
Product Dimensions: 14.8 x 0.9 x 8.9 inches
Price: $19.95



Trailer for documentary based on the book

Sunday, February 24, 2019

Film Noir classic “Mystery Street” to screen at Glessner House Museum March 29

The film noir classic Mystery Street (1950) will screen at Glessner House Museum, 1800 S. Prairie Ave., on March 29 at 7 p.m. The screening is part of the Glessner House’s birthday celebration for Frances (Fanny) Glessner Lee, a multi-day celebration of her life and pioneering work in the field of forensic science.

Glessner Lee was instrumental in launching the field of forensic science through her endowment of the Department of Legal Medicine at Harvard Medical School in 1932 (the first in the country). Mystery Street is the first film to feature the role of forensics in the solving of crimes, specifically murder and unexplained deaths.
Lobby card for Mystery Street
Oak Park, Illinois native, John Sturges (The Magnificent Seven – 1960, The Great Escape – 1963) directed Mystery Street. It earned an Academy Award nomination for Best Writing, Motion Picture Story for Leonard Spigelgass. The film was well received by critics in 1950 and today it is considered a classic in the film noir genre. Mystery Street follows the murder of a young woman whose decomposed body is identified with the help of a forensics expert at Harvard University. Locations featured in the film include Harvard Medical School in Roxbury, Massachusetts and Harvard University in Cambridge. The film stars Ricardo Montalban as State Police Lt. Peter Morales assigned to the case.

Filmed mostly on location in Boston by cinematographer John Alton (Father of the Bride – 1950, Elmer Gantry – 1960) the film has a grittiness that studio-bound productions from that period lacked. Alton won an Academy Award for cinematography for his filming of the ballet sequence in An American in Paris (1951) and wrote Painting with Light (1949), which was one of the first books written by a studio cinematographer.
Dr. McAdoo (Bruce Bennett), second from left, and Lt. Morales (Montalban) examine skeletal remains of the victim
Time magazine said that “…Director John Sturges and Scripters Sydney Boehm and Richard Brooks have treated the picture with such taste and craftsmanship that it is just about perfect.” The New York Times noted that Montalban gives a performance that is “natural and unassuming.”

Tickets for this event are $15 per person, $12 for members. For more information on this event, click here.


A National Historic Landmark, Glessner House was designed by noted American architect Henry Hobson Richardson and completed in 1887. It remains an internationally-known architectural treasure in Chicago. A radical departure from traditional Victorian architecture, the structure served as an inspiration to architects such as Louis Sullivan, Mies van der Rohe, and the young Frank Lloyd Wright and helped redefine domestic architecture.

Thursday, February 7, 2019

Screening of "The Major and The Minor February 9 at the Daystar Center

The Major and The Minor (1941)
Where: Daystar Center, 1550 S. State Street, Room 102
When: February 9, 2018
Time: 6:45 p.m
Hosted by Stephen Reginald


The Major and the Minor (1942) stars Ginger Rogers as Susan Applegate, a poor working girl who has given up on a career in New York City and decides to return home to Stevenson, Iowa. When she gets to the train station, she realizes she only has enough money to cover a child’s fare so she disguises herself as a twelve-year-old girl. A suspicious conductor catches her smoking so she hides out in the compartment of Major Philip Kirby (Ray Milland) who believes she is a child. He lets her stay with him until they reach his stop. Major Kirby teaches at a military academy and he brings "Su-Su" with him. As you might expect, Su-Su causes a sensation at the all-boys academy and causes all kinds of complications for Major Kirby and his fiancée Pamela (Rita Johnson). This was the first film directed by Billy Wilder. The film’s success helped pave the way for Wilder’s continued success as one of America’s most important writer-directors.

General Admission: $5, Students and Senior Citizens: $3

Ginger Rogers and the cadets

Have some Joe and Enjoy the Show!
Before the movie, grab a cup of coffee from Overflow Coffee Bar, located within the Daystar Center. You can bring food and beverages into room 102.
Join the Chicago Film club; join the discussion
Twice a month we screen classic films and have a brief discussion afterward. For more information, including how to join (it’s free), click here. The Venue 1550 is easily accessible by the CTA. Please visit Transit Chicago for more information on transportation options.


Stephen Reginald is a freelance writer and editor. He has worked at various positions within the publishing industry for over 25 years. Most recently he was executive editor for McGraw-Hill’s The Learning Group Division. A long-time amateur student of film, Reginald hosts “Chicago Film Club,” a monthly movie event held in the South Loop, for the past two years. Reginald has also taught several adult education film classes at Facets Film School, Chicago.

Saturday, January 19, 2019

Book Review: “The Wizard of OZ FAQ: All That’s Left To Know About Life According To Oz”

Just when you thought you knew everything there was to know about The Wizard of Oz, here’s a book to inform you how little you actually do know about the classic film.

Released during 1939, that magical year that produced so many classic films—think Gone With The Wind, Stagecoach, NinotchkaThe Wizard of Oz endeared itself to a bunch of boomer children who watched it annually on TV for decades. With the advent of video (both VHS and DVD), the film lives on with each new generation.


The filming of this classic was a complicated process. Film techniques were invented, music was composed, and extravagant sets and unique costumes had to be produced to bring the magic of L. Frank Baum’s original Oz novels to life. Metro-Goldwyn-Mayer saw the success of Walt Disney’s Snow White and The Seven Dwarfs and concluded that they could produce a live-action fantasy hit.

