Actresses

Special Screening Alert: JAMAICA INN (1939)

Maureen O'Hara in JAMAICA INN (1939)

Sharing a black and white picture of Maureen O’Hara after and not on St. Patrick’s day might seem like a mistake. The Irish-born actress’s trademark was her flame red hair crowning her head in glory in technicolor pictures, so sharing a color photo of her to celebrate the holiday would’ve been festive, but that’s not what I’m celebrating today.

Tonight I’m in Los Angeles to watch JAMAICA INN (1939) for the first time. I’ve been invited as press to cover a special screening organized by KCETLink, the Cohen Media Group, and BAFTA LA. It celebrates KCET and Link TV’s broadcast premiere of the movie, the last one Alfred Hitchcock shot in the United Kingdom.

As part of the festivities, there’ll be a red carpet, which I’ve been credentialed for, so that marks a first for this film writer and her blog. Celebrity guests include Norman Lloyd (SABOTUERSPELLBOUND, and ALFRED HITCHCOCK PRESENTS) and Fred Willard (BEST IN SHOW and A Mighty Wind). There’ll be an exhibition of behind-the-scenes photographs of Hitchcock organized by The Academy of Motion Picture Arts and SciencesMargaret Herrick Library. All three of the director’s granddaughters will be in attendance, and they’ll participate in a panel discussion moderated by host of the COHEN FILM CLASSICS series Charles S. Cohen.

When I heard that last fact, I had to rearrange my schedule to attend. I’m not sure how often his granddaughters (Tere Carrubba, Katie Fiala and Mary Stone) are in one place, and I can’t wait to hear what they share about their grandfather. I’ll be sure to share what live experiences I can on my Instagram and Twitter accounts, and you’ll definitely find more in-depth coverage here at a later date.

For now enjoy this picture of O’Hara as JAMAICA INN’s Mary Yellen. Even after a sub-par screen test, its male lead and producer Charles Laughton insisted she be cast as his co-star. He was bewitched by her eyes, and it’s easy to see why.

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FEUD & the Costuming of Bette Davis, What I’ll be Watching for

Susan Sarandon as Bette Davis in FEUD Smoking

FEUD premieres tonight on FX, and like many classic film fans, I’m watching to see how legends Bette Davis and Joan Crawford are portrayed, and I’ll be paying particular attention to one area of costuming.

Susan Sarandon plays Davis. The latter actress, while capable of glamour and being beautiful onscreen, always favored her performances over the strictures of the star machine that led more wary or canny actresses to compromise on characterization in favor of not lowering beauty standards too far. Davis felt no restriction. She wanted her Mildred Rogers in OF HUMAN BONDAGE (1934) to look as sickly as possible when the script called for that, and she pushed for her WHAT EVER HAPPENED TO BABY JANE? (1962) costume to be more extreme than as originally designed.

Sarandon has shown a willingness to deglam onscreen for the right roles, but offscreen she’s been a poster girl for not looking her age or letting it determine whether she should be sexy on the red carpet and how. A favorite outfit of hers to wear to movie launches, so much so it’s almost a uniform, is a suit with no shirt worn underneath its jacket, often leaving a pretty bra visible for all to see. If her bra isn’t in view, its push-up effects leave no doubt of its presence.

I’m finding it ironic that an actress sartorially famous for her bras and gravity defying chest is playing one who eschewed underwire bras, despite being as generously endowed. As the recent Orry-Kelly documentary, WOMEN HE’S UNDRESSED (2015) revealed Davis was convinced wearing underwire caused breast cancer. The costume designer was left having to camouflage that the leading lady was undersupported or braless by “using foulards, pockets, buttons, and other visual tricks.”

So while I’m watching FEUD, I’m going to be looking at Sarandon’s silhouette to see if series costume supervisor Katie Saunders incorporated this particular quirk when approving designs. Like Davis knew, it’s paying attention to the little details that help a performer build and inhabit a character.

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Before They Were Stars: Audrey Hepburn’s Revue Days

Audrey Hepburn London Revue Costume
In Audrey Hepburn‘s third film, the British comedy LAUGHTER IN PARADISE (1951), she played the part of “Cigarette Girl” She was cute and memorable in a role that gave her more than one scene and multiple lines. Costuming treated her body as something to be made more stereotypically sexy, so they padded and pointed her chest.

In the above picture from her London revue days, she was starting to make a name for herself, but the costuming plan was corrective as well. The long legs are shown off, but her hips are made to look fuller by tacking on a partial skirt which in turn makes her waist look more nipped. Her bust line is obscured by an asymmetric neckline and shoulder, and her elegant “swan neck” is shortened by a ruffled collar.