Casting the pivotal role of Dorothy was difficult for the studio. They were looking for a proven box office star. For a fleeting moment, Shirley Temple was considered, but her vocal range was limited and the producers didn’t think she was right for the part. Deanna Durbin, once an M-G-M contract player was now a top star at Universal. She had proven box office appeal and had a classically trained voice that could handle any song the composers could come up with. But bringing in a star outside of the studio would cost them more money and the production costs for The Wizard of Oz were quickly racking up.

Judy Garland was under contract at M-G-M. She was primarily used for specialty numbers in some A productions, as well as being loaned out to other studios to appear in B movies. Even though she was hired for her “swing-style” of singing, M-G-M didn’t seem to know what to do with her. The studio finally agreed to give Garland the coveted role of Dorothy and the rest is movie history.

Going away party for director Victor Fleming who was going to work on
Gone With The Wind

The Wizard of Oz is credited (on screen) to director Victor Fleming. He was responsible for directing the bulk of the film, as well as its editing, but he was also working on Gone With The Wind for David O. Selznick. And because of Fleming’s grueling schedule the studio enlisted the talents of at least five other directors. George Cukor was responsible for Dorothy’s look. Originally Garland was costumed in a blonde wig and garish makeup. Cukor thought that this look was all-wrong for a girl from Kansas. He instructed the makeup department to tone it down and ditch the blond wig and go with Garland’s natural hair color. King Vidor directed most of the scenes in Kansas, including the scene where Garland sings “Over the Rainbow.” Vidor had a great musical sense and his filming of Garland singing while moving around the farm is truly inspired.

Lighting test for Judy Garland as Dorothy in a blonde wig, which director
George Cukor ditched
Author David J. Hogan writes in a smooth and readable style that really hooks you. The number of facts about the film that he brings into focus are really amazing. One thing that fascinated me was the fact that all the principle actors made more money that Garland who earned a weekly salary at M-G-M. Jack Hailey, Ray Bolger, Bert Lahr, and Margaret Hamilton were all freelance actors so they negotiated contracts that paid them generous weekly salaries. Even Toto (real name Terry) had a contract that paid him $125 a week, which was big money in 1939.

Director King Vidor filmed the famous "Over the Rainbow" scene.

If you grew up loving The Wizard of Oz or if you enjoy classic film and the studio era, this book is a must.



The Wizard of Oz FAQ
Trade Paper: 450 pages
Applause Theatre & Cinema Books (204)
Language: English
ISBN-13: 978-4803-5062-59
Product Dimensions: 6 x 1.2 x 9 inches
Price: $19.81

Wednesday, January 9, 2019

“Roma”: The most overhyped movie of 2018?

Roma written and directed by Alfonso Cuaron (Gravity) has received almost universal acclaim and is considered a front-runner for the Best Picture Academy Award this year. Set in 1970 and 1971 and filmed in black and white, it’s a semi-autobiographical telling of Cuaron’s life growing up in Mexico City. The film centers on the life of Cleo, a live-in housekeeper to a middle-class family.

Cleo works in the household of Sofia, her husband Antonio, a doctor, their four children, and Sofia’s mother Teresa. Cleo is beloved by the children in the household where the marriage between Sofia and Antonio is deteriorating.

During her time off, Cleo and her boyfriend Fermin rent a room instead of seeing a movie with fellow live-in maid Adela and her boyfriend. In their rented room, Fermin shows off his martial arts skills using a curtain rod (naked, which is totally gratuitous). It’s an odd scene, but a clue that all is not right with Fermin and this relationship.


What happens next is a series of (inevitable) events that make the film seem more like a documentary than a drama. There is no attempt at character development. Cleo, as a character is likeable enough, but we never really get to know her outside of her tasks as a maid and nanny.

Technically the film has also been heralded, especially the black and white cinematography. Why this is the case I’m not sure. Roma’s cinematography seems rather pedestrian and ordinary to me. Perhaps the folks praising the cinematography have never seen a decent black and white film before. Or maybe I’ve been corrupted by the dynamic black and white cinematography of the likes of James Wong Howe, Greg Toland, Joseph LaShelle, and Nicholas Musuraca—they’re all worth Googling if you’ve never heard of them.

But the film’s biggest crime, in my opinion, is that it’s boring. I forced myself to sit through the entire 135 minutes. I kept hoping that something would happen to reward my endurance, but I was disappointed.

Roma is the type of film that critics love, but that few people would pay money to see. The film distributed by Netflix had a brief release so it could qualify for the Oscars. It’s been available on Netflix for several months.


Screenplay by Alfonso Cuaron; Directed by Alfonso Cuaron; Produced by Alfonso Cuaron, Gabriela Rodriguez, Nicolas Celis for Participant Media and Esperanto Filmoj; Distributed by Netflix.

Yalitza Aparicio as Cleodegaria “Cleo” Gutiérrez, one of the family’s maids
Marina de Tavira as Sofia, the mother of the family
Fernando Grediaga as Antonio, Sofia’s absent husband
Jorge Antonio Guerrero as Fermín, Cleo’s lover
Marco Graf as Pepe
Daniela Demesa as Sofi
Diego Cortina Autrey as Toño
Carlos Peralta as Paco
Nancy García as Adela, Cleo’s friend and one of the family’s maids
Verónica García as Teresa, Sofia’s mother
José Manuel Guerrero Mendoza as Ramón, Adela’s lover
Latin Lover as Professor Zovek


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