Her gamine figure was not yet receiving the tailored looks best suited to it. Audrey’s impact on style and acceptable body types would come after better roles.

 

Thanks to Terence Pepper for allowing me to reblog his photo and the thoughts it inspired!

 

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Things You Find When You Live in a Former Movie Theatre

Living in a former movie theatre, it was the architecture of the place that connected my home to its former function–until this week. This week I went up into my attic, the former projection booth, to see how its roof has been holding up under the recent barrage of rain. My landlord was too good at clearing away the materials associated with movie exhibition. Most of the items in my attic were from recent tenants who used it as a dumping ground. I happened to notice a plastic shopping bag that hadn’t caught my eye before, and I picked it up to see what was inside. I found film!

As you can see above, the film isn’t in great shape. I stuck my nose in the bag to sniff. I was looking for a vinegar odor. That’s what decaying nitrate film stinks like. No such luck or peril! Touching the film, it felt like plastic. It must be safety stock. You can see the pieces vary in length, but all are short, and some have masking tape notations, which state the names of the movies they were once attached to. I had found mostly film leaders, the heads and ends of film used to thread movies into projectors.

I sorted through all the pieces to see if any contained images of interest. Most did not. I found some pieces with their titles imprinted on their frames, and I found three fragments of one theatre-specific film. I’ve included pictures of the ones that caught my attention the most in this post.

Two things I love about the above film leader–my home started as a silent movie theatre, so it’s fun to find a piece labelled sound, and the stencil font used is striking and vintage.

A lot of the film leaders are from sixties films, like this one for DEVIL’S ANGELS (1967), a Roger Corman production that starred actor and film director John Cassavetes.

NIGHTMARE IN WAX (1969) was a low budget horror movie that revisited the mad man populating his wax museum with stolen bodies plot.

Long-term readers of this blog know I am a Judy Holliday fan. I was smiling almost as big as Gladys Glover when she sees her first billboard when I found part of THE SOLID GOLD CADILLAC (1956) in my hands!

The above is my favorite! I’m guessing it is the oldest I found since it touts a Wednesday prize night, and it sports an Art Deco motif under the text. I’m going to take a closer look at it for dating. A visit to my town’s museum might help me find out what years the theatre ran their promotion. I’ve been meaning to go anyway!

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Evolution of a Look: THE RED SHOES (1948) vs LADIES AND GENTLEMEN, THE FABULOUS STAINS (1982)

Red Shoes Moira Shearer'S Eye Make-up

Diane Lane's Eye Make-up in The Fabulous Stains

THE JAPAN TIMES published a good article on how mainstream cinema virtually ignored punk. Those kind of pieces always prompt someone to name films missed. This time that someone was I! I noticed a lack of female-centric films on the list.

I would’ve added proto-riot grrrl flicks TIMES SQUARE (1980) and LADIES AND GENTLEMEN, THE FABULOUS STAINS (1982). They’re important works in the punk screen canon for females, even if written and directed by men. Perhaps being overlooked gives them greater cult status by keeping them films you have to be in the know to seek out. They’re treasured by those who find them when needed.

Picturing teenaged Diane Lane‘s makeup in THE FABULOUS STAINS–the bleached streaks in her hair giving her a “skunk” look and the dramatic eye make-up, I thought how arty punk looks evolve from other influences, sometimes surprising. In this specific case, I focused on the make-up of a classic film, THE RED SHOES (1948).

I don’t have printed proof Lane’s makeup artists were inspired by Moira Shearer’s, but when you juxtapose the two images together like above, similarities become apparent. The angled slash of eyeliner beneath both women’s eyes. Eyelashes that curl dramatically upward despite being thick and heavy with mascara. Lips painted red and in shades and shapes of each woman’s era.

There’s one major difference. The small flashes of red painted near each corner of Shearer’s eyes to increase the drama of a look designed for the stage become flames or wings on Lane. I like to think of them as wings. While Shearer’s dancer, torn between love or her career, loses everything, Lane’s musician dumps her lothario to ultimately triumph on her own talent.

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Quote: The Importance of Women Writing Their Own Stories

“I did this show called TRAILBLAZING WOMEN, and the biggest thing I’ve learned in two years of doing the show is that men write their history and that’s why they’re remembered more than women. Cecil B. DeMille made sure to write everything down, but all the other women that were working at the same time as Cecil B. DeMille and D.W. Griffith–there were women directors, they didn’t write their stories down, so they weren’t included in the history books. I think it’s really important for women to mention the things that they were a part of.”

–Illeana Douglas, co-host of the I BLAME DENNIS HOPPER podcast, episode 12/20/16

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Happy Valentine’s Day!


The holiday is over, and I’m off to slumber, but this redhead hopes your holiday was as least as good as hers!

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Why I created a Patreon account.

Carole Lombard Pencil Typing

I’ve been getting ambitious about Spellbound by Movies. There’s so much I want to do with my blog, I want to invest more time in it to promote classic and silent films. While I say Spellbound is sometimes irregularly, but always lovingly updated, I’d like to get on a regular schedule.

I have expansion ideas. There are more post types I’m itching to get to like more interviews, lists, or my usual obsessive reviews. The last can take my eight hours or more. I watch every film more than once if I can; I start with a rough draft I craft into final form; and I fact check every line I can, including describing action in the movie.

But my expansion ideas go beyond what’s on a page. Eventually I’d like my interviews not just to be conducted via email, but also done over Skype or in person. I want to record those conversations and take their recordings and turn them in a companion podcast called SIT A SPELL.

Even without adding on the cost of podcasting, there are costs associated with my blog. There are the annual hosting, URL, and WordPress redirect fees. While I’m comped some festival passes and books, I pay to attend other screenings and festivals, and I buy books to review and to build my film reference collection. Some of the festivals I attend require travel and/or hotels. All of these costs add up.

Here’s what pushed me over the edge into creating a Patreon account. In the last six months or so, I’ve been hit with two major and unexpected expenses–a large vet bill for a beloved and now passed away cat and losing my apartment to my landlords, who resumed personal occupancy. Having to incur moving costs and suddenly paying current San Francisco Bay area market rent was a double whammy.

I don’t want either to detract from my blogging or from me being able to travel to film festivals and bring you coverage. Between my blog, my Twitter account, and my Instagram, I try to share generously my movie experiences and love. There are two film festivals I’d like to attend in April. Schedule-wise I’d have to choose one or the other. Because of recent expenses, I think I should choose neither.

I blog because I love the process, love sharing my point of view, love lifting some of the movies out of obscurity, and love the community writing connects me to. I blog without pay, but isn’t it better to pay writers than not? Is it egocentric to consider if someone else values my work, then maybe they’d like to be a Patron to help it to continue? I’ve gotten some very nice unpaid opportunities, which I’m extremely grateful for. Maybe some day my blog will lead to a paying gig.

Whatever happens my blog will continue to freely accessible to all, but for the few who become Patrons, you have my sincerest thanks and gratitude. I am the sort who will pay it forward when she can. My most immediate way will be writing more regularly.

To check out my Patreon page, please click the banner below!

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Happy New Year!

In the United States we’ve been lucky to have two New Year’s Days this year–Sunday the actual day and Monday the legally recognized holiday. Before both have been departed too long, I’d like the glamour of the holiday to linger a little longer, at least on the pages of my blog. New Year’s Eve I had fun on Instagram sharing fantasy party outfits worn by actresses of the silver screen. Let’s step into 2017 together by reveling in their fabulous.

Cyd Charisse

Here’s Cyd Charisse in a gorgeous floral print gown that pops in black and white, but leaves me curious to see it in color. Love the unusual decision to place the bold print on opera length gloves to match them exactly to the dress! They elevate the look into something memorable and high impact. Cyd’s glowing. She knows she looks great.

Susan Hayward in I Can Get It for You Wholesale

Susan Hayward looks fiercely glam in a publicity still for I CAN GET IT FOR YOU WHOLESALE (1951). She plays a ruthless fashion designer who claws her way up in the industry, from working for a copyist to her own haute couture label. Of course, her character’s wardrobe becomes more fashionable and breathtaking the higher she climbs.

Kay Francis Column Dress Richee

Model tall, Kay Francis had the frame and poise to wear clothes well and earned a reputation as a clotheshorse because costume designers knew she could wear a variety of styles and looked divine in evening wear. The photo’s photographer, Eugene Robert Richee, plays a visual joke. Francis wears a column dress in front of a literal column.

Evelyn Brent in Interference Butterfly Hostess Gown

The final outfit earns its spot by being a showstopper! Actress Evelyn Brent wears a sapphire blue and silver butterfly hostess gown in INTERFERENCE (1928). The dress’s detailing must have been even more impressive in person. Brilliants and crystals were sewn onto its surface to reflect light back at the camera and make her glow like a goddess.

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Toronto Silent Film Festival News!

Modified Toronto Silent Film Festival 2017 Poster
The Toronto Silent Film Festival is selling early bird passes for its 2017 edition. Get yours before they run or time out! While things didn’t work out for me to attend in 2016, I’ll be there at least in published word in April. I’m very excited to be contributing a piece about CHICAGO (1927) and Jazz Age murderesses to their programme book.

